British actress Aimée Kelly is set for a standout year with starring roles in I Fought The Law and All Five Eyes. In the latter, she shares the screen with Honour Swinton Byrne and Greta Bellamacina, a collaboration uniting three unique voices in contemporary cinema. With her grounded charisma and fearless approach to character. Kelly's latest work marks her as one to watch. 

Hi Aimée! Thanks for chatting with us on ReVamp. How did you approach playing Judith Morden in a story based on real legal history?

Thanks for having me! The same way I approach most roles, I study the text first and foremost. I already knew that this story is rooted in real legal history. I wanted to lean into honouring what the writers had already created and staying true to the characters from that part of the country in that specific time frame. Ultimately, you want to provide the audience with a truthful account to watch on screen. Working with Erik Richter was a big part of that—he has such a clear vision but also gives you the space to explore and bring your instincts to the role. 

What part of the double-jeopardy battle resonated with you most?

Both the fact that it was based on a true story and that it was set in the Northeast initially caught my attention. Ann Ming’s story is a harrowing one. A mother fighting for justice while exposing critical flaws in the Criminal justice system felt like an important story to tell and be part of. 

Did filming in the real North East locations influence your performance in any manner?

 Massively added to the truthfulness, as it always does, filming on location. It was fun to be shooting near my hometown. I was born and raised in Newcastle, and only rarely does the work take me back to that neck of the woods. However, we did a lot of filming in the courthouses in Darlington. Any accent work always aids getting into character. So, it felt both fun to do, specifically a Middlesbrough accent instead of Geordie - if you're from the North of England, you’ll know there is a vast and vital difference. It felt like a responsibility to represent that world authentically, especially since it's one I know so well. I bumped into a lot of crew I’d already worked with previously, which is always a lovely surprise on set. 

Now, with All Five Eyes, where does Juliette fit into the shifting world of 1967 village life?

I think she is a bridge between tradition and the new, more irreverent youth culture that’s emerging at that time. You know she’s growing up in an institution steeped in Catholic discipline and etiquette drills. Yet, she’s also touched by the social changes of the late ’60s, like discovering romance, the casual defiance toward authority, and the desire for self-expression, like cutting her hair off. 

How was it working with Honour Swinton Bryne and Greta Bellamacina again?

The entire film has a brilliant gang of girls behind it, and it’s been amazing to collaborate with Greta again. We first worked together on Michael Winterbottom’s This England, and that experience laid the groundwork for a strong creative connection between us. We've become good friends since then, so coming back together for something different this time just felt normal. Greta knows how I work—my rhythm, my instincts—so there’s this kind of unspoken understanding between us on set, which makes the whole process smoother and more exciting. It’s always a joy working with someone who not only gets you professionally but also supports you personally.

How does Juliette’s journey compare to that of the sisters in the film?

I think both arcs share themes of resilience, but Juliette’s is  one of self-determination. I love seeing a young character have such a strong sense of self. I don’t think I had that when I was at School. 

What was it really that drew you to both I Fought the Law and All Five Eyes? And what are you hoping the audience will take away from your performance? 

What drew me to them both was the strength of the stories and how human they both felt, despite exploring such different worlds. I’m always looking for material that challenges me and has something to say—and both projects felt like they had real weight and purpose behind them.

As an actor, the goal is always the same, no matter the role: to create a truthful, honest account for the viewer. I want the audience to feel like they’re seeing something real, something that resonates beyond just the screen. If they walk away feeling moved, provoked, or just a bit more connected to someone else’s experience, then I feel like I’ve done my job.

How do you, as an actor, prepare for such different worlds and eras?

The world around you always assists with transportation. Both projects feature such strong Costume and set design. When Greta sent me the finishing school girls' uniform deck, I instantly had an Idea of who Juliette was. 

Similarly with I fought the law, my character enters the story in the late 80’s, I remember turning up to my costume fitting on a Friday night and trying on chic co-ords similar to what my Granmar used to wear. 

What's next for you, Aimée? Any other projects in the pipeline for the rest of this year? 

I am about to start on a project that I can’t talk about at the moment!