Exclusive Interview: How Sophia Bush and Chris Carmack Created a Complicated Connection in ‘The Stranger in My Home’

In The Stranger in My Home, Sophia Bush and Chris Carmack deliver captivating performances that heighten the film’s slow-burning suspense and emotional complexity. Adapted from Adele Parks’ bestselling novel, the story begins with a seemingly perfect life—Ali (Sophia) and her daughter Katie (Amiah Miller)—shattered when a stranger arrives claiming to be Katie’s father. As secrets unravel and tensions mount, Sophia brings heartbreaking honesty to a mother navigating uncertainty, while Chris masterfully threads charm with obsession. Together, they create a connection that’s tender, tense, and charged with ambiguity—inviting audiences to question what’s real, what’s imagined, and how quickly trust can turn to fear.

Pop Culturalist was lucky enough to sit down with Sophia and Chris to unpack the emotional terrain of the film and how they approached building such a layered, delicate connection between two near-strangers. They spoke about the care they took in shaping a relationship that’s grounded in empathy yet shadowed by doubt—a dynamic that shifts from warmth to wariness in a heartbeat. From researching real-life stories that mirror the film’s central premise to collaborating closely on set, Sophia and Chris brought intentionality to every moment, leaning into the vulnerability and unpredictability that make The Stranger in My Home so compelling.

PC: Sophia, on your podcast, Work in Progress, you often ask your guests and friends whether their nine- or ten-year-old self would recognize aspects of who they are today. If you had the chance to speak directly to the younger version of yourself, what would you tell her about The Stranger in My Home and why she needed to be a part of telling this project?
Sophia: Oh my goodness. I don’t know if I’d want to terrify a nine-year-old. I’d probably speak more to my teenage self—she might be better prepared for the subject matter. We’re all so lucky to be a part of this film because it’s rooted in such great source material—Adele Parks’ wonderful bestselling novel—but also in a truly terrifying scenario that feels like an old wives’ tale. This has happened. People have lived through this. So not only did Chris, the cast, and I have the book to read and the script to build off of, but we also had old Dateline: Switched at Birth episodes and all these wild stories we got to research and learn about. It really made us feel like our tool chests were full by the time we got to set.

PC: That actually might be your answer, Chris—this is such a complex role to take on. As an actor, it’s about finding your character’s truth, even in a world where that may be distorted and revelations are constantly unfolding. How did you find your way into this character, especially with so much shifting beneath the surface and things not always appearing as they seem?
Chris: First off, it’s a film, so we have the script from beginning to end—we know where it starts and where it ends. For all of us, the question is, “How does our character get from Point A to Point Z?” That’s the fun part—figuring that out. This film explores some really deep themes: family, grief, nature versus nurture, and obsession. Playing a character whose reality is slightly disassociated from what’s actually happening in the scenes was a really interesting journey. It was a fine line to walk, especially in the scenes with Sophia, where her character is trying to send signals—subtly, politely, the way we often do in real life. But my character is picking up the wrong things. And you can see how that might happen, which made for such a compelling dynamic to explore with her.

Sophia: That felt so important to us as scene partners—we had the script, we knew what we were in for. I’m playing this really interesting woman at a crossroads in her life, processing a lot from her past and trying to figure out what her future looks like. Then this man comes into her life, and of course, they’re trauma bonding. It’s such a fascinating dynamic. What we realized is that we’re essentially strangers, yet we’re sharing the most intimate connection. So the way we wanted to build the ambiguity in their relationship was by allowing moments to maybe go a little too far. Then the characters start questioning it: “Was that…? No, no. I should give them the benefit of the doubt.” It becomes this internal tug-of-war—“How do I make space for someone whose experiences I don’t fully understand? How can I be kind and welcoming… and could that kindness end up putting me in a position I might regret?” It’s this emotional seesaw between them. Building that tension was a really compelling exercise for us as performers.

PC: It’s very believable on screen as well. Sophia, there’s so much contrast in this character and in your performance, which makes it incredibly compelling to watch. Ali admits she’s overwhelmed and unsure—every decision feels like the wrong one—yet there’s such strength in the way she shows up for her daughter. It really speaks to the weight of caring for someone else. How did you create the space to tap into that duality? Were there people or experiences that influenced how you prepared to play this mother?
Sophia: Absolutely—in my own life, my own family, my own history—it’s something I’ve really thought about. Yes, you can make space for people, and sometimes you make too much space. It’s completely understandable, especially when you’re just trying to be a kind human. But when push comes to shove, how do you show up for your people? How far are you willing to go? If you’re afraid, will you run toward the problem anyway? I loved being able to explore that through this project—really leaning into my character’s vulnerability and fear, and at times, her terror—but doing it anyway. Falling down, both literally and figuratively, and getting back up to keep going. Getting to work with someone like Chris, and also Chris Johnson and the rest of the cast—everyone brought nuance and a willingness to be vulnerable. So we got to do it together. I think you really see that on screen.

PC: The nuance in the writing makes the twists and turns so unexpected. Chris, one of the most exciting things about this film is how it subverts genre—it begins as a family drama, shifts into a thriller, and by the final act, leans into horror. There’s a moment—without giving anything away—where you make a bold, creative choice. Just when you think the story is about to wind down, it takes a shocking turn. It’s a moment I think will spark a lot of reactions and conversations. What was the direction behind that moment? How did you and Jeff Fisher approach it, knowing how pivotal it would be to the film’s final moments?
Chris: You put that so well. It really does begin with family trauma and evolves into a thriller, and I love that it nods to the horror genre by the end. Jeff, as a director, was incredibly communicative—he came in with a clear vision and very specific ideas. When we talked about that moment, he told me, “This is where I want to go. This is what I want, and this is the shot I’m aiming for.” So we knew early on where it was heading, and we had a lot of fun getting there. Any time you work with a director who knows exactly what he wants, it gives you more freedom to play within those boundaries. And that made it such a great experience.

Make sure to follow Sophia (X>/Instagram) and Chris (Instagram). The Stranger in My Home is out on digital now.