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Antonia Thomas

Antonia Thomas

38 (1986-11-03)
London, England, UK

Antonia Laura Thomas (born 3 November 1986) is an English actress. She is best known for starring as Alisha Daniels in the E4 comedy-drama series Misfits and Evie in the Channel 4/Netflix comedy series Lovesick.

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Shaun Murphy, a young surgeon with autism and savant syndrome, relocates from a quiet country life to join a prestigious hospital's surgical unit. Unable to personally connect with those around him, Shaun uses his extraordinary medical gifts to save lives and challenge the skepticism of his colleagues.
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When five young outsiders on Community Service get caught in a strange storm, they discover that they have developed superpowers.
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Bagman 2024 (6.2)

For centuries and across cultures, parents have warned their children of the legendary Bagman, who snatches innocent children and stuffs them into his vile, rotting bag—never to be seen again. Patrick McKee narrowly escaped such an encounter as a boy, which left him with lasting scars throughout his adulthood. Now, Patrick’s childhood tormentor has returned, threatening the safety of his wife Karina and son Jake.
Antonia Thomas

Antonia Thomas

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Most Known for...

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Can You Hear Me Thinking? 1990 (10)

Real life husband and wife Judi Dench and Michael Williams star in this Screen One film as the parents of teenage boy diagnosed with schizophrenia
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The Passion of Remembrance 1986

Co-directed by Blackwood and Julien, the first full-length feature film by Sankofa Film and Video offers a radical and necessary interrogation into what constitutes 'post-colonial' identity at a time of political and social restlessness in Britain. Set within an isolated desert landscape contrasted with recognizable scenes of the intensity of family life, this vanguard work demonstrates the richness and variety of the black experience; it is a poetic and hard-hitting commentary on the complexities of race, gender and sexuality.
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Territories 1984

Territories is an experimental documentary about the Notting Hill Carnival. It locates the event within the struggle between white authority and black youth, in this case over the contested spaces of the carnival, and reflects on its history as symbolic act of resistance. The film makes the case using montage: cutting carnival scenes with archive news reports - police surveillance to rioting in the street - and crossing looks of desire with alienation, from police to reveller, woman to man, man to man. Add to this a disembodied, political critique and trenchant images of police violence and the audience soon becomes aware that the documentary itself is part of the resistance.