
Age: 44
female
Rebecca Maria Hall (born May 3, 1982) is an English actress and filmmaker. She made her first onscreen appearance at age 10 in the 1992 television adaptation of The Camomile Lawn, directed by her father, Sir Peter Hall. Her professional stage debut came in her father's 2002 production of Mrs. Warren's Profession, which earned her the Ian Charleson Award. In 2006, following her film debut in Starter for 10, Hall got her breakthrough role in Christopher Nolan's thriller film The Prestige. In 2008, she starred as Vicky in Woody Allen's romantic comedy-drama Vicky Cristina Barcelona, for which she received a Golden Globe nomination for Best Actress. Hall then appeared in a wide array of films, including Ron Howard's historical drama Frost/Nixon (2008), Ben Affleck's crime drama The Town (2010), the horror thriller The Awakening (2011), the superhero film Iron Man 3 (2013), the science fiction film Transcendence (2014), the psychological thriller The Gift (2015), the live-action/CGI fantasy adventure film The BFG (2016), the biographical drama Professor Marston and the Wonder Women (2017) and the monster film Godzilla vs. Kong (2021). In 2016, Hall was praised by critics for her portrayal of news reporter Christine Chubbuck in the biographical drama Christine. She made her directorial debut with Passing (2021), receiving critical acclaim. Hall has also made several notable appearances on British television. She won the British Academy Television Award for Best Supporting Actress for the 2009 Channel 4 miniseries Red Riding: 1974. In 2013, she was nominated for the British Academy Television Award for Best Actress for her performance in BBC Two's Parade's End. Description above from the Wikipedia article Rebecca Hall, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Imogen has always dreamed of writing for a magazine. Infinite internships later, Imogen dreams of any job. Writing her blog around double shifts at the pub is neither fulfilling her creatively nor paying the bills. Harri might just be Imogen's fairy godmother. She's moving from the glossy pages of Panache magazine to launch a fierce feminist site, The Know. And she thinks Imogen's most outrageous sexual content will help generate the clicks she needs. But neither woman is aware of the crucial thing they have in common. Harri, at the other end of her career, has also been bitten and betrayed by the industry she has given herself to. Will she wake up to the way she's being exploited before her protégé realises that not everything is copy? Can either woman reconcile their love for work with the fact that work will never love them back? Or is a chaotic rebellion calling...


