Tribeca Film Festival 2025: RJ Mitte Talks ‘Westhampton,’ Why the Role Hit Close to Home, and More

RJ Mitte brings a natural presence and rare adaptability to each character he plays, making every performance feel distinct. But in Westhampton, he steps into a role that hits closer to home than any before. As Fitz, he radiates warmth, optimism, and emotional clarity—delivering a performance that feels less like a transformation and more like a reflection.

Premiering at the 2025 Tribeca Film Festival, Westhampton follows a filmmaker’s return to his hometown, where he’s forced to confront the past he tried to run from. It’s a deeply personal film for director-writer Christian Nilsson, who drew from his own experience growing up in the area to explore themes of memory, place, and redemption. While the story is grounded in personal reckoning, it also speaks to the quiet resilience of community—of the people, like Fitz, who offer support, compassion, and the choice to stand by someone even when it’s hard.

Pop Culturalist caught up with RJ to talk about why the role hit close to home, how it reminded him to find joy in the craft, and what it means to play a character rooted in light and optimism. He also reflected on his creative evolution, the power of community-driven storytelling, and why 2025 feels like a year of purpose, growth, and deeper connection.

PC: Westhampton is a film that catches you off guard in the best way—and stays with you. What was your first impression when the script came your way? What was it about Fitz that resonated with you?
RJ: For me, Fitz was a character I hadn’t played before. Normally, my characters are like the ones Finn Wittrock plays—brooding and battling their demons. But Fitz is just a happy dude. He’s living his life with dreams and ambitions. He’s like, “I’m going to do it, and I’m going to keep pushing forward.” He’s very much like who I am as a person. I try to always be positive and optimistic, kind and caring. It was really fun to play someone who wasn’t crying all the time or getting bullied or beat up. [laughs] I really liked that. He’s a wholesome character. There’s drama happening—but it’s with Finn’s character. I’m just there to support him. I’m there to be like, “You’re awesome.” I loved getting the chance to do that. I do love drama, and I love crying and diving into emotional trauma, but this was a nice break from that.

And the team—Christian [Nilsson], the writer-director, and his producing team—put together a well-rounded cast and crew. Everyone worked so well together and could bounce off one another. There were things not on the page that the cast brought to life through their realism, back-and-forth, and camaraderie. You don’t always get that in this industry. A lot of the time, it’s just a job. But with this cast and crew, I felt very welcomed. Everyone was incredibly kind.

I also love shooting on location, so filming in Westhampton was amazing. The people were warm and welcoming, and hopefully, we captured the spirit of the community in a way that they’ll be proud of. It was a lot of fun.

PC: That’s such a great point. Christian does such a fantastic job integrating them into the film and into Thomas’ journey. Your character is very much a hype man—he plays a fundamental role in Thomas’ path toward healing, offering open arms and quiet compassion when he needs it most. Who have been those anchors in your own life? Did you channel them into that dynamic?
RJ: The anchors in my life have definitely been my grandparents. They were pivotal in shaping who I am today. And my mom—she’s always been my biggest cheerleader. You can hear her from the rafters. Having a strong support system is so important. I’ve been lucky to have a really good group of friends and family. Many have passed, but their influence still echoes in my life every day.

With this movie, I feel like there are so many people like Tom (Finn’s character) who make mistakes. We all do. We’ve all been dumb kids or made decisions we regret. No one’s perfect. Some mistakes are bigger than others, but it’s about learning from them and growing. This film offers a powerful take on someone reckoning with their past—someone who’s gone on to live their life, but the past still lingers. It still echoes. And when it resurfaces, if you don’t have at least one person in your corner, it can break you. I really believe in characters like Fitz, both in movies and in real life. You need someone who’s going to be your champion—someone optimistic and positive no matter what you’re facing. You need those people who will be considerate, caring, and understanding, even when you don’t fully understand yourself.

PC: Beautifully said. Your character brings a lot of much-needed levity to the film, and you shine on screen. Thomas turns to his art to express what he can’t say out loud—something that feels universally relatable, especially for artists. While that’s not your character’s journey, did that emotional truth resonate with you or inform how you approached your performance?
RJ: It definitely resonated deeply. With Fitz, it didn’t even feel like acting. He’s so much like me. I’ve always had dreams and a vision—wanting to make an impact in my community, wanting to grow, to be better, and to stay positive. I won’t give too much away, but he has this dream of hosting an event, and by the end of the movie, he achieves it. That really hit home for me. There are a lot of things I’m working on in my own life related to community advocacy—goals and dreams I hope will create opportunities, bring light, and have a meaningful impact.

When we were filming, I was in the middle of developing a community project that I’m still working on today. Through Fitz, I got to vicariously experience that triumphant feeling of completing something. Sometimes, you just have to stop and celebrate the little victories.

PC: You actually answered the next question I had for you. Actors often say they take something with them from every role. What did playing Fitz—or being part of Westhampton—teach you about your craft?
RJ: To still find joy in the process—to enjoy the time it takes and to learn from every step. In life, we all hit walls. It can be work-related, social, emotional—anything. But there are always moments where you feel stuck, and it’s in those moments that you have to find the strength to push through and keep moving forward. When we hit a wall, we often feel shocked, like it’s the end. But really, it’s just your next hurdle. It’s your next growth point. This is the wall you’re meant to break through. You can’t turn back.

I’m always stressed—but in the best possible way—because I care deeply, and I want everything I do to succeed. I want to give it my all. Westhampton reminded me to enjoy the craft again. To enjoy playing these characters. To enjoy working with my fellow actors. To appreciate the growth that comes with it. We had late nights, long hours—but it was all so worth it.

PC: That joy comes across on screen. This film is incredibly personal to Christian, who not only co-wrote it but also directed. How different is that filming experience when the person who created these characters is also at the helm? What was that collaboration like?
RJ: I love it. It’s a lot of work, and not everyone can do it. But when you have a director with a clear vision—someone who knows exactly what they want it to look and feel like—and a team that follows through, it makes my job as an actor so much easier. I’m always like, “What do you want to see?” I’m a big fan of asking directors, “Tell me what you need in this moment, and I’ll give you exactly that.”

With Christian, who co-wrote this story rooted in real life, I’m not sure if he even realized how deeply it would resonate with so many people. That makes it all the more special. When a filmmaker understands the community they’re writing about—when they’re part of it, and that community is behind them—it elevates the art. That’s what I love about this industry. You get these small-town stories, these writers and directors who are creating something meaningful and personal, while honoring their roots and shaping their future. They’re using film to bring awareness and make an impact.

Christian did an amazing job. He had such a clear vision, and he made it happen. A lot of times, you have an idea of what you want, but it doesn’t always translate. That wasn’t the case here. Everyone on set knew what he was going for. And if something didn’t quite match his vision, he’d say, “Let’s try it this way,” and adjust until it did. I think we achieved that.

PC: It also feels like the stars aligned—having this New York film premiere at the Tribeca Film Festival. You’ve worked on projects of all sizes. What is it about independent filmmaking that fuels your artistic soul?
RJ: I find that independent films have soul. They resonate with real life in a way that big blockbusters often don’t. You go to a blockbuster to be entertained—to escape. But if you want an experience that gives you a new perspective, a new thought, or a new idea, independent films are where it’s at.

In my work, I always try to keep my acting grounded in the reality of who the character is. When a writer is drawing from personal experience—or when a writer-director understands the struggle their character is going through, whether it’s physical, emotional, or familial—that honesty connects with audiences. Will it make a lot of money? You never know. But what it will do is leave an impact. It’ll have people walking out of the theater—or sitting in their rooms—thinking, “I never saw it that way before. I never imagined myself in that position.”

And when you’re able to put yourself in a character’s shoes—when there’s heart and soul in the story, and a community behind it—that, to me, is what makes a great film.

PC: 2025 is shaping up to be a big year for you. Outside of Westhampton, you have another film coming out later this year. Is there anything you can tell us about Love Me Dead?
RJ: For some reason, I’ve been waiting a long time for 2025. It’s been in the back of my mind for a while—I didn’t know what was going to happen, but I had this feeling something big was coming. I’m so happy Westhampton is premiering at Tribeca. I’ve always loved the festival—it’s such a great platform. And then in August, we have Love Me Dead, which we actually shot before COVID. I don’t want to give too much away—I’m not a big fan of spoilers—but it’s a trippy, avant-garde, mind-melting experience.

Dove Cameron was amazing to work with. Pia Mia was fantastic. We had such an incredible cast, filled with smart, talented actors and actresses who really came together to tell this story.

Westhampton is a coming home story. Love Me Dead is a far-out ride. I’m really grateful to have such diversity in the kinds of projects being released this year. It’s taken some time to get Love Me Dead off the ground—we just had screenings at Cannes, and the response has been really positive. People have said, “It’s a ride,” which I love.

I’m really proud of the work I’ve done these past few years—both in terms of the acting and the films themselves. I’ve been lucky to work with amazing teams and artists who come from all different walks of life. That’s what I love most about this career: getting to collaborate and explore different stories. I’m not someone who wants to play the same role over and over—though there’s nothing wrong with that. I mean, Breaking Bad still echoes to this day. I’ve done plenty of films since then, but that one always sticks. For me, it’s been about continuing to diversify the characters I play, to keep showing different sides of myself while delivering the same meaningful impact. I want to tell stories that spark thought, that offer insight and education—sometimes without people even realizing they’re learning something.

Make sure to follow RJ on X and Instagram. Westhampton is premiering at the Tribeca Film Festival. Screening times below:

• Village East by Angelika – Sat June 07 – 5:45 PM
• Village East by Angelika – Sun June 08 – 3:15 PM
• Village East by Angelika – Wed June 11 – 2:45 PM
• Village East by Angelika – Sat June 14 – 11:30 AM

Photo Credit: Bobby Quillard