IN CONVERSATION WITH ELIZABETH TABISH

interview by JANA LETONJA

Actress and filmmaker Elizabeth Tabish is best known for her powerful portrayal of Mary Magdalene in the hit TV series ‘The Chosen’. Beyond the series, Elizabeth has taken on diverse roles in film and television, including the 2025 drama ‘Between Borders’, and the 2023 sci-fi film ‘The Shift’. As an award-winning filmmaker, she has a passion for exploring female archetypes through independent cinema, and has recently won the Grand Prize Award in the 2025 ScreenCraft Cinematic Prose competition for her short story ‘It’s Not Magic’. Coming up, Elizabeth is set to reprise her role in the upcoming animated series ‘The Chosen Adventures’ and will also appear in ‘The Chosen in the Wild with Bear Grylls.

full look DOLCE&GABBANA

Your portrayal of Mary Magdalene in ‘The Chosen’ has captivated audiences worldwide. What was your approach to bringing such an iconic historical figure to life?

I always like to return to the depictions of Mary in classical art. There is such thoughtfulness in her portraits, sitting quietly with a candle and a skull, contemplating the mysteries of life and death and resurrection. I really like to live in that curious, quiet space when we film. I also want to make her human and relatable, and to me, that means she lives in a liminal world between understanding and confusion, between hope and despair, between control and surrender.

The role has earned you a devoted fan base. How has the global response to ‘The Chosen’ impacted you personally and professionally?

Personally, it has connected me to so many women across the world who have experienced similar things and who have felt seen by this depiction of Mary Magdalene. To take part in something that brings hope and relief in this world is something I can’t fully comprehend. Professionally, it has renewed an enthusiasm for storytelling, it has helped me find my voice as a woman in this industry, and it has made it clear to me that women’s stories are so incredibly important to tell. 

As a co-founder of the Arthouse Film Festival, what inspired you to create a space for independent and experimental filmmakers?

When I got my BA in Screen Studies at Oklahoma State University, I fell in love with experimental cinema. I love movies that don’t rely on formula, that aren’t predictable, and that make you feel something surprising, something new. When I moved to Austin after I graduated, I really expected to see more arthouse films in the festival circuit but was somewhat disappointed to see that most mainstream film festivals rarely showcase the strange, unexpected types of films I so dearly loved. So I started a festival with my producing partner Giselle de la Rosa, and we solely dedicated the festival to experimental, avant-garde, surreal, nonconformist cinema. We spent six years curating and celebrating artists from around the world for their unique and profound visions. We’ve paused the festival to focus on other pursuits, but it was something I was so proud to co-develop and facilitate.

Your short films explore deep psychological and poetic themes. What draws you to these narratives, and what stories do you feel are still missing in cinema today?

I think I’m drawn to stories that explore the myriad traumas and challenges of being a woman in this world. The characters in my short films undergo extreme situations, from accusations of witchcraft, being labeled with insults based on what they wear, being objectified by a stalker, struggling with addiction and the pain of emotional abuse, and getting held captive by a psychopath. I think, more than anything, I want to explore the ways in which a woman can get out of these situations and overcome them. And in some ways, how we as women can turn these situations into something higher-minded, something cathartic, synthesized. To find some healing, whether it's through forgiveness or through vengeance. That’s always the line I teeter on, when is it right to fight, and when is it necessary to forgive? I think women are so very capable of both, and that’s the thing I’d love to see more of in cinema today, the complexity and dichotomy of women.

How does your work as a filmmaker influence your approach to acting?

I think it has taught me that you don’t have to show what you’re feeling, you can just feel it. You don’t have to announce what you’re thinking, you can just think it. It has helped me trust the camera as an honest and revelatory third party in the creation of a scene.

You’ve spoken about the importance of telling women’s stories with authenticity. What do you think Hollywood and the indie film world can do better in portraying female characters?

Let us take an active role in the creation of these characters. Let us be many things. Let us have our own desires. Let us have our own needs. Let us age. Let us write. Let us direct. Let us fail. Let us have the dozens of chances that men so often get before they make their big break. 

Your work frequently explores spirituality, inner healing, and existential themes. How does your personal perspective on faith and identity shape your performances?

Having a little faith is required in acting, and to me, it mirrors life itself. You can’t stronghold a moment, you can’t force your perspective onto a scene, you can’t control anything. If you try too hard for perfection, you lose it. But if you open up your heart, let yourself be surprised, allow things to unfold, listen, react, respond, care, love, share, support, empathize, laugh together, grieve together, it’s just like life and you can be a part of something beautiful. 

You’ve been open about your struggles with depression before landing ‘The Chosen’. How did that experience shape your journey as an artist?

I got to a point once where I couldn’t get out of bed, and I really thought it was time to go. And then an idea would come to me, a movie, a story, a character. And I would follow that thread and think to myself, just do this first. Do this first, and then you can decide. And so I would. Something about living in that despair and depression actually helped me get over my fear of what people thought of me. There was a good kind of recklessness in it. Who cares what people think, who cares if my art is bad, if I’m a terrible director, if I’m a terrible actress, I just need to do this so I’m going to do it. And I lived like that for some time, using these short films almost as a way to prolong my time and force myself to stick around. Just finish this. And I kept doing that until I booked ‘The Chosen’, and to tell you the truth, I really don’t think I would’ve booked the role had I not been quietly living the same despair that Mary Magdalene lived in. Now, depression isn’t something that just goes away when you book a meaningful role, but meaningfulness certainly helps fight the battle.

What role does creativity play in your own mental and emotional well-being?

It is a salve. Anytime I get a chance to try to express what feels inexpressible—pain, joy, curiosity, heartache, humor—it feels like everything is going to be alright. Creativity is a thread that connects us. Every time you create a piece of art, it connects you to someone you may never even meet. Art has been a lifeline to me before. Reading a book, watching a film, seeing a play, has made me feel seen, known, human, alive. When you create art and share it with the world, you’re creating lifelines.  

You have several exciting projects coming up, including ‘The Chosen Adventures’ and ‘The Chosen in the Wild with Bear Grylls’. What can fans expect from these new ventures?

Something familiar but from new perspectives. ‘The Chosen Adventures’ sees our characters from the perspective of children. It's very light-hearted, quite charming, and rather funny. And ‘The Chosen in the Wild with Bear Grylls’ is literally one of the craziest experiences I’ve ever had. I still can’t believe I did some of those challenges. The experience forced me to trust that I’d be alright, and the feeling on the other side of that cliff, literally and metaphorically, is indescribable. I was shocked to find such peace and absolute gratitude within the moments that I was sure I’d feel pure horror.

Can you share anything about the directorial projects you’re currently developing?

I’m working on two scripts right now. One is about Rahab the harlot, who is also an ancestor of Jesus. The other is a surreal psychological thriller set in the 1970s that explores healing trauma through unexpected means. I’m also working on music videos for my brother’s band, Other Lives, for their new album coming out this year.

What kinds of roles or stories are you most excited to explore in the future?

I love what’s coming up for Mary Magdalene in Seasons 6 and 7, the crucifixion and resurrection. And I want to continue that tradition of portraying or directing female stories about growth, transformation, healing, and redemption. It doesn’t always mean the stories will be religious in nature, but they are undeniably spiritual.

TEAM CREDITS:

photography JONATHAN LAVALLEE
hair COURTNEY HOUSNER
makeup TRACE WATKINS
styling ANANDA FRIEDMAN
PR TFG PR