Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#13992
of 909177 performers
Top 5%
Pierre Lottin 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.
Pierre Lottin appears in 18 films in the Nutevio catalogue, and none of them would work the same way without Pierre. Just an Illusion 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, 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, drama, crime. It is a style built on what is withheld as much as what is played.
Working with Jean-Paul Salomé, Olivier Nakache, François Ozon and others, Pierre Lottin 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.
Just an Illusion (2026) as Étienne Berger · The Marching Band (2024) as Jimmy Lecocq · The Money Maker (2026) as Anton Dowgierd
Career snapshot
Ranked #13992 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
18
2019–2026
Career length
7 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.4
Just an Illusion
Average Nutevio score
6.0
Across catalogue work
Highest IMDb rating
7.4
Just an Illusion
Most frequent director
François Ozon
3 films together
Longest collaboration
3×
With François Ozon
Most common genre
Comedy
12 titles
Average runtime
1h 37m
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
2010s
6.4 average MV
The 2010s are where the work and the material meet. The Breitner Commando, By the Grace of God — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2010s
6.4
Across 2 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2010s
6.4
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. The Breitner Commando, By the Grace of God.
Most productive era
2020s
16 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 | 6.42 films | 6.910 films |
| Thriller | — | 6.72 films |
| Comedy | — | 5.712 films |
| Crime | — | 6.93 films |
| Romance | — | 0.01 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Alexis Martillat.
Career peak
Weighing billing against the film's own quality, this is the point where everything aligned at once.
Highest rated performance · Most recent film
2026Just an Illusion
7.4 on the Nutevio scale, the top of the catalogue for this performer. The current state of the argument, as Étienne Berger.
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.
18 of 18 films
as Étienne Berger
Directed by Olivier Nakache
as Anton Dowgierd
Directed by Jean-Paul Salomé
as Raymond Sintès
Directed by François Ozon
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
Jimmy Lecocq
The Marching Band (2024)
Performance score7.6
The performance the rest of the career is read through. Jimmy Lecocq gives Pierre Lottin a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Étienne Berger
Just an Illusion (2026)
Performance score7.5
Just an Illusion asks for something the previous films did not, and gets it. Étienne Berger is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Anton Dowgierd
The Money Maker (2026)
Performance score7.2
The Money Maker asks for something the previous films did not, and gets it. Anton Dowgierd is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Raymond Sintès
The Stranger (2025)
Performance score7.2
The Stranger asks for something the previous films did not, and gets it. Raymond Sintès 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 Jimmy Lecocq
Start here. The Marching Band is the clearest statement of what Pierre Lottin does — accessible, 102 minutes, and rated 7.3 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Pierre 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 Stranger (2025)
Keeps the drama register of The Marching Band but asks for a colder reading of it.
Just an Illusion (2026)
Keeps the drama register of The Stranger but asks for a colder reading of it.
The Money Maker (2026)
Keeps the drama register of Just an Illusion but asks for a colder reading of it.
Whatever It Takes (2026)
Keeps the drama register of The Money Maker but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
François Ozon
Director
3 films together
Notably By the Grace of God
Abdel Raouf Dafri
Director
1 film together
Notably The Breitner Commando
Olivier Baroux
Director
1 film together
Notably Christmas with the Tuches
Jean-Jacques Annaud
Director
1 film together
Notably Notre-Dame on Fire
Michaël Youn
Director
1 film together
Notably BDE
Olivier Nakache
Director
1 film together
Notably Just an Illusion
Jean-Paul Salomé
Director
1 film together
Notably The Money Maker
Behind the camera
Who casts this performer, how often, and what the pairing produces.
François Ozon
Director
3 films together · 6.9 avg MV
A working relationship rather than a booking — 3 films, and the register shifts each time.
Best film together
By the Grace of GodOlivier Nakache
Director
1 film together · 7.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Just an IllusionJean-Paul Salomé
Director
1 film together · 7.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Money MakerJean-Jacques Annaud
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Notre-Dame on FireAbdel Raouf Dafri
Director
1 film together · 5.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Breitner CommandoOlivier Baroux
Director
1 film together · 5.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Christmas with the TuchesMichaël Youn
Director
1 film together · 4.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
BDESix 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
Just an Illusion
as Étienne Berger
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
The Marching Band
as Jimmy Lecocq
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Just an Illusion
as Étienne Berger
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
By the Grace of God
as Didier
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
The Marching Band
as Jimmy Lecocq
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. Pierre Lottin 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.
Comedy Legend
Awarded
12 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
The Night of the 12th
as Vincent Caron
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Night of the 12th
as Vincent Caron
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Notre-Dame on Fire
as Lieutenant Alexandre
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Night of the 12th
as Vincent Caron
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Just an Illusion
as Étienne Berger
Images that would survive with the sound switched off.
Best action sequence
The Big Hit
as Jordan Fortineau
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
The Marching Band
as Jimmy Lecocq
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Animal Totem
as Bodyguard
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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