Age: 27
male
Charlie Faulkner Plummer (born May 24, 1999) is an American actor. He began his career as a child actor in short films and made his feature film debut in David Chase's drama Not Fade Away (2012) before landing a lead role in King Jack (2015). In 2017, he gained wider recognition for playing John Paul Getty III in Ridley Scott's thriller All the Money in the World and a troubled teenager in Andrew Haigh's drama Lean on Pete. His performance in the latter earned him the Marcello Mastroianni Award for the best-emerging actor. On television, Plummer made his first prominent appearances on the dramas Boardwalk Empire (2011–2013) and Granite Flats (2013–2015). He has since starred in the Hulu miniseries Looking for Alaska (2019) and portrayed a young Franklin D. Roosevelt in the Showtime series The First Lady (2022). Description above from the Wikipedia article Charlie Plummer, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Charlie Plummer
Kurt Cobain
for Kurt Cobain in Nirvana: Come As You Are (Biopic)
Suggested by kaueoliveira
"Nirvana: Come As You Are" is not a typical rock star glorification; it is a gritty, claustrophobic drama about the sudden, violent collision between punk ethics and global capitalism. The film tracks the band from the wet, gray boredom of Aberdeen and Olympia, Washington, to the terrifying stratosphere of global fame in 1991-1992. The narrative centers on the brotherhood between the fragile, hyper-sensitive Kurt Cobain, the goofy, giant-hearted Krist Novoselic, and the powerhouse drummer Dave Grohl, who injected the necessary pop-muscle into the band. The central conflict is Kurt’s deteriorating mental state as he realizes that the thing he wanted most (for people to hear his music) is destroying the thing he values most (his integrity and anonymity). The film captures the chaotic energy of the live shows, the drug-fueled haze of the downtime, and the complex, often toxic love affair with Courtney Love. It culminates not in death, but in a moment of quiet despair amidst the deafening roar of adoration—perhaps the reading of the Vanity Fair article or the Rome overdose—leaving the audience with the tragedy of a man trapped by his own voice.
