Just as the casting news had subsided, Odessa A’zion did something extremely uncommon: she changed her mind. Less than 48 hours after being announced as the co-lead in A24’s upcoming film Deep Cuts, she announced she was walking away. Honestly. Publicly. With no PR buffer to soften the blow.
The character she had been cast to play, Zoe Gutierrez, was written as a woman of both Mexican and Jewish descent—a music scout whose identity is integral to the cultural themes in the source material. At first, Odessa—who is Jewish but not Mexican—accepted the part without having read the book. It was a decision she would come to regret quickly.
| Name | Odessa A’zion |
|---|---|
| Age | 25 |
| Occupation | Actress |
| Notable Works | Marty Supreme, I Love LA, Hellraiser |
| Recent News | Exited A24’s Deep Cuts amid casting backlash |
| Reference Link | https://www.bbc.com/news/articles/c722x42djv2o |
She acknowledged the error and made room for a much more genuine performer to take over by moving quickly and accepting responsibility in real time. Her honesty was surprisingly refreshing in an industry that often responds with defensiveness or silence. The exact words of the criticism she had received were echoed in her Instagram post, “I AGREE WITH EVERY SINGLE ONE OF YOU.”
Audiences have been especially outspoken about the significance of accurate representation during the last ten years. A character like Zoe, who navigates overlapping cultural identities while immersed in an alternative music scene, isn’t merely a narrative accessory. She is the emotional thread that connects the story’s urgency to its more profound issues of access, art, and race.
During those crucial first days of online reaction, A’zion didn’t hide. Instead, she admitted to being caught off-guard by the backlash—and, strikingly, by the deeper significance of the character she had been asked to play. She clarified that she had initially tried out for the lead role of Percy and had taken the part of Zoe on the spur of the moment. That momentum, however exciting, had clearly overstepped a cultural line.
She did more than simply back out of a role when she withdrew; she conveyed the idea that the decision to stop can have just as much impact as the decision to perform. Her move wasn’t framed as a loss. Instead, it seemed like a mature course correction.
Her statement’s emotional tone is what stands out the most. It was not crafted by handlers. There were no carefully selected words designed to appease. Instead, her message read like a late-night admission sent from someone who had just learned something important—and didn’t want to pretend otherwise.
For young actors, especially women navigating a crowded space of opportunity and scrutiny, decisions like this are not without consequence. Odessa’s career is growing. She’s coming off a critically praised performance in Marty Supreme, a film already generating awards buzz. Walking away from a high-profile A24 project might seem like a risk. And yet, she did it anyway.
A’zion’s departure stands out as especially moral in the context of contemporary casting, where every decision is examined and analyzed on multiple platforms. It showed that listening—really listening—can change outcomes. It also demonstrated that taking action is more important than apologizing.
As a result of her exit, Zoe Gutierrez’s role is now available to someone whose life experience can further enhance the character’s narrative. That opportunity is meaningful, not just for the performer who may take it, but for the audiences who recognized the disconnect immediately.
Since the controversy broke, A24 has not issued any formal statement. Production on Deep Cuts is still scheduled to move forward, with Cailee Spaeny and Drew Starkey remaining attached as Percy and Joe. The directing seat remains with Sean Durkin, whose handling of morally complex material in past films has drawn both praise and scrutiny.
By taking a back seat, A’zion has given Deep Cuts a new kind of attention that is based on responsibility rather than just enthusiasm. This goes beyond simply changing the cast. It’s about how actors, particularly those still carving out their paths, are being asked to approach opportunity differently. with background. With caution. And, as A’zion demonstrated, with a willingness to admit when something doesn’t sit right.
Her decision to leave feels especially poignant for a generation that was brought up on transparency and is allergic to performative activism. It wasn’t perfect. It lacked polish. But it was, in its own way, exceptionally clear.
And it’s difficult to ignore clarity, particularly when it’s coupled with action.
