The 15 Best Jodie Comer Roles

Jodie Comer has built a career that cuts across prestige television, large-scale features, and intimate dramas, often anchoring complex stories with focused, detail-rich performances. From darkly comic espionage to historical epics and contemporary character studies, her screen work shows a range that’s broad yet consistently precise.

This list spotlights standout roles across movies and shows, with practical context on creators, networks and studios, co-stars, and production details. You’ll find information on source material, character positioning in the story, and industry recognition so you can track each title down and see how it fits within Comer’s body of work.

‘Killing Eve’ (2018–2022) – Villanelle (Oksana Astankova)

Jodie Comer plays Oksana Astankova—known as Villanelle—an international assassin at the center of the BBC America/AMC thriller developed for television by Phoebe Waller-Bridge from Luke Jennings’ ‘Villanelle’ stories. The series was produced by Sid Gentle Films, with location shooting across multiple European cities and a production pipeline that shifted showrunners as the narrative advanced.

Comer’s performance earned major industry recognition including a Primetime Emmy Award for Outstanding Lead Actress in a Drama Series and a BAFTA Television Award for Leading Actress. She stars opposite Sandra Oh, with key creative leadership at various points from Emerald Fennell, Suzanne Heathcote, and Laura Neal, which shaped tone, character arcs, and the show’s evolving international scope.

‘Free Guy’ (2021) – Millie Rusk / Molotov Girl

Comer portrays Millie Rusk and her in-game avatar Molotov Girl in this 20th Century Studios action-comedy directed by Shawn Levy. The film blends live-action and video-game elements, pairing Comer with Ryan Reynolds, Joe Keery, Lil Rel Howery, and Taika Waititi, and utilized Boston-area locations alongside extensive VFX-driven worldbuilding.

Her dual-role work links the real-world intellectual-property dispute at the heart of the plot with the virtual narrative inside the game. Production integrated motion-capture, stunt coordination, and a soundtrack that references gaming culture; Comer recorded vocals used in the film, complementing the character’s on-screen transitions between identities.

‘The Last Duel’ (2021) – Marguerite de Carrouges

In Ridley Scott’s historical drama, Comer plays Marguerite de Carrouges, whose accusation against Jacques Le Gris leads to a legally sanctioned duel. The screenplay by Nicole Holofcener, Ben Affleck, and Matt Damon adapts Eric Jager’s non-fiction book and uses a triptych structure to revisit events from multiple perspectives.

The role situates Comer at the center of legal procedure, church authority, and feudal power dynamics, with courtroom and household scenes grounding the broader conflict. Production staged large-scale combat, equestrian work, and armor choreography, with principal co-stars including Adam Driver, Matt Damon, and Ben Affleck and location work in France and Ireland.

‘Help’ (2021) – Sarah

Comer stars as Sarah, a newly hired care-home worker in a Channel 4 feature-length drama written by Jack Thorne and directed by Marc Munden. Set in Liverpool, the story tracks the impact of a public-health crisis inside a residential facility, produced by The Forge in association with One Shoe Films.

Her performance opposite Stephen Graham received significant awards attention, including a BAFTA Television Award for Leading Actress. The film employed controlled long takes and confined-space staging to depict staff shortages and emergency decision-making, with sound and production design reflecting rapidly changing guidance within the care-home setting.

‘The End We Start From’ (2023) – Mother

Comer leads as a character credited as “Mother” in this survival drama directed by Mahalia Belo and adapted by Alice Birch from Megan Hunter’s novel. The film was produced by SunnyMarch, Anton, and C2 Motion Picture Group, with an ensemble that includes Joel Fry, Katherine Waterston, Benedict Cumberbatch, and Mark Strong.

The story follows a new parent navigating displacement after a climate-driven catastrophe, emphasizing intimate, moment-to-moment choices rather than large-scale spectacle. Production favors naturalistic cinematography, restrained score, and location work that tracks the character’s movement across the UK, aligning the film’s visual design with its sparse, first-person perspective.

‘Doctor Foster’ (2015–2017) – Kate Parks

Comer portrays Kate Parks in the BBC One drama created by Mike Bartlett and produced by Drama Republic. The series centers on a village GP, played by Suranne Jones, whose suspicions about her husband trigger professional, familial, and social fallout.

Comer’s character becomes central to the unraveling of the core family, intersecting with storylines involving secrecy, community reputation, and custody. The show’s production places emphasis on tightly written scripts and close-quarters direction, with an ensemble approach that sustains tension across two series.

‘Thirteen’ (2016) – Ivy Moxam

In the BBC Three psychological drama created and written by Marnie Dickens, Comer plays Ivy Moxam, a young woman who escapes captivity after more than a decade. The series was produced by BBC Studios for BBC Three with broadcast on BBC Two and subsequent international distribution.

The narrative examines police procedure, media attention, and the complexities of returning to family and community after prolonged absence. Production shot in and around Bristol, using a mix of handheld camerawork and intimate interiors to center the character’s interactions with investigators and relatives.

‘The White Princess’ (2017) – Elizabeth of York

Comer stars as Elizabeth of York in this Starz limited series adapted from Philippa Gregory’s novel and produced by Company Pictures and Playground Entertainment. The show functions as a continuation of the world established by ‘The White Queen’, focusing on the political marriage that consolidates Tudor power.

The production features extensive historical sets, costume design tailored to late-medieval court life, and choreography for processions and council scenes. Comer appears opposite Jacob Collins-Levy, Michelle Fairley, and Essie Davis, with plots involving contested claims, alliances, and diplomatic maneuvering within the royal household.

‘Rillington Place’ (2016) – Beryl Evans

Comer appears as Beryl Evans in this BBC One true-crime miniseries about serial killer John Christie, produced by Bandit Television. The three-part drama stars Tim Roth as Christie and Samantha Morton as Ethel Christie, focusing on events connected to the wrongful conviction of Timothy Evans.

Comer’s portrayal foregrounds the victim’s perspective within the historical record, while the series uses period-accurate production design to evoke post-war Notting Hill. The drama engages with police procedure, judicial outcomes, and the case’s long-term influence on debates over capital punishment in the UK.

‘Lady Chatterley’s Lover’ (2015) – Ivy Bolton

In this BBC One adaptation of D. H. Lawrence’s novel, adapted by Jed Mercurio, Comer plays Ivy Bolton alongside Holliday Grainger as Constance, Richard Madden as Mellors, and James Norton as Sir Clifford. The single-film format condenses the source material while preserving core themes of class, intimacy, and industrial change.

Production emphasizes rural estates and interiors that highlight household hierarchies, with costume work marking distinctions between classes and environments. Comer’s supporting role intersects with caregiving and domestic responsibilities that influence the lead characters’ choices and relationships.

‘My Mad Fat Diary’ (2013–2015) – Chloe Gemell

Comer plays Chloe Gemell in the E4 coming-of-age series based on Rae Earl’s memoir, developed for television by Tom Bidwell. The show follows Rae, portrayed by Sharon Rooney, as she returns home after psychiatric care and re-enters school, friendships, and first relationships.

Chloe is part of the close friend group that frames the narrative, with storylines addressing mental health, body image, and trust. The production combines voiceover, humor, and music-driven sequences, with an ensemble that includes Nico Mirallegro and other young-adult cast members whose arcs interlock across the show’s run.

‘England Is Mine’ (2017) – Christine

Comer plays Christine in this biographical drama directed by Mark Gill about the early life of musician Steven Morrissey, starring Jack Lowden and Jessica Brown Findlay. The film concentrates on pre-fame years and local arts-scene influences that precede band formation.

Her role connects to the central figure’s workplace and social circles, contributing to a portrait of creative frustration and near-miss collaborations. Production favors practical locations, period wardrobe, and a muted visual style to evoke a specific cultural moment in Manchester.

‘Star Wars: The Rise of Skywalker’ (2019) – Rey’s Mother

Comer appears as Rey’s mother in a flashback within the concluding chapter of the sequel trilogy directed by J. J. Abrams and produced by Lucasfilm. Her scenes provide narrative context for Rey’s family background and the circumstances surrounding the character’s early life.

The cameo integrates with large-scale visual effects, legacy characters, and an ensemble of franchise regulars and new additions. Production utilized stages at Pinewood Studios and multiple international units, situating the flashback within a sequence of revelations that link past events to present conflicts.

‘Alan Bennett’s Talking Heads’ (2020) – Lesley

Comer performs the monologue ‘Her Big Chance’ as Lesley in the BBC’s remounted collection of Alan Bennett’s ‘Talking Heads’, produced under social-distancing constraints. The single-performer format emphasizes text and detailed delivery, with direction tailored to intimate camera setups.

Her episode appears alongside works performed by a roster of British actors, each focused on a different character and situation. The production approach highlights minimal sets, tight framing, and carefully modulated pacing that maintains narrative momentum within a solitary performance.

‘The Bikeriders’ (2024) – Kathy

Comer plays Kathy in writer-director Jeff Nichols’ period drama inspired by Danny Lyon’s photo-book of the same name. The story follows a Midwestern motorcycle club’s evolution, with Comer narrating key passages alongside Austin Butler and Tom Hardy.

The film explores club hierarchy, codes, and personal costs of affiliation, with Kathy serving as a primary eyewitness through interview-style framing. Production design, hair and makeup, and vehicle coordination recreate regional settings and riding culture, aligning staged scenes with the project’s documentary-influenced structure.

Share your favorite Jodie Comer roles in the comments and let us know which performances you’d add to this list!