15 Actresses Perfect for the Role of the Spider-Woman in the MCU

Spider Woman has worn a few different masks across the comics, from Jessica Drew to Julia Carpenter and even Gwen Stacy in certain stories. No matter which version shows up on screen, the character blends covert ops skill with a sharp edge and a web of complicated loyalties. That mix calls for someone with proven action chops, strong screen presence, and the ability to carry both mystery and heart without breaking a sweat.

We pulled together a group of performers who already have the training, the credits, and the versatility to step straight into a suit and make it feel lived in. Each name below brings real world experience with action filmmaking, physical preparation, and character driven work that lines up with what Spider Woman has demanded on the page for decades.

Ana de Armas

Ana de Armas is a Cuban and Spanish actor who broke out globally with films like ‘Knives Out’. She delivered a tightly choreographed fight and firearms showcase in ‘No Time to Die’ and followed that with high intensity sequences in ‘The Gray Man’. She headlines the John Wick spin off ‘Ballerina’, which required months of tactical and close quarters training.

She works fluently in Spanish and English and has collaborated with top second unit teams on large scale action productions. Her recent projects have emphasized hand to hand choreography, controlled movement under pressure, and long take action staging, all of which translate directly to a character who moves like a covert agent.

Daisy Ridley

Daisy Ridley led the modern ‘Star Wars’ trilogy with extensive saber and staff work under stunt supervision that emphasized precision footwork and timing. Away from space opera, her credits include ‘Murder on the Orient Express’ and ‘Chaos Walking’, which placed her in large ensemble and effects heavy environments with demanding physical requirements.

She has trained continuously for screen combat and wire assisted work and has carried franchise scale press and production schedules. Voice and narration projects complement that experience with clear vocal control, useful for a character known for espionage and undercover operations.

Jodie Comer

Jodie Comer earned major awards for ‘Killing Eve’, where she learned multiple dialects and demonstrated controlled physical beats in close quarters scenes. She followed that with the armored and grounded swordplay of ‘The Last Duel’ and large scale digital set work in ‘Free Guy’.

Her stage work in one woman productions required stamina and breath control over extended runs, which aligns with the endurance needed for modern action filming. She has also completed period and contemporary projects across film and television, showing comfort with different movement styles and costumes that can restrict range.

Mackenzie Davis

Mackenzie Davis fronted ‘Terminator Dark Fate’ with tactical weapons handling, sprint and strike choreography, and wire assisted leaps. Earlier appearances in ‘Blade Runner 2049’ and ‘Halt and Catch Fire’ placed her in complex worldbuilding that mixes practical sets with heavy visual effects.

Her action preparation included strength and mobility work to support repeated takes and fast resets. She has experience moving between intimate dialogue scenes and full tilt chase sequences, a rhythm that mirrors the blend of spy work and superhero stakes in Spider Woman stories.

Eiza González

Eiza González brought precision driving and timed movement to ‘Baby Driver’ and returned to high octane set pieces in ‘Ambulance’. She combined firearms familiarity and ensemble logistics in ‘Hobbs and Shaw’ and appeared in effects heavy projects like ‘Godzilla vs Kong’ and ‘Bloodshot’.

She works in both English and Spanish markets and has spent extended shoots on location with stunt departments that favor practical rigs. That background supports the agility and quick direction changes expected from a character who operates in tight urban spaces.

Sofia Boutella

Sofia Boutella transitioned from professional dance to screen action with standout movement in ‘Kingsman The Secret Service’. She handled creature performance and prosthetics in ‘Star Trek Beyond’ and led physical roles in ‘The Mummy’, ‘Atomic Blonde’, and ‘Rebel Moon’.

Her dance foundation provides balance, flexibility, and spatial awareness that camera teams rely on for clean action lines. She has also worked under heavy makeup and armor while maintaining readable expression, which is useful when a mask or suit covers part of the face.

Samara Weaving

Samara Weaving anchored the survival thriller ‘Ready or Not’ with sprinting, climbing, and stunt falls on practical sets. She added firearm handling and close quarters exchanges in ‘Guns Akimbo’ and trained with blades for ‘Snake Eyes’.

She has filmed action across night shoots, wet conditions, and tight interiors, which mirrors the real constraints of superhero production. Her credits span horror, action, and dark comedy, giving editors a wide range of usable reaction and timing beats during complex second unit work.

Anya Taylor-Joy

Anya Taylor-Joy carried large scale driving and combat work in ‘Furiosa’ while coordinating with vehicle and rig teams across desert locations. She is also known for character focused work in ‘The Queen’s Gambit’ and the stylized thrills of ‘Last Night in Soho’.

Her schedule for ‘Furiosa’ required advanced stunt rehearsal and stunt driving practice alongside voice and ADR sessions to lock continuity. That mix of precision movement and exact vocal performance supports a character who balances undercover dialogue scenes with sudden bursts of action.

Rebecca Ferguson

Rebecca Ferguson has extensive stunt rehearsal and wire practice as Ilsa Faust across multiple ‘Mission Impossible’ entries. She has also worked in world spanning science fiction through ‘Dune’ and period drama with exacting costume demands.

Her collaboration with stunt coordinators includes high speed motorcycle work, aerial harness training, and live fire proximity protocols with strict safety marks. That experience delivers clean eyelines and consistent continuity for editors who cut between main unit dialogue and second unit action.

Naomi Scott

Naomi Scott combined martial arts choreography and tech work in ‘Power Rangers’ and later tackled ensemble spy action in ‘Charlies Angels’. She showcased strong vocals and musical timing in ‘Aladdin’, which translates to breath control and rhythm during fight beats.

Her training spans wire gags, hand to hand patterns, and synchronized movement with extras on crowded sets. She has also managed effects heavy productions that require precise mark hitting for CGI integration, a standard need for web slinging sequences.

Mary Elizabeth Winstead

Mary Elizabeth Winstead delivered precision firearms handling and knife work in ‘Kate’ and crossbow practice in ‘Birds of Prey’. She has long form thriller experience from ’10 Cloverfield Lane’, which demanded tight camera framing and controlled physical choices.

Her action preparation covered striking combinations, rolls, and reaction timing designed for longer takes. She has also completed extensive night shoot schedules and international location work, both of which are common in spy focused superhero films.

Kaya Scodelario

Kaya Scodelario ran obstacle heavy sets and stunt jumps across ‘The Maze Runner’ series and moved into seafaring action with ‘Pirates of the Caribbean Dead Men Tell No Tales’. She led survivor focused action in ‘Resident Evil Welcome to Raccoon City’.

Her credits show repeated collaboration with effects teams on practical and digital environments. She has maintained performance clarity under rain rigs, low light, and confined interiors, conditions that often come with rooftop chases and warehouse fights.

Ella Balinska

Ella Balinska trained in stage combat and screen fighting techniques before starring in ‘Charlies Angels’. She returned to creature and firearms work in the ‘Resident Evil’ series, where she navigated long one take style action passages and tight corridor sequences.

Her background includes sword and unarmed certifications that support safe and repeatable fight beats. She has worked with VFX supervisors on set to map tracking points and movement arcs, an essential skill when adding digital webs or enhanced leaps in post.

Cailee Spaeny

Cailee Spaeny stepped into mech scale spectacle with ‘Pacific Rim Uprising’ and later moved through modern war reporting and urban conflict in ‘Civil War’. She headlined character driven drama in ‘Priscilla’, demonstrating range across grounded and stylized projects.

Her schedule has included large ensemble scenes, green screen acting, and meticulous continuity across reshoots. She has experience with military style movement and headset communication on set, which pairs well with an espionage oriented superhero who coordinates with support teams.

Isabela Merced

Isabela Merced balanced family adventure and jungle stunts in ‘Dora and the Lost City of Gold’ and took on cartel world intensity in ‘Sicario Day of the Soldado’. She has also performed action and acrobatics across young adult and genre projects while working in both English and Spanish.

Her recent roles include training with blades and batons and rehearsing wire assisted jumps under stunt supervision. She has recorded music and voice work that show strong microphone technique, a useful tool for voice processing inside a suit or during ADR for complex action scenes.

Share your picks for Spider Woman in the comments and tell us who you would add to the shortlist.