Rachel Sennott’s ascent in contemporary film has been anything but accidental. Emerging from the world of alt-comedy and indie projects, she has carved a space defined by sharp timing, emotional agility and a willingness to lean into the chaos of modern characters.
Whether delivering biting humor or navigating the fragile edges of anxiety, her performances carry an immediacy that makes each role feel freshly carved rather than molded by formula. There is a clarity to her voice—even when her characters stumble—that signals a performer in full command of her instincts.
In the last few years, her filmography has evolved with quiet but unmistakable force. From breakout turns in darkly comedic dramas to more vulnerable portrayals that strip her down to raw nerve, she has built a body of work that mirrors a generation shaped by contradictions.
Danielle | Shiva Baby (2020)
This is the role that launched Sennott into the critical spotlight and defined her early comedic style. As Danielle, a bisexual Jewish college student who attends a shiva (a funeral gathering) only to run into both her sugar daddy and her ex-girlfriend, Sennott delivered a masterclass in claustrophobic, high-anxiety comedy.
Her performance required a delicate balance of barely contained panic, awkward social maneuvering, and genuine emotional breakdown, all played out in a single, intense location.
Alice | Bodies Bodies Bodies (2022)
In this satirical slasher film, Sennott was the comedic standout. As Alice, the vapid, trend-obsessed podcast host, she perfectly captured the superficiality and performative activism of a certain subset of Gen Z. The role showcased her genius for physical comedy and delivering absurd, yet strangely believable dialogue, often breaking the film’s tension with her hilarious detachment from reality.
Chloe | Bottoms (2023)
Co-written and starring Sennott, this film solidified her status as a creative force. As Chloe, one half of a pair of unpopular high schoolers who start a self-defense club to meet girls, she plays the more ambitious, manipulative, and absurdly confident personality. The performance is a brilliant piece of sustained, anarchic comedy, highlighting her skill in crafting characters who are deeply flawed yet completely captivating.
Jules | I Used to Be Funny (2023)
This dramatic turn surprised critics and audiences, proving her range beyond pure comedy. Sennott plays Jules, a young woman grappling with PTSD, anxiety, and guilt following a trauma. The performance is quieter, more internalized, and profoundly sad, showcasing her ability to handle delicate emotional subject matter with maturity and restraint, offering a glimpse into her dramatic potential.
Tiff | Tahara (2020)
In this indie comedy-drama about grief and coming of age at a Jewish bereavement camp, Sennott plays Tiff, the cool, sexually experienced, and manipulative “mean girl” friend. She delivered a complex portrayal of adolescent cruelty rooted in deep insecurity, adding layers to a character who could have easily been a simple antagonist.
Lila | Call Your Mother (2021)
Though the network sitcom was short-lived, Sennott’s role as Lila, the daughter of the main character, was a major step into mainstream television. The role required a more traditional, high-stakes comedic delivery, showing her capacity to adapt her sharp, modern sensibility to the rhythms of a multi-camera format.
Jess | The Idol (2023)
In the controversial HBO series, Sennott played Jess, the best friend and assistant to the troubled pop star Jocelyn. Her performance was a strong point in the series, capturing the fraught, co-dependent relationship with a mix of loyalty and exasperation, often grounding the more outlandish elements of the plot with her realistic, deadpan delivery.
College Student | Wakey Wakey (2019)
This early, small role in a short film is a great example of the raw, uncomfortable energy that would define her later work. Even in a brief appearance, she commanded the frame with her distinctive anxious intensity, hinting at the unique character work to come.
Maia | I Love LA (2025-Present)
(Source: IMDb)
Sennott created, writes and stars in this HBO comedy series. She plays Maia, an ambitious young talent-agent in Los Angeles whose life is disrupted by the arrival of an old friend-turned-influencer. The show marks her expansion into behind-the-camera roles as well as her growth as a performer anchoring her own series.
Rosie Shuster | Saturday Night (2024)
(Source: IMDb)
Sennott portrays Rosie Shuster, a writer in the early days of Saturday Night Live, in this biographical comedy-drama. The role allowed her to step into a more composed character while still leveraging her comedic foundation, and it signals her readiness for larger ensemble and period projects.
