Diane Kruger‘s career is marked by a clear evolution, a journey from a young actress eager for work to a seasoned artist seeking deeper, more meaningful collaborations. It had been almost a decade since I last spoke with the German-born actress. This time, I sense a renewed confidence and clarity in the way she speaks and carries herself. “I’m more emotionally available now than I was 15 years ago. So I do it less, but I think I do it with more of a renewed sense of love for it. I stand behind the projects I choose, whether they come out great or not. But it’s truly not just a job,” she tells me as we sit down for an interview in Toronto ahead of the 2024 TIFF premiere of her David Cronenberg film, The Shrouds.
The 48-year-old no longer fears the challenges of embodying a character, trusting in her ability to get there. “There’s a confidence of knowing that the process to get there is going to be okay. I don’t have that fear anymore if I’m not able to do this,” she explained.
“It’s not so clear in your head when you start up,” Kruger admitted, reflecting on her early career. “As I’ve grown older and more experienced, you’re always looking to immerse yourself with a true filmmaker because there’s not many of them.”
This desire led her to Cronenberg’s film, a project she describes as a “dream come true.” The opportunity to play three distinct characters in a film that was deeply personal to Cronenberg was a “win-win” for her.
The Shrouds, in theatres April 25, follows Karsh (Vincent Cassel), a businessman who invents a controversial technology that allows people to monitor the decaying bodies of their deceased loved ones using technologically enhanced burial shrouds. Karsh is driven by his profound grief over the loss of his wife, Becca (Diane Kruger). Kruger also portrays Becca’s kooky sister and also portrays a digital avatar, Karsh’s assistant.
Working with Cronenberg was a unique experience for the actress. His approach, which eschewed table reads and extensive pre-production discussions, initially made Kruger “super nervous.” She had a long meeting with him in Paris and later only met him on set in Toronto.
“I literally called Vincent [Cassel] in a panic. I was like, ‘Is this normal? Like, what’s going on? Am I getting fired?’” she revealed. However, she found his trust in his actors “exhilarating.”
She was surprised by his efficient work hours and the overall “flow” of the production. “We had fun on set, even on those heavy days,” she recalls, emphasizing the lack of drama and the clarity of his vision. “He doesn’t like to get up too early and go home too late. It’s all done beforehand. I’ve never seen my kid more than in this movie. It was truly one of the best experiences in my career.”
Playing a fictionalized version of his wife and a story personal to him was “pretty nerve racking,” she explained. “Grief is such a particular thing. I think it touches all of us. It’s very unique to a person. I just found his vision and his experience with grief so endearing. To me, the script was surprisingly emotional. His movies are not overly emotional, and neither is this in particular, but it does have that truth to it that I find very emotional. Reading the script, you could feel it. I could feel him also.”
Kruger’s career of over two decades spans several roles, which started with her breakthrough performance in 2004 with the war epic, Troy, playing Helen of Troy. She continued to impress audiences with her diverse range of roles in films such as National Treasure (2004), Inglourious Basterds (2009), and Unknown (2011).
Kruger believes that life experience enriches performances, and she’d like to bring those truths to the roles she inhabits. “Having experienced grief myself, or great love, it just nourishes everything you do,” she explained. She finds the roles she’s offered now “much more rewarding” and “richer with many layers” than those she played in her twenties. She also acknowledges the positive changes in the film industry, particularly for women. “I think a lot of parts are better written, they’re more complete,” she observed, noting the increased complexity and authenticity of female characters. “They actually talk and speak like women I know.”
Despite the dramatic nature of many of her roles, Kruger expressed a desire to explore comedy, telling me: “I pride myself on being quite a funny person,” she laughed, noting her role in Inglourious Basterds was a comedic part and a straight-up French comedy she once did.
She’s always cherished the communal aspect of filmmaking, describing the feeling of “a communal effort to do something truthful and great” as exhilarating.
“I love the interaction with my fellow actors. I love feeling all these great crazy emotions, doing something completely outrageous. It’s just like going on vacation, especially since having had a kid, work feels like a vacation.”
Kruger does seem more relaxed, dressed sharply in an oversized Zara blazer over a white bodycon dress wrapped in a black belt. She tells me she threw this together for her last-minute trip. Kruger acknowledged the evolution of her personal style. “It’s changed a lot,” she said. “It’s a little more practical these days.” While she still appreciates beautiful things and fashion, she now prioritizes comfort and practicality, a reflection of her changing lifestyle.
‘The Shrouds’ is in theatres April 25th, 2025.
