Now that fashion month is over, this Thursday’s episode of The Run-Through dives into one of the most talked-about films from this year’s Sundance: Mary Bronstein’s gripping psychological comedy-drama If I Had Legs I’d Kick You, featuring the wonderful Rose Byrne.
Before the film hits theaters on Friday, Rose visited the podcast studio to chat with Chloe Malle and Taylor Antrim about its key themes—including the intensity of motherhood and caregiving—break down some of its most stunning scenes (that ending!), and geek out over her co-stars, A$AP Rocky and Conan O’Brien.
Read a slightly edited and condensed version of their conversation here, then tune into the full episode to hear the group discuss Rose’s partner Bobby Cannavale’s latest role on Broadway in Yasmina Reza’s Art; Rose’s upcoming stage performance alongside Kelli O’Hara in Noël Coward’s Fallen Angels; the toughest skills she’s had to learn for a role (including playing Gloria Steinem); and how she and her stylist Kate Young create her red-carpet looks. You won’t want to miss a moment.
Chloe Malle: Okay, let’s talk about Legs, because Taylor and I have very different tastes in movies. He enjoys really stressful films…
Taylor Antrim: I do. I like when your heart races a bit—
CM: It’s like being on a rollercoaster for two hours.
TA: But I enjoy that.
CM: I find it… challenging.
Rose Byrne: There’s a claustrophobic feel. I get it. The film demands a lot from the audience—it’s an experience. It’s radical and a bit punk rock, with this underlying tension that builds like a pressure cooker, but it’s relieved with comedy. There are moments where the pressure lets up, and you can laugh at the absurdity.
CM: And heart! There are genuine moments of empathy that really resonate.
TA: So, your character’s daughter has an eating disorder and is on a feeding tube. The challenge your character faces is that the doctor, played by Mary Bronstein, says your daughter needs to gain about 50 pounds this week or face further intervention.
CM: And the doctor subtly judges Rose’s character for how she’s handling the situation.
TA: The film is really about escaping reality… the camera stays on your face the whole time. Linda is the main character, but there’s little objectivity—it feels like you’re inside her head.
RB: Yes, it’s entirely from her perspective.
TA: So, when you first read the script, what did you think?
RB: The script was just electric. It read like a fever dream—existential, about motherhood, caregiving, therapy, with so many layers. I felt both terrified and exhilarated by it. It was extraordinary, and the film really captures what was on the page. Often, a script and the final film can differ, but this one stayed true.
CM: After watching, I wondered how draining it was to make. I felt like I needed a bath.
RB: Yeah, it definitely leaves you on edge. During filming, my adrenaline was sky-high because of the fast pace. The film is ambitious with its sequences, all done practically with minimal special effects and a small budget. We shot it in 26 or 27 days.
TA: In Montauk?
RB: In Montauk and around the city. But my adrenaline was so high, it wasn’t until after… it felt a bit like doing a play. You sort of…I stepped on stage and then I had a bit of a gap in my memory about what happened between the start and the finish. By the end, I felt a little bereft. It’s stayed with me, and I experienced a lot of separation anxiety from Mary Bronstein, the writer and director.
TA: She’s so good in the movie too.
RB: Isn’t she great? She’s so humorless. She plays this doctor who’s just the nemesis of Linda.
TA: In some ways, she’s an audience surrogate because the audience kind of wants your character to buckle down and make that appointment…
RB: Absolutely.
TA: I thought it was interesting that she played that role in the film.
RB: It’s so true.
TA: Many people feel they haven’t seen you in a role like this before. There was the show “Physical,” which is a much darker comedy than we’re used to from you, with dramatic elements. This movie has some humor, but make no mistake, it’s a very serious film.
CM: This is not “Bridesmaids” for any fans listening. Be warned.
TA: Do these categories matter to you when you look at a script? Do you think, “This is my way out of doing what people expect of me,” or is that not how you approach it?
RB: I just saw it as an opportunity. I thought, “Oh God, I don’t want to mess this up.” But regarding genre, we recently did a panel at the Telluride Film Festival with Jodie Foster, myself, Mary Bronstein, and the wonderful French director Rebecca Zlotowski. We discussed genre—its constraints and freedoms. Mary’s film defies genre in a way because it blends many different ones. As a creative person, I love exploring all genres. The best drama has humor, and the best comedy has drama. They come from the same wellspring, and walking that tightrope is what I love to watch and try to do. This film was a perfect opportunity to have both. It’s very dramatic and not in the same genre as “Bridesmaids,” “Spy,” “Neighbors,” or “Platonic,” which are broader, more hangout comedies.
CM: But it’s like a gymnastics routine—you were doing everything.
RB: Yes, and it was so creatively fulfilling. Definitely a career highlight for me.
TA: Tell Rose how old your kids are.
CM: Well, my daughter is three, and every morning feels like a battle.
RB: The cortisol levels are high.
TA: That’s very much what this movie is about.
CM: I know, and I really related to that. I had a moment this weekend where she refused to eat, and I just had to walk away. I’ve been so grateful over the past five years, even more, that women are finally talking honestly about the complexity of motherhood. In the last two years, that conversation has become even more intense. Were there any texts or films you turned to that helped shape this character?
RB: Mary Bronstein, the writer and director, is very open about this. It’s based on her personal experience as a parent, so she was always my touchstone for the character and story. I love that this dialogue is finally happening. With motherhood, there’s so much shame around feelings like anger, disappointment, frustration, challenges, claustrophobia, postpartum issues—things that for years weren’t discussed or had no language. It’s hard, and it’s challenging for people to watch. Mothers are both revered and dismissed in society. It’s the most important job in the world, yet it comes with so many shortcomings, lack of support, and…We could discuss this endlessly, but I find the artistic dialogue surrounding it truly inspiring, and Mary holds nothing back. It centers on my character’s poor decisions regarding motherhood and her state of denial. The reality is, she can’t even see her child. At that stage, she’s more of a caretaker than a mother, missing out on the usual joyful experiences with her child. There are glimpses of this throughout the film, and what she endures as a mother is something I hope 99% of mothers never have to face—it’s a very specific situation. Yet, the concept of being a caretaker is something many people can connect with in various parts of their lives.
CM: You’ve hit the nail on the head, and I often remind myself to find the joy in those moments. Mary executed it brilliantly by not showing the child until the final frame, keeping you entirely inside the character’s mind.
RB: That was her intention—a bold creative choice. When she first proposed it to me, I was taken aback but agreed. Of course, I did see the child; Delaney Quinn, who played the part, was my scene partner and influenced all my decisions. We auditioned many talented young actresses, and Delaney was simply brilliant. Having a child on set also brought a lightheartedness and a necessary playfulness that was a real gift.
CM: How old is Delaney?
RB: She was 10 at the time and is likely 12 now. She was a fantastic kid who loves horror films, and we’d chat about typical kid topics—she was wonderful.
TA: I wonder if COVID influenced this, as parenting during that time was a unique experience for all of us…
CM: You were in a dark place then.
RB: How old are your children?
TA: My son is almost 11, and my daughter is 13, so I’m a bit ahead of you with your two boys…
RB: Yes, mine are seven and nine, and I have a stepson who’s 30, so we cover a wide range.
CM: But you had a particularly tough time during COVID. I think the age my kids are now would have been brutal.
RB: I understand. It was definitely challenging. I did two two-week quarantines in Australia where we couldn’t leave the hotel—it was very strict and a bit sad by the end.
CM: I was going to ask if you drew on any moments of parenting claustrophobia or frustration, perhaps from those quarantines?
RB: My memory of quarantine involves those phone calls with your partner about the kids—they can be intense.
CM: That really resonates with me.
RB: I find phone calls tricky to perform authentically. Mary was excellent at making them specific and practical, and Christian Slater would always be calling from some odd location.
TA: I want to ask about the final sequence—a minor spoiler, but not really. I’m unsure how to handle it on a podcast, maybe skip ahead? At the end, you’re on the beach, plunging into the waves repeatedly, which felt unique and almost scary to watch.
CM: It gave me chills.
TA: Can you tell me about filming that?
RB: It was a massive sequence. Our entire schedule revolved around the beach scenes because we had to finish before it got too cold in Montauk. It was like solving a puzzle to fit everything in, but we managed to shoot at the end of summer when everything was winding down, and the water was still warm enough for this ambitious scene.As an Australian who grew up in Sydney, I learned to swim at a very young age. With eighty percent of the population living along the coast, you’re in the water as soon as you can walk. The ocean is a big part of my culture, so I have a deep respect for it. I take it seriously, always mindful of the waves and currents. I don’t underestimate it, and Montauk can be particularly rough. Before that night, the waves had been calm, but then they suddenly surged in. There was a feeling that we were all in it together, trying to make it work. We almost lost our cinematographer. We had all the safety measures in place, but it was definitely an ambitious shoot.
CM: Did playing this character change your perspective on motherhood or remind you of how unrealistic the expectations can be?
RB: Every aspect of the film did. Mary shared her story with me, and we spoke with many mothers of children with special needs. It was heavy and moving, as you’d imagine. These women were so open and honest about their kids and what they’ve been through at different stages. Their stories have stayed with me and will continue to. This film has reshaped my view of motherhood in many ways.
CM: What are your calls with Bobby like? Are they similar to the Christian Slater calls?
RB: It’s all about schedules and groceries. That’s a constant. I don’t know if you have the same experience…
TA: I handle the groceries and the schedule. I’m the CEO. But Liz is more fun.
CM: That’s what I say. Graham does everything, but I’m more fun.
RB: Oh, people come for Bobby and they stay for Bobby. He’s definitely more fun. He delivers and does the groceries.
CM: Oh, we love A$AP Rocky so much.
TA: That was such a fun cover story.
CM: He really charmed everyone on our team at the Met. Everyone was just putty in his hands.
RB: I think that’s the same for everyone. It definitely was for me.
CM: Was this his first film?
RB: No, he had done a few other small roles, I believe, but he was so generous and curious. It was a challenging character to play. He’s truly the only character in the film with empathy and curiosity, who actually sees what’s happening in front of him.
TA: He’s a breath of fresh air. He keeps the audience engaged and sort of rooting for my character. He’s very instrumental in the narrative. It’s a hard balance to strike, and he did it beautifully. Mary Bronstein just knew it had to be him. She’s very clever with her casting—same with Conan O’Brien playing my therapist.
CM: That’s bold, saying, “I have to have Conan and Rocky.”
RB: It is, it’s punk rock.
Frequently Asked Questions
Of course Here is a list of FAQs about Rose Byrne and her new film If I Had Legs Id Kick You written in a natural conversational tone
General Beginner Questions
Q What is the new movie Rose Byrne is in
A Its a dark comedy called If I Had Legs Id Kick You
Q What is If I Had Legs Id Kick You about
A Its about a woman who after a series of bizarre personal crises forms an unlikely and complicated friendship with a cynical stranger leading them both on a darkly humorous journey
Q Is this a comedy or a drama
A Its best described as a dark comedy or a dramedy It has funny moments but also deals with serious and emotional themes
Q Who else is in the movie besides Rose Byrne
A The full cast hasnt been officially announced yet but Rose is the confirmed lead
About Rose Byrnes Role Performance
Q What kind of character does Rose Byrne play
A She plays a character described as edgy complex and somewhat unhinged a departure from some of her more polished previous roles
Q Why did Rose Byrne choose this role
A She has said she was drawn to the scripts dark humor and the challenge of playing a character who is messy unpredictable and deeply flawed
Q How is this role different from her parts in movies like Bridesmaids or Spy
A While those were outright comedies this film blends comedy with darker more dramatic elements Her character is less of a comedic foil and more of a central emotionally raw protagonist
Q Did she have to do any special preparation for this role
A She hasnt shared specific details but for roles this intense actors often do deep character work which can include research workshops and developing the characters backstory
About the Films Themes Style
Q What does the title If I Had Legs Id Kick You mean
A Its a metaphor for feeling powerless or frustrated but still having a fierce defiant spirit It perfectly captures the films tone of dark humor in the face of adversity