Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#13150
of 909177 performers
Top 5%
Claudia Gerini 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.
Claudia Gerini appears in 14 films in the Nutevio catalogue, and none of them would work the same way without Claudia. We Are Cinema is the clearest case: a film rated 9.5 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 war, drama, thriller. It is a style built on what is withheld as much as what is played.
Working with Brando Quilici, Paolo Costella, George Gallo and others, Claudia Gerini 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.
We Are Cinema (2021) as Self (archive footage) · The Passion of the Christ (2004) as Claudia Procles · John Wick: Chapter 2 (2017) as Gianna D'Antonio
Career snapshot
Ranked #13150 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
14
2004–2026
Career length
22 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
9.5
We Are Cinema
Average Nutevio score
6.0
Across catalogue work
Highest IMDb rating
9.5
We Are Cinema
Most frequent director
Brando Quilici
1 film together
Longest collaboration
1×
With Brando Quilici
Most common genre
Drama
6 titles
Average runtime
1h 46m
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
6.4
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
7.3 average MV
The 2000s are where the work and the material meet. The Passion of the Christ, Don't Move — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2000s
7.3
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2000s
7.3
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. The Passion of the Christ, Don't Move.
Most productive era
2020s
10 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 | 7.32 films | — | 4.44 films |
| Action | — | 7.31 film | — |
| Thriller | — | 6.02 films | 4.54 films |
| Comedy | — | — | 5.83 films |
| Crime | — | 6.02 films | 6.11 film |
| Romance | 7.01 film | — | 5.81 film |
| Horror | — | — | 5.71 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Claudia Procles.
First Nutevio masterpiece · Highest rated performance · Career peak
2021We Are Cinema
The first film here to clear 9.0 on our scale — a threshold fewer than one film in ten reaches. 9.5 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
2026Grounded (Between Borders)
The current state of the argument, as Francesca.
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.
14 of 14 films
as Self (archive footage)
Directed by Unknown
as Elsa
Directed by Sergio Castellitto
as Gianna D'Antonio
Directed by Chad Stahelski
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
Self (archive footage)
We Are Cinema (2021)
Performance score9.1
The performance the rest of the career is read through. Self (archive footage) gives Claudia Gerini a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Claudia Procles
The Passion of the Christ (2004)
Performance score7.4
The Passion of the Christ asks for something the previous films did not, and gets it. Claudia Procles is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Elsa
Don't Move (2004)
Performance score7.4
Don't Move asks for something the previous films did not, and gets it. Elsa is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Gianna D'Antonio
John Wick: Chapter 2 (2017)
Performance score7.2
John Wick: Chapter 2 asks for something the previous films did not, and gets it. Gianna D'Antonio 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 (archive footage)
Start here. We Are Cinema is the clearest statement of what Claudia Gerini does — accessible, 71 minutes, and rated 9.5 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Claudia 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.
The Passion of the Christ (2004)
A deliberate change of key after We Are Cinema — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Don't Move (2004)
Keeps the drama register of The Passion of the Christ but asks for a colder reading of it.
John Wick: Chapter 2 (2017)
A deliberate change of key after Don't Move — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Body (2024)
Keeps the thriller register of John Wick: Chapter 2 but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Sergio Castellitto
Director
1 film together
Notably Don't Move
Mel Gibson
Director
1 film together
Notably The Passion of the Christ
Chad Stahelski
Director
1 film together
Notably John Wick: Chapter 2
George Gallo
Director
1 film together
Notably The Poison Rose
Paolo Costella
Director
1 film together
Notably Per tutta la vita
Brando Quilici
Director
1 film together
Notably The Tiger's Nest
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Mel Gibson
Director
1 film together · 7.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Passion of the ChristChad Stahelski
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
John Wick: Chapter 2Sergio Castellitto
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Don't MoveBrando Quilici
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 Tiger's NestPaolo Costella
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Per tutta la vitaGeorge Gallo
Director
1 film together · 4.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Poison RoseSix 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
We Are Cinema
as Self (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
Don't Move
as Elsa
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
We Are Cinema
as Self (archive footage)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
We Are Cinema
as Self (archive footage)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
We Are Cinema
as Self (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. Claudia Gerini 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
22 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
6 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
We Are Cinema
as Self (archive footage)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
We Are Cinema
as Self (archive footage)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Don't Move
as Elsa
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Body
as Rebecca Zuin
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
We Are Cinema
as Self (archive footage)
Images that would survive with the sound switched off.
Best action sequence
John Wick: Chapter 2
as Gianna D'Antonio
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Per tutta la vita
as Viola
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Fuori la verità
as Carolina
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
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Reference
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