From childhood movie marathons to sharing the screen with some of Hollywood’s most iconic names, Fiona Valinski has built her path with instinct, passion, and a deep emotional connection to cinema. What began as a personal escape quickly evolved into a calling, one that now extends beyond acting into directing. With experiences ranging from large-scale productions like The Last Duel to intimate creative projects of her own, she represents a new generation of storytellers shaped by both discipline and imagination.
You’re a 31-year-old actress and emerging director. When did your passion for cinema begin?
I’ve been watching movies since I was a little girl. As an only child for many years, films and cartoons were a central part of my childhood. I was completely captivated by The Mummy and even dreamed of becoming an archaeologist because of it. When I was around 11 or 12, my grandmother introduced me to Rocky. I became an instant fan and started devouring every iconic film I could find. At the time, I thought cinema would remain a hobby. But at 15, I discovered Dead Poets Society. It felt like a tidal wave. I cried all night, not from sadness, but from the realization that I wanted to dedicate my life to creating films that could change people’s lives.
What were your first experiences on set?
My very first professional experience was on a commercial, a parody of The NeverEnding Story, shot on a large studio lot in Serbia. I worked with a massive green screen, perched on a platform to simulate flying through the air. The production design, the set, the costumes, it all felt magical. My first feature film, however, was The Last Duel, directed by Ridley Scott.
At 25, you were cast as one of the courtesans in The Last Duel. How would you describe that experience?
It felt surreal, especially since it happened during the COVID lockdown. For a long time, I wasn’t even sure I would appear in the film. We spent three weeks in Ireland, and I worked with my first intimacy coordinator, the incredible Ita O’Brien. We filmed a very sensitive scene, and she ensured I felt completely safe and protected. The entire crew was welcoming, the set was breathtaking, and the costumes were magnificent. I truly felt transported into the Middle Ages. I also made lifelong friends. It exceeded every expectation I had.
What was it like working with such major figures in Hollywood?
Working with Ridley Scott was beyond a dream come true. I had been mesmerized by Thelma & Louise as a teenager and never imagined I would meet him. He was kind, patient, and his trust allowed me to fully commit. Adam Driver pulled me aside and told me I was in complete control of the scene, that if I ever felt uncomfortable, I could stop instantly. He is such an intense actor that sometimes I couldn’t tell if he was speaking as himself or in character. Ben Affleck was one of the kindest people I’ve met on set, curious, generous with advice, and very approachable. I didn’t get to meet Matt Damon or Jodie Comer, but I will always be grateful to those I worked with for guiding me through my first Hollywood experience.
Can you share other memorable experiences?
I was later cast by Tristan Séguéla in the Netflix series Tapie, centered on the iconic French businessman and politician Bernard Tapie. My scene was the very first one filmed, and I remember feeling incredibly nervous, almost sick, but it went well. Two years later, Tristan called me back for his film Mercato. I worked alongside Jamel Debbouze, one of my childhood heroes and a star of Astérix & Obélix: Mission Cléopâtre. It was another dream fulfilled. I feel extremely fortunate.
Acting isn’t your only passion, right?
No, it’s not. I made my first film last year, and although the experience was challenging, it sparked a real desire to direct more. I’m currently working on my second short film. Directing offers a completely different perspective on acting. Writing a character is incredibly complex, and as an actress, it’s eye-opening to realize how much you can’t control on set.
