Exclusive Interview: Anna Jacoby-Heron on the Darkness That Haunts ‘Inhabitants’

A new home. A fresh start. A love worth fighting for. But in Inhabitants, Olivia Burton (Anna Jacoby-Heron) and Francis Moralese (Josh Rivera) find their new life together threatened by something neither of them can explain. After Francis survives a freak accident, he’s tormented by night terrors and haunted by a presence Olivia can’t see. As their relationship strains under the weight of it all, Olivia searches for answers—only to uncover something even more terrifying.

Pop Culturalist was lucky enough to speak with Anna Jacoby-Heron, who brings Olivia to life with depth and nuance. She shared what drew her to the project, how she built the dynamic with her co-stars, including Josh Rivera and Ana Auther, and what it was like working with director Matt McClung on his feature debut. She also reflected on the power of independent filmmaking and how Inhabitants balances horror, drama, and moments of unexpected humor.

PC: Inhabitants weaves together elements of horror, drama, and moments of unexpected levity. What was it about this script and character that initially caught your attention?
Anna: This is Matt McClung’s directorial debut, so I was excited to collaborate with someone making their first film. I thought it would be a fun experience to work with him. When I met him, he was incredibly passionate about the project. Although I haven’t done many films, working on an indie with someone so enthusiastic creates a wonderful energy, and I was eager to embark on that journey with him.

PC: Matt has said that when you’re working in the horror genre, if you strip away all those elements, the story needs to function on its own—and this one does. At its heart, Inhabitants is about a couple with conflicting beliefs who don’t see their differences as significant until things begin to unravel. There’s a lot of subtlety early on that shows how those cracks start to form. I know that you’re a very instinctual actor. How did you find moments to interject that and approach the slow build of tension?
Anna: As audience members, we watch her discover things as the story unfolds. She learns new things about her partner—details we assumed she already knew because they’ve been together for so long—but when shame and guilt are involved, people tend to hide things from those they love. It was easy to step into those scenes because Josh is such a giving scene partner.

PC: There’s a lot of strength and vulnerability that you brought to this character. What was your gateway into this character? For those more emotionally-charged moments, how did you create the space for yourself to tackle that vulnerability?
Anna: I like to do a lot of breathwork, especially during those vulnerable moments, because I sometimes forget to breathe. [laughs] Matt was incredibly accommodating and trusting; he gave us the time we needed to do what we had to do. I love that this is a character who lays everything on the table, which is so rare.

PC: The relationship between Olivia and Francis is deeply rooted in love. Despite everything that happens in the film, that foundation remains intact. How did you and Josh build that dynamic off screen so it would translate on screen?
Anna: We actually met before shooting began, and he’s such an easy person to get along with. We developed a genuine camaraderie quickly, so building that dynamic felt completely natural.

PC: I also love the dynamic between Francis’ mom, Lillian, and Olivia—especially everything that happens leading up to their meeting. It brings a lot of unexpected humor. What was it like collaborating with Ana Auther?
Anna: Oh my gosh, she’s so funny and such a character. I love the humor in the film; it keeps the tone light. I feel like humor is often missing in horror films, but here it’s seamlessly incorporated throughout. Ana was wonderful—I had such a hard time keeping a straight face with her because her delivery was so spot on.

This is also a personal story for Matt. He has a deep connection to the narrative, and I think he based part of Ana’s character on his own mother. When I met her, I immediately thought, “This is spot on.”

PC: I also think the dialogue between the characters feels so grounded—it’s everything audiences are thinking but wouldn’t say. Balancing those different tonal spaces is a fine line; lean too much one way, and you lose that groundedness. Matt was very intentional about ensuring that the humor was character-driven and organically integrated into their interactions. What was it like collaborating with him to figure out how far you could push those interactions while keeping them authentic to the character?
Anna: Matt gave us such a solid foundation. It’s a reflection on life—life isn’t one-dimensional. Even in moments of crisis, there’s levity. When things are sad or difficult, you can still laugh at the absurdity of the situation. Matt understands that, so he naturally wove it into the film.

PC: You’ve worked on projects of all sizes. What is it about independent filmmaking that excites you as a creative and storyteller? How does that environment feed your artistic soul?
Anna: It felt like camp. We filmed in the woods outside of L.A. with a small, intimate crew, and everyone interacted with one another. I loved getting to know each crew member. Everyone on the set was so excited to make this project—it’s hard to get a film made, so the fact that we were all in it together was incredibly exciting and fun. It never felt like a job because everyone was just passionate about filmmaking.

PC: With this being Matt’s feature film debut as a writer and director, did you share any words of wisdom? Did it spark any interest in you directing or writing?
Anna: I didn’t offer any advice—he did great. He was such a natural, and I have immense respect for directors. I’m not sure I could ever do it, although I do love writing. It was wonderful to see him handle everything with such calm. I would have been freaking out if it were my first film, but he was confident and composed, which is so reassuring as an actor on set. If I ever decide to direct, I hope I can maintain that same calmness.

PC: What was the most challenging scene to film?
Anna: The most challenging scene was at the end of the movie, where there’s a fire and we’re locked in a room. It was physically demanding because we had to mime smoke inhalation without an actual fire. Despite that, it looked fantastic in the final film—and there was also a lot of intense screaming in that scene.

PC: The film made its premiere at the Austin Film Festival, where it won Dark Matter’s Jury Prize. What do you think is resonating most with audiences? Was there a particular theme that hit home for you?
Anna: It’s a story about the shame we carry—whether imposed by our parents, society, or the communities we grew up in—and how that shame can manifest. For Francis, it manifested in nightmares during his attempts to exercise.

Inhabitants is available wherever you stream movies.

About the Pop Culturalist Contributor, Harrison
Harrison Xu is a Canadian storyteller, film marketing expert, and advocate for innovative storytelling. Whether crafting compelling narratives or shaping audience engagement strategies, he brings a keen eye for both creativity and impact.