Age: 50
male
Casey Affleck (born Caleb Casey McGuire Affleck-Boldt; August 12, 1975) is an American actor. He receives various accolades, including an Academy Award, a British Academy Film Award, and a Golden Globe Award. The younger brother of actor Ben Affleck, he began his career as a child actor, appearing in the PBS television film Lemon Sky (1988). He later appeared in three Gus Van Sant films: To Die For (1995), Good Will Hunting (1997), Gerry (2002), and in Steven Soderbergh's Ocean's film series (2001–2007). His first role was in Steve Buscemi's independent comedy-drama Lonesome Jim (2006). Affleck's breakthrough came in 2007 when he was nominated for the Academy Award for Best Supporting Actor for his performance as Robert Ford in the Western drama The Assassination of Jesse James by the Coward Robert Ford and starred in his brother's crime drama Gone Baby Gone. In 2010, he directed the mockumentary I'm Still Here. He went on to appear in Tower Heist (2011), ParaNorman (2012), and Interstellar (2014), and he received praise for his performance as an outlaw in Ain't Them Bodies Saints (2013). In 2016, Affleck starred in the drama Manchester by the Sea, in which his performance as a grieving man earned him the Academy Award for Best Actor. He has since starred in the dramas A Ghost Story (2017) and The Old Man & the Gun (2018) and as Boris Pash in the biographical thriller Oppenheimer (2023), his highest-grossing release. Description above from the Wikipedia article Casey Affleck, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Casey Affleck
Younger Brother
for Younger Brother in Mother! (2007)
Suggested by krmickey97
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple have cocooned themselves in a secluded mansion that was not so long ago burned to the ground, devotedly restored by the supportive wife. Within this safe environment, the once famous middle-aged poet husband is desirous of creating his magnum opus; however, he seems unable to break out of the persistent creative rut that haunts him. Then, unexpectedly, a knock at the door, the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer's stagnant imagination. Little by little, much to the perplexed wife's surprise, the more chaos he lets in their haven, the better for his punctured male ego. In the end, will this incremental mess blemish, irreparably, the couple's inviolable sanctuary?
