Our contemporary performance art scene has found a remarkable voice in Marval A Rex, a catalytic presence who is redefining the cultural conversation surrounding identity, gender, and comedy. Born to a Catalan mother in the United States, Rex identifies profoundly with his heritage, navigating the complexities of being a transgender artist in a world that often wrestles with the intersections of identity. This unique backdrop informs his multifaceted work, embodying a fearless spirit that challenges societal norms while captivating audiences.
Marval A Rex is a true polymath: he is not only an accomplished actor but also a stand-up comedian, screenwriter, and professional astrologer. His career made by threads of achievement and innovation, each project underscoring his commitment to exploring the intricacies of masculinity and the trans experience. In 2019, he was recognized as an “LA Art Star” by Los Angeles Magazine, a testament to his impact on the vibrant arts community in Los Angeles. His distinct imprint on the scene is further solidified by notable accolades such as the California Arts Council Emerging Artist Grant in 2021 and the West Hollywood Arts Grant in 2022.
Known for his bold and uninhibited comedy, Marval Rex is the mastermind behind Big Dad Energy, a groundbreaking comedy night that elevates transmasculine voices within the realm of stand-up. This unique platform has been celebrated in prestigious outlets like The LA Times and The Washington Post, underscoring the significance of providing representation in comedy. Rex’s humor, always laced with sharp social critique, offers audiences a relatable glimpse into the complexities of trans identity—creating a space where laughter becomes a catalyst for understanding.
As an actor, he made waves with his compelling performances, but his recent roles mark a new chapter in his illustrious career. He can be seen in HBO Max’s Emmy-nominated series Book of Queer, where his portrayal resonates deeply with viewers, bringing visibility and nuance to the trans experience. In the upcoming psychological thriller House of Abraham, directed by Lisa Belcher and featuring horror royalty Lin Shaye and Natasha Henstridge, Marval Rex takes on a role that promises to intertwine his love for genre film with his commitment to authentic storytelling.
Yet Marval Rex’s background doesn’t end at acting; his creative endeavors extend into screenwriting and filmmaking, with his first feature script, New Marilyn Club, receiving accolades from international competitions. His innovative approach to storytelling embraces the elements of genre cinema—especially horror—as powerful tools to explore nuanced themes. Rex believes that genres like horror and comedy can serve as gateways to profound discussions about identity, existential fears, and the complex fabric of human connection across societal divides. Marval’s work is characterized by its ambitious scope and the provocation of critical thought. For him, experiences of fear and laughter are universal and invite all kinds of audiences to connect with his narrative. “A gasp or a laugh is a universal bodily reaction we cannot control,” he notes. “It brings our bodies intimately into the world of the characters on screen. In this case, it’s my trans body.” Through his uniquely personal lens, Rex seeks to illuminate his world, and in doing so, he aims to dispel the notion that it is frightening; rather, it is beautifully complex.
Marval Rex embodies also the role of a predictive astrologer with a blend of spirituality and practical wisdom. A decade-long practice has allowed him to connect with clients worldwide, crafting personalized readings and insights that navigate the cosmic waters of identity and experience. His podcast, The World of Rex, boasts a growing audience across more than 52 countries, where Rex shares astrology as a means of exploring larger cultural themes while providing guidance to his listeners.
Marval Rex’s multi-disciplinary art is about unstoppable passion and relentless creativity. His recent projects include a poignant documentary titled The 700 Year Gap, an exploration of his family’s hidden Sephardic Jewish history and his journey toward becoming a Rabbi. This ambitious undertaking reflects Marval Rex’s belief in the importance of reclaiming personal history as a crucial part of his narrative arc—an act of artistic defiance that challenges the boundaries of identity.
Let’s explore together the significance of his upcoming projects, and the resonance of his mission to utilize genre in transforming perceptions of trans identities. Marval Rex stands as a light of hope, usefully illustrating the multifaceted experiences of being human. Welcome to the world of Marval Rex, where every laugh, every moment of fear, and every burst of creativity invites us all to understand and embrace the beauty of our differences:
Can you share your experience working on House of Abraham and what attracted you to this psychological horror film? What drew you to this particular project, and how did you connect with the script and its themes? Share some anecdotes from the set that illustrate the creative process and the atmosphere during filming.
It is really interesting, because I have a magical belief that the roles choose the actor. I know that is woo woo and esoteric, but I am a professional astrologer, so…you shouldn’t be too surprised. When the script landed in my inbox from director Lisa Belcher, I was psychologically going through a very hard time internally and my world felt dark and depressing. I read the script and saw myself in Alex, the character I play, in a way that felt almost scary to inhabit. We shot this film over two years ago, so a lot has changed for me since then, including feeling overall a lot more grounded in myself and my career, but at that time we shot, I really felt like inhabiting Alex was like standing in front of a funhouse mirror – everything looked very familiar but skewed, exaggerated, and even darker. It was a risk to take on this role, as I was so vulnerable already. But I did, and I think the work speaks for itself: I really went somewhere emotionally and came out from set a different person.
What also hooked me was how the story treated modern masculinity: not as something static or heroic, but as something fragile, haunted, and inherited like a bad family heirloom. The script is brutal but weirdly tender. It is written by out gay actor Lukas Hassel, who plays the infamous Abraham. I think the fact that a queer man wrote this script is really telling in how it handles all the power dynamics and the masculine expressions within the film. It’s complex. It’s messy. I mean, I like work that is brave enough to be ugly.
As for the set – it was a wonderful experience. And actually quite fun. Making horror can be really fun, and actually comedic. You have to laugh to process the intense emotions that come up during the scenes. And I was so lucky to have Lisa Belcher, our kind and generous director, steering the ship. Her vision is so integral to this film because you have a woman’s eye guiding this story of a wounded man. I also have to give a shout out to the crew in Austin, TX, where we shot on location! They were SO professional and kind and excited to make this film. They had all been working on the TV series The Walking Dead, so we were so incredibly lucky to have such a seasoned crew help us tell this terrifying story. No zombies were hurt in the making of this film.
How did you prepare for your role in House of Abraham, and what challenges did you face while filming? Can you walk us through your preparation process, including techniques you used to get into character? Were there any unexpected hurdles you encountered, either emotionally or physically, that shaped your performance?
I always start with the body. I think so much about acting is figuring out how a character moves and thinks and feels when no one’s watching. For Alex, my character, I wanted him to feel like he was carrying around invisible armor –like he was trying to be solid while everything inside him was vibrating and screaming in pain. So I did a lot of physical work, weird little exercises like walking around with a weighted vest that athletes use to train or wearing boots that were just slightly too heavy. Tiny things that make me aware of the weight I was carrying. The weight of the grief Alex enters the story with.
Emotionally? I dug into grief. Grief for old selves, grief for expectations I had to kill off to survive. Being trans means you get very familiar with loss – and re-invention. I tapped into that.
Biggest hurdle? Honestly, physical endurance. We shot so much in cold water and night shoots, and I did all my own stunts! Which was pretty wild and a true challenge. There’s something very primal about your body just fighting you when it’s exhausted. It weirdly helped the performance. Like, no acting required. I was genuinely exhausted in certain moments and sometimes a little bit scared too.
What themes in House of Abraham resonate with your personal experiences as a transmasculine person? Discuss how the film’s exploration of identity, fear, and connection aligns with your own journey. Are there moments in the script that felt particularly poignant or relevant to your life?
The biggest thing that resonated was this idea that sometimes you have to watch parts of yourself die to keep living. That fear of transformation, of not recognizing yourself – that’s so deeply tied into transitioning, but also just existing in a body that the world doesn’t fully want to see, or can’t fully see yet. Again, I feel like I am paving my own road, which is both a blessing and a burden. Often the biggest blessings show up in the form of a burden, I suppose.
There’s a moment where Alex has to make a really big choice that will gravely impact the other characters in the story, and this choice involves taking off his psychological armor that he has worked so hard to build and keep on. He has to choose intimacy in a moment where he can just as easily be self-serving and protect himself and his wounds. I am still really struck by how life does this to us: we become so dependent on our defense mechanisms, addicted to them, and then the universe or God or whoever comes in and says, “Oh yeah, that very thing that saved you, that is your comfort zone, your island in the sky, you now must sacrifice that thing for something much more fulfilling: human connection and love”. Watch the movie to find out what Alex chooses to do. But my point is, I was struck by how perceived loss can sometimes be the mandatory gateway to deeper love and sense of fulfillment in life. Grief is joy is grief. It’s two sides of the same coin.
You’ve mentioned exploring masculinity and trans identity through genre. Can you elaborate on how horror serves as a medium for this exploration? In what ways do horror tropes specifically allow for a deeper investigation of societal notions of masculinity and identity? Can you cite examples from the film or your other projects where horror effectively challenges these constructs?
Horror is the perfect genre for talking about modern masculinity because modern masculinity itself is often – not always, but often – a kind of horror story. / No offense, boys. I’m included in this. / And since horror explores the shadows of our collective psyche, the shadows of masculinity play out around denial, fear of weakness, fear of being exposed and gratuitous violence as the ultimate act of said fears.
Horror lets us make all of that literal. Fear of the “other”? Hello, werewolves. Fear of exposure? Body horror. Fear of losing control? Possession stories. These aren’t just cheap scares – they’re really psychological blueprints for how we understand power, vulnerability, and shame. Horror at its best is cathartic and illuminating.
”In House of Abraham, masculine rage is a curse – something handed down, something you can’t quite escape. You either become the monster, or you break the chain. That’s real! That’s a dynamic I navigate every day. To choose to be a better man than what came before me.” – Marval Rex
What was it like working alongside established actors like Lin Shaye and Natasha Henstridge? Did you learn anything from them? Can you share any specific insights or lessons you gained from collaborating with these actors? How did their approaches to their roles influence your own performance and broader perspective on acting?
Working with Lin and Natasha was such a masterclass. Lin Shaye is basically the queen of horror, and her level of comfort as an actor just freed everyone up. I wish I see her outtakes that got cut from the final film because her improvisation was simultaneously terrifying and hilarious. She is a genius because she is totally in the moment, fully present.
And Natasha brought this incredible warmth to her character that made the horror parts even scarier – because you see how good of a person she is and you care. She reminded me that the best horror isn’t just about gore; it’s about love and what happens when love fails. And funny note, she and I had a lot of dialogue together and one of my first mistakes as a young actor is I read one of her lines out to her like a director would and she swiftly was like, “Don’t tell me how to act.” And that shut me up real quick and I’ve never made that mistake again. Because she is absolutely right, that is not my job. My job is to be present with her and get my best performance through what my partner is giving me. I am thankful for that moment every time I am set now because I’m like, “Remember Marval what your job is! You aren’t directing (yet).”
How do you think House of Abraham will impact audiences’ perspectives on trans experiences? What conversations are you hoping this film will spark among viewers, particularly those who not yet understand or appreciate the complexities of trans identities?
I think House of Abraham will creep into people’s hearts in ways they won’t expect. It’s not a movie with a flashing neon “this is about trans issues” sign. It’s a human story first. That’s what I love about Lukas’ script. It transcends tropes around transness or queerness or family. My hope is that someone who doesn’t think they “know a trans person” will see Alex, will see the grief and the longing and the bravery — and recognize themselves.I don’t want to just change minds. I want to scramble hearts. Make people feel before they even realize they’re thinking differently.
What’s next for you in terms of film projects, and how do you see your career evolving? Can you give us a sneak peek into any upcoming roles or projects? How do you envision your artistic journey unfolding in the future, especially regarding exploring new genres or collaborations?
Next up for horror, I’m in the not-yet-released Unsavory Elements, a raunchy horror-comedy where I play Arthur – a British expat trying – and mostly failing – to keep it together while teaching abroad in China during the chaotic glory of the early 2000s. It’s based on the anthology of the same name by writer/director Tom Carter, and it’s exactly as unhinged as it sounds. Think: culture shock, bad decisions, worse hangovers — plus a sprinkling of body horror to spice things up.
I just wrapped on Unsavory early in 2025, and it’s been a wild shift from the slow-burn dread of House of Abraham to something that leans more into satire and physical comedy, but honestly, that’s exactly where I want my career to go – straddling genres, breaking expectations. To be fair, it is still a horror film. But tonally very different. I’m interested in stories that live at the intersection of discomfort and humor, where you’re laughing one second and questioning your whole life the next. That’s the zone where the most exciting art happens.
”Going forward, I want to keep collaborating with filmmakers who aren’t afraid to get a little messy, a little feral. Horror, comedy, sci-fi, experimental – as long as it’s human and a little bit uncanny, I’m in. I’ve been lucky so far.” – Marval Rex
FOLLOW MARVAL REX HERE
For more, check Marval Rex’s world here: https://linktr.ee/marvalarex
33 MAGAZINE 