How Parker Posey became an indie icon1 min read

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As 90s cinema’s secret weapon, Parker Posey captured the imagination of a generation. With Woody Allen’s Irrational Man, she proves she’s ready to do it all over again.

Parker Posey is the 90s-nurtured indie cinema heroine no one ever quite figured out, nor quite got over. Known for playing complex, uncompromising women, her performances turned outsider females into era-defining icons. From existential NYC hedonist and fashion plate Mary in Party Girl (1995) to Rose McGowan’s “eternal love slave” in The Doom Generation (1995) and the brilliantly uptight (and upwardly mobile) Meg Swan in Best in Show (2000), Posey helped make turn-of-the-millennium cinema a little more strange and wonderful.

In person, Posey is a fireball of energy, with a contagiously bright demeanour. After a long day shooting in Manhattan’s Chelsea district, the 46-year-old spiritedly kicks off her heels and runs over to greet me. “Look at this!” she laughs, shaking her newly bleached mane back and forth. Hairs fly off at random, the fallout from some sort of salon mishap the day before. She may be raining blonde, but Posey looks fantastic ““ like a couture yoga guru in a seaside-ready Marc Jacobs dress. She cuddles up to Gracie, her 12-year-old bichon frise / Maltese dog, and invites me for a smoke and a walk home to her West Village neighbourhood. There are sun showers, but the Hudson River is behind us, and its trusty breeze seems to blow the raindrops out of our path. Posey grabs my phone and speaks into it like a guerrilla mic for much of our chat, so we can be free to roam as we record.

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