IN CONVERSATION WITH MARIA BAKALOVA

interview by JANA LETONJA

Maria Bakalova is a rising global star whose bold performances and versatile talent continue to captivate audiences and critics alike. The Academy Award and Golden Globe nominee wowed Cannes audiences in Ali Abbasi’s ‘The Apprentice’, playing Ivana Trump in one of the 2024 festival’s most talked-about films. She also stars in and produced ‘Triumph’, Bulgaria’s official submission for the 2025 Academy Awards. Since her breakout role as Tutar in ‘Borat Subsequent Moviefilm’, which earned her historic Oscar, Golden Globe, and SAG nominations, Maria has built a strikingly diverse body of work, from A24’s cult hit ‘Bodies Bodies Bodies’ to voice role in ‘Guardians of the Galaxy Vol. 3’. Maria can currently be heard voicing “Pigtail” in DreamWorks Animation’s follow-up feature ‘The Bad Guys 2’, in which she joins the franchise as the “Bad Girls” criminal squad. Next up, she will be starring in Apple’s ‘Mayday’. ‘The Bad Guys 2’ is also out on Home Ent from 19th August.

full look GIORGIO ARMANI

 
 

Coming from a classical theater background in Bulgaria, how does that training inform your work in film and voice acting today?

Theatre was my first love. I was just 12 when I stepped on stage for the first time, and I never looked back. I spent nearly a decade training, from high school and college to the National Academy, fully immersed in the rhythm and rigor of classical theater. In Bulgaria, we do things a bit differently. Plays run for decades, sometimes 20 years or more, and actors often juggle five or six roles at once, performing each a few times a month.

That kind of structure teaches you something profound, how to live with many characters at the same time, how to switch between emotional worlds from one day to the next, and how to keep a performance alive and surprising even after hundreds of repetitions. It demands discipline, stamina, and, maybe most importantly, respect for your collaborators. You’re not just doing a show, you’re building relationships that last for years on stage.

It also shaped how I approach every role. Whether it’s for film, animation, or theater, I always dive deep, asking myself “Who is she? What are her fears, her dreams, her voice, her walk? What music does she listen to?” I need to feel her pulse before I can bring her to life.

But the biggest gift of theater? It taught me to love the role, and then let it go. Today I’m Debbie from ‘Mamet’, tomorrow I’m Madame de Tourvel, then Kafka’s Leni, then Chekhov’s Masha or Shakespeare’s Desdemona. And because of that, I never fell into the trap of method acting. Honestly, I find it a bit unhealthy. You can love a character deeply, but at the end of the day, it’s still just a role. That separation keeps me grounded. It keeps me free.

 
 

full look GIORGIO ARMANI

You starred as Ivana Trump in ‘The Apprentice’, which made a huge splash at last year’s Cannes Film Festival. What impact has that role, and the film’s success had on your career?

Playing Ivana Trump in ‘The Apprentice’ was one of the most creatively demanding and rewarding experiences I’ve had. She’s a woman full of contradiction, public and private, glamorous and vulnerable. Exploring her complexity pushed me in new ways as an actor, especially because that was the first time I was given the opportunity to portray a real person. It was really important to me to do it with respect and compassion for her.

The reaction at Cannes was unforgettable - bold, polarizing, alive. And I believe that’s what cinema should do, spark conversation, sometimes even discomfort. The film definitely opened new doors for me, not just in terms of visibility, but in the kind of roles I’m now being considered for, characters with ambiguity, depth, danger, roles that demand transformation. And for me, that’s the goal, to keep evolving, to keep getting lost in characters that scare me a little.

 Coming from Bulgaria, I’ve always wanted to bring something raw, emotional, and rooted to every role I take on. ‘The Apprentice’ was a turning point. It let me merge that instinct with international storytelling. It reminded me why I’m doing this - to transform, to risk, and to connect.

You not only starred in but also produced ‘Triumph’, which became Bulgaria’s official Oscar submission. What did it mean for you to represent your home country at that level?

Thank you for highlighting that. ‘Triumph’ is truly one of my favorite projects I’ve ever been part of. The directors, Kristina Grozeva and Petar Valchanov, were actually my very first film teachers, so collaborating with them on this film felt deeply personal and creatively fulfilling. The story is inspired by real events that happened in Bulgaria in the 90s. It’s raw, absurd, and somehow still timely. What I loved most was how the film explores topics like mental health, political madness, manipulation, abuse of power, violence, and control, through a bold, cinematic lens that blends satire with tragedy. 

We premiered at TIFF last year, and although the film is still touring festivals, the audience reactions have already been so meaningful. It was moving to watch people who didn’t speak the language or know the history connect with the humor, and then gasp at the darker turns. That emotional journey was universal.

When it was selected as Bulgaria’s official Oscar entry, I was incredibly honored. It meant the world to me to represent my country and to spotlight the talent we have, our filmmakers, our artists, our crews. I hope the film contributes to a richer cultural exchange between Eastern Europe and Western cinema. Of course, I wish we’d had more financial support for a bigger and longer campaign. These things matter in the Oscar race. But even without that, the love and response we’ve received have been so powerful, and unforgettable.

 

full look GUCCI

 

How does wearing the producer hat change the way you approach a project?

It’s a whole different world. I know it’s become a bit of a trend for actors to receive producing credits, but the more I learn about what it truly involves, the more I realize how incredibly important and demanding that role is. You should only take it on if you’re ready to engage with a project on a much deeper level and wholeheartedly dedicate your time in service of the film. Otherwise, don’t do it. To me, producers are the captains of the ship. They’re involved in every single decision. They know every department’s needs, choices, and challenges. They’re there to help, to solve, to lead. 

Often, they’re present from the very beginning, when the idea is still just a seed. Then comes the puzzle-building, phone calls, strategy talks, finding financing or studio support, identifying the target audience, planning the film’s journey, bringing in the right cast and crew. They oversee post-production, the edit, the festival circuit, the marketing. And quite often, they have to make choices that are best for the film, even if those aren’t the most artistically exciting ones. It’s not always glamorous. A lot of the conversations are about budgets, logistics, technical limitations, location issues, and you have to be just as involved in those aspects as you are in the creative process. That, to me, is what real producing is.

 And honestly, this is just the foundation. I’m still new to it, I’m still learning, and I would never claim to be a “real producer” yet. But I’m determined to become one. If I deeply care about a project, like I did with ‘Triumph’, I want to be there for every part of it, and do everything I can to help the film thrive. It’s a huge responsibility, so truly respect to all the great producers out there. It’s probably the hardest job in the industry.

 
 

 After ‘Borat’, there could’ve been pressure to stay in one comedic lane. Yet you’ve chosen everything from horror to animation to political drama. How do you choose your roles?

I have huge respect for comedy. Honestly, I think it’s the hardest genre of all. It’s much more difficult to make people laugh than to make them cry. To create something authentically funny, surprising, and intelligent is a masterful skill. Not many people can do it.  Sacha Baron Cohen is a genius in that sense. He makes comedy that’s bold, multilayered, politically sharp, and yet universally beloved. That’s extremely rare. I feel incredibly lucky to have worked with him and learned from him, and I can only hope we get to collaborate again. ‘Borat’ was actually my first comedic role ever, and, in a way, it set the bar impossibly high. I haven’t done many comedies since, not because I don’t want to, but because I think good comedy is incredibly hard to find and even harder to do well.

At the same time, it was important for me to do everything I could to avoid being typecast. I want to challenge myself, to explore characters who are nothing like me, in stories that feel urgent, strange, or emotionally raw. I believe that kind of range, across genres, is essential for any actor who wants a long and meaningful career.

You’ve worked with so many visionary directors, from Sofia Coppola, Judd Apatow, Ali Abbasi, to Halina Reijn. What’s one lesson you’ve taken from them collectively?

I feel so grateful and lucky to have worked with such visionary directors so early in my career. If I had to name one collective lesson, it would be that authenticity on the creative side, and kindness on the human side, truly make all the difference.

Filmmaking is such a complex process. It takes a well-oiled machine to bring a story to life. And even when you have the right people, the journey can still be challenging. That’s why it’s essential to believe in your vision and keep pushing, even when things get tough. But it’s much easier when you’re surrounded by like-minded people. Be kind. Be respectful. Be relentless about your ideas, but never forget the value of collaboration and the human experience behind the work. That balance, that’s what I’ve seen in all of them, and that’s what I carry forward.

full look DIESEL

We can currently hear you in the recently released DreamWorks animated heist comedy ‘The Bad Guys 2’. What drew you to this role, and what makes this animated film stand out?

What drew me to ‘The Bad Guys 2’ was the whole team behind it, DreamWorks, Universal, and Pierre Perifel, who did such a great job with the first film. And now, being part of The Bad Girls with Danielle Brooks and Natasha Lyonne just made it even more exciting. I loved the action, the heist element, the energy. It’s just such a cool, adrenalizing ride. 

But what really stood out to me is the heart of the story. It’s about belonging, these misfits who find their crew, their chosen family. My character, Pigtail, is this tough, tech-savvy wild boar with the biggest heart. She’s loyal, loud, a little wild, and full of admiration for The Bad Guys.

The animation itself is stunning, the humor hits for both kids and adults, and the directors Pierre and JP brought such kindness, vision, and freedom to the process. It’s rare to have so much fun and still feel something deep, and ‘The Bad Guys 2’ manages both. Honestly, it’s one of the coolest projects I’ve ever been a part of.  

 

full look BOSS

 

From 'Cosmo the Spacedog” to “Pigtail” in ‘The Bad Guys 2’, you’ve brought so much personality to your animated characters. What do you love most about voice acting?

What a dream come true has been to work with both James Gunn and Pierre Perifel. Voice acting is such a beautiful and unique form of expression. What I love most is that it strips everything down to the essence. Your voice becomes the entire instrument which kind of gives you freedom as a performer. There’s something very intimate and raw about building a character that the audience will only ever hear, yet still feel. It allows you to be playful, bold, and completely free to become an evil princess or a talking dog or a wild boar with a huge heart. You can experiment, go deeper emotionally, and sometimes surprise even yourself. And then seeing how animators bring it all to life, it’s like watching your imagination take shape. It’s pure magic. 

How do you stay grounded with such a fast-paced, international career?

I’m deeply grateful every single day that I get to do what I love. My work has always been my priority. It’s not just a career, it’s a calling. And when something means that much to you, you don’t take it for granted. You nurture it. You pour into it. You grow with it.

I believe the moment you start thinking “I’ve made it,” even quietly, something essential begins to fade. There’s always someone out there, just as talented, maybe more driven, dreaming of the opportunity you’re holding. If you start to neglect it, they’ll take your place. And maybe they’ll honor it more than you did. That’s a truth I carry not just in my work, but in my relationships and personal life too. I believe we’re all unique, but also all deeply replaceable. And I don’t mean that in a cynical way. It’s a reminder. A call to stay awake. To be present with people. To treat time, trust, and connection as something sacred. Because when you forget that, you stop showing up. And that’s when things fall apart.

So for me, staying grounded means remembering that nothing is promised. Not a role. Not a love. Not even a moment. Talent might open the door, but dedication, humility, and consistency keep you in the room, both professionally and personally. I’m also lucky to have an incredible team around me, my agents, managers, collaborators, who help me stay focused, make clear decisions, and remind me what really matters. I lean on them, and I trust them deeply.

So how do I stay grounded? I remind myself why I started. I remind myself that nothing is promised. I work like I’m just getting started. I love like it’s fragile. And I show up, every time, as if it could be the last chance to do it right.

full look PRADA

What can you tell us about your upcoming projects?

I’m really excited about several upcoming projects that are already in post-production or just coming out. There’s a beautiful British/Irish drama called ‘Learning to Breathe Under Water’, directed by the brilliant Rebekah Fortune, produced by the team behind Kneecap, where I got to work with the incredible Rory Kinnear and the extraordinarily gifted young actor whose career I’m mostly excited to watch, Ezra Carlisle.

Then there’s ‘Mayday’, an action-adventure film where I play opposite Kenneth Branagh and Ryan Reynolds, directed by the amazing John Francis Daley and Jonathan Goldstein. That was such a wild and fun experience. 

‘Fairyland’, which is produced by Sofia Coppola and based on the autobiographical novel of the same name, is also coming out later this year. A really moving and tender story. Zac Cherry and I shot a Canadian comedy called ‘All Night Wrong’, directed by the great Jason James, late last year. That one was full of heart and a lot of fun to make. There’s also a sci-fi drama called ‘O’Horizon’, where I star opposite David Strathairn. It premiered in Santa Barbara earlier this year and actually won Best Film, which I’m so proud of.

Just last month, I wrapped a very special film in Chicago. I can’t say much yet, but it’s one of those stories that stays with you. And right now, I’m filming something very exciting in London. It looks like my next two projects will also keep me in the UK, one more in London and one in Glasgow, so by the end of the year, I might as well feel like a local here, which honestly, I wouldn’t mind at all.

 

full look MOSCHINO

full look SELF PORTRAIT
boos MOSCHINO

 

Is there a dream role or genre you haven’t tackled yet, but would love to explore?

Definitely, many. I’ve always been drawn to darker, more provocative characters who disturb the surface. The ones who are fractured, contradictory, who make you feel unsettled, and yet you can’t look away. I’m fascinated by broken people, people on the edge of collapse, people who manipulate others because they’re trying to control the chaos inside themselves. Characters who are falling morally, spiritually, psychologically, and taking the audience with them. 

Addiction. Shame. Abuse. Power. Exploitation. Trauma. Fear. These are the themes that pull at me. Not just because they’re “dark,” but because they’re real. Raw and uncomfortable subjects, that are deeply human, those roles excite me the most because they reveal what we usually try to hide. They push both the actor and the audience into unfamiliar, often unsettling territory. I believe cinema has the power to hold a mirror to the parts of us we’re most afraid to look at. I want to live inside roles that hurt. Roles that demand surrender and ask uncomfortable questions with no easy answers. 

I didn’t come to this profession through glamour or the promise of fame. I came through literature. Through ache. Through questions without answers. More specifically, through Dostoyevsky, whose characters haunt more than they live. And then came cinema. Lars von Trier’s films cracked something open in me. They showed me that beauty doesn’t always glow, it can bruise and bleed and truth often hurts. Their influence lives in me. So if you ask what my dream role is, it’s anything that terrifies me. Anything that dares me to go deeper. Not roles that seek perfection, but ones that demand truth. That’s the work I live for.

 
 

TEAM CREDITS:
talent MARIA BAKALOVA
photography BARTEK SZMIGULSKI
styling ELLA GASKELL at The Only Agency
makeup LISA POTTER DIXON at A-Frame Agency
hair PATRICK WILSON at The Wall Group
styling assistant ZOE GRAHAM
editor TIMOTEJ LETONJA
editorial director and interview JANA LETONJA
cover design ARTHUR ROELOFFZEN

Next
Next

IN CONVERSATION WITH NOAH TAYLOR