Age: 93
female
Ellen Burstyn (born Edna Rae Gillooly; December 7, 1932) is an American actress. Known for her portrayals of complex women in dramas, she has received numerous accolades, including an Academy Award, a Tony Award, and two Primetime Emmy Awards, making her one of the few performers to achieve the "Triple Crown of Acting". She has also received a BAFTA Award and a Golden Globe Award. Burstyn made her acting debut on Broadway in Fair Game in 1957 before winning the Tony Award for Best Actress in a Play for Same Time, Next Year (1975). She earned the Academy Award for Best Actress as the widow Alice Hyatt in Martin Scorsese's romantic drama Alice Doesn't Live Here Anymore (1974). Her other Oscar-nominated roles were in The Last Picture Show (1971), The Exorcist (1973), Same Time, Next Year (1978), Resurrection (1980), and Requiem for a Dream (2000). Her other notable films include Harry and Tonto (1974), How to Make an American Quilt (1995), Divine Secrets of the Ya-Ya Sisterhood (2002), W. (2008), Interstellar (2014), The Age of Adaline (2015), and Pieces of a Woman (2020). She won Primetime Emmy Awards for her guest role in the NBC legal drama Law & Order: Special Victims Unit (2009) and supporting role in the USA Network political miniseries Political Animals (2013). Her other Emmy-nominated roles include Pack of Lies (1988), Mrs. Harris (2005), Big Love (2008), Draft Day, Flowers in the Attic (both 2014), and House of Cards (2016). Since 2000, she has been co-president of the Actors Studio, a drama school in New York City. In 2013, she was inducted into the American Theatre Hall of Fame for her work onstage.
Ellen Burstyn
Elizabeth Weiss
for Elizabeth Weiss in Pieces of a Woman
Suggested by robbywhite
Martha and Sean are a couple in Boston eagerly expecting their first child, opting for a home birth that quickly spirals into tragedy when their newborn daughter dies shortly after delivery.  Over the following months, Martha struggles with profound grief and guilt in her own way—choosing to donate the body to science—while Sean withdraws into anger and silence and Martha’s mother pressures both toward blame and legal action against the midwife.  As their relationships fracture and Martha attempts to reclaim agency over her life, the film becomes a haunting exploration of loss, identity, and the often-lonely journey of healing.
