Alba Baptista sure has a lot of similarities to her character in Mrs. Harris Goes to Paris. For one, she and Natasha, the 1950s Dior model she plays in the film, both read philosophy for fun. (At the time of our interview, Baptista was reading Nietzsche.) And just like Natasha, Baptista often feels like a fish out of water in her own field. “If you’re an introvert, it can be harder to move through this industry,” she tells Glamour. “I get anxious every time I get a phone call.”
Still, Baptista doesn’t seem to be having any trouble booking roles. Born and raised in Lisbon, Baptista has been acting professionally since she was 15, when she was first discovered and asked to audition for a short film. “I ended up getting the lead role and absolutely loved the experience,” she says. “The discovery of connecting yourself with unknown emotions was such a big revelation for me at the time, so I kept with it.” That led to starring in the fantasy series Warrior Nun on Netflix, and at the time of our call, she was about to venture to Vancouver to film a secret project alongside Samara Weaving she could describe only as “absolutely crazy.”
Mrs. Harris Goes to Paris marks Baptista’s American feature film debut. Part dramedy, part fairy tale, the film was written and directed by Anthony Fabian and stars Lesley Manville as an overlooked cleaning woman who saves up enough money to travel to Paris to buy what she’s always dreamed of: a couture Christian Dior gown. Snobbery and fittings ensue; along the way, Mrs. Harris befriends Dior model Natasha (Baptista) and André (Lucas Bravo), a dreamy yet bumbling accountant. If a movie were a warm hug wrapped in chiffon, Mrs. Harris Goes to Paris is it.
Along with the role came Baptista diving headfirst into the alluring world of fashion. One of the first things she did for the film was go to London for her fittings, and the Dior gowns she wears were all re-creations of real designs from the 1950s. “My appetite and curiosity for fashion has been growing,” she says of the experience. Even so, Baptista says she didn’t broach the topic of keeping any of the dreamy custom gowns created just for her. “I didn’t dare ask to keep them,” she says. “They’re such pieces of art.”
Below, get to know Baptista further for the latest installment of New Here.
Glamour: How did you land the role of Natasha in Mrs. Harris Goes to Paris?
Alba Baptista: I was the last role to be filled because they were initially going in a different direction, and then they changed everything. I remember getting the script and absolutely falling in love with it. I actually didn’t even have an audition—I just had a Zoom meeting with the director. We had a lovely conversation and connected on such personal grounds. I think he saw some character traits that connected with Natasha and said, “Look, it’s yours.”
How do you most relate to her?
The main one is working in an industry that you don’t necessarily identify with. In the movie Natasha represents the face of the Dior fashion trends at the moment. She was the It model of the time, but she struggled with the concept of fame, exposition, and beauty. It was such an easy thing to connect with because I think this industry forces you to categorize yourself into something. It can be hard to maintain your own identity.
Now that you’ve played Dior’s top model, what’s your own relationship to fashion?
I’ve been introduced to the fashion world more and more recently. When I was growing up, it wasn’t really something that I focused on. Nowadays I understand that you can create your own identity and connection to the world and yourself through fashion. It took me a while to get there, but I think it’s such a cool concept. I certainly related to her love for literature, philosophy, and all of those existential thoughts.
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How would you describe your own sense of style?
It goes in accordance with my mood. I like colors and anything that makes me feel vibrant. I always thought I had a style that was kind of shy and unprepossessing, where nothing would stand out. Now I’m reconnecting to my childhood self—that little girl who always admired when women walked by in heels, a summer dress, and a nice bag.
Did you do any prep work for the film?
Yes, it was so much fun! Mrs. Harris triggered this curiosity and love that I didn’t know that I had for clothing, designers, and all of the care that goes into it. I read everything within my reach about Dior’s fashion history, as well as what was going on in France during the 1950s. I also read Albert Camus, because his existentialist philosophies were a big reference within the movie.
What was your favorite scene to film?
My favorite scene was the runway show. It wasn’t like, “We’ll shoot this look for two hours and then change outfits”—instead, we shot it as an actual runway show. It was my favorite scene but also the most nerve-wracking. I was petrified because it was almost like a play, where I had to be very confident. When you’re shooting a scene with a lot of takes, you have time to take a deep breath and focus on whatever you need to do. This was chaotic. As soon as you walked the runway, you had to walk back and change into the next outfit, while being careful with your hair and makeup. It was very stressful but exciting. Every time I would glimpse at the mirror and see this amazing gown on me, it was such a big comfort of like, “I don’t recognize myself! The dress is doing everything for me. The dress is the star itself.”
Your relationship with Lesley Manville in the film is so touching. What did you learn from her, and what was your relationship like off set?
Lesley was my biggest confidant in the movie. She had this vibrant energy on set, which you don’t expect from such an experienced actress who doesn’t have anything to prove. On set, she was like any young actor you see out there who’s excited to do the job. She’s the lead and has so much to do, but she was the first one to invite us all to dinner. I consider Lesley the actress that all actresses aspire to be one day. She’s so down-to-earth, wise, and kind. She’s so giving. I had a lot of insecurities in this film, and she was so fantastic to me. Just the cliché of reminding me to believe in myself more.
Did you pick up any tips from the hair and makeup artists on set?
I fell in love with the look that my character had throughout the whole movie—a thick cat eyeliner. It had this beautiful wing, that came right from the corner of the eye. It was like this classic 1950s Audrey Hepburn style. I learned not to be shy with eyeliner. I was never brave enough to do a big cat eye—I would always just do a tiny little wing. But now whenever I have a dinner or something, I do it. It’s beautiful, feminine, and strong.
If you could manifest a dream role, what would it be?
Anything along the lines of a Black Swan type of film, where you have to balance the physical with the psychological, I find very appealing.
How do you like to spend your time when you’re not on set?
Any sort of outdoor activity like hiking, bike riding, or rollerblading, and going to the beach with someone I love. That’s the best day I can have. Oh, and with a lot of food.
How did you celebrate landing the role?
The basis of my happiness is my family, so anytime there’s anything to celebrate, we go out to dinner and toast each other’s victories. I am the youngest of two siblings—and older brother and sister. My sister is studying law and my brother works in accounting law. We’re all quite different. One is argumentative, the other is mathematical, and I’m just, I don’t know, airy.
What did you think of what it meant to be a successful actor when you were a kid growing up, and what does it meant to be a successful actor to you now?
I didn’t put that much thought into it when I was a kid, but I do remember that my favorite thing about going to the mall with my family when I was a child was to walk past the movie theater and see all of the posters. I’d recognize the faces and ask, “Can we watch that?” For me, if I knew who someone was, my connotation was, “That’s a great actor.” I think that my outlook is the same today, but a more matured version. Recognizing the credibility of an actor and the diversity in how they choose their roles, films, and the directors they work with.
Was there a movie or TV show that you were obsessed with growing up?
There were so many, but I loved The Hunchback of Notre Dame. I’ve probably seen it a hundred times. It brings me great comfort. And now, every time I’m hungover, I watch it.
This interview has been edited and condensed for clarity.
