Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#15366
of 909177 performers
Top 5%
Barbra Streisand represents the rare performer whose career became more ambitious with every decade — 55 years in, and Barbra is still choosing the harder script.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Barbra Streisand appears in 18 films in the Nutevio catalogue, and none of them would work the same way without Barbra. Disclosure is the clearest case: a film rated 7.8 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, quiet performance, transformation. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for documentary, music, history. It is a style built on what is withheld as much as what is played.
Working with Jeffrey Schwarz, Reginald Hudlin, Sacha Jenkins and others, Barbra Streisand helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Disclosure (2020) as Yentl (archive footage) · Sid & Judy (2019) as Self (archive footage) · Clint Eastwood: The Last Legend (2022) as Self (archive footage)
Career snapshot
Ranked #15366 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
18
1968–2023
Career length
55 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.8
Disclosure
Average Nutevio score
6.0
Across catalogue work
Highest IMDb rating
7.8
Disclosure
Most frequent director
Barbra Streisand
2 films together
Longest collaboration
2×
With Barbra Streisand
Most common genre
Documentary
10 titles
Average runtime
1h 48m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.7
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1960s
6.9 average MV
The 1960s are where the work and the material meet. Funny Girl — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1960s
6.9
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1960s
7.2
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1960s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Funny Girl.
Most productive era
2020s
6 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1960s | 1970s | 1980s | 1990s | 2000s | 2010s | 2020s |
|---|---|---|---|---|---|---|---|
| Drama | 6.91 film | 6.52 films | 6.61 film | 6.71 film | — | — | — |
| Comedy | 6.91 film | 7.01 film | — | 6.71 film | 6.31 film | 5.71 film | — |
| Crime | — | 7.01 film | — | — | — | — | — |
| Romance | 6.91 film | 6.73 films | 6.61 film | 6.71 film | 6.31 film | 5.71 film | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1968Funny Girl
Where our catalogue meets this career, as Fanny Brice.
Career peak
1972What's Up, Doc?
Weighing billing against the film's own quality, this is the point where everything aligned at once.
Highest rated performance
2020Disclosure
7.8 on the Nutevio scale, the top of the catalogue for this performer.
Most recent film
The current state of the argument, as Self (archive footage).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
18 of 18 films
as Yentl (archive footage)
Directed by Unknown
as Judy Maxwell
Directed by Peter Bogdanovich
as Fanny Brice
Directed by William Wyler
as Rose Morgan
Directed by Barbra Streisand
as Katie Morosky
Directed by Sydney Pollack
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
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The defining work
#1
Yentl (archive footage)
Disclosure (2020)
Performance score7.6
The performance the rest of the career is read through. Yentl (archive footage) gives Barbra Streisand a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Judy Maxwell
What's Up, Doc? (1972)
Performance score7.6
What's Up, Doc? asks for something the previous films did not, and gets it. Judy Maxwell is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Fanny Brice
Funny Girl (1968)
Performance score7.5
Funny Girl asks for something the previous films did not, and gets it. Fanny Brice is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Rose Morgan
The Mirror Has Two Faces (1996)
Performance score7.4
The Mirror Has Two Faces asks for something the previous films did not, and gets it. Rose Morgan is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Yentl (archive footage)
Start here. Disclosure is the clearest statement of what Barbra Streisand does — accessible, 108 minutes, and rated 7.8 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Barbra at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Funny Girl (1968)
A deliberate change of key after Disclosure — same instrument, unfamiliar tuning, and the reason range gets mentioned.
What's Up, Doc? (1972)
Keeps the romance register of Funny Girl but asks for a colder reading of it.
The Way We Were (1973)
Keeps the romance register of What's Up, Doc? but asks for a colder reading of it.
The Mirror Has Two Faces (1996)
Keeps the romance register of The Way We Were but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Barbra Streisand
Director
2 films together
Notably The Mirror Has Two Faces
William Wyler
Director
1 film together
Notably Funny Girl
Peter Bogdanovich
Director
1 film together
Notably What's Up, Doc?
Sydney Pollack
Director
1 film together
Notably The Way We Were
Frank Pierson
Director
1 film together
Notably A Star Is Born
Jay Roach
Director
1 film together
Notably Meet the Fockers
Paul Weitz
Director
1 film together
Notably Little Fockers
Avi Belkin
Director
1 film together
Notably Mike Wallace Is Here
Sacha Jenkins
Director
1 film together
Notably Louis Armstrong's Black & Blues
Reginald Hudlin
Director
1 film together
Notably Sidney
Jeffrey Schwarz
Director
1 film together
Notably Commitment to Life
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Barbra Streisand
Director
2 films together · 6.7 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
The Mirror Has Two FacesReginald Hudlin
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
SidneyPeter Bogdanovich
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
What's Up, Doc?William Wyler
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Funny GirlSydney Pollack
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Way We WereSacha Jenkins
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Louis Armstrong's Black & BluesAvi Belkin
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Mike Wallace Is HereJay Roach
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Meet the FockersFrank Pierson
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
A Star Is BornPaul Weitz
Director
1 film together · 5.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Little FockersJeffrey Schwarz
Director
1 film together · 0.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Commitment to LifeSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Disclosure
as Yentl (archive footage)
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
The Way We Were
as Katie Morosky
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Disclosure
as Yentl (archive footage)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Disclosure
as Yentl (archive footage)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Disclosure
as Yentl (archive footage)
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Barbra Streisand has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Career Achievement
Awarded
55 years of relevant work — not merely a long career, but a long career of choices.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Documentary Legend
Awarded
10 catalogue titles in documentary, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Disclosure
as Yentl (archive footage)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Disclosure
as Yentl (archive footage)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Yentl
as Yentl
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Disclosure
as Yentl (archive footage)
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Disclosure
as Yentl (archive footage)
Images that would survive with the sound switched off.
Best action sequence
The Way We Were
as Katie Morosky
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Funny Girl
as Fanny Brice
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
A Star Is Born
as Esther Hoffman
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
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Reference
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