
Birthdate: April 16, 1984 (42 Years Old)
Birthplace: Stockport, Greater Manchester, England, United Kingdom
Claire Foy (birthname: Claire Elizabeth Foy), best known for her acclaimed portrayal of Queen Elizabeth in the long-running series, The Queen (2016-2017, 2020, 2022-2023), is a brilliant British actor who made her feature film debut in the American supernatural adventure, Season of the Witch (2011), starring Nicolas Cage, Ron Perlman, Stephen Campbell Moore, Stephen Graham, Ulrich Thomsen and Christopher Lee under Dominic Sena’s direction, and grossing nearly $92 million for producer/distributors Relativity Media and Rogue. Foy had her first co-starring role in director/writer Dictynna Hood’s British drama, Wreckers (2011), co-starring Benedict Cumberbatch and Shaun Evans, and produced by Likely Story, and then Foy had a supporting role in the U.S. comedy, Vampire Comedy (2014), with Zoey Deutch, Lucy Fry, Danila Kozlovsky, Joely Richardson, Olga Kurylenko and Gabriel Byrne under Mark Waters’s direction, and distributed by The Weinstein Company.
Foy appeared in the ensemble of director/writer/producer Jon Stewart’s Iran-set drama, Rosewater (2014), based on Maziar Bahari’s 2009 memoir Then They Came for Me (co-written by Aimee Molloy), produced (in part) by Scott Rudin, co-starring Gael Garcia Bernal, Kim Bodnia, Haluk Bilginer, Shohreh Aghdashloo and Golshifteh Farahani, premiering at the Telluride Film Festival and released by Open Road Films. Foy played support in director/producer Nicholas Hytner’s feature version of Alan Bennett’s 1989 essay, 1990 book and 1999 stage play and 2009 radio play, The Lady in the Van (2015), starring Maggie Smith, with Alex Jennings, Jim Broadbent, Frances de la Tour and Roger Allam, and released by TriStar Pictures via Sony Pictures Releasing International after launching at the Toronto Film Festival.
Claire Foy had one of her first co-lead roles opposite Andrew Garfield in the Willliam Nicholson-written biopic, Breathe (2017), with Tom Hollander, Hugh Bonneville, Dean-Charles Chapman and Ed Speleers under Andy Serkis’s direction, produced (in part) by BBC Films and BFI and released by Bleecker Street/Participant Media (U.S.)/STXInternational (U.K.) after launching at the Toronto Film Festival. Foy enjoyed her first starring movie role in the Steven Soderbergh-directed and photographed Unsane (2018), shot on an iPhone 7 Plus, with Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins and Amy Irving, premiering at the Berlin Film Festival and distributed by Bleecker Street/Fingerprint Releasing (U.S.)/20th Century Fox (International).
Foy co-starred with Ryan Gosling in director/producer Damien Chazelle’s Neil Armstrong biopic, First Man (2018), adapted from James R. Hansen’s 2005 book by Josh Singer, with Jason Clarke, Kyle Chandler, Corey Stohl, Christopher Abbott and Ciaran Hinds, and which was produced and distributed by Universal Pictures after premiering at the Venice Film Festival. Foy then starred as Lisbeth Salander in director/writer Fede Alvarez’s reboot/sequel, The Girl in the Spider’s Web (2018), adapted from David Lagercrantz’s sequel novel followed Stieg Larsson’s best-selling series, with Sylvia Hoeks, Synnove Macody Lund, LaKeith Stanfield and Stephen Merchant, and released by Sony Pictures Releasing via Columbia Pictures/MGM.
Claire Foy co-starred with Benedict Cumberbatch in director/co-writer Will Sharpe’s biopic, The Electrical Life of Louis Wain (2021), co-starring Andrea Riseborough, Toby Jones and Olivia Colman (as narrator), produced (in part) by StudioCanal and Film4, and premiering at the Telluride Film Festival before a limited release by Amazon Studios (U.S.)/StudioCanal (U.K., France), and then Foy joined the distinguished ensemble of Rooney Mara, Jessie Buckley, Judith Ivey, Ben Whishaw and Frances McDormand (who was one of the lead producers) in director/writer Sarah Polley’s acclaimed feature version of Miriam Toews’s 2018 novel, Women Talking (2022), produced (in part) by Orion Pictures and Plan B Entertainment, launching at the Telluride Film Festival before a release by United Artists Releasing, and winning Polley the Oscar for Best Adapted Screenplay. Foy co-starred in another highly praised drama, with Andrew Scott, Paul Mescal and Jamie Bell in director/writer Andrew Haigh’s All of Us Strangers (2023), based on Taichi Yamada’s 1987 novel, Strangers, premiering at the Telluride Film Festival and distributed by Searchlight Pictures, and then Foy (who was also an executive producer) starred as naturalist Helen Macdonald in director/co-writer Phillippa Lowthorpe’s biopic, H Is for Hawk (2025), based on McDonald’s 2014 memoir (and co-written by Emma Donoghue), with Brendan Gleeson and Denise Gough, produced (in part) by Film4 and Plan B Entertainment, and which launched at the Telluride Film Festival before theatrical distribution by Roadside Attractions (U.S.)/Lionsgate (U.K.).
Foy co-starred with Andrew Garfield in the U.K./U.S.-produced fantasy adventure, The Magic Faraway Tree (2026), written by Simon Farnaby adapting from Enid Blyton’s The Faraway Tree book series, starring Andrew Garfield, Claire Foy, Nonso Anozie, Jennifer Saunders and Rebecca Ferguson, and which was first released by Entertainment Film Distributors in the United Kingdom in the spring of 2026 and then by Vertical in the United States in August 2026. Foy joined fellow star Richard E. Grant (both enjoying fine reviews) for director/writer/producer/editor/composer Peter Glanz’s 18th century British black comedy, Savage House (2026), with Jack Farthing, Bel Powley and Kila Lord Cassidy, and which was released worldwide by Paramount Pictures, and then Foy co-starred with Jack O’Connell and Guy Pearce (as Rupert Murdoch) in the Danny Boyle-directed drama based on screenwriter James Graham’s play, Ink (2026), produced (in part) by StudioCanal and premiering at the Venice Film Festival before a theatrical release by Netflix (U.S.)/StudioCanal (U.K.).
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Condition: Claire Foy endured childhood arthritis from when she was 12 years old to 15 years old.
On Acting: Foy has commented that “acting isn’t about what I’m doing. It’s about listening. What is the other person saying? Is my character moved to speak? If they do say something, why do they say it? I lean heavily on my fellow actors, and I’m very lucky to be on set with talented people. I would be terrible delivering monologues I think.People Also Searched For