Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#99038
of 909177 performers
Top 25%
Maria Hofstätter 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.
Maria Hofstätter appears in 10 films in the Nutevio catalogue, and none of them would work the same way without Maria. Time We Lost is the clearest case: a film rated 7.2 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 comedy, music, drama. It is a style built on what is withheld as much as what is played.
Working with Neele Vollmar, Shirel Peleg, Severin Fiala and others, Maria Hofstätter 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.
Time We Lost (2025) as Gitti · A Whole Life (2023) as Anna Holler · Kaiserschmarrndrama (2021) as Frau Beisch
Career snapshot
Ranked #99038 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
10
2019–2026
Career length
7 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.2
Time We Lost
Average Nutevio score
5.7
Across catalogue work
Highest IMDb rating
7.2
Time We Lost
Most frequent director
Neele Vollmar
1 film together
Longest collaboration
1×
With Neele Vollmar
Most common genre
Drama
8 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
6.1
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
2020s
6.3 average MV
The 2020s are where the work and the material meet. The Stories, Time We Lost, The Heartbreak Agency — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2020s
6.3
Across 9 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2020s
6.3
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2010s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Wiener Blut.
Most productive era
2020s
9 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 | 2010s | 2020s |
|---|---|---|
| Drama | — | 6.28 films |
| Thriller | 0.01 film | — |
| Comedy | — | 6.23 films |
| Crime | — | 6.91 film |
| Romance | — | 5.51 film |
| Horror | — | 6.61 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
2019Wiener Blut
Where our catalogue meets this career, as Rechtsmedizinierin.
Highest rated performance · Career peak
2025Time We Lost
7.2 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
2026The Stories
The current state of the argument, as Elizabeth's mother.
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.
10 of 10 films
as Mother-in-law Gänglin
Directed by Severin Fiala
as Anna Holler
Directed by Hans Steinbichler
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
Gitti
Time We Lost (2025)
Performance score7.3
The performance the rest of the career is read through. Gitti gives Maria Hofstätter a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Mother-in-law Gänglin
The Devil's Bath (2024)
Performance score7.0
The Devil's Bath asks for something the previous films did not, and gets it. Mother-in-law Gänglin is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Anna Holler
A Whole Life (2023)
Performance score6.9
A Whole Life asks for something the previous films did not, and gets it. Anna Holler is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Frau Beisch
Kaiserschmarrndrama (2021)
Performance score6.8
Kaiserschmarrndrama asks for something the previous films did not, and gets it. Frau Beisch 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 Gitti
Start here. Time We Lost is the clearest statement of what Maria Hofstätter does — accessible, 122 minutes, and rated 7.2 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Maria 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.
Kaiserschmarrndrama (2021)
A deliberate change of key after Time We Lost — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Orchestra (2022)
A deliberate change of key after Kaiserschmarrndrama — same instrument, unfamiliar tuning, and the reason range gets mentioned.
A Whole Life (2023)
Keeps the drama register of Orchestra but asks for a colder reading of it.
The Devil's Bath (2024)
Keeps the drama register of A Whole Life but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Barbara Eder
Director
1 film together
Notably Wiener Blut
Ulrike Kofler
Director
1 film together
Notably What We Wanted
Ed Herzog
Director
1 film together
Notably Kaiserschmarrndrama
Hans Steinbichler
Director
1 film together
Notably A Whole Life
Severin Fiala
Director
1 film together
Notably The Devil's Bath
Shirel Peleg
Director
1 film together
Notably The Heartbreak Agency
Neele Vollmar
Director
1 film together
Notably Time We Lost
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Neele Vollmar
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Time We LostHans Steinbichler
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
A Whole LifeEd Herzog
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
KaiserschmarrndramaSeverin Fiala
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Devil's BathUlrike Kofler
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
What We WantedShirel Peleg
Director
1 film together · 5.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Heartbreak AgencyBarbara Eder
Director
1 film together · 0.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Wiener BlutSix 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
Time We Lost
as Gitti
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
A Whole Life
as Anna Holler
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Time We Lost
as Gitti
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
The Stories
as Elizabeth's mother
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Time We Lost
as Gitti
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. Maria Hofstätter 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.
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
8 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 Devil's Bath
as Mother-in-law Gänglin
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Devil's Bath
as Mother-in-law Gänglin
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
A Whole Life
as Anna Holler
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Devil's Bath
as Mother-in-law Gänglin
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Time We Lost
as Gitti
Images that would survive with the sound switched off.
Best action sequence
Kaiserschmarrndrama
as Frau Beisch
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
The Stories
as Elizabeth's mother
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
A Whole Life
as Anna Holler
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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