Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#319
of 909177 performers
Top 1%
Zoey Deutch 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.
Zoey Deutch appears in 24 films in the Nutevio catalogue, and none of them would work the same way without Zoey. Voicemails for Isabelle is the clearest case: a film rated 7.9 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 comedy, fantasy, adventure. It is a style built on what is withheld as much as what is played.
Working with David Wain, Pierre Coffin, Leah McKendrick and others, Zoey Deutch 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.
Voicemails for Isabelle (2026) as Jill Shaw · Ben Platt: Live from Radio City Music Hall (2020) as Self · Nouvelle Vague (2025) as Jean Seberg
Career snapshot
Ranked #319 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
24
2013–2026
Career length
13 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.9
Voicemails for Isabelle
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
8.4
Voicemails for Isabelle
Most frequent director
Richard Linklater
2 films together
Longest collaboration
2×
With Richard Linklater
Most common genre
Comedy
17 titles
Average runtime
1h 43m
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
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
2020s
6.8 average MV
The 2020s are where the work and the material meet. Gail Daughtry and the Celebrity Sex Pass, Minions & Monsters, Voicemails for Isabelle — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2020s
6.8
Across 12 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2020s
6.8
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 Professor, Set It Up, The Disaster Artist.
Most productive era
2010s
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 | 2010s | 2020s |
|---|---|---|
| Drama | 6.66 films | 6.99 films |
| Action | 6.31 film | — |
| Thriller | — | 7.03 films |
| Comedy | 6.59 films | 6.68 films |
| Crime | — | 7.11 film |
| Romance | 6.53 films | 7.03 films |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Emily Asher.
Highest rated performance · Career peak · Most recent film
7.9 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 Jill Shaw.
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.
24 of 24 films
as Jill Shaw
Directed by Leah McKendrick
as Jean Seberg
Directed by Richard Linklater
as Samantha Kingston
Directed by Ry Russo-Young
as Mable Shaun
Directed by Graham Moore
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
Jill Shaw
Voicemails for Isabelle (2026)
Performance score8.4
The performance the rest of the career is read through. Jill Shaw gives Zoey Deutch a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Jean Seberg
Nouvelle Vague (2025)
Performance score7.6
Nouvelle Vague asks for something the previous films did not, and gets it. Jean Seberg is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Self
Ben Platt: Live from Radio City Music Hall (2020)
Performance score7.6
Ben Platt: Live from Radio City Music Hall asks for something the previous films did not, and gets it. Self is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Samantha Kingston
Before I Fall (2017)
Performance score7.6
Before I Fall asks for something the previous films did not, and gets it. Samantha Kingston 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 Jill Shaw
Start here. Voicemails for Isabelle is the clearest statement of what Zoey Deutch does — accessible, 119 minutes, and rated 7.9 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Zoey 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.
Before I Fall (2017)
Keeps the drama register of Voicemails for Isabelle but asks for a colder reading of it.
Ben Platt: Live from Radio City Music Hall (2020)
A deliberate change of key after Before I Fall — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Outfit (2022)
A deliberate change of key after Ben Platt: Live from Radio City Music Hall — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Nouvelle Vague (2025)
Keeps the drama register of The Outfit but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Richard Linklater
Director
2 films together
Notably Nouvelle Vague
Richard LaGravenese
Director
1 film together
Notably Beautiful Creatures
Mark Waters
Director
1 film together
Notably Vampire Academy
John Hamburg
Director
1 film together
Notably Why Him?
Dan Mazer
Director
1 film together
Notably Dirty Grandpa
Max Winkler
Director
1 film together
Notably Flower
Danny Strong
Director
1 film together
Notably Rebel in the Rye
Ry Russo-Young
Director
1 film together
Notably Before I Fall
James Franco
Director
1 film together
Notably The Disaster Artist
Claire Scanlon
Director
1 film together
Notably Set It Up
Alex Timbers
Director
1 film together
Notably Ben Platt: Live from Radio City Music Hall
Daryl Wein
Director
1 film together
Notably Something from Tiffany's
Quinn Shephard
Director
1 film together
Notably Not Okay
Graham Moore
Director
1 film together
Notably The Outfit
Clint Eastwood
Director
1 film together
Notably Juror #2
Jan Komasa
Director
1 film together
Notably Anniversary
Chad Hartigan
Director
1 film together
Notably The Threesome
Leah McKendrick
Director
1 film together
Notably Voicemails for Isabelle
Pierre Coffin
Director
1 film together
Notably Minions & Monsters
David Wain
Director
1 film together
Notably Gail Daughtry and the Celebrity Sex Pass
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Richard Linklater
Director
2 films together · 6.8 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Nouvelle VagueLeah McKendrick
Director
1 film together · 7.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Voicemails for IsabelleAlex Timbers
Director
1 film together · 7.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Ben Platt: Live from Radio City Music HallGraham Moore
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 OutfitJames Franco
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 Disaster ArtistRy Russo-Young
Director
1 film together · 7.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Before I FallJan Komasa
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
AnniversaryClint Eastwood
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Juror #2Claire Scanlon
Director
1 film together · 6.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Set It UpPierre Coffin
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Minions & MonstersDaryl Wein
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Something from Tiffany'sDanny Strong
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Rebel in the RyeJohn Hamburg
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Why Him?Chad Hartigan
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The ThreesomeQuinn Shephard
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Not OkayMax Winkler
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
FlowerMark Waters
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Vampire AcademyRichard LaGravenese
Director
1 film together · 6.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Beautiful CreaturesDan Mazer
Director
1 film together · 5.9 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Dirty GrandpaDavid Wain
Director
1 film together · 5.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Gail Daughtry and the Celebrity Sex PassSix 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
Voicemails for Isabelle
as Jill Shaw
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Voicemails for Isabelle
as Jill Shaw
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Voicemails for Isabelle
as Jill Shaw
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
The Disaster Artist
as Bobbi
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Voicemails for Isabelle
as Jill Shaw
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. Zoey Deutch 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
17 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
Voicemails for Isabelle
as Jill Shaw
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Outfit
as Mable Shaun
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Rebel in the Rye
as Oona O'Neill
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Outfit
as Mable Shaun
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Voicemails for Isabelle
as Jill Shaw
Images that would survive with the sound switched off.
Best action sequence
Vampire Academy
as Rose Hathaway
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Nouvelle Vague
as Jean Seberg
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Minions & Monsters
as Debbie (voice)
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Bonnie Hunt
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Have your say
Community
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Reference
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