Pop-Culturalist.com

Alexander Calvert has built a career defined by compelling, multifaceted performances that transcend genre. The Canadian actor first captivated audiences with his breakout role on Supernatural, where he seamlessly balanced raw emotion with quiet intensity. From critically acclaimed films like The Edge of Seventeen and Good Boys to his work in Arrow and Gen V, Alexander has consistently sought out projects that challenge conventions and deepen his artistry. Whether in high-profile productions or independent films, his commitment to nuanced storytelling and fearless character exploration continues to set him apart.

His latest project, Double Exposure, is a psychological thriller that blurs the lines between past and present, reality and illusion. The film explores themes of survivor’s guilt, lost opportunities, and the weight of unresolved emotions, drawing audiences into a haunting, introspective journey. With its surreal elements and emotionally charged storytelling, Double Exposure is an ambitious and thought-provoking piece that challenges perceptions of memory, fate, and consequence.

Pop Culturalist was lucky enough to speak with Alexander about the intricate storytelling of Double Exposure, his experience balancing surrealism with grounded emotion, and how independent filmmaking continues to challenge and inspire him.

PC: Not only are you starring in Double Exposure, but you’re also an associate producer. What was it about this script and character that resonated with you?
Alexander: What drew me to the story was how it weaved dreams and reality, and how those two elements intertwined throughout the film. Based on what I was reading and watching at the time, it came into my life at the perfect moment.

PC: Your character, Peter, is very much a man trapped in the past. There’s so much vulnerability you bring to him, and it feels visceral for audiences watching this project. How did you create the space to tackle the emotional core of a man coming to terms with his grief?
Alexander: Grief is such a complicated thing, and everyone processes it in their own way. In the film, Peter is forced to confront two different versions of what his life could have been. The dichotomy between these possibilities is what sets everything in motion, and his grief is undoubtedly the driving force behind his actions.

PC: In the opening moments of the film, Howard Goldberg, the writer and director, sets the stage for a thought-provoking piece. As you said, we’re confronted with the past, the present, and what could have been. I imagine there’s a significant amount of work that goes into both individual preparation and collaborative efforts—being fully present in each scene while also understanding the cause and effect that has led these characters to this moment. Can you talk about working with the ensemble and finding that balance between preparation and being present?
Alexander: It’s a very indie movie, which means every day we’re faced with the challenge of making each scene the best it can be given the constraints—whether it’s limited time, available setups, or other logistical factors. What’s great about indie filmmaking, and also what makes it difficult, is that it feels a bit like a documentary—seizing opportunities when they arise and making the most of every moment. With such small shooting windows, often just a few weeks, it’s all about staying adaptable and capturing whatever you can in the time you have.

PC: Your character never loses sight of the art—it remains his North Star throughout the film. Was that an aspect of his journey you connected with? How does working on independent films fuel your creative soul and fire?
Alexander: His relationship with these women is deeply tied to his art and his film photography—how he captured them was his love language. When you have a muse, that connection can be powerful, but it can also go wrong, as it clearly did for him. By the end of the film, he has—or at least appears to have—a somewhat successful exhibit. For all artists, that’s something you strive for: to have people see and engage with your work.

PC: Speaking of muses, Lora is the person who reminds Peter that it’s not just about talent but also perseverance. Has there been someone in your own life who has held space for you in a similar way? Did you channel them into that dynamic?
Alexander: Me. [laughs] I’ve held space for myself. But all jokes aside, none of us do this alone. I’ve been incredibly lucky to meet inspiring people along the way. I have friends who are painters, photographers, actors, writers—people deeply passionate about modern art—and surrounding myself with them has made my life so much richer. I’m always seeking out as much art and experience as possible.

PC: Howard wrote and directed this. How different is that filming experience when the person who created these characters and narrative is also at the helm directing? How much did you lean on him to find the right balance between those moments of surrealism while also keeping it grounded?
Alexander: That balance was ultimately up to him as the director, while my job was to play the scenes as truthfully as possible given the circumstances. I’m not sure what he has or hasn’t shared about the film, but it’s based on something that personally happened to him. He was very open when it came to performances, giving us the space to shape our characters in a way that felt authentic. It’s his story, but he definitely gave us creative license. Whenever you hire someone, you’re trusting them to bring their own perspective and energy to the work.

He crafted such a unique blend of dream and reality. At the time, I was repeatedly watching Mulholland Drive, so I was very interested in how a filmmaker interprets what’s real versus what isn’t—how dreams speak to us and make us question those alternate paths we never took. That was compelling to think about while stepping into this film.

PC: This is one of those projects that’s going to spark a lot of conversations. Was there a theme that resonated with you? What do you hope audiences take away?
Alexander: I’m not sure. For me, it was an examination of relationships—both their successes and failures. At the time, I was re-reading The Unbearable Lightness of Being, which explores the idea of eternal recurrence—the notion that we’re destined to repeat ourselves, eliminating the concept of free will. This film, on the other hand, examines the “what if”—instead of taking option A, what if you had chosen option B? How different would your life be? In reality, we only get one shot, but this film plays with the idea of exploring alternate paths. That was a really fun concept to dive into.

Make sure to follow Alexander on X and Instagram. Double Exposure is available wherever you stream movies.

Photo Credit: Sasha Dylan Bell