Emma Suki is rapidly emerging as one of the most compelling voices in contemporary European cinema. With standout performances in TRIPTYCH (2024) and Feed (2022), she has captivated audiences with her fearless portrayals and artistic depth. Beyond acting, Emma has also taken on roles behind the camera, showcasing her versatility as a producer.
In TRIPTYCH, Emma delivers a haunting performance as Margaux, a character ensnared in a Faustian dilemma, reflecting her commitment to exploring complex psychological narratives. Her role in Feed further demonstrates her dedication to physically and emotionally demanding roles, solidifying her reputation as a dynamic and immersive performer.
Fluent in multiple languages and with a background in modeling, Emma brings a unique perspective to her craft, blending visual storytelling with profound character embodiment. Her journey from the fashion world to the forefront of indie cinema exemplifies her relentless pursuit of artistic authenticity.
In this exclusive interview, Emma Suki discusses her creative process, the challenges of balancing acting and producing, and her vision for the future of storytelling.
We invite you to read the full interview and gain a deeper understanding of Emma’s experiences and inspirations. Additionally, don’t miss the opportunity to watch our exclusive video interview, where Emma discusses her work in her own words.
Experience the conversation below and discover the world through Emma Suki’s eyes.
INTRO / CAREER JOURNEY
Emma, thank you for joining Meeting Venus! Let’s start from the beginning—what first drew you to acting and storytelling?
Suki:
I always loved the magic of cinema. I started doing some TV commercials in my teens and felt quickly I wanted more, so I decided to take it more seriously and follow my passion. I always had extremely opinionated visual ideas, and I love storytelling and bringing art into motion
As someone who’s also a producer, how do you balance your creative instincts on both sides of the camera?
Suki:
I never meant to be a producer. It sort of just happened because I was frustrated of the lack of autonomy I had when only acting/ modelling. I hate feeling helpless and I also hated being in situations where things ended up mediocre.
I started producing some shoots when I was modelling for both myself, and other models together with my friends that were all creatives. I realised I was pretty good at seeing the big picture and getting the right shot. I love the creative process and I believe in my intuitive understanding of what is cool and what isn’t. It sounds silly but I believe you need to know exactly what you want in order to get it. I’m still learning to trust my gut but I love exploring creative ideas both in film fashion and especially music.
TRIPTYCH (2024) – MARGAUX
Your role as Margaux in TRIPTYCH is haunting and layered. What can you share about the creative process behind that performance?
Suki:
It was quite demanding. As I was part of the production as a producer and the lead actress. The character Margaux is essentially trapped In a Faustian bargain. I explored different ideas of how one ‘sells them self to the devil’ Which isn’t always the most pleasant way of living life. I read a lot of Faustian books, Dorian Gray and I was quite depressed during that time looking back.
TRIPTYCH explores psychological depth—did you do any special preparation for such an intense character?
Suki:
I prepared loads. I believe if you want to do your best you really need to give 200%. Be, live, breathe, eat, think like your character. I also read the script around 200 times.
I also prepared with my amazing movement coach Sarah and my vocal coach also. I wanted to know how to move and how to scream properly. My whole body was aching after filming, so I was glad I had some preparation.
What has the response been like from audiences or festivals so far?
Suki:
It’s been great. I feel so blessed to gotten the approval from so many awards. Our whole team behind Triptych are so proud. We are all young filmmakers with big dreams, to get recognition like this means a lot, especially when you often can feel so lonely in the industry.
FEED (2022) – NIKOLINA KOSTOV
In Feed, you played Nikolina Kostov, a character wrapped in emotional tension. What challenged you most about that role?
Suki:
OMG, the most challenging thing was me being pulled by this harness 10 m up in the air in the middle of the forest outside Stockholm. There was so much friction that I ended up ripping parts of my skin on my back. But I never told anyone in the production. My mum saw it on my back and thought I was into BDSM haha. Intense .. But I literally do anything to get a good take. And I LOVED working with Johannes Person. He’s a real life rockstar. And the film ended up winning the public choice award at the Swedish ‘ Guldbaggen ‘ which is considered the most prestigious awards in Scandinavia.
The film featured a strong ensemble—how did you connect with your fellow cast members like Sofia Kappel and Molly Nutley?
Suki:
They’re great, love them.
TV WORK – HUSS & THE PLAYLIST
You also had roles in Huss and The Playlist, both highly regarded Swedish productions. How does working in television compare to film for you?
Suki:
It’s quite different from each other. I still haven’t decided what I like the most. I like the energy of films but it can get so damn intense sometimes. TV is intense too but there’s more defined roles on set and people are usually more flexible and laidback, and you make more friends on TV.
What was it like stepping into an episode of The Playlist, a dramatization of Spotify’s rise?
Suki:
It was my first big job and my first Netflix set. I was so nervous. We filmed in Covid and it involved 80 extras. Not only was I freaking out because I was hired for the Job I was also paranoid with all the Covid nonsense. It was fun though and I loved working with Per-Olav, he’s so cool.
ARTISTIC VISION
What kind of stories do you feel most drawn to as an actress? Are there certain genres or themes you’re eager to explore?
Suki:
I have so much to explore still. I want to do something that involves me physically exhausting myself such as action or thrillers. I’d like to see how far I can push my body. But I also want to do period drama and be dressed up like royalty. Although my biggest dream is to do a biopic of someone iconic like Madonna, Eleanor Roosevelt or Dolly Parton.
As a producer, are there any projects in development that you’re particularly excited about?
Suki:
No. I don’t like producing. It’s goddam exhausting. Stressful, hectic. Euw. I become a mean person and it doesn’t make me feel good. I only want to be recognised as an artist for what I can do and preform, not for what I can pull together and produce. I’ll leave that to others that are better at it and can handle stress.
INDUSTRY & WOMEN IN FILM
As a woman in the Scandinavian film industry, have you faced any unique challenges or opportunities you’d like to share?
Suki:
As a woman, working in the Scandinavian film industry is a bliss compared to other countries Ive worked in. People are fair, understanding, respectful and real in Scandinavia. They value you for your talent and what you have to say.
How do you see the role of women in film evolving, especially with so many new voices emerging internationally?
Suki:
Women deciding to work in any male dominated field makes it immediately better. Women are so multi-faceted. I am happy it’s more accepted and celebrated for women to work in film. BUT THE INDUSTRY NEEDS MORE WOMEN!
PERSONAL TOUCH
Outside of acting and producing, where do you draw inspiration—books, art, travel?
Suki:
I’m a huge art lover. But I’m the biggest music lover. I think there’s inspiration everywhere if you just allow it to inspire you. I try to romanticise my life as much as I can. I am probably quite naïve sometimes. I write a lot of poetry and songs. I am often inspired by old cinema and art history.
Finally, what advice would you give to young women just starting out in film, either in front of or behind the camera?
Suki:
Be strong. Don’t let anyone put you down. Take all the opportunities you can get, do all the castings, be original. Go to as many workshops as you can or enrol in drama school / film school. Put yourself out there on all the casting platforms. Don’t feel cringe about anything. Create your own content because in the beginning it’s hard to get hired. Find an idea you’re drawn to, develop it and shoot it. It can be on your phone or hire a camera for the day if you can (but make sure you prepare as much as you can so you don’t get overwhelmed on the spot) create your own world. Nobody will do it for you.
LANGUAGES & IDENTITY
You speak Swedish, English, Serbian, Turkish And some Italian —how has being multilingual influenced your approach to acting or your ability to connect with international projects?
Suki:
I traveled a lot with my modelling so I got to see and experience so many different cultures Which I love. Languages are very easy for me and I like being able to speak to anyone. even just a bit. With each language you sort of become a different person which is great since actors are always required to be different people. I’ve filmed speaking in Swedish, Serbian and English for now. But I’d love to explore more italian and maybe Portuguese since I’m learning that too.
MODELING & CREATIVE EXPRESSION
Alongside acting, you’ve also worked as a model. How does modeling shape your on-screen presence or sense of character embodiment?
Suki:
From modelling you get used to being in front of camera and knowing lights, angles and even set design etc so it made things somewhat easier for sure. Although in modelling you can easily “switch off” even if it’s in-front of camera whilst acting you can neverrrrrr be passive. Acting is like modelling on steroids!
