Freya Adams is a first-generation Indian American actress best known for her lead role in Jennifer Phang’s “Advantageous” (now streaming on Netflix), where she starred opposite Ken Jeong, Jennifer Ehle, and James Urbaniak. Her television credits include appearances on New Amsterdam, The Blacklist, and a wide range of commercial work. A true multi-hyphenate, Freya is passionate about championing diverse stories both in front of and behind the camera, she is actively expanding her work as a creator in film and television.
Cinema Femme spoke with Freya Adams about her journey as an actor and writer, her creative process, and what’s next. Learn more about her work here.
Your entryway into acting—what inspired you to take that route?
In high school I was on the speech team, and that was really my first exposure to performing. Later on, I went to graduate school for acting in New York, and that’s when I truly understood the physicality, the training, and the craft. It was a conservatory program. Even before that, when I was younger, I did commercials and even a film, so performing was always somewhere in my life.
I recently heard you on a podcast talking about “the discovery process”—how you love uncovering a character.
Yes! I love when the idea comes from someone else’s imagination. You get to step into a whole other world and point of view. It’s so much more interesting that way.
I loved “Advantageous.” I watched it as part of a list of female-directed films and was completely spellbound. You were amazing in your role. How did you come to that project?
Interestingly enough, I’m actually collaborating with the producer again right now on a different project. He brought me into “Advantageous” because I had done a short film he made at Columbia University. When they got funding to expand it into a feature, we developed the story, shot the film, and it eventually went to Sundance.
Jennifer Phang is such a great director. Watching her work felt like watching a symphony. She directed Jennifer Ehle beautifully—Jennifer would just pop on screen. Ken Jeong came on set with this huge, joyful energy. James Urbaniak was incredible, too. They were all total pros. My background at the time was mostly theater, television, and studio work, so this was my first true independent film. A lot happened during the shoot—the city flooded at one point, which delayed production—and the script was being revised as we filmed, so everything was constantly evolving.
What was it like working with the behind the scenes crew? The film is so gorgeous!
It was wonderful. The whole crew was amazing. When I finally saw the film in a theater, I was shocked—in the best way. Seeing it on a big screen, with the practical effects and the visual poetry of it, was overwhelming. While you’re shooting, you don’t feel any of that. You’re just moving from location to location, scene to scene. Then it all comes together in this unexpected way.
For that character, how did you build the role?
I did a lot of research on Jacqueline Kim, who plays the lead. I studied how she spoke, her body language, her sensitivity—everything that could inform how my character might mirror or diverge from her. My mom even saw a photo of us together and said, “Oh my God, you look like her.” Jacqueline has this receptive softness, and I wanted to incorporate that.
My character deteriorates halfway through the film—she gets sick—so I worked a lot with physicality and sensation. She’s also “empty,” in a way, but carries inserted memories. I approached the role from that altered consciousness.
And you’re also developing a film with the producer of “Advantageous”?
Yes, we’re writing it together. It’s a story about intersectionality. The character is so many things—she’s a woman, a singer, a Muslim, Indian—and she’s navigating all the “tribes” she belongs to while trying to find her identity, even within the music industry. There are corporate pressures, cultural expectations, artistic expectations. She’s a DJ who makes electronic music, and she uses music to discover her authentic voice.
How has it felt moving from TV roles to independent projects? What feels different?
I love TV. Everything is laid out like a map. It’s an actor’s dream because you can show up and just act. Everyone moves like a symphony toward the same vision.
Independent film is completely different—you wear all the hats. The challenge is surrounding yourself with people who know more than you. I’m a new producer, so I’m learning how many people it takes to make a film. You learn each person’s craft—line producers, art directors, everyone. I’m learning how important it is to choose the right team.
It’s empowering and fun in a different way. And when you’re acting, the trick is not to think about any of the producing responsibilities.
The industry can be tough to navigate. What have you learned, and what advice would you give people just starting out?
I’m learning that you have to be very clear about your vision. Put as much as you can on paper—decks, lookbooks, anything—so your team understands what you’re building together.
As an actor, it’s similar: be very clear about what you’re trying to communicate so you know you’ve done your part. And I’ve found that when you’re clear, you attract the right people.
I never imagined I’d become a producer, but over the years I just made friends—naturally, not strategically. Now I realize, Oh, that person might know someone who can help with this. Networking feels easier when you think of it as building friendships around shared creative interests.
Lately I’ve been at the Beverly Hills Playhouse acting school, and it’s been such a solid space to bring my acting and writing—to workshop, to be with other creatives without the pressure of making money. When you book a job, there’s always a fear you might lose it. Having a safe space helps you build muscle memory for performing without fear. And finding the right community, teachers, agents, managers—it all matters.
Most importantly, always put energy into the craft. When you commit to what you’re passionate about, you attract others with the same passion.
What do you hope people see in your work?
I hope people see that I’m a good actor—not a good female actor or a good American-Indian actor. Those labels feel so limiting now.
Is there a dream role you’d love to play—maybe a period piece or a real person?
My dream—though it scares me to say it—is to play Merle Oberon. She was a 1920s Hollywood actress who was half Indian. I love portraying real stories, and playing her would feel like an honor.
