As he takes the lead in a mainstream movie for the first time — to portray a gay dad — actor Ben Aldridge shares how queer roles have taught him more about himself than he could ever have imagined. In this revealing interview, he also reflects on how he struggled to overcome enduring feelings of shame about his sexuality
Words Cliff Joannou Photography Kosmas Pavlos Fashion Joseph Kocharian
It’s mid-December and the temperature outside is close to zero. It’s no warmer inside our shoot location in Lewisham, south London, a vast old building spread across three floors — or is it four? The endless stairways are rather confusing, and it’s a game of cat and mouse trying to keep up with the team as they move between rooms with every outfit change. It’s easier to follow the sound of photographer Kosmas Pavlos as he yells excitedly: “YES!” “AMAZING!” as Ben Aldridge effortlessly pulls off one hot shot after another. The photos are electric. The clothes vary from looks that wouldn’t feel out of place at Berghain through to a full-on Studio 54 glitter moment, via laddish sportswear.
Just as the actor is getting warmed up, it’s time to push him that bit further. A large white freestanding bath is filled with hot water — one kettle at a time — and, clad in a heavy leather suit, Aldridge lowers himself in. It’s all cosy until the shoot wraps, and he needs to step out, dripping wet, into the ice-cold air. But the pay-off is worth it: the location, the lighting, the clothes meld together to create an eerie stillness that wouldn’t be out of place in a horror movie, which is entirely appropriate given Ben’s latest role in the new M. Night Shyamalan film, Knock at the Cabin.
In this apocalyptic psychological horror, Aldridge plays Andrew, who, along with his partner Eric ( Jonathan Groff ) has escaped for a family vacation with their adopted seven-year-old daughter Wen (Kristen Cui, who nails her debut acting role). Their retreat is interrupted when four strangers invade the cabin, led by the disconcerting Leonard (Dave Bautista in his best role yet), who claims that the apocalypse has begun and only Andrew and Eric can stop it through choosing to sacrifice — by their own hand — one of their family. It’s an extreme premise that requires a fair bit of suspension of disbelief on behalf of the audience. In the hands of a lesser director and were it not for stellar
