Gian Nithardt

Gian Nithardt isn’t exactly a household name yet, but honestly, that might just be a matter of time. Anyone who’s been paying attention to the indie film circuit has probably heard his name whispered here and there, usually with a sort of “wait, wasn’t he in that?” kind of tone. His recent run includes Miséricorde (2024), a dark, slow-burn drama that’ll probably stick to your bones if you let it. The movie’s got this raw nerve running through it, something about grief and redemption, and Gian doesn’t shy away from the messiness of it all. He’s not playing it safe, that’s for sure. Then there’s Ambigramme (2022), which is… well, it’s a trip. Not the kind of movie you just put on in the background while you scroll through your phone. No, you actually gotta watch this one, otherwise you’ll miss half the point. Gian’s role here is a bit more cerebral—think mind games, double meanings, that sort of thing. It’s the kind of performance that sneaks up on you, and before you know it, you’re actually invested. Let’s not forget Le petit blond de la casbah (2023). If you want something with a bit more nostalgia and a touch of sweetness, this one’s got you covered. Gian brings this gentle, almost understated energy to the film. Not showy, but it hits you right in the feels. All in all, Nithardt’s got a pretty wild range, and at this rate, who knows where he’ll pop up next.