Actress and filmmaker Adlih Alvarado has been steadily carving out a multifaceted career both in front of and behind the camera. Known for her on-screen work in television, including recent appearances in ‘All’s Fair’ and ‘This Is Us’, Alvarado has increasingly turned her focus toward telling her own stories as a writer and director. Her latest short film, ‘Espresso’ — which she wrote, directed, and stars in — has just been completed and is now preparing for its festival run.
Set in Los Angeles in 2015, ‘Espresso’ explores a pivotal moment in an actor’s life: a chemistry read for a major studio film, where professional ambition collides with unexpected emotional connection. Filmed over three days with a skeleton crew, the project reflects Alvarado’s hands-on, instinct-driven approach to filmmaking, as well as her interest in stories rooted in timing, emotion, and human connection.
Can you tell us how ‘Espresso’ came together as a project, and what first drew you to telling a story set around a chemistry read within the film industry?
‘Espresso’ came to be thanks to an interview of Andrew Garfield where he describes his experience of meeting Emma Stone and getting to work with her in the process. It was the way he spoke about her that made me think, man, I wish someone described me like that to other people. There’s also a trending audio that comes from that interview — the snippet where he says “she was like a shot of espresso.” Being the hopeless romantic that I am, I couldn’t help but fantasize about what it must feel like to have that kind of chemistry and spark with someone who is also trying to get the job.
The film is set in Los Angeles in 2015 and centres on ambition, connection, and a pivotal moment in an actor’s career. What themes were you interested in exploring through this particular moment in time?
When you’re auditioning, it’s hard not to think about the other actors who are also auditioning for the same role. Originally, I wanted to have several men in the story auditioning alongside Andrew, the main character, because I wanted to show that although they don’t look exactly alike, you can still understand why each of them is there. I was interested in exploring different reasons why people get auditions — the underdogs, the nepotism babies, and the classic “actor look.” I wanted to stay close to reality, but still keep some distance, which is why 2015 felt right. It was before COVID, before self-tapes became the primary audition method. I personally dislike stories that are set too firmly in the present, because they become saturated with references to iPhones, social media, and current slang — it dates the story instantly. I even see that happening in big blockbusters, and it often pulls me out of the film.
You wrote, directed, and star in ‘Espresso’, which was filmed over a short schedule with a small crew. What was that process like for you creatively?
One thing about how I work is that if I don’t make something now, it may never get made. I sat on the outline for ‘Espresso’ longer than I’d planned — which turned into about two years. Then Sabrina Carpenter released her song ‘Espresso’, and I thought, okay, it’s game time. Originally, I had someone else attached to direct, but they didn’t fully understand the story. It became very male-centred, and my character, Emily Davis, was starting to feel weak and misrepresented. I decided to step back into the director role, gathered a few friends who truly loved the concept, blocked out three days, and honestly just prayed until we wrapped.
‘Espresso’ blends romance with an inside look at the entertainment industry. How did you approach balancing the emotional storyline with the professional world the characters are navigating?
Balancing romance with the entertainment industry was a challenge in itself. You have to start from a place of loving the industry — I want to be working in it. I had to constantly ask myself what worked, what didn’t, and what would feel too cheesy. Interestingly, I find it easier to write from a male point of view, probably because it quiets my inner critic. It was important to keep the romance subtle — small moments, quiet looks, hints of possibility. The excitement comes from both loving the work you do and the person you might get to share it with.
Now that ‘Espresso’ is completed and preparing for festivals, how does this project reflect where you are creatively right now?
Now that ‘Espresso’ is finished, it’s helped clarify the kind of stories I want to tell. I joke that I’m the love child of Sofia Coppola and David Lynch — but there’s truth in that. I’m not interested in making commercial films or reboots. I want to make films about feelings, about the strange and the beautiful. This project has encouraged me to expand my creative community and learn to lean on others. It feels like a step toward the kind of filmmaking life I want — one rooted in honesty, emotion, and curiosity.