Kristine Froseth

Froseth's screen career started quietly. *Rebel in the Rye* (2017) gave her an early film credit, but it was her supporting role as Veronica in Netflix's *Sierra Burgess Is a Loser* (2018) that put her in front of a mass streaming audience — even if the film itself got a mixed reception. That same year she appeared in Gareth Evans's horror film *Apostle* (2018) as Ffion, a darker, more physically demanding role that signaled she wasn't just chasing teen-friendly projects. 2019 was the year things accelerated. Two high-profile streaming series dropped with her in significant roles: *The Society* on Netflix, where she played Kelly Aldrich in the Lord of the Flies-ish teen drama, and Hulu's *Looking for Alaska*, the John Green adaptation where she took on Alaska Young — a character with a lot of literary baggage and fan expectation attached to it. She also appeared in Kitty Green's *The Assistant* (2019), a quiet, deliberately uncomfortable film about workplace power dynamics that earned serious critical attention. Three major streaming projects in a single year. That's a pace. The 2022 stretch might be her most creatively interesting period so far. She led *Sharp Stick*, Lena Dunham's provocative drama, and co-starred in *How to Blow Up a Pipeline*, the Daniel Goldhaber-directed eco-thriller that critics genuinely loved — Rotten Tomatoes put it at 95%, and it became one of the more discussed indie films of that year. Playing young Betty Ford in Showtime's *The First Lady* added a biographical-drama credit to a résumé that was already covering a lot of ground. Her Apple TV+ role as Nan St. George in *The Buccaneers* (2023), a period adaptation set among American heiresses in Gilded Age London, brought a new audience into her orbit. *Oh, Canada* (2024), directed by Paul Schrader, rounds out her recent work — a supporting role, but Schrader's films tend to linger.