Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#6669
of 909177 performers
Top 1%
Odessa A'zion 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.
Odessa A'zion appears in 12 films in the Nutevio catalogue, and none of them would work the same way without Odessa. Confessions II – The Film is the clearest case: a film rated 8.8 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 music, drama, thriller. It is a style built on what is withheld as much as what is played.
Working with Josh Safdie, Nick Rowland, Stephanie Allynne and others, Odessa A'zion 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.
Confessions II – The Film (2026) as Self · Marty Supreme (2025) as Rachel Mizler · She Rides Shotgun (2025) as Charlotte
Career snapshot
Ranked #6669 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
12
2020–2026
Career length
6 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
8.8
Confessions II – The Film
Average Nutevio score
6.4
Across catalogue work
Highest IMDb rating
8.8
Confessions II – The Film
Most frequent director
Josh Safdie
1 film together
Longest collaboration
1×
With Josh Safdie
Most common genre
Drama
5 titles
Average runtime
1h 38m
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
2020s
6.4 average MV
The 2020s are where the work and the material meet. Confessions II – The Film, Marty Supreme, Until Dawn — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2020s
6.4
Across 12 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2020s
6.4
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2020s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Confessions II – The Film, Marty Supreme, Until Dawn.
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 | 2020s |
|---|---|
| Drama | 6.45 films |
| Action | 6.42 films |
| Thriller | 6.15 films |
| Comedy | 6.15 films |
| Crime | 7.01 film |
| Romance | 6.23 films |
| Horror | 5.64 films |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Madison.
Highest rated performance · Career peak · Most recent film
8.8 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. The current state of the argument, as Self.
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.
12 of 12 films
as Rachel Mizler
Directed by Josh Safdie
as Charlotte
Directed by Nick Rowland
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
Confessions II – The Film (2026)
Performance score8.4
The performance the rest of the career is read through. Self gives Odessa A'zion a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Rachel Mizler
Marty Supreme (2025)
Performance score7.6
Marty Supreme asks for something the previous films did not, and gets it. Rachel Mizler is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Corinne
Sitting in Bars with Cake (2023)
Performance score7.4
Sitting in Bars with Cake asks for something the previous films did not, and gets it. Corinne is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Charlotte
She Rides Shotgun (2025)
Performance score7.1
She Rides Shotgun asks for something the previous films did not, and gets it. Charlotte 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. Confessions II – The Film is the clearest statement of what Odessa A'zion does — accessible, 14 minutes, and rated 8.8 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Odessa 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.
Sitting in Bars with Cake (2023)
Same director as Confessions II – The Film, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Marty Supreme (2025)
Keeps the drama register of Sitting in Bars with Cake but asks for a colder reading of it.
She Rides Shotgun (2025)
Keeps the thriller register of Marty Supreme but asks for a colder reading of it.
Pools (2025)
A deliberate change of key after She Rides Shotgun — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Hannah Marks
Director
1 film together
Notably Mark, Mary + Some Other People
Teppo Airaksinen
Director
1 film together
Notably Supercool
David Bruckner
Director
1 film together
Notably Hellraiser
Stephanie Allynne
Director
1 film together
Notably Am I OK?
Nick Rowland
Director
1 film together
Notably She Rides Shotgun
Josh Safdie
Director
1 film together
Notably Marty Supreme
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Josh Safdie
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Marty SupremeNick Rowland
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
She Rides ShotgunStephanie Allynne
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Am I OK?David Bruckner
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
HellraiserTeppo Airaksinen
Director
1 film together · 5.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
SupercoolHannah Marks
Director
1 film together · 5.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Mark, Mary + Some Other PeopleSix 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
Confessions II – The Film
as Self
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Sitting in Bars with Cake
as Corinne
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Confessions II – The Film
as Self
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Confessions II – The Film
as Self
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Confessions II – The Film
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. Odessa A'zion 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
5 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
Confessions II – The Film
as Self
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Confessions II – The Film
as Self
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Sitting in Bars with Cake
as Corinne
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Inhabitant
as Tara
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Confessions II – The Film
as Self
Images that would survive with the sound switched off.
Best action sequence
She Rides Shotgun
as Charlotte
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Sitting in Bars with Cake
as Corinne
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Supercool
as Jaclyn
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
Michael Caine
Built a career in the same territory: drama and thriller
Morgan Freeman
Built a career in the same territory: action and crime
Christian Bale
Built a career in the same territory: action and crime
Cillian Murphy
Built a career in the same territory: drama and thriller
Zach Grenier
Built a career in the same territory: crime and mystery
Richmond Arquette
Built a career in the same territory: crime and mystery
Have your say
Community
Which Odessa A'zion performance holds up best?
Our readers argue about this one. Make your case, or read the ranked debate already in progress.
Join the conversation
Reference
Continue exploring
Trending performers
Directors they work with
Collections to read next
