In recent years, the name Odessa A’zion —which she herself clarifies in her Instagram bio is pronounced “oh-DEH-suh AY-zhon”— has been appearing more and more frequently at festivals, on red carpets and in pop culture headlines. Her presence is constant in independent cinema, in generational series and now also in major studio productions, where she has become one of the most talked-about faces thanks to her role as Rachel Mizler in Marty Supreme and her portrayal of a disenchanted influencer in I Love LA.
With the imminent release of Marty Supreme in Spain (30 January), the actress faces the most decisive moment of her career so far. But why has she become one of the most closely watched figures of her generation?
The real turning point in her trajectory arrives precisely with Marty Supreme, directed by Josh Safdie and produced by A24. In the film she shares the screen with Timothée Chalamet, Gwyneth Paltrow, Fran Drescher and Tyler, The Creator, and her character has been described as one of the emotional pillars of the story. Since its release in the United States, her name has even begun to circulate in awards conversations, marking the moment when Odessa stops being just an indie promise and becomes a genuine presence in the mainstream.
Before this leap, A’zion had already established a distinct profile within generational television. In I Love LA, a comedy created by Rachel Sennott, she plays one of the central characters within a group of young people trying to survive emotionally and professionally in Los Angeles. The series portrays, with irony, frustration, job insecurity and failed relationships of a generation that grew up with promises of success that never quite materialised. Both Sennott and A’zion have become new fashion it-girls, regulars on red carpets, runways and campaigns, where their aesthetic —somewhere between indie and effortless— connects directly with Gen Z audiences.
Beyond acting
Beyond performance, fashion has become one of the spaces where Odessa A’zion has the strongest public presence. In recent years she has been a regular face in front rows and brand events for labels such as Gucci and Dior, and has taken part in presentations and shows, including her appearance at Paris Fashion Week with Dior. She has also been the face of Stella McCartney, consolidating her status as one of the most recognisable new figures at the intersection of cinema and fashion.
At the same time, Odessa maintains a close relationship with music. She writes, sings and plays instruments such as the guitar and piano. Some of her material can be found under the alias bugzbee, where she explores a more intimate and personal sound that works as a creative outlet alongside her acting career.
A different kind of nepo-baby
Odessa A’zion fits the nepo-baby label, but she has achieved something unusual: she does not provoke rejection. She is the daughter of Pamela Adlon, actress, screenwriter, producer and well-known voice actress, and the granddaughter of director Percy Adlon, responsible for cult films such as Bagdad Café. Far from hiding this background, Odessa has embraced it naturally. From a young age, she grew up surrounded by film sets, scripts and creative processes, in an environment where fiction and industry were part of everyday life.
Her first roles came in television, where she gradually built her career. She stood out in series such as Nashville (2017), Fam (2019) and, especially, Grand Army (2020). In the latter, she played a teenager within a collective portrait of identity, social class and sexuality in a Brooklyn high school. Her performance was one of the most discussed in the series and marked a key moment for critics to start paying attention to her.
In 2022 she took a major step by starring in the remake of Hellraiser, where she assumed a darker and more physical role that established her within contemporary horror cinema. Later came titles such as Until Dawn (2025), a loose adaptation of the well-known video game, which expanded her profile within the genre.
Although her surname connects her directly to the industry, her discourse focuses on the precarious nature of the profession, choosing meaningful projects and making cinema that is not merely decorative. In interviews she has explained that her goal is not fame, but to be able to live from acting without losing creative freedom. Her public image, far from excessive posturing, and her coherent filmography reinforce this perception.
Today, Odessa A’zion represents a generation of actresses who move between auteur cinema, horror, comedy and major studios without being boxed in. Her magnetism on screen, her natural presence off it and her way of choosing projects have made her one of the key names looking ahead to 2026.
The immediate future
After this release, her closest upcoming project is the series Stranger Things: Tales From ’85, a spin-off from the Netflix universe in which she will take part as a voice actress. From there, A’zion will continue to alternate high-profile projects with more personal proposals, while developing her musical side and her relationship with fashion.
Everything points to a phase marked by greater exposure, more complex characters and an increasingly strong presence on the global stage.
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