Monica Bellucci in Tears of the Sun
A household name in Italy and the rest of the world, Monica Bellucci is a top-notch model and actor. She had her breakthrough role in the arthouse movie The Apartment in 1996, which earned the star a César Award nomination for Most Promising Actress.
However, Bellucci's breakout was in Francis Ford Coppola's Bram Stoker's Dracula, as it was the movie that introduced Bellucci to Hollywood and gave her some exposure. Nevertheless, the star's most memorable performances to date are arguably the tragic Malèna and the controversial Irreversible, which remain talked-about films even today. Later came her roles in American blockbusters like Spectre, for which she oozed charm and made history by becoming the oldest—and, arguably, one of the most elegant—Bond girls seen on screen. To celebrate her compelling career, we look back at the best Monica Bellucci movies so far. 20 'Memory' Appeared as Davana Sealman This one-person army action starring none other than Liam Neeson follows season assassin-for-hire battling early-stage Alzheimer's. Struggling to outmaneuver his enemies while grappling with his deteriorating memory after realizing he has become the target of a powerful criminal organization, he must rely on his fading skills to survive. While Neeson takes center stage in this Martin Campbell picture, Bellucci brings sophistication to her role as Davana Sealman, a key character who becomes woven into the moral dilemmas of Neeson’s hitman. Memory may be a tad too formulaic for its own good and not a groundbreaking film by any means. However, it is still popcorn entertainment for fans of action thrillers, particularly those who enjoy a more character-driven approach. 19 'Under Suspicion' Appeared as Chantal Hearst While Under Suspicion may not be Bellucci’s most acclaimed feature, it showcases her presence in a gripping psychological thriller alongside two acting legends: Gene Hackman and Morgan Freeman. The Stephen Hopkins movie centers around a wealthy attorney in San Juan who comes to the police station for “10 minutes” of follow-up questions to find a 12-year-old girl’s body in a park. However, as the questioning intensifies, the night takes a tense and unexpected turn. Those who enjoy slow-burn and dialogue-driven thrillers that keep audiences on edge are probably going to at least try and give Under Suspicion a watch. While Bellucci’s role as Chantal, the much younger wife of tax attorney Henry Hearst, is somewhat limited in terms of screen time, she delivers a magnetic performance and showcases her powerful screen presence, and her character’s strained relationship with her husband adds another layer of tension to Hopkins’ film. Though Under Suspicion received mixed reviews upon release, some viewers praised the movie’s performances. 18 'Dobermann' Appeared as Nat the Gypsy Directed by Jan Kouen, Dobermann centers around the titular, ruthless criminal , who leads a series of brutal bank robbers. However, after a complex bank robbery, they are hunted by the police in Paris, with sadistic Cop Christini leading the mission. Although not the very best of Monica Bellucci's features , Dobermann is nonetheless an entertaining watch thanks to its style and performances. With an expected strong on-screen presence, Bellucci brings to life a fierce and fearless young woman who is a crucial part of the story, as she is the right hand for the film’s central character. Dobermann is visually rich and immersive, with Kounen’s direction capturing the plot’s gritty essence quite well. 17 'On the Milky Road' Appeared as Bride Starring and directed by Emir Kusturica, On the Milky Road is a visually poetic and surreal war drama. The three-part film recounts three periods in a man’s life: his time as a lucky milkman navigating a war-torn landscape, his escapades and growing connection with the woman he loves, and his later life as a monk. This 2016 film is a standout mostly for its unique blend of fantasy, romance, and war. Although it may not be for everyone, it is a nice pick for anyone who appreciates unconventional stories and visually rich films. Filled with the filmmaker’s signature surrealism and whimsical cinematography, it delivers visually pleasing visuals on top of its captivating performances—Bellucci, of course, is a highlight, gracing audiences with her compelling performance and ethereal beauty. 16 'The Best Years of a Life' Appeared as Elena This sequel to Lelouch’s classic A Man and a Woman stars Jean-Louis Trintignant and Anouk Aimée in the lead roles and focuses on an old man looking back at memories of a former lover. Through the film, audiences are invited to take a glimpse into their affair as youngsters, tackling themes of love, time, and memory. Bellucci is Jean-Louis’ daughter, Elena, stepping into the shoes of the character with warmth and tenderness, and adding emotion and vulnerability to the film. At its core, The Best Years of a Life is a great meditation on relationships, showcasing themes of love across different life stages and how they evolve with time. The chemistry between the two leads, played by Trintignant and Aimée, is also worth noting. 15 'Tears of the Sun' Appeared as Dr. Lena Kendricks Starring Bruce Willis alongside Bellucci in the lead roles, Tears of the Sun is yet another solid choice for war thriller aficionados. Set against the backdrop of the dense Nigerian jungle, Antoine Fuqua’s movie illustrates a Special-Ops commander leading his team to rescue a doctor who refuses to leave unless the team also rescues 70 refugees. Bellucci shines as Dr. Lena Kendricks, a strong-willed and compassionate doctor who plays a huge role in the film’s core. The star brings both vulnerability and strength to the role, making Dr. Kendricks a compelling and likable character amid the movie’s intense chaos of war. Although it got mixed feedback, Fuqua’s movie is an engaging and visually striking picture with great chemistry between its two charismatic leads. 14 'Spectre' Appeared as Lucia Sciarra The twenty-fourth installment in the James Bond series centers around Bond’s quest to uncover the meaning of a cryptic message from the character’s past. He heads on an adventure to uncover the existence of the organization named SPECTRE and learns about who’s behind his anxieties and most recent missions. Spectre is hardly the best Bond film of the bunch, with many considering it a complete miss for a number of reasons. However, the Daniel Craig-led picture is still worth the audience’s time, if not only for Bellucci’s charming Bond girl, Lucia Sciarra, the widow of one of Bond’s latest kills. Although her character was unfortunately underused, Bellucci made history by gracefully becoming the oldest Bond girl in the franchise’s decade-long story at the delightful age of 50. 13 'The Whistleblower' Appeared as Laura Leviani Based on the real-life experiences of police officer Kathryn Bolkovac, the gripping The Whistleblower sees Rachel Weisz playing the cop who served as a peacemaker in post-war Bosnia and outed the U.N. for covering up a sex trafficking scandal. Subscribe to our newsletter for Monica Bellucci insights Dig deeper into Monica Bellucci's career and must-see roles — subscribe to our newsletter for curated analyses, film recommendations, and contextual essays that explore her work and the wider world of cinema. Get Updates By subscribing, you agree to receive newsletter and marketing emails, and accept our Terms of Use and Privacy Policy. You can unsubscribe anytime. While Kondracki’s film is not a groundbreaking masterpiece, it is a relevant picture that those keen on social commentary films may want to check out, as it sheds light on human rights violations and the complicity of those in power. Bellucci steps into the shoes of Laura Leviani, the head of the repatriation program who refuses to help repatriate young women. Despite being a supporting character in this entertaining true crime drama, she still delivers a solid performance during the screen time she is provided. 12 'Shoot 'Em Up' Appeared as Donna Quintano Following a gunman played by Clive Owen who teams up with a sex worker named DQ, brought to life by Bellucci, Shoot 'Em Up sees its protagonist attempting to protect a newborn from further attacks after saving him from assassins. In the meantime, Smith and DQ attempt to unearth a dying senator's scheme to harvest bone marrow from babies, while hitman Hertz tries to stop them. While Shoot ‘Em Up’s plot sounds like it came straight out of a fever dream, the Michael Davis flick is actually good enough to keep viewers’ boredom at bay. Even if it is far from a masterpiece in the action genre, the 2007 feature is still worth checking out if only for its decent performances, including Bellucci’s, and action sequences that provide moviegoers with a dose of popcorn entertainment. Despite being something of a box office flop that earned less than half of its budget back, Shoot ‘Em Up was released to favorable reviews. 11 'The Matrix Reloaded' Appeared as Persephone The second installment in The Matrix franchise follows freedom fighters Neo , Trinity , and Morpheus as they lead the revolt against the Machine Army and attempt to change humankind's tragic fate, which includes extinction. Bellucci plays Persephone, the wife of the Merovingian , in this entry to the beloved saga. She returns to The Matrix Revolutions and The Matrix Resurrections, although for an even smaller screen time. While none of these films are on par with the original and first installment when looking back at it, Reloaded is still an enjoyable watch with arguably better action sequences. Although the movie was well-received by critics and grossed over $739 million, it was also a bit divisive due to its confusing storyline.Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one. 🪜Parasite 🌀Everything Everywhere ☢️Oppenheimer 🐦Birdman 🪙No Country for Old Men FIND YOUR FILM → QUESTION 1 / 10TONE 01 What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind. ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame. NEXT QUESTION → QUESTION 2 / 10THEME 02 Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours? AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does. NEXT QUESTION → QUESTION 3 / 10STRUCTURE 03 How do you like your story told? Form is content. The way a story is shaped changes what it means. AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more. NEXT QUESTION → QUESTION 4 / 10VILLAIN 04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you? AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical. NEXT QUESTION → QUESTION 5 / 10ENDING 05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like? AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is. NEXT QUESTION → QUESTION 6 / 10WORLD 06 Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible. AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason. NEXT QUESTION → QUESTION 7 / 10CRAFT 07 What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable. AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could. NEXT QUESTION → QUESTION 8 / 10PROTAGONIST 08 What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you. ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense. NEXT QUESTION → QUESTION 9 / 10PACE 09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately. AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action. NEXT QUESTION → QUESTION 10 / 10AFTERMATH 10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want? AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days. REVEAL MY FILM → The Academy Has Decided Your Perfect Film Is… Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. BEST PICTURE 2020 Parasite You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image. BEST PICTURE 2023 Everything Everywhere All at Once You want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. BEST PICTURE 2024 Oppenheimer You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort. BEST PICTURE 2015 Birdman You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. BEST PICTURE 2008 No Country for Old Men You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
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