INSIDE “THINESTRA”: THE MACEDO SISTERS’ DARK, DARING DIVE INTO DUALITY
BY IRVIN RIVERA
PHOTOGRAPHER: IRVIN RIVERA, FASHION STYLING: JAZMIN WHITLEY, MAKEUP: DANI KATZ, HAIR: RICHARD NORMAN GRANT, DIGITECH: PHIL LIMPRASERTWONG, PHOTO ASST: ANDREW LOPEZ
Melissa and Michelle Macedo, talented twin sisters who effortlessly weave their offbeat musical chops and fearless onscreen presence into something altogether richer, are sending shock waves through film and music with their latest turn. In the darkly cheeky body-horror film “Thinestra” (directed by Nathan Hertz and starring both sisters alongside Mary Beth Barone and Brian Huskey), Melissa plays Penelope and Michelle plays Penny, exploring the tangled, two-sided reality of one woman’s spiral.
Growing up, the Macedo twins were side-by-side at piano lessons before morphing into a double threat: Michelle’s lyric-driven songs, Melissa’s soaring melody lines, and the electric twin bond that propels every note and line of dialogue. On set, they trained with movement coach Erika Ackerman to sync physicalities and vocal tics, “so we could observe the arc of each other’s characters,” as they told us. The result: a dual performance that doesn’t just sit beside each other—it mirrors, distorts, and confronts. In the interview, they admit: “When people meet you together, they see you only in context with each other… we had to work extra hard to make sure what other people projected onto us didn’t define us.”
As you’ll read in the full Q&A, their creative worlds collide. Music fuels acting, sisters lift each other, and identity and body image are intertwined in a horror ride where the monster is often inside. And one line from the chat lingers long after you read it: “Stop holding yourself hostage with the idea that you ‘should’ be doing something and trust that your work is enough.”
THINESTRA is a wild ride. Could you both describe your research process, including your preparation and training, if any?
It sure is a wild ride! Yes, we did quite a bit of training and preparation for this role. We worked with an incredible movement coach, Erika Ackerman, who helped us discover the physicalities and vocalizations of both Penny and Penelope. We were both present on set, regardless of who was filming that day so we could observe the arc of each other’s characters. Since we play two different sides of the same person, we wanted to ensure there was consistency throughout Penny/Penelope’s journey.
What do you hope viewers take away from this film?
We hope viewers feel that they’re not alone. There’s an illusion that if we reach a certain weight, we will finally be loved. We hope people can be kinder to themselves and have more compassion for themselves.
How do you emotionally and mentally prepare for the intensity a role like this brings?
We all have felt varying levels of shame about our bodies. Shame is an incredibly powerful emotion for us as women, as twins, and as actors. I’m sure people of all genders can relate. Emotionally, there were challenging moments; we wanted to focus on accurately portraying the all-consuming nature of disordered eating. At the end of the day, it was important for both of us to have some sort of wind-down routine so we could rest and be emotionally prepared for the next day.
The film addresses weight loss fads, body image comparison, and numerous issues that will resonate with audiences. Was tackling such issues intimidating at all? What drew you to the challenge, specifically of choosing a role based on a lot of self-conflict?
It was intimidating because we wanted to make sure we approached the subject with accuracy and compassion. Disordered eating and body comparison are incredibly complex and nuanced, as twins, we’ve experienced it quite often. We’re often meant to feel like we owe people sameness, that people are disappointed if we’re not the same, and if we’re not, they’re quick to point out the differences between us. This is extremely frustrating because it strips us of an individual sense of identity. We can only exist in relation to each other. We were eager to tackle these issues because they are everyday struggles that are not often explored through body horror.
You grew up together in Pasadena, and from what I’ve read, your musical and creative lives have always been entwined. How did you first realize that working together could become a vehicle for your deepest self-expression, rather than just a convenience or safety net?
We never considered music as a career path since we were both so young when we started. As we got older,our love for the arts developed, and we realized we wanted to pursue both acting and music. Since we both had a deep passion for it, we thought, “why don’t we both pursue this and lift each other up along the way?”. We found working together incredibly fulfilling since we love similar music and felt like we both had a lot to say. There is an inherent bond and trust that we have with each other that facilitates the creative process and allows us to create in a meaningful way.
From early childhood music lessons (piano, guitar) to acting, how did your individual voices, even as twins, begin to diverge or strengthen? Are there moments you saw your paths separating, and if so, how did you negotiate that?
Yes, when we first started, Michelle had a love for poetry that eventually turned into songwriting, so she was always more focused on lyrics while Melissa focused on melody.. We grew up complementing each other’s strengths and supporting each other. Even though we’re twins, we are both completely different kinds of artists and people. We separated in college, which was important because it helped us develop our own creative voices. After college, we both worked towards our goals togethe,r but also allowed opportunities to unfold and be creative individually as well.
People often project on twins: “you’re the same,” “you’re interchangeable,” “you must feel competition.”How have those external perceptions shaped you, for better or worse, and how did you learn to reclaim or refract them through your art?
That is one of the most difficult parts of being a twin. When people meet you together, they see you only in context with each other. As anyone with siblings will know, two people who grow up in the same household can be totally different. The constant comparisons have shaped us throughout our lives, but also have strengthened us. Although it could be hurtful, we had to work extra hard to make sure that what other people projected onto us didn’t define us.
Working alongside your twin must be a very unique experience. What is your process like together, and how does it differentiate individually?
It is! We are very grateful that we had each other in this process. We play one character with two different iterations. We’ve worked on projects together, and it’s always so nice to have a supportive presence on set. Individually, our process was very different. Penelope is a representation of Penny’s shame, so Penelope was all about exploring ravenous hunge,r while Penny was about hiding and making herself small. In essence, we both explored opposite spectrums of the same emotions.
When you both portray facets of Penny (or Penny and her doppelgänger), how did you delineate emotional states, intentions, subtle shifts, especially when the boundary between the halves becomes fluid? How did you design that internal choreography between you two?
This was an interesting challenge since it was the first time we played one person. We worked with a movement coach to make any transitions and character arcs seamless. We studied the script together and were there for each other every day on set so we could watch how the story was being told and so we could build a character together.
Could you tell us a bit about the score? How did you two begin to tackle the score conceptually down to arranging the music and lyrics?
Yes, the actual film score was written by incredible musicians Tom Walley and Charlie Laffer. We created dark Christmas songs for the film with incredible producers Nicci Funicelli and Shayon Daniels at Jenga Productions. We really wanted to capture the strange darkness surrounding Christmas time. There’s so much pressure to be joyful during this season and, in reality, it can be a very dark time for people. We are releasing these songs as an EP called “Macedo Presents: A Very Scary Christmas” starting with our first single in late October. Stay tuned for our dark take on Christmas Classics.
Because you also composed the score, you must have had a sonic language in mind while filming. How did your understanding of the story in music shape your acting choices? Did you sometimes “hear” a scene before you fully saw it?
The majority of the score was composed by Tom Walley and Charlie Laffer. They really captured the journey and the feelings of the character so perfectly.. We did contribute to the score with our interpretations of dark christmas classics and we loved doing that. Christmas can be a dark time for many and since the movie takes place around Christmas, we thought it would be a great opportunity to explore that darkness within the context of this joyful holiday. We worked with amazing producers, JENGA, who created haunting and powerful music.
How does the score differ from your original music as MACEDO? While it is darker and holiday-themed, there is a signature sound that connects the dots to your original music across streaming platforms when comparing the two!
The through line throughout this and all of our music is authenticity. Whether that’s expressing optimism or heartache, our goal is to convey how we truly feel. Part of what was so fun about this music is that we were able to explore creatively and also do something a little bit different. I think this music really shows a haunting and atmospheric side of us as artists and creatives that we love to embrace.
How do you stay creatively motivated between acting/music? Do you tend to lean all the way in music for a period and vice versa or do they stay well balanced within each other?
Luckily, one feeds into the other! When we’re shooting a film, acting does take over for a bit. However, we can then return and use music as a creative expression. The great thing about music is that you’re in control of the process. During the pandemic and the strike, music was an extremely helpful way to keep our creativity flowing. In that way, they balance each other perfectly.
In moments when Penny’s fracture is most extreme, what was your ritual for resetting yourself as a person? Did you have to “undo” emotional residues after a take, and if so, how?
As an actor, it can always be difficult to let go of the intense emotions of the day. We would both do grounding exercises and try to take at least a few minutes at the beginning of the day to meditate. At the end of the day, when we were washing off our special effects makeup, it was a good opportunity to wind down and relax before the next day. Taking care of yourself emotionally as an actor is of the utmost importance!
Top 3 horror films of all time?
We have always been connected to the supernatural so we love these films. They also all have very strong female protagonists.
The Conjuring
Babadook
The Others
For someone coming up who feels squeezed by comparison, self-critique, the endless scroll, what would you whisper to them as a lifeline in their creative and emotional evolution?
Oooh, we love this question. It is so easy to get caught up in comparison and despair as an
artist. Sometimes the pressure of monetizing one’s art can feel stifling to someone’s creative
life. The idea we want people to remember is to show your inner artist compassion. Feed yourself creatively while trying to live a fulfilling life and take the pressure off of yourself to support yourself entirely through your art. Making money in other ways will help you along your artistic journey. Stop holding yourself hostage with the idea that you “should” be doing something and trust that your work is enough. Also find things you enjoy as a human that have nothing to do with being productive as an artist.
If you could be any book, which would you choose and why?
We love the book The God of Small Things by Arundhati Roy because it’s a powerful, beautifully written exploration of how small acts can challenge oppressive systems like caste, patriarchy, and colonialism. It centers silenced voices, especially women and marginalized people. It blends the personal with the political, illustrating how systems of power influence even the most mundane moments.
Identity is a journey and since we’re also mixed race we’ve always felt that people didn’t really know how to place us in the world. It was important for us to take our power back and channel it into us as individual artists.
