On a misty, muted afternoon in September, 18-year-old Isla Johnston, the captivating lead of Baz Luhrmann’s highly awaited film on Joan of Arc’s life, finds herself meandering through The Met Cloisters. This unique museum—a beautiful architectural collage of medieval monasteries and priories imported from Europe—provides an evocative backdrop for her Vogue photo shoot. Luhrmann’s oeuvre often intricately weaves history with unconventional, exuberant storytelling, illustrated by his reimaginings of Shakespeare’s Verona as a bustling, modern-day beach and the vibrant chaos of Moulin Rouge, where crowds dance ecstatically to “Smells Like Teen Spirit.”
YOUTH IN REVOLT
Johnston photographed at The Met Cloisters in Manhattan, wearing a Loewe dress.
However, as Johnston steps into a 12th-century structure moved from a Cistercian abbey near Bordeaux, history weighs heavily in the air: This space seems alive with whispers of ancient Benedictine monks, with sunlight streaming through arched stone windows much like it did a millennium prior.
Luhrmann’s Joans film, still unnamed and scheduled for filming next year, will depict the remarkable tale of a 17-year-old girl from Domrémy, France, who, driven by divine voices, resolved to save her besieged nation during the Hundred Years’ War against England. By 1420, England had laid claim to France; the beleaguered Charles VII, merely 26 years old, was nearly ready to abandon hope. Amidst the siege of Orléans, it was young Joan who turned the tide in 1429, enabling the French monarchy’s resurgence. “Had Charles fled,” Luhrmann mused, “we’d all be feasting on English sarnies in France—imagine the dreadful reality without baguettes!”
LET THERE BE LIGHT
Wearing an Erdem dress and collar, paired with Jimmy Choo sandals.
The narrative of Joan of Arc has been retold countless times, leading one to wonder what remains to be uncovered. Throughout cinematic history, notable actresses have portrayed her, such as Geraldine Farrar in Cecil B. DeMille’s Joan the Woman (1916), Maria Falconetti in Dreyer’s iconic The Passion of Joan of Arc (1928), and Milla Jovovich in Luc Besson’s The Messenger (1999). Authors like Voltaire and Mark Twain have drawn inspiration from her mythos, with Shakespeare depicting her in Henry VI, Part 1 as a shepherd’s daughter, imbued with divine insight that transcends her gender and social standing. Even during the closing moments of the 2024 Olympics, she appeared on a stunning mechanical horse, a miraculous presence backlit by glory.
HAVING IT DOWN
Johnston’s natural talent shines in her portrayal; Luhrmann’s writing associate, Ava Pickett, observes, “She embraced these scenes and ran with them.”
Wearing a Messika necklace.
Such a monumental role bears significant weight for a young actor. Still, Luhrmann has a knack for discovering exceptional talents early in their careers—think Leonardo DiCaprio and Claire Danes in Romeo + Juliet or Austin Butler in Elvis. For this production, he sought an actress with immense physical capability. “I feel incredibly fortunate to have discovered Isla,” Luhrmann shares.
Born on a farm in southeastern England, Johnston describes her childhood as rural and unpretentious, where her family cultivated wheat, barley, rapeseed, and sugar beet. With a mother who formerly modeled in New York, Johnston appreciates the ironic contrast of her origins. Enjoying her days riding ponies and indulging in childhood mischief, she recounts tales of straying into fields where she should not have roamed and making speedy exits from displeased farmers.
HIGH STAKES
Johnston developed her love for acting through a children’s Shakespeare program, marking her stage debut as Lady Macbeth. Wearing a stunning McQueen top and jumpsuit, alongside a Messika necklace and Proenza Schouler gloves.
Early on, Johnston recognized that her interests lay beyond farming, although her modest school—with under 20 students each year—offered limited exploration of drama. It was a children’s festival focused on Shakespeare that ignited her passion for performance, allowing her to portray Lady Macbeth for the first time. At age eight, an audition for Jurassic World led her on the path to acting; though she didn’t secure the role, encouragement from industry insiders prompted her to consider representation.
The real turning point came at 11, landing the part of Beth Harmon in the Netflix series The Queen’s Gambit. Navigating this experience opened her eyes to the entertainment world, even leading her to embrace a bold new look with ginger hair. However, integrating back into school proved challenging, and rumors about her unique hairstyle ensued, particularly due to her mother’s explanations about her role in a show yet to be announced.
IN HER HANDS
Johnston’s breakout role at eleven as young Beth Harmon in The Queen’s Gambit. Styled in a McQueen top and jumpsuit, adorned with a Messika necklace.
Following the triumph of The Queen’s Gambit, the deluge of audition invites sent Johnston in a spin, prompting her to retreat momentarily from acting in favor of schooling; she particularly excelled in history and considered a career in archaeology. Having completed her A levels in drama, art history, and history earlier this year, she humorously mentions, “I scored an A star in drama, by the way.” Yet, a yearning for acting persisted, leading her to decide to dedicate two years to her craft once more, coinciding perfectly with her audition call for the role of Joan.
Luhrmann’s audition process was unlike any Johnston had encountered. Candidates read from Saint Joan, alongside a piece from Fleabag. The juxtaposition of classic and contemporary was purposeful to capture the essence of Joan’s spirit, embodying her youthful vigor while also tapping into her historical resonance.
HER MYSTERY
Johnston reflects on the enigmatic nature of Joan, stating, “No one in history can quite decipher how she accomplished her remarkable feats.”
Luhrmann was keenly aware of the need for a leading lady unafraid of horses and capable of portraying a character of a teenage girl who bravely delves into the harsh realities of warfare. He had a personal understanding of this trait, stemming from his experiences with his daughter, recognizing the untamed emotional depth characteristic of teenagers. “She could uplift you one moment and cut you down the next,” he commented.
To maintain historical integrity, Luhrmann collaborated with Ava Pickett, a young playwright known for her evocative works, such as 1536, which delves into the aftermath of Anne Boleyn’s execution among young women. Their focus was clear: to portray Jehanne d’Arc as a teenage girl, not merely a mythic figure. This involved diligent research, consulting professionals in historical academia, and compiling a comprehensive analysis of the era to ensure authenticity in every detail, from fashion to the nuances of daily life in the medieval period.
The duo even traveled to France to experience the landscapes that Joan might have known—a profound act of writers grounding their narrative in a lived experience of the past—culminating with Pickett reading the entire completed script aloud to Luhrmann.
In the final audition workshops at the Chiltern Firehouse in London, a space temporarily closed due to fire but repurposed for casting, Johnston depicted a profound, youthful indignation—a spark of conviction and insight. As Pickett noted, “It was remarkable to witness her commanding the scene—she hadn’t just read the lines; she inhabited them.”
Approaching filming with trepidation, Johnston acknowledged the physical demands it entails, from combat to equestrian skills. Yet what captivates and terrifies her most is the striking improbability of Joan’s tale. As a student, her peers often dismissed Joan’s story as legendary fiction on par with Robin Hood. “No one really knows how she achieved what she did,” Johnston mused. “She saved France,” added Luhrmann, emphasizing the monumental impact on history, illuminating the transition from the Dark Ages into the Renaissance.
OUTER LACE
In an Erdem dress and collar, embodying grace and authenticity.
Her portrayal in the film—produced with Warner Bros., Luhrmann’s partner on past projects like The Great Gatsby and Elvis—will signify a significant leap in Johnston’s career. The fashion world has already turned its gaze toward her promising talent. Designers from Loewe, including Jack McCollough and Lazaro Hernandez, recognized her innate charisma, finding her presence imbued with the essence of new beginnings—“freshness and quiet strength.” As part of her inaugural trip to America, Johnston, accompanied by her mother, aims to tread carefully and soak in the artistic ambiance of the city, visiting cultural landmarks such as The Museum of Modern Art and The Frick Collection.
Moreover, Luhrmann has organized an exclusive tour of the medieval armory at The Metropolitan Museum of Art. “We stand at the threshold of amazing opportunities,” he reflects. “I can guide you to the doorway; ultimately, you must step inside.”
In this story: Hair by Shay Ashual; Makeup by Mark Carrasquillo; Manicure by Deborah Lippmann; Tailoring by Lucy Falck.
Director of Photography: Kenny Suleimanagich; Assistant Camera: Liam Lawlor.
Special thanks to Bazmark: Baz Luhrmann, Catherine Martin, Schuyler Weiss, Fletcher Donohue, Jack Flynn, Chris Tangney, A’mi Gray, and MJ Coy.
Location: The Met Cloisters.
Produced by Boom Productions Inc.
