blazer. Somebody Else’s Guy
boots. Christian Louboutin
jewellery. Stylist’s Own
tights. Falke
opposite
cape. Gabriela Hearst
jewellery. Stylist’s Own
What happens when you mix comedy, horror, and the breathtaking landscapes of Finland? For Aisling Bea, the answer is Get Away — a film that took her far outside her comfort zone in the best way possible. Nick Frost, the film’s star, is back to his darkly comedic roots with the film, a twisted horror-comedy that proves once again why he’s a master of the genre. Directed by Steffan Haars, the film delivers a devilish blend of laughs and terror — something fans of Shaun of the Dead will instantly recognize in Frost’s signature charm.
Frost not only headlines the film but also penned the script, stepping into the role of Richard Smith, the well-meaning but hapless patriarch of a British family seeking an idyllic escape. Joined by his wife Susan, played by Bea, daughter Jessie and son Sam, portrayed by Maisie Ayres and Sebastian Croft, respectively. Richard takes his family on a seemingly charming getaway to a remote Swedish island. Their plan? To immerse themselves in a local cultural festival. The catch? This festival hides a sinister secret, and the Smiths are about to realize they’ve signed up for more than just a holiday.
With her signature wit, Bea reflects with Schön! on balancing laughter and fear, the quirks of Finnish humour, and the joys of creating an on-set family with Get Away.
What initially attracted you to the role and the story of Get Away, because it seems like such a unique project?
Well, I’m not a horror fan at all! I don’t like being scared—I spend most of my days in a high state of anxiety, so I definitely don’t go looking for ways to scare myself. But this is comedy horror with Nick Frost, so while there are scary moments, it mostly pokes fun at the genre — especially the kind of folk horror with creepy small islands and things coming out of trees. Nick Frost was the biggest draw for me. He actually messaged me on Instagram and said, “Would you like to spend a month eating pickled herring in Finland? Please say yes. I’ll send you the script later.” And I was like, “Okay!”
So first, there was Nick Frost. Then, getting to film in Finland was a huge bonus — it was such a fun experience. I had also just met Sebastian Croft, who plays my son, at an event a couple of weeks earlier. He’s in Heartstopper and he’s hilarious, and when I heard he was attached to the project too, I thought, What a treat! And then there’s the amazing Maisie Ayres who plays my daughter — she’s such a talented up-and-coming actress. We all became like a little family on set. It was so much fun
Sounds so good. And how long did you stay in Finland?
We were in Finland for about six weeks in total. We had to leave at one point because of a COVID outbreak, but then we came back and forth. I’ve never been to Finland before. I travel quite a bit, but I wouldn’t say I’m well-travelled. For example, I’ve never been to Turkey. I did film something in Malaysia once, and my boyfriend is Australian, but apart from that, it’s mostly been bits of Europe and America. I’ve spent so much of my life just working and not really exploring where I was, which is actually one of my regrets now that I’m 40—I wish I had travelled more. When you’re an out-of-work actor, you have loads of time but no money. Then, when you start making money, you have no time!
One of the things that really attracted me to this project was the chance to work in Finland and immerse myself in a totally different culture. We weren’t in one of the main cities—we were about two hours from Helsinki, way out in the countryside. It was absolutely gorgeous. But it was also quite surreal because we had nearly 20 hours of daylight. At night, we had to shut down every window in the house just to get some sleep! I’d never experienced anything like that before. For the night scenes in the film, we actually had to shoot from midnight to around 8 a.m. just to get some real darkness. The water there was so clear, and we did a lot of lake swimming—it felt like such a privilege to be there. I absolutely loved Finland. Finnish people are hilarious, but they don’t always show it. They laugh loads and really love comedy, but you wouldn’t always know it from their expressions!
Sounds really awkward actually.
I loved it! I actually enjoyed trying to break through that. Nick [Frost] and I love trying to make people crack, and it worked. At first, I was a bit unsure — I’d think, Oh God, have we said something wrong? But then people would come up to us later and say, I found what you said very funny. And we’d be like, “Oh… okay!” So that was a fun challenge.
blazer. Somebody Else’s Guy
jewellery. Stylist’s Own
tights. Falke
opposite
blazer + trousers. The Frankie Shop
shoes. Malone Souliers
jewellery. Stylist’s Own
How did you approach balancing the film’s comedic and emotional elements at the same time?
I’ve worked on a lot of projects—including my own—where balancing comedy with sadness is key. But for this role, it was actually a nice change to play something lighter. I could leave work at the end of the day without feeling drained because it wasn’t incredibly deep or emotionally heavy. Honestly, it felt quite easy. The emotional moments were more about fear or shouting rather than profound sadness. Most of my past work has involved finding humour in grief and tackling heavier themes, so this project was really refreshing. Being surrounded by other comedy-minded people, playing a sort of verbal tennis match with jokes — it was such a joy. The best part was just being in the moment, bouncing off everyone’s humour, and not taking things too seriously.
Did this project change how you view the themes of travel and personal escape?
Spending time on this project definitely made me want to travel more. When you mentioned you’re from Turkey, I immediately thought, “Oh, I haven’t been to Turkey — I’d love to go!” There are so many places relatively close by that I’ve never explored. These days, it’s hard to truly escape — between Google Maps and constant connectivity, it can feel like everywhere is starting to feel the same. But immersing yourself in a place for a significant amount of time changes that. Even though we were filming, I felt like I really experienced something new. It also made me want to do more straight-up comedy. I realized how much lighter I felt coming home after work, compared to the emotional weight I sometimes carry after doing heavier roles. It made me appreciate how valuable that lightness can be—not just in travel, but in life overall.
What was the most memorable experience you had while working on the film?
There was one day that really stood out. We were filming on a boat in the most gorgeous weather, with a helicopter drone capturing everything. There were no lines to deliver—it was just Nick, Sebastian, Maisie, and me sitting on this boat in the middle of a lake at sunset. With no cameras or microphones right in our faces, it felt like we were truly present. It was one of those rare moments where you just stop and think, Wow, this is special. After working in this industry for a while, you can become a bit jaded, but that day, surrounded by this little “family,” I felt completely happy. It’s probably a scene that viewers might not think twice about, but for me, it was unforgettable.
Were there any particularly challenging scenes or moments during filming?
Oh yes — any scene involving blood! We had a lot of those. The tricky part was that the fake blood wasn’t supposed to get in our eyes, but we had to rely on the crew members handling it. And, well… I’m not sure they had much experience with that kind of thing! It was tough because, naturally, when something gets in your eye, your instinct is to panic. But as an actor, you have to stay in character and push through. So those scenes were definitely the most challenging.
How does your comedic background influence the way you approach dramatic roles like this?
I believe there’s comedy in everything, even in the darkest drama. When I watch something where nobody laughs, it doesn’t feel realistic to me. People make jokes all the time—even at funerals, in moments of deep tragedy, everywhere. Comedy is often more reflective of real life than straight drama. When I read a script and there’s no humour, it feels like something’s missing. I always try to find those moments, even in serious roles, because that’s how real people live. If they’re not already in the script, I’ll sometimes suggest adding them. Life is full of humour, so why shouldn’t films be?
bomber jacket + jeans. Palmer Harding
shoes. Gina
jewellery. Stylist’s Own
opposite
top. Zimmermann
jewellery. Stylist’s Own
Do you think those comedic and dramatic skills complement each other?
I’d like to think so! Comedy and drama are both about energy—building tension and then releasing it. Whether it’s through laughter or a scare, it’s all about giving the audience that moment of release. A good joke and a good fright both rely on timing and anticipation, so in that sense, they’re very similar.
If you could get away in real life, what would your ideal escape look like?
Very clever question — I like that! I was tempted to say Istanbul just for you, but honestly, I’d love to spend more time in my own country, Ireland. There’s a place called Dingle in County Kerry that’s one of the most beautiful spots in the world, and I don’t visit it enough. If you ever get the chance to go, it’s absolutely stunning.
Is that something you’ve been able to do recently?
I was there briefly for a few days to film something, and last winter, I attended a little music festival they host called Other Voices. My dad’s from Dingle, so I spent a lot of summers there as a kid, but I hadn’t been back much as an adult until recently. Experiencing it in winter was something else—the crystal-clear air, the cozy pubs—it felt like immersing myself in my own culture again. Living abroad, as you probably know since you’re in Paris, you always feel like an outsider to some extent. But going back, even just for a short while, feels like slipping into a warm bath—it’s comforting and familiar. I’d love to spend more time there, even if just as a tourist.
What do you hope viewers will take away from the film and your performance?
I hope they have a laugh! I want them to see how what might initially seem like a traditional, boring “mother” role actually evolves into something unexpected. There are too many one-dimensional mother roles, and that can be dull. Even when I first read the script, I was relieved to see there was a twist—that it wouldn’t stay predictable. Nick is such a brilliant writer, and he would never let a female role become stagnant. I also hope viewers enjoy seeing women as more than just victims. We need more stories where women get to be the ones causing trouble, not just suffering through it. It’s refreshing, and I think audiences will enjoy that shift.
blazer. The Frankie Shop
jewellery. Stylist’s Own
opposite
blazer + trousers. The Frankie Shop
jewellery. Stylist’s Own
Get Away is out now.
photography. David Reiss
fashion. Harriet Nicolson @ Stella Creative Artists
talent. Aisling Bea
hair. Narad Kutowaroo @ Carol Hayes Management using Unite Hair
make up. Brooke Simons @ Eighteen Management using Hourglass Cosmetics
production. Clara La Rosa
interview. Alper Kurtel
