Sydney Sweeney takes on double duty for horror ‘Immaculate’

March 21, 2024 – 3:08 AM PDT

Cast member Sydney Sweeney attends the premiere of the film "Immaculate" in Los Angeles, California, U.S., March 15, 2024. REUTERS/Mario Anzuoni/File Photo
Cast member Sydney Sweeney attends the premiere of the film “Immaculate” in Los Angeles, California, U.S., March 15, 2024. REUTERS/Mario Anzuoni/File Photo

LOS ANGELES (Reuters) – Sydney Sweeney takes on two roles for her latest film “Immaculate”, starring and producing the horror movie set in an Italian convent.

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The “Euphoria” and “The White Lotus” actress plays young American nun, Sister Cecilia, who enrols in a convent in rural Italy. While she struggles to understand what seems off about the establishment, she suddenly finds herself pregnant.

“I saw this movie in my head and I really wanted to make it for a really, really long time and I think that I trusted and believed in myself to surround myself with the right team that would help me learn how to do the job to the best of my ability,” Sweeney told Reuters.

“I had a voice and I was a part of all the creative decisions and the process and the business and I loved it so much,” she added of producing the movie.

The 26-year-old said she transformed into character as soon as she put on her costume.

“Whenever I put Cecilia’s habit on or her outfits, I always felt like I walked a little different, held myself a little different, my shoulders are back, my hands are held differently,” she said.

Sweeney is in nearly every frame of the film and endures a lot, from being covered in blood and getting slapped to being submerged in a bath by a vengeful nun.

“It was all so fun to me … I truly felt like I was (in) my own playground playing and getting to dream up this crazy world and there were no limits or boundaries. It was a blast,” she said, adding she was keen to produce more films.

“I hope in the next five years I get to continue to find characters and stories that challenge me in new ways.”

Reporting by Rollo Ross; Editing by Alison Williams

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