Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#48854
of 909177 performers
Top 10%
Milena Vukotić represents the rare performer whose career became more ambitious with every decade — 61 years in, and Milena is still choosing the harder script.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Milena Vukotić appears in 10 films in the Nutevio catalogue, and none of them would work the same way without Milena. My Friends is the clearest case: a film rated 7.6 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, comedy, drama. It is a style built on what is withheld as much as what is played.
Working with Mike Barker, Luis Buñuel, Mario Monicelli and others, Milena Vukotić 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.
My Friends (1975) as Alice Mascetti · The Discreet Charm of the Bourgeoisie (1972) as Ines · Lino D’Italia - Storia di un itALIENO (2026) as Sé stessa
Career snapshot
Ranked #48854 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
10
1965–2026
Career length
61 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.6
My Friends
Average Nutevio score
6.6
Across catalogue work
Highest IMDb rating
8.1
My Friends
Most frequent director
Luis Buñuel
2 films together
Longest collaboration
2×
With Luis Buñuel
Most common genre
Comedy
8 titles
Average runtime
1h 44m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.9
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
7.0
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
1970s
7.3 average MV
The 1970s are where the work and the material meet. That Obscure Object of Desire, My Friends, The Discreet Charm of the Bourgeoisie — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1970s
7.3
Across 3 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1970s
7.7
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. Spirits of the Dead, Juliet of the Spirits.
Most productive era
1970s
3 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 | 2000s | 2010s | 2020s |
|---|---|---|---|---|---|
| Drama | 6.62 films | 7.11 film | — | 7.01 film | 7.11 film |
| Comedy | 6.91 film | 7.33 films | 6.31 film | 7.01 film | 5.22 films |
| Romance | — | 7.11 film | 6.31 film | 7.01 film | — |
| Horror | 6.31 film | — | — | — | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Elisabetta - the maid.
Highest rated performance · Career peak
1975My Friends
7.6 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
2026Lino D’Italia - Storia di un itALIENO
The current state of the argument, as Sé stessa.
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 Alice Mascetti
Directed by Mario Monicelli
as Mother on the Train
Directed by Luis Buñuel
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
Alice Mascetti
My Friends (1975)
Performance score7.4
The performance the rest of the career is read through. Alice Mascetti gives Milena Vukotić a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Mother on the Train
That Obscure Object of Desire (1977)
Performance score7.2
That Obscure Object of Desire asks for something the previous films did not, and gets it. Mother on the Train is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Ines
The Discreet Charm of the Bourgeoisie (1972)
Performance score7.1
The Discreet Charm of the Bourgeoisie asks for something the previous films did not, and gets it. Ines is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Sé stessa
Lino D’Italia - Storia di un itALIENO (2026)
Performance score7.0
Lino D’Italia - Storia di un itALIENO asks for something the previous films did not, and gets it. Sé stessa 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 Alice Mascetti
Start here. My Friends is the clearest statement of what Milena Vukotić does — accessible, 140 minutes, and rated 7.6 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Milena 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 Discreet Charm of the Bourgeoisie (1972)
Keeps the comedy register of My Friends but asks for a colder reading of it.
That Obscure Object of Desire (1977)
Same director as The Discreet Charm of the Bourgeoisie, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Diamonds (2024)
Keeps the comedy register of That Obscure Object of Desire but asks for a colder reading of it.
Lino D’Italia - Storia di un itALIENO (2026)
Same director as Diamonds, 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.
Luis Buñuel
Director
2 films together
Notably The Discreet Charm of the Bourgeoisie
Federico Fellini
Director
1 film together
Notably Juliet of the Spirits
Roger Vadim
Director
1 film together
Notably Spirits of the Dead
Mario Monicelli
Director
1 film together
Notably My Friends
Mike Barker
Director
1 film together
Notably A Good Woman
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Luis Buñuel
Director
2 films together · 7.2 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
The Discreet Charm of the BourgeoisieMario Monicelli
Director
1 film together · 7.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
My FriendsFederico Fellini
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Juliet of the SpiritsMike Barker
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
A Good WomanRoger Vadim
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Spirits of the DeadSix 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
My Friends
as Alice Mascetti
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
That Obscure Object of Desire
as Mother on the Train
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
My Friends
as Alice Mascetti
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Lino D’Italia - Storia di un itALIENO
as Sé stessa
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
My Friends
as Alice Mascetti
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. Milena Vukotić 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
61 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.
Comedy Legend
Awarded
8 catalogue titles in comedy, 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
My Friends
as Alice Mascetti
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Spirits of the Dead
as TV Interviewer (segment "Toby Dammit") (uncredited)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
That Obscure Object of Desire
as Mother on the Train
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Spirits of the Dead
as TV Interviewer (segment "Toby Dammit") (uncredited)
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
My Friends
as Alice Mascetti
Images that would survive with the sound switched off.
Best action sequence
That Obscure Object of Desire
as Mother on the Train
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
That Obscure Object of Desire
as Mother on the Train
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Spirits of the Dead
as TV Interviewer (segment "Toby Dammit") (uncredited)
The public vote sits below ours on this one, and the direction is the reason for the gap.
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