Alex Wolff Unveils 'The Line': A Journey through Directing 'If She Burns' and Channeling Leonard Cohen

From the sun-soaked shores of idyllic Greek islands to the raucous, soul-crushing depths of college fraternity life, Alex Wolff has truly dived headfirst into the delightful chaos of human experience in his recent on-screen roles. Now, he's adding another feather to his already bustling cap with his sophomore directing effort, If She Burns. But let’s take a moment to unpack that journey, shall we?

As Wolff reflects on his recent performance as Tom Backster in Ethan Berger’s film, The Line, he shares, “I didn’t realize how much of a razor’s edge I was walking when I was making the movie, but I really feel it when I watch it.” Really, what could be more exhilarating than portraying a character caught between the intoxicating allure of fraternities and the gut-wrenching horror of hazing? Wolff’s Tom isn’t one of those privileged boys in khakis; he’s the outsider, the observer willing to wade through the murky waters of fraternity life while feeling horrified yet somehow drawn in.

Wolff aptly captures the balance required in such a tumultuous role, stating, “It’s always a scene or two away from Tom being too soft or too awful of a character to sympathize with.” Let’s be real—how often do we see such richly layered characters that keep us glued to our seats, mentally cheering them on, while simultaneously wanting to shake some sense into them? Wolff acknowledges the script’s “elegance,” deftly weaving together the grotesque comedy and stark realities of toxic masculinity. “I was moved and horrified,” he admits, “that this twisted sense of masculinity has become the norm in America.” Can we just take a moment to ponder that? Because it’s as deeply unsettling as it is essential to explore.

The film made its debut at the prestigious Tribeca Film Festival, and let’s just say, those reviewers certainly didn’t hold back. Pete Hammond of Deadline described it as “a deadly serious take on college frat houses.” With a cast that blends the seasoned talents of John Malkovich and Denise Richards with the fresh faces of Austin Abrahams and Halle Bailey, The Line serves as a compelling examination of how young men bond, often through the most perilous means.

Initially, it was that sweet, sweet nectar of male insecurity that drew Wolff’s interest. “A lot of times, when you read a script, it can be frustrating how comfortable every character is in their skin,” he mused, shaking his head at the notion of having roles that lack depth. “Tom was so layered, and that really resonated with me.” Ah, the familiar dance of pretending to be someone you’re not—how relatable!

Though Wolff never donned the letters of a fraternity, he certainly had some homework to do, immersing himself in the world to craft his character authentically. “A lot of kids who have been in these fraternities,” he says, “two or three years in, are fatigued. They’ve seen things that they feel sort of icky about.” Let’s just hope this movie will provide them with a much-needed mirror to reflect upon that icky feeling.

Sifting through the ensemble, you’ll find Wolff alongside the late Angus Cloud, who left an indelible mark during their time filming. “He is probably the best actor that I’ve ever worked with,” Wolff reveals, his admiration palpable. “I now approach acting constantly thinking about him and what he would do.” How beautiful—and bittersweet—that a bond so strong can be forged and yet interrupted all too soon.

Now, let’s pivot to Wolff's foray behind the camera with If She Burns, following his directed debut, The Cat and the Moon. Our multi-hyphenate artist is determined to soak up every ounce of knowledge from the legendary directors he’s encountered. “I’m basically just stealing as much as I can,” he quips, acknowledging the titans of filmmaking that have influenced his journey.

In this upcoming project, we find Victoria Pedretti navigating a tumultuous family landscape after a harrowing event while embarking on an affair with Wolff’s enigmatic character. As wildfires rage around them, the suspense builds—a thrilling concoction where emotions simmer just beneath the surface. “It’s a dark but also warm and emotional thriller,” Wolff describes, hinting at a delicate balance that most films rarely achieve. “I was very inspired by films like Through a Glass Darkly, and there’s elements here of My Night at Maud’s and La Ventura,” he adds, name-dropping with flair while reminding us that inspiration can be as formidable as it is fleeting.

So as Wolff gears up to take on the dual roles of director and actor, be prepared for a ride that promises not just to keep you on the edge of your seat, but to also make you ponder whether everything will come crashing down, or if perhaps—just perhaps—there’s a flicker of light at the end of the tunnel. In the end, we find ourselves asking what it means to navigate the highs and lows of existence as seen through the eyes of a deeply intricate character who feels like an emotional volcano waiting to erupt.

And, lastly, let’s not forget the artistic experience Wolff had while portraying Leonard Cohen in So Long, Marianne. Picture it: the charming Greek island of Hydra, an artistic utopia filled with free love and poetic inspiration. “It was a privilege to basically eat and