Exclusive Interview: Lukas Gage on the Creative Fearlessness of ‘Rosebush Pruning’ and Trusting Audiences to Find Their Own Answers

Versatility has become one of the defining qualities of Lukas Gage’s career. No two projects feel the same, and with each role, he continues to demonstrate an extraordinary ability to disappear into characters who are complicated, unpredictable, and entirely distinct from one another. In Karim Aïnouz’s Rosebush Pruning, Lukas takes that fearlessness even further, delivering what may be his most provocative and daring performance to date.

Written by Efthimis Filippou and inspired by Marco Bellocchio’s Fists in the Pocket, Rosebush Pruning centers on four American siblings living in isolation at their family’s Spanish villa. Protected by inherited wealth and bound together by an increasingly destructive dynamic, their insular existence begins to fracture when the eldest brother decides to leave. As Robert, Lukas inhabits the film’s moral gray areas with remarkable conviction, revealing a man whose desire to be loved and understood is complicated by everything he refuses to confront.

Pop Culturalist spoke with Lukas Gage about the creative fearlessness of Rosebush Pruning, finding truth within Robert’s contradictions, and the rare rehearsal process that allowed the ensemble to build a shared history before filming began. He also discussed collaborating with Karim Aïnouz, trusting audiences to find their own answers, and pursuing projects that continue to challenge him as an artist.

PC: Very few films are willing to take the kinds of creative and emotional risks that this one does. It’s bold, nuanced, and the kind of story that stays with you. Do you remember your initial reaction to reading the script, and what was it about the story and this character that spoke to you creatively?
Lukas: My first reaction was that it felt rare. You don’t often receive scripts that sit in messy, uncomfortable spaces without over explaining everything. It trusted the audience and the actors involved, which I think is sexy. It was bold but still very human.

I was drawn to the character’s contradictions. He wants to be understood and loved, but he hides parts of himself, which I can relate to. The film asks big questions about generational trauma, memory, repression, loneliness, and identity in a wild, heightened way. Those are the kinds of stories I love, the ones that stay with you.

PC: As an actor, so much of your process begins with understanding what your character wants. Rosebush Pruning doesn’t offer the kind of straightforward emotional blueprint that many films do, and its characters often defy easy explanation. Did that ambiguity change how you approached the role, and what ultimately became your anchor for the performance?
Lukas: It definitely shifted my approach. Usually, there’s a clear roadmap, but this story lives in the gray areas. These people don’t fully understand themselves, which made them even more interesting to explore. I stopped trying to have all the answers and focused instead on what felt true in each moment. My anchor became what he was afraid of losing and his attempt to hold on to a life he had always fantasized about.

PC: Isolation is such a defining theme throughout the film, yet the creative process behind it couldn’t have been more collaborative. It’s rare for a production to allow the full ensemble and creative team to rehearse extensively before filming begins. In a story where every relationship informs the next, what discoveries emerged from that process that you don’t think would have happened otherwise?
Lukas: It was a gift, honestly. You rarely get that kind of time before shooting begins. Those rehearsals allowed us to build a real history together instead of trying to invent one at the last minute. Many of the best discoveries came from the smaller moments: sitting in silence, shifts in power dynamics, secrets, tensions, and things that weren’t necessarily written but began to emerge naturally.

By the time we started filming, there was already a shared understanding among all of us that I don’t think you can fake. Even though the film is very much about isolation, the process itself was the most collaborative and least lonely experience I’ve ever had on a set.

PC: One of the film’s most fascinating ideas is that our circumstances may shape us, but our choices ultimately define us. Was there a creative choice you made, whether it was a subtle detail in your performance or a discovery that emerged along the way, that fundamentally reshaped your understanding of the character? Is it something you hope audiences pick up on, even if only subconsciously?
Lukas: With Robert, I started thinking more about what he was avoiding and trying to conceal. That became the key for me. So much of the film is about the stories we tell ourselves and the things we’re unwilling to confront. Once I understood that, much of his behavior made sense in a way that felt more lived-in to me.

I think what’s most revealing isn’t what a character says, but what remains unsaid. I hope audiences pick up on that, even subconsciously, because, to me, that’s what we were really exploring: the idea that our circumstances shape us, but our choices, and sometimes the choices we avoid making, are what ultimately define us.

PC: One of the things I admired most about the film is how much of the storytelling unfolds visually. The homes, wardrobe, and spaces each character inhabits reveal so much about their identity and individuality before they ever speak. Once you were immersed in that world, how did those details shape your performance, and how did your collaboration with Karim Aïnouz give you the confidence to take greater creative risks with the character?
Lukas: Karim, our wardrobe designer, Bina [Daigeler], our DP, Hélène [Louvart], and our incredible casting director, Nina Gold, all helped create a family and a world in which nothing felt accidental. The homes, the wardrobe, the actors, the way scenes were framed, and even the light in a room told you something about who these people were before they said a word. As an actor, stepping into an environment that specific does so much of the work for you.

Karim is incredibly visual but also very open, and he embraces unexpected choices rather than searching for something neat. Hélène brought such intimacy to the way she shot everything. When you feel that supported by the crew, you stop worrying about whether you’re getting it “right” and start focusing on being present and free. I think that sense of trust and collaboration is a huge part of what makes the film feel so alive.

PC: We’ve had the chance to chat a few times over the years, and it’s been incredibly rewarding to watch your career continue to evolve. Looking back on this experience, what does this project represent for you at this stage of your journey, and what do you hope it says about where you’re headed as an artist?
Lukas: I’ve always been drawn to projects that take risks and aren’t afraid to ask difficult questions, and this felt like that instinct being pushed even further. At this point in my career, I’m less interested in fitting into a particular box and more interested in collaborating with filmmakers who have a distinct point of view. I hope this reinforces that direction and attracts more projects that challenge me and try something different, unique, and fresh.

To keep up with Lukas, follow him on Instagram. Stream Rosebush Pruning on Mubi today.