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There’s an infectiously likeable quality to Florence Pugh. Not yet jaded by the Hollywood machine, she views her recent success with a certain wide-eyed wonder, as if some part of her can’t quite comprehend that she is hurtling towards stardom at ever-increasing velocity. She radiates warmth and responds to compliments with a throaty laugh and a heartfelt “That’s so sweet of you to say!”. Pugh had only been acting professionally for two years when she landed the role of a lifetime as the title character in Lady Macbeth. Commonly mistaken for Shakespeare – even by the actress herself when she first received the script – this Gothic film is based on an 1865 Russian novella that recounts the story of a frustrated housewife taking a lover and descending into an ennui-driven anarchy, a sort of Thérèse Raquin for the Instagram age.

“The film is very timely simply because it’s got this modern woman at its centre,” Pugh tells me. “Her actions were obviously shocking at the time – and now! – but Katherine is her own woman and doesn’t apologise for that.” To quote the actress: if you don’t like period pieces, don’t be put off. Lady Macbeth defies conventional corset dramas with its disobedient anti-heroine and devilish editing. (In one sequence, ravenous bodies slamming against a bedframe are replaced by a self-aware smash-cut of the delicate dribbling of tea into a teacup.)

For most of the movie, Pugh’s countenance is expressionless. She “honed her death stare” on Lady Macbeth, gazing vacantly into the middle distance, leaving the emotions raging beneath the surface open to interpretation. It is a bold artistic choice, particularly from someone so young. What made her modulate her performance like that? “I decided to play her like a cat, so there are a lot of scenes of her eating and licking. It’s incredibly primal,” she says. “Like in the scene where [her lover] Sebastian has been beaten. She runs to him and kisses and licks his wounds. I didn’t want to go too far in the other direction, but it was very animalistic.”

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Pugh’s largely wordless portrayal of Katherine has shot her to critical acclaim, earning her an Evening Standard award for Most Promising Newcomer and the Best Actress gong at the British Independent Film Awards (where she breathily admitted in her speech that even her mum didn’t expect her to win). Next Sunday, the actress is in contention for the Rising Star Bafta, a prize that was created in 2004 to recognise breakthrough talent. During our conversation, I mention the calibre of the accolade’s previous nominees (among them Eddie Redmayne, Emma Stone, Lupita Nyong’o and Brie Larson).

“And this year’s!” Pugh jumps in (referring to 2018’s impressive line-up that includes the Oscar hopefuls Daniel Kaluuya and Timothée Chalamet). “The fact that I’ve been nominated for a Bafta is insane,” she continues. “To be nominated for me is as big a deal as a win and it’s particularly special because this one’s voted for by the public. I still can’t believe I’m going to the Baftas! I’m just going to be there among all the stars like, ‘Wow’. I’ll focus on everyone else on the night to stay calm.” She will “of course” be wearing black to the ceremony in support of the Time’s Up movement. “It’s just getting bigger and bigger, and I stand in solidarity with the victims of sexual assault.”

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The exhilarating rollercoaster ride that has been her career to date is set to hurtle to new heights. Pugh has five projects due for release in the coming months: the Liam Neeson thriller The Commuter; two BBC series (King Lear and The Little Drummer Girl); the Netflix drama Outlaw King; and Stephen Merchant’s wrestling biopic Fighting with My Family. It’s the rapidity with which she has leapt from one job to the next that has most surprised Pugh. “I can’t believe the way everything has come all at once,” she says. “I found out I got The Little Drummer Girl and my Bafta nomination in quick succession and I just didn’t expect it to be like that. I thought there would be a lot more time in between. It’s been an overwhelming experience.” Even so, she is more than ready to move on to another stage and head for Hollywood, provided that “the right thing comes along”.

Watch out, Tinseltown. Since the Bafta Rising Star has such a knack for spotting future household names, it shouldn’t be long before Florence Pugh becomes – as the internet has so loudly clamoured – the next Kate Winslet.

The EE Rising Star Award is the only Bafta voted for by the British public. Cast your vote at ee.co.uk/bafta.


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