Jacob Elordi was born on 26 June 1997 in Brisbane, Queensland, the youngest of four children and the only son of a Basque-descended father who worked as a house painter and a mother who worked in aged care. He was educated at St Kevin’s College in Melbourne and Nudgee College in Brisbane, where he played rugby and rowed before turning to drama, and he has spoken about the culture shock of moving between the two, according to Wikipedia.

Elordi worked in hospitality and took extra work on productions filming in Australia, including a brief uncredited appearance in a Pirates of the Caribbean film, while auditioning through self-taped submissions. The break came in 2018 with The Kissing Booth, a Netflix teen romance that became one of the platform’s most watched original films of the year and spawned two sequels. He has since been openly ambivalent about the trilogy, describing it as a job he took to pay rent rather than work he was proud of.

The reinvention came with Euphoria, in which he played Nate Jacobs from 2019, a role that demonstrated a range the Netflix films had given him no chance to show. Two 2023 films confirmed the shift: he played Elvis Presley in Sofia Coppola’s Priscilla and the object of obsession in Emerald Fennell’s Saltburn, released within weeks of one another. The pairing repositioned him almost overnight as an actor directors cast for texture rather than for looks.

Elordi’s work with Coppola and Fennell earned him significant critical attention and moved him into prestige literary adaptation. He was cast as the Creature in Guillermo del Toro’s Frankenstein, replacing Andrew Garfield in the role (The Hollywood Reporter), with the film reaching Netflix in November 2025 to divided reviews in which his performance was among the most discussed elements (Deadline). He has also taken on Heathcliff in a new version of Wuthering Heights, and is persistently linked in industry reporting with the next incarnation of James Bond, a conversation that says more about his current standing than any award would.

At roughly six feet five inches, and with a public profile amplified by Euphoria‘s enormous social media footprint, Elordi is among the most recognisable actors of his generation. Saltburn in particular generated a volume of online discussion out of all proportion to its box office, and much of it attached directly to him.

His endorsement work is concentrated in fashion and fragrance, where his height and screen presence make him a natural fit for campaign photography. He has worked with luxury houses on campaign and front-row terms rather than long multi-year ambassadorships, keeping the commercial side of his career comparatively small relative to his fame.

Elordi has moved into producing, taking credits on smaller independent projects, and has been notably resistant to the influencer-adjacent business model adopted by many actors of his age. He does not maintain an active personal social media presence, which materially limits certain kinds of commercial income and appears to be a deliberate choice.

Elordi divides his time between Los Angeles and Australia and has kept his property holdings modest and largely private. He is a keen collector of film cameras and has spoken about photography as his main expense, which is a reasonable summary of a public financial profile that contains very little conspicuous consumption.