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Brit Marling
Brit Marling
Brit Marling
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Brit Marling (born August 7, 1982)[2] is an American actress and screenwriter. She rose to prominence after starring in several films that premiered at the Sundance Film Festival, including Sound of My Voice (2011), Another Earth (2011), and The East (2013), each of which she co-wrote in addition to playing the lead role. She co-created, wrote, and starred in the mystery series The OA (2016–2019),[3][4] and the thriller miniseries A Murder at the End of the World (2023).[5]

Key Information

Early life

[edit]

Marling was born on August 7, 1982,[1] in Chicago, Illinois,[6] the daughter of property developer parents John and Heidi Marling.[7][8] She was named "Brit" after her Norwegian maternal great-grandmother.[9] She has a sister, Morgan. Marling grew up in Winnetka, Illinois,[10] and Orlando, Florida, where she attended the arts program at Dr. Phillips High School.[8] Marling was interested in acting, but her parents encouraged her to focus on academics.[11] She graduated from Georgetown University in 2005 with degrees in economics and studio art, graduating top of her class and being her class valedictorian.[12][13][14][15]

Career

[edit]

At Georgetown, Marling met her long-time collaborators, future directors Mike Cahill and Zal Batmanglij.[16] Marling spent the summer of her junior year interning for the investment banking firm Goldman Sachs as an investment analyst.[17] She felt a life spent there would have a lack of meaning and eventually turned down a job offer from the firm,[16] opting instead to move to Cuba with Cahill to film the documentary Boxers and Ballerinas.[18] Co-writing the documentary with Cahill and Nick Shumaker, and co-directing with Cahill, the film helped Marling gain recognition in 2004.[19]

In 2005, Marling moved with Cahill and Batmanglij to Los Angeles. She attended auditions and was offered roles in horror films but turned them down.[20] She stated she "wanted to be able to cast herself in roles that wouldn't require her to play the typical parts offered to young actresses, the perfunctory girlfriend or a crime victim".[21] She was discovered by talent agent Hylda Queally.[22]

Marling with her frequent collaborator Zal Batmanglij speaking at the 2012 WonderCon in Anaheim, California

In mid-2009, she joined a group of freegans with friend and co-worker Zal Batmanglij, living in tents and retrieving food from dumpsters,[23] to explore how other young people were constructing a meaningful life.[24] Marling co-wrote, co-produced, and acted in the 2011 films Sound of My Voice and Another Earth, directed by Batmanglij and Cahill, respectively. Both of these films were featured at the 2011 Sundance Film Festival, with Another Earth winning the Alfred P. Sloan Prize for outstanding film with science, technology or math as a major theme.[25] In 2012, she played the daughter of Richard Gere's character in Arbitrage. In 2013, she collaborated with Searchlight on the film The East, in which she also played the lead role. Directed by Zal Batmanglij and co-written by Marling and Batmanglij, The East is based on the duo's experience as freegans and their concern with the side effects of prescription drugs.[23]

Marling and Batmanglij collaborated to create the drama series The OA, which debuted in 2016 on Netflix.[3] It was written by Marling and Batmanglij, who produced the series along with Dede Gardner and Jeremy Kleiner of Plan B, and Michael Sugar of Anonymous Content.[26] The show's second season, entitled "Part II", started filming in January 2018[27] and was released in March 2019 to positive reviews.[4][28][29]

In June 2024, Marling and Batmanglij entered an agreement to develop television and film projects with independent production house Sister, led by Cindy Holland, who had been the vice president of original content for Netflix when The OA was developed.[30]

Despite having many roles in films she has co-written, Marling stated she "get[s] a lot more pleasure in acting in other people's stories"[23] since "one of the great pleasures of acting is surrendering to someone else's point of view of the world".[31]

Filmography

[edit]

Film

[edit]
Year Title Role Notes
2004 Boxers and Ballerinas  — Documentary
Co-director with Mike Cahill
2007 The Recordist Charlie Hall Zal Batmanglij's AFI thesis short film[24]
2009 Political Disasters Brit [32]
2011 Sound of My Voice Maggie Also co-writer and producer
Nominated—Georgia Film Critics Association Award for Best Original Screenplay
Nominated—Independent Spirit Award for Best First Feature
Nominated—Independent Spirit Award for Best Supporting Female
Another Earth Rhoda Williams Also co-writer and producer
San Diego Film Critics Society Award for Best Actress
Sitges Film Festival Award for Best Actress
Nominated—Chicago Film Critics Association Award for Most Promising Performer
Nominated—Independent Spirit Award for Best First Feature
Nominated—Independent Spirit Award for Best First Screenplay
Nominated—Saturn Award for Best Actress
Nominated—Saturn Award for Best Writing
2012 Arbitrage Brooke Miller
The Company You Keep Rebecca Osborne
2013 The East Sarah Moss / Jane Owen Also co-writer and producer
2014 The Better Angels Nancy Lincoln [33]
I Origins Karen
The Keeping Room Augusta
Posthumous McKenzie Grain
TBD Uncanny Valley Actor, co-writer with Natasha Lyonne[34]

Television

[edit]
Year Title Role Notes
2011 Community Page Episode: "Early 21st Century Romanticism"
2014 Babylon Liz Garvey Main role[35]
2016–2019 The OA Prairie Johnson / OA / Nina Azarova Co-creator, co-wrote 10 episodes
2023 A Murder at the End of the World Lee Andersen Co-creator, wrote 7 episodes, directed 3 episodes

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Brit Marling

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from Grokipedia
Brit Heyworth Marling (born August 7, 1982) is an American actress, screenwriter, producer, and director recognized for her contributions to independent cinema and television, particularly in science fiction and mystery genres. Born in , , to parents Heidi Johnson and John Marling, both involved in , she graduated from with a degree in before transitioning to . Marling gained prominence in 2011 by co-writing, co-producing, and starring in the films and , which premiered simultaneously at the , marking her as the first woman to achieve this feat as both writer and actress. She continued collaborating with director on projects like The East (2013) and co-created the series (2016–2019), where she also starred and wrote, exploring themes of alternate dimensions and human connection. More recently, Marling co-created and appeared in the FX on limited series A Murder at the End of the World (2023), further establishing her role in genre storytelling. In 2017, she publicly alleged that producer suggested a sexual threesome during a meeting, contributing to broader accounts of his misconduct, though no legal action was pursued against him by her.

Early Life and Education

Childhood and Family Background

Brit Marling was born in , , to John and Heidi Marling, both of whom worked as real estate developers. The family's profession led to relocations, with Marling spending much of her early childhood in Winnetka, a north of , before moving to , when she was in her early teens. In Orlando, she attended , participating in its magnet arts program, which fostered her initial interest in performance. Her father, while primarily engaged in , maintained a background as a painter, potentially influencing the household's creative environment. Marling was named "Brit" after her Norwegian maternal great-grandmother, reflecting a heritage that included Scandinavian roots on her mother's side. The consisted of four members, including Marling and one , though details on her remain limited in public records. During her childhood in the area, she engaged in theater acting, viewing it as a recreational pursuit rather than a viable career path at the time. These early experiences, amid a stable upper-middle-class upbringing tied to her parents' business success, laid a foundation for her later pivot from to , without evident financial constraints shaping her choices.

Academic Pursuits and Career Pivot

Marling enrolled at in 2001, pursuing a double major in and studio , with coursework that included liberal arts, , and . She graduated in 2005 as of her class, having demonstrated exceptional academic performance alongside creative interests in visual media. Following graduation, Marling initially entered the sector, taking a position as a , which aligned with her training but soon revealed a mismatch with her creative aspirations. She declined a full-time offer from to explore , embarking on a cross-country with university friends to produce a , marking an early shift toward production. This experience, coupled with self-funding short films in , catalyzed her transition from analytical roles to acting and writing, as she rejected conventional trajectories for uncertain artistic endeavors. By prioritizing narrative innovation over , Marling leveraged her interdisciplinary education to co-create projects that blended economic realism with speculative storytelling.

Professional Career

Initial Forays into Independent Film

Marling's entry into independent filmmaking occurred during her time at , where she co-directed the documentary Boxers and Ballerinas (2004) alongside classmate Mike Cahill. The film, produced over two years across , , and other locations, profiles the aspirations and challenges of four young athletes—two boxers and two ballerinas—as a means to explore broader U.S.- tensions amid restrictive travel policies. It premiered at festivals including the and received praise for its intimate portrayal of personal ambition against geopolitical constraints. After graduating in 2004 and briefly working in finance on , Marling relocated to around 2007 to pursue and . Her initial foray into narrative was a minor role in the low-budget drama Political Disasters (2009), directed by Zach Horton, which depicts intertwined family deceptions in the early 2000s. Shot on a shoestring budget, the film marked her screen debut in fiction but garnered limited distribution and attention. These modest projects honed her skills in low-stakes production environments, emphasizing self-reliance and collaborative storytelling before her pivot to more ambitious writing and producing roles.

Sundance Breakthrough and Early Recognition


Brit Marling's breakthrough occurred at the 2011 Sundance Film Festival, where she co-wrote and starred in two films that premiered simultaneously: Another Earth in the U.S. Dramatic Competition and Sound of My Voice in the NEXT category. Another Earth, directed by Mike Cahill, featured Marling as Rhoda Williams, a MIT-aspiring student who causes a fatal car accident on the night a duplicate planet appears in the sky, exploring themes of redemption and parallel realities; the film received the Alfred P. Sloan Prize for its scientific elements and a special jury mention. In Sound of My Voice, directed by Zal Batmanglij, Marling portrayed Maggie, a enigmatic cult leader claiming origins from 2054, drawing filmmakers into psychological intrigue. The dual premieres generated immediate industry buzz, with critics and outlets hailing Marling as a standout discovery for her commanding screen presence and multifaceted contributions as writer and performer. described her Sundance debut as "totally stunning," emphasizing her roles in both films as pivotal to their impact. noted the festival excitement surrounding her, affirming the merit of the pre-release hype through her nuanced portrayals. Following Sundance, both films achieved limited theatrical releases in 2011, amplifying Marling's early recognition; grossed over $1.8 million domestically despite a modest budget, while her performances earned inclusions in year-end breakthrough lists. This exposure positioned her as an emerging indie talent, distinct for self-generated projects over traditional casting paths.

Collaboration with Zal Batmanglij


Brit Marling and met as undergraduates at , where Marling led a for one of Batmanglij's student short films during the school's inaugural . This encounter sparked a creative partnership that has spanned independent films and television series, often blending with . Their collaborations typically involve co-writing scripts, with Batmanglij directing films and both sharing creative control on television projects; Marling frequently stars in and produces their works. The duo's first joint project was the 2011 film , which they co-wrote. Batmanglij directed the thriller about a couple infiltrating a led by a woman claiming to hail from the future, with Marling in the lead role. The film premiered at the on January 21, 2011, earning praise for its tense exploration of belief and manipulation. In 2013, they co-wrote and released The East, an eco-thriller depicting an operative (Marling) infiltrating an anarchist group targeting corporate polluters. Batmanglij directed, Marling co-produced and starred alongside and , with the film premiering at Sundance on January 19, 2013. It grossed $1.6 million domestically and highlighted their interest in ethical dilemmas around and revenge. Transitioning to television, Marling and Batmanglij co-created for , debuting on December 16, 2016. Marling portrayed Prairie Johnson, a woman who returns blind but regains sight after near-death experiences, weaving a of alternate dimensions and healing movements. The series ran for two seasons, with the second premiering March 22, 2019, before cancellation on August 5, 2019, amid fan campaigns citing its innovative mythology. Their most recent collaboration, A Murder at the End of the World, premiered on and on December 14, 2023, as a seven-episode limited series. Co-created and co-written by the pair, it follows a hacker-detective (Marling) unraveling deaths at an isolated retreat hosted by a tech , incorporating AI and themes. Batmanglij directed multiple episodes, and the series received critical acclaim for its genre-blending and philosophical undertones. In June 2024, Marling and Batmanglij signed a multi-year deal with production company to develop new film and television projects, continuing their joint creative endeavors.

Expansion into Television and Directing

Marling's entry into television occurred through her sustained partnership with director , co-creating the series , which debuted on December 16, 2016, and ran for two seasons until its cancellation in August 2019. In the series, Marling served as co-writer, , and lead actress portraying Prairie Johnson, a role that demanded physical commitment including learning dance sequences central to the narrative. Batmanglij handled primary directing duties, allowing Marling to focus on scripting and performance while the project explored metaphysical themes of near-death experiences and interdimensional travel. Building on this foundation, Marling advanced into directing with the seven-episode FX on Hulu limited series A Murder at the End of the World, which premiered on November 14, 2023. Co-created and co-written with Batmanglij, the series features Marling as executive producer, writer, and actress in a supporting role as Lee, a programmer at a remote billionaire's retreat where murders unfold. Marking her television directorial debut, Marling helmed the opening episodes, establishing the visual and tonal framework with precise shot lists that integrated complex imagery of technology, isolation, and psychological tension. This directorial effort drew from her economics background at Georgetown University, informing the series' critique of elite tech figures and AI ethics through data-driven plotting. The success of these television ventures prompted Marling and Batmanglij to secure a first-look deal with Sister in June 2024 for developing additional film and TV projects, signaling further expansion in serialized storytelling. Unlike her earlier film work emphasizing indie constraints, television afforded Marling greater scope for speculative narratives, though both The OA and A Murder at the End of the World faced scrutiny for unresolved arcs—The OA cut short after 23 episodes and the latter concluding as a standalone miniseries—highlighting platform decisions over creative closure. Her directing approach prioritizes collaborative intimacy, often shooting in sequence to capture authentic performances amid genre-blending mysteries.

Filmography and Key Works

Feature Films

Brit Marling's appearances primarily feature lead roles in independent productions, many of which she co-wrote and co-produced, emphasizing introspective narratives and speculative elements. Her breakthrough came in 2011 with dual Sundance premieres of films she helped create.
YearTitleRoleDirectorNotes
2011MaggieCo-writer, co-producer; cult leader thriller.
2011Mike CahillCo-writer, co-producer; sci-fi drama.
2012ArbitrageBrooke CoatSupporting role as financier’s daughter.
2012The Company You KeepIzzySupporting role in .
2013The EastSarah MossLead in thriller; co-writer.
2014KarenMike CahillSupporting in sci-fi romance.
2014The Better AngelsA.J. Edwards role.
2014PosthumousJessicaLulu Wang lead.
2015Augusta PettigrewDaniel BarberCivil War-era drama lead.
Subsequent projects include smaller or uncredited roles in earlier documentaries like Boxers and Ballerinas (2004), but her narrative feature work centers on the above titles, showcasing versatility from psychological thrillers to historical pieces. No major studio blockbusters appear in her credits, aligning with her focus on auteur-driven indies.

Television Series


Brit Marling expanded her creative scope into television through collaborative projects emphasizing speculative narratives and character-driven mysteries, most notably (2016–2019), which she co-created, co-wrote, executive produced, and starred in opposite . The Netflix series featured Marling as Prairie Johnson, a woman who vanishes for seven years and returns with unexplained abilities, including restored vision despite prior blindness, to assemble a group for a mission tied to near-death experiences and alternate dimensions. Season 1 premiered on December 16, 2016, with 8 episodes, followed by Season 2 on March 22, 2019, also 8 episodes; Netflix canceled the series on August 5, 2019, after Marling noted its independent film-like budgeting proved unsustainable for ongoing production. In 2023, Marling reunited with Batmanglij to co-create, co-write, direct episodes of, and star in the seven-episode miniseries A Murder at the End of the World for on , portraying Lee Andersen, a and single mother attending a secluded retreat that unravels into a amid tech elite intrigue. The series, which debuted on December 14, 2023, drew from influences like locked-room mysteries while incorporating contemporary themes of and isolation. Earlier, Marling appeared in six episodes of the miniseries Babylon (2014) as Liz Garvey, a political aide navigating counter-terrorism bureaucracy. By October 2025, Marling and Batmanglij had signed a deal with to develop additional film and television projects, though no new series had premiered.

Artistic Themes and Philosophy

Recurring Motifs in Storytelling

Marling's storytelling often centers on insular communities and charismatic figures who challenge protagonists' perceptions of reality, as seen in her early collaborations with Zal Batmanglij. In Sound of My Voice (2011), a cult led by a woman claiming origins in the future tests infiltrators' skepticism through rituals demanding faith without empirical proof, exploring the tension between belief and evidence. This motif recurs in The East (2013), where an eco-anarchist collective employs initiation rites, blindfolds, and secretive signals—echoing cult dynamics—to subvert corporate power, blurring lines between moral absolutism and pragmatic infiltration. These elements evolve into metaphysical inquiries in later works, emphasizing embodiment and transcendence over institutional authority. The OA (2016–2019) features near-death experiences enabling interdimensional travel and ritualistic "movements"—choreographed sequences portrayed without visual effects to underscore physicality's role in defying trauma and isolation—while questioning reliability through an unreliable protagonist who recruits believers into a chosen family structure. The series draws from and real-world near-death accounts to probe how personal conviction reshapes perceived reality, often prioritizing communal rituals over verifiable . In A Murder at the End of the World (2023), motifs of hidden motives within enclaves intersect with technological , as a deciphers murders amid AI-driven isolation, critiquing billionaire altruism's undercurrents without fully resolving speculative ambiguities. Across projects, Marling consistently deploys female leads as skeptical investigators who navigate faith-based or covert systems, highlighting causal disruptions from unorthodox bonds over conventional hierarchies, though outcomes hinge on interpretive leaps rather than conclusive data.

Approach to Metaphysical and Speculative Elements

Marling regards speculative and fantasy as genres that most authentically reflect the human experience of transcendence, evoking states where individuals simultaneously inhabit the physical body and a broader metaphysical realm. This perspective stems from her view that such narratives provide a framework for exploring the porous boundaries between empirical and intangible dimensions of , often drawing on personal sensations of being "both in [her] body and out of [her] body." In projects like (2016–2019), co-created with , she incorporates elements such as near-death experiences, interdimensional travel via choreographed movements, and parallel universes to interrogate the nature of belief, perception, and interconnectedness, treating these as vehicles for emotional and existential inquiry rather than literal assertions. Her approach emphasizes speculative fiction's capacity to metaphorically address profound human feelings, using science fiction's poetic potential to evoke wonder and about reality's underpinnings. Marling has highlighted parallels between scientific concepts—like and theories—and spiritual intuitions, positioning her stories as bridges that reveal hidden causal links between the material and the numinous without resolving into dogmatic explanations. This method avoids reductive materialism, instead privileging narrative ambiguity to mirror life's unresolved mysteries, as seen in (2011), where a duplicate planet prompts reflections on grief, regret, and alternate selves grounded in philosophical inquiry. Influenced by her undergraduate studies in at , Marling employs these elements to apply a "fresh lens" to ethical and ontological questions, challenging viewers to reconsider and through speculative hypotheticals. Critics have noted that this integration of metaphysics serves not as escapism but as a tool for causal realism, wherein speculative scenarios expose underlying truths about human behavior and societal structures, such as the tension between individualism and collective ritual in The OA's movement sequences. Marling's reluctance to over-explain these motifs—evident in her discussions of near-death accounts as inspirational rather than verifiable—preserves narrative potency, inviting audiences to engage empirically with the unprovable while grounding the extraordinary in relatable psychological stakes. This balanced methodology distinguishes her work from pure fantasy, aligning speculative elements with first-hand explorations of consciousness that echo real-world phenomena like reported out-of-body experiences, without endorsing supernatural claims absent empirical corroboration.

Reception and Critical Assessment

Commercial and Critical Successes


Marling garnered critical acclaim through her early independent films premiered at the 2011 , where ""—which she co-wrote and starred in—won the Prize for its integration of scientific concepts into narrative . The film earned Independent Spirit Award nominations for Best First Feature and Best First Screenplay, highlighting her emerging talent as a and performer. "," another Sundance entry she co-wrote and led, similarly received Independent Spirit nominations for Best First Feature, contributing to her reputation for introspective, low-budget productions that punched above their weight in festival circuits. Her feature films as a lead actress have generated modest box office returns, aggregating approximately $5.2 million worldwide across multiple titles, reflecting the niche appeal of independent cinema rather than broad commercial dominance. Supporting roles in higher-profile projects like "" (2012) benefited from stronger earnings, with the film grossing over $35 million globally, though Marling's contributions remained centered on dramatic depth over blockbuster metrics. In television, "" (2016–2019), co-created with , achieved solid critical reception, scoring 77% on for its first season and fostering a dedicated fanbase despite Netflix's cancellation after two parts. The series logged significant streaming hours, including 24 million in its debut week and cumulative viewership exceeding 96 million accounts for season one by mid-2023. More recently, "A Murder at the End of the World" (2023), another collaboration with Batmanglij for , secured an 89% approval rating and a 73 score, praised for its genre-blending mystery and thematic ambition, though audience scores hovered at 7.0 on . Marling's body of work has yielded five awards and 16 nominations, including Saturn Award nods for "" in acting and writing categories, underscoring consistent peer recognition in speculative and dramatic genres despite limited mainstream awards traction. These successes have positioned her as a respected figure in auteur-driven storytelling, prioritizing artistic innovation over mass-market viability.

Criticisms and Intellectual Shortcomings

Critics have frequently characterized Marling's speculative narratives as pretentious, with superficial philosophical undertones masquerading as depth. In (2011), reviewers highlighted its "glaring problems with the science," such as the implausible proximity and visibility of a duplicate without gravitational catastrophe, undermining the film's intellectual premise of parallel realities and redemption. The same work was dismissed as a "murky and pretentious sci-fi mess," relying on vague existential musings rather than rigorous exploration of its metaphysical claims. Another assessment labeled it "pretty, pretentious junk," akin to underdeveloped coffeehouse that fails to transcend trite symbolism. Similar flaws appear in (2011), where Marling's leader character was critiqued as a "pretentious, self-absorbed" figure in a "self-serving vehicle" that prioritizes over coherent resolution, leaving intellectual questions about and manipulation unresolved and indulgent. The film's neo-sci-fi elements were seen as "self-indulgent and arguably even a tad pretentious," prioritizing atmospheric dynamics over substantive analysis of faith's mechanisms. Marling's television work, particularly (2016–2019), drew accusations of echoing these shortcomings, with detractors noting pretentious storytelling that amplifies unresolved speculative motifs—like interdimensional travel via ritualistic movements—without empirical or logical grounding, rendering intellectual ambitions hollow. Her broader has been faulted for underdeveloped characters, often reducing supporting roles to peripheral status lacking narrative weight. Marling's public commentary on , such as her 2020 critique of "strong female leads" as overly heroic and masculine, has faced pushback for enforcing binary gender traits, potentially constraining character nuance in favor of idealized vulnerability without addressing causal complexities in . These patterns suggest a recurring tendency toward aesthetic over causally robust intellectual frameworks.

Personal Life and Public Views

Private Relationships and Lifestyle Choices

Brit Marling has kept details of her romantic life largely private, with limited public information available. Reports indicate she dated filmmaker Mike Cahill from 2004 to 2012, during which they collaborated on projects including the 2011 film . She has also been linked to director , her frequent creative collaborator since their 2007 , though their partnership is primarily documented as professional and supportive rather than explicitly romantic. No verified records confirm a current spouse or long-term partner as of 2023. Marling has expressed reservations about traditional family expansion, citing global concerns in a 2013 where she voiced openness to over biological children. She has no publicly known children. In terms of daily lifestyle, Marling and Batmanglij reside in modest small houses on the east side of , prioritizing creative work over expansive personal spaces and lacking dedicated offices or studies. This arrangement reflects a deliberate choice for simplicity amid their collaborative endeavors.

Political Activism and Ideological Stances

Marling has articulated a form of centered on personal lifestyle choices and ethical living rather than institutional or partisan engagement. After graduating from in 2005, she briefly worked as an analyst at but departed after observing stark economic disparities during a trip to , later describing this as aligning her life with her values amid growing inequality. She has characterized millennial as "how you live your life on a day-to-day basis," exemplified by practices like —scavenging discarded food to protest waste and —which informed elements of her 2013 film The East. Her creative output often embeds critiques of corporate power and , portraying through narrative rather than direct advocacy. In The East (2013), co-written and starring as an undercover operative infiltrating an eco-anarchist group targeting polluters, Marling explored the moral ambiguities of radical against industry, drawing from real-world tensions between activists and private security firms hired by corporations. This approach reflects her stated interest in complicating political narratives, as she noted in 2013 that past protests like lacked nuance in addressing systemic issues. Marling has engaged publicly on broader political events, including a June 23, 2017, event with author discussing Klein's book No Is Not Enough, which frames resistance to Donald Trump's presidency as countering "shock politics" and . She has critiqued "late " in personal anecdotes, such as a 2019 encounter with a protester during promotion, but has not publicly endorsed specific candidates, parties, or petitions. Her ideological leanings appear rooted in skepticism toward unchecked and emphasis on individual , channeled primarily through rather than organized movements.

Recent Developments and Future Projects

Post-2023 Ventures

In June 2024, Brit Marling and , her longtime creative partner, entered a multi-year agreement with , an independent , to develop, write, and produce original film and projects. The partnership reunites Marling and Batmanglij with Sister's global CEO Cindy Holland, formerly Netflix's vice president of original content, where she had overseen their series . Specific project details under this deal remain undisclosed as of October 2025, focusing instead on collaborative storytelling in speculative and formats consistent with their prior works. In April 2025, Marling collaborated with on , Lyonne's directorial debut, a examining and human-AI interfaces. The project incorporates input from , a pioneer in and critic of unchecked AI development, emphasizing rigorous scrutiny of technological over speculative hype. As of October 2025, is in development, with no confirmed production timeline or release date, marking Marling's continued pivot toward writer-producer roles in tech-infused narratives rather than on-screen performances.

Ongoing Collaborations

In June 2024, Brit Marling and Zal Batmanglij entered a multi-year creative partnership with independent production company Sister to develop, write, and produce film and television projects. The agreement reunites the collaborators with Cindy Holland, Sister's global CEO and former Netflix executive who greenlit their series A Murder at the End of the World. This deal builds on their prior joint works, including The OA and A Murder at the End of the World, emphasizing narrative-driven content with speculative elements. Marling is also co-writing Uncanny Valley, a adaptation of a that marks actress Natasha Lyonne's directorial debut, announced on April 29, 2025. The project incorporates AI technology from Asteria and features input from computer scientist , focusing on ethical implications of . As of October 2025, production details remain in development, with no confirmed release date.

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  41. https://www.thewrap.com/brit-marling-zal-batmanglij-sister-production-deal/
  42. https://filmmakermagazine.com/72005-zal-batmanglij-and-brit-marling-on-the-east/
  43. https://variety.com/2024/tv/news/brit-marling-zal-batmanglij-sister-develop-film-tv-projects-1236042525/
  44. https://deadline.com/2024/06/a-murder-at-the-end-of-the-world-creators-brit-marling-zal-batmanglij-partner-sister-1235978292/
  45. https://www.nytimes.com/2023/11/08/arts/television/a-murder-at-the-end-of-the-world.html
  46. https://variety.com/2023/tv/features/brit-marling-zal-batmanglij-a-murder-at-the-end-of-the-world-the-oa-1235776360/
  47. https://laist.com/shows/the-frame/how-the-creators-of-the-oa-made-a-long-format-mind-bender
  48. https://www.fxnetworks.com/shows/a-murder-at-the-end-of-the-world/crew/zal-batmanglij-executive-producer
  49. https://www.fxnetworks.com/shows/a-murder-at-the-end-of-the-world/crew/brit-marling-executive-producer
  50. https://www.vanityfair.com/hollywood/story/murder-end-of-world-shot-list-brit-marling-awards-insider
  51. https://www.latimes.com/entertainment-arts/tv/story/2023-11-14/murder-at-the-end-of-the-world-creators-darby-hart
  52. https://www.imdb.com/title/tt1748207/
  53. https://www.amazon.com/prime-video/actor/Brit-Marling/amzn1.dv.gti.7e1bb123-9444-4bc3-be72-da65cd240a3f/
  54. https://www.rogerebert.com/cast-and-crew/brit-marling
  55. https://www.facebook.com/groups/902349343110685/posts/7985456761466539/
  56. https://film.datathistle.com/listings/brit-marling/
  57. https://serp.media/movies/all-brit-marling-movies-in-order/
  58. https://www.netflix.com/title/80044950
  59. https://www.hollywoodreporter.com/tv/tv-features/brit-marling-interview-a-murder-at-the-end-of-the-world-1235866944/
  60. https://screencrush.com/brit-marling-interview/
  61. https://theplaylist.net/review-the-east-is-a-divisive-but-stylish-thriller-worthy-companion-piece-to-sound-of-my-voice-20130531/
  62. https://www.vulture.com/2016/12/the-oa-movements-ryan-heffington-choreography.html
  63. https://www.esquire.com/entertainment/tv/news/a51648/the-oa-netflix-interview-brit-marling-zal-batmanglij/
  64. https://www.theatlantic.com/entertainment/archive/2017/01/the-oa-and-the-dark-side-of-science/513170/
  65. https://www.rollingstone.com/tv-movies/tv-movie-features/a-murder-at-the-end-of-the-world-finale-creator-brit-marling-ai-tech-billionaires-1234932224/
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  68. https://www.52-insights.com/brit-marling-the-oa-tv-actress-writer-director-hollywoods-super-natural-force-interview/
  69. https://atmos.earth/ecological-wisdom/brit-marling-oa-interview/
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  72. https://www.theatlantic.com/entertainment/archive/2019/03/the-return-of-the-oa-tvs-strangest-most-sincere-show/585208/
  73. https://theindependentcritic.com/another_earth
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  75. https://www.the-numbers.com/person/221000401-Brit-Marling
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  77. https://www.unilad.com/film-and-tv/netflix/netflix-the-oa-reviews-jason-isaacs-reunion-883988-20250715
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  87. https://www.facebook.com/groups/166563453973502/posts/1471753113454523/
  88. https://bang2write.com/2020/02/brit-marling-is-wrong-on-strong-female-characters-heres-why.html
  89. https://www.whosdatedwho.com/dating/brit-marling
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  91. https://entertainmentnow.com/news/brit-marling-husband-boyfriend/
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  94. https://thedailytexan.com/2013/05/03/actress-writer-brit-marling-talks-about-traveling-writing-for-herself-and/
  95. https://www.latimes.com/books/la-et-jc-naomi-klein-20170623-story.html
  96. https://deadline.com/2019/08/the-oa-brit-marling-thanks-fans-says-story-lives-1202703150/
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  100. https://www.hollywoodreporter.com/movies/movie-news/natasha-lyonne-jaron-lanier-ai-movie-uncanny-valley-1236202957/
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