Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#10098
of 909177 performers
Top 5%
Charlotte Gainsbourg works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Charlotte Gainsbourg appears in 24 films in the Nutevio catalogue, and none of them would work the same way without Charlotte. Oh Les Filles! is the clearest case: a film rated 7.4 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for drama, history, crime. It is a style built on what is withheld as much as what is played.
Working with Wes Anderson, Florent Bernard, Scott Cooper and others, Charlotte Gainsbourg 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.
Oh Les Filles! (2019) as Self · 21 Grams (2003) as Mary Rivers · Melancholia (2011) as Claire
Career snapshot
Ranked #10098 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
24
2003–2026
Career length
23 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.4
Oh Les Filles!
Average Nutevio score
5.4
Across catalogue work
Highest IMDb rating
7.4
Oh Les Filles!
Most frequent director
Wes Anderson
1 film together
Longest collaboration
1×
With Wes Anderson
Most common genre
Drama
16 titles
Average runtime
1h 45m
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
6.3
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
2000s
6.9 average MV
The 2000s are where the work and the material meet. I'm Not There, 21 Grams — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2000s
6.9
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2000s
6.9
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2000s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. I'm Not There, 21 Grams.
Most productive era
2020s
12 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 | 2000s | 2010s | 2020s |
|---|---|---|---|
| Drama | 6.92 films | 5.76 films | 4.68 films |
| Action | — | 5.41 film | — |
| Thriller | 7.31 film | 5.24 films | 4.23 films |
| Comedy | — | 5.82 films | 6.32 films |
| Crime | 7.31 film | 5.21 film | 4.43 films |
| Romance | — | 5.51 film | 4.91 film |
| Horror | — | 5.21 film | 6.81 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
200321 Grams
Where our catalogue meets this career, as Mary Rivers.
Highest rated performance · Career peak
2019Oh Les Filles!
7.4 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
The current state of the argument, as Sarah Chardonnet.
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.
24 of 24 films
as Claire
Directed by Lars von Trier
as Claire Farel
Directed by Unknown
as Mary Rivers
Directed by Alejandro G. Iñárritu
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Self
Oh Les Filles! (2019)
Performance score7.7
The performance the rest of the career is read through. Self gives Charlotte Gainsbourg a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Claire
Melancholia (2011)
Performance score7.6
Melancholia asks for something the previous films did not, and gets it. Claire is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Elisabeth
The Passengers of the Night (2022)
Performance score7.5
The Passengers of the Night asks for something the previous films did not, and gets it. Elisabeth is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Claire Farel
The Accusation (2021)
Performance score7.5
The Accusation asks for something the previous films did not, and gets it. Claire Farel 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 Self
Start here. Oh Les Filles! is the clearest statement of what Charlotte Gainsbourg does — accessible, 78 minutes, and rated 7.4 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Charlotte 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.
21 Grams (2003)
A deliberate change of key after Oh Les Filles! — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Melancholia (2011)
Keeps the drama register of 21 Grams but asks for a colder reading of it.
The Accusation (2021)
Keeps the drama register of Melancholia but asks for a colder reading of it.
The Passengers of the Night (2022)
Same director as The Accusation, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Company kept
The directors and performers this career keeps returning to.
Alejandro G. Iñárritu
Director
1 film together
Notably 21 Grams
Todd Haynes
Director
1 film together
Notably I'm Not There
Lars von Trier
Director
1 film together
Notably Melancholia
Wim Wenders
Director
1 film together
Notably Every Thing Will Be Fine
Roland Emmerich
Director
1 film together
Notably Independence Day: Resurgence
Joseph Cedar
Director
1 film together
Notably Norman: The Moderate Rise and Tragic Fall of a New York Fixer
Tomas Alfredson
Director
1 film together
Notably The Snowman
Reed Morano
Director
1 film together
Notably I Think We're Alone Now
Tom Stern
Director
1 film together
Notably The Almond and the Seahorse
Scott Cooper
Director
1 film together
Notably The Pale Blue Eye
Florent Bernard
Director
1 film together
Notably Meet the Leroys
Wes Anderson
Director
1 film together
Notably The Phoenician Scheme
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Alejandro G. Iñárritu
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
21 GramsLars von Trier
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
MelancholiaScott Cooper
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 Pale Blue EyeWes Anderson
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Phoenician SchemeTodd Haynes
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
I'm Not ThereFlorent Bernard
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Meet the LeroysReed Morano
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
I Think We're Alone NowJoseph Cedar
Director
1 film together · 5.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Norman: The Moderate Rise and Tragic Fall of a New York FixerWim Wenders
Director
1 film together · 5.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Every Thing Will Be FineRoland Emmerich
Director
1 film together · 5.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Independence Day: ResurgenceTomas Alfredson
Director
1 film together · 5.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The SnowmanTom Stern
Director
1 film together · 4.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Almond and the SeahorseSix 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
21 Grams
as Mary Rivers
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
I'm Not There
as Claire
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
21 Grams
as Mary Rivers
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
The Phoenician Scheme
as 1st Wife
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Oh Les Filles!
as Self
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. Charlotte Gainsbourg 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
23 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.
Drama Legend
Awarded
16 catalogue titles in drama, 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
The Pale Blue Eye
as Patsy
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
21 Grams
as Mary Rivers
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
The Almond and the Seahorse
as Toni
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Pale Blue Eye
as Patsy
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Oh Les Filles!
as Self
Images that would survive with the sound switched off.
Best action sequence
Independence Day: Resurgence
as Dr. Catherine Marceaux
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
I'm Not There
as Claire
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Every Thing Will Be Fine
as Kate
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
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Works with the same directors — shared collaborators
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Works with the same directors — shared collaborators
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Works with the same directors — shared collaborators
Matt Damon
Built a career in the same territory: adventure and drama
Léa Seydoux
Works with the same directors — shared collaborators
Have your say
Community
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Reference
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