Quentin Tarantino, the celebrated director behind cult classics like Pulp Fiction and Inglourious Basterds, is stepping back into the spotlight—this time, not behind the camera, but as a leading man. After decades of making only fleeting, often quirky cameos in his own films, Tarantino has taken on his most substantial acting role in thirty years in the upcoming French drama Only What We Carry. The film, written and directed by Welsh indie filmmaker Jamie Adams, has already wrapped production and is generating buzz as it prepares for world sales at the Berlin market, according to Deadline.
For many, it comes as a surprise that Tarantino’s first love was not directing, but acting. Before he became synonymous with sharp dialogue, nonlinear storytelling, and shocking violence, Tarantino harbored dreams of performing. As Jamie Adams told Variety, “I also knew that his first love was acting. When I was younger, it was common knowledge that he wanted to act — he speaks first in Reservoir Dogs.” Indeed, Tarantino’s directorial debut in 1992 also marked his first on-screen appearance, and he’s since made blink-and-you’ll-miss-them cameos in his own movies and others. But his last significant acting turn outside his own work was in Robert Rodriguez’s 1996 action-horror romp From Dusk Till Dawn, alongside George Clooney.
That long hiatus from major roles ended when Adams, best known for his improvisational style and films like She is Love, reached out to Tarantino with a heartfelt pitch. “I sent him the story outline and a letter. I was just very honest about believing in him as an actor,” Adams explained to Variety. The gamble paid off. “Two weeks later, on a Sunday, his agent emailed saying Quentin was intrigued and wanted a Zoom.” The rest, as they say, is history.
Only What We Carry is set in France and follows the story of a former student returning home to confront her past, stirring up long-buried truths among a group of interconnected individuals. The film’s narrative delves into themes of unresolved grief and secrets that refuse to stay hidden, with Tarantino playing Julian’s publisher at a chateau. The cast is a rich tapestry of talent, including Sofia Boutella, Charlotte Gainsbourg, Lizzy McAlpine, Liam Hellmann, and Simon Pegg. Gainsbourg, known for her emotionally charged performances, takes on the role of Charlotte’s protective sister, adding another layer of complexity to the ensemble.
Despite the star power and ambitious story, production was a whirlwind. The entire shoot lasted just six days—a remarkable feat for a film with such a stacked cast and emotionally charged themes. Yet, Adams was effusive in his praise for Tarantino’s performance. “Tarantino proved to be an exceptional actor. Naturally gifted,” Adams told Variety. “He was wonderful. Curious. Collaborative. He loves actors. He loves cinema history. Being in France making something that felt inspired by Eric Rohmer excited him.”
It’s easy to forget, amid Tarantino’s larger-than-life persona as a director, that he’s always been something of a frustrated actor at heart. Adams recognized this, noting, “It felt like he was in a moment of contemplation,” a likely reference to Tarantino’s recent decision to scrap what was widely expected to be his final directing project, The Movie Critic. Instead of tying a bow on his directorial career, Tarantino found himself drawn to a new kind of creative challenge—one that allowed him to flex his acting muscles in a way he hadn’t for decades.
The improvisational style that Adams is known for seemed to be a perfect fit for Tarantino’s skillset. “Improvisation, the way I use it, is about being present and reacting organically. He’s one of the greatest conversational storytellers. I thought that would be incredible in character,” Adams said. Tarantino’s deep knowledge of cinema history and love for the craft of acting made him an ideal collaborator, especially in a project that draws inspiration from the French New Wave, particularly the work of Eric Rohmer.
It’s not just Tarantino’s involvement that’s turning heads. The film’s supporting cast brings together an eclectic mix of established stars and rising talent. Sofia Boutella, who has made a name for herself in both dance and action roles, joins the ensemble, as does musician Lizzy McAlpine, whose transition to acting has been met with anticipation. Simon Pegg, known for his comedic timing and dramatic chops, and Liam Hellmann round out the cast, promising a film that’s as diverse in its performances as it is in its themes.
As for Tarantino, now 62, this role marks a significant departure from his usual on-screen appearances. In the past, he’s been content with brief cameos—sometimes as a deadpan bartender, other times as a hapless criminal. But in Only What We Carry, he steps into a role with real narrative weight, anchoring a story that grapples with memory, regret, and the complexity of human relationships. According to Deadline, this is Tarantino’s first major on-screen role since 1996, a fact that’s sure to pique the curiosity of cinephiles and casual moviegoers alike.
The film’s journey to the screen has been swift. With production wrapped and the first stills released, anticipation is mounting as the film heads to Berlin for world sales. There’s already speculation about how Tarantino’s performance will be received and whether this marks a new chapter in his storied career. Meanwhile, Adams has his sights set on other directors-turned-actors. In his interview with Variety, he mused, “It’s time for the directors who really want to be actors to come and improvise. [French filmmaker François] Truffaut was a great actor. So many of them are frustrated actors.” He even floated the idea of working with Martin Scorsese next, a tantalizing prospect for film fans everywhere.
Tarantino, for his part, is reportedly re-evaluating his plans for a tenth and supposedly final feature. With The Movie Critic shelved, and his appetite for acting rekindled, it’s anyone’s guess what the next act in his career might look like. One thing’s for sure: his presence in Only What We Carry is already reshaping expectations—and perhaps reminding audiences that, for some filmmakers, the urge to perform never truly fades.
As Only What We Carry prepares for its debut on the international stage, all eyes will be on Tarantino, Adams, and their ensemble cast. The film’s exploration of grief, memory, and connection promises to resonate, but it’s the director-turned-actor at its center who may provide the most compelling reason to watch.