Margherita Aresti

Margherita Aresti isn’t exactly a household name—yet. But if you’ve been keeping an eye on the Italian film scene, you’ll know she’s been popping up in some seriously buzzy stuff lately. Take Parthenope (2024) for example. That one’s got her dipping into a world that feels both ancient and oddly modern, sort of this dreamy ride through memory, myth, and messy real life. She’s not just window dressing, either—she’s right there, tangled up in the story’s heartbeats, pulling you in with these little glances and moments that stick with you long after the credits. Before Parthenope, she had a turn in The Professor (2021), which is… well, way grittier, honestly. That film’s a bit of a gut punch. It pokes at the whole teacher-student dynamic, but not in any tired, predictable way. Margherita brings a sharpness to her role, something kinda raw, like she’s lived some of that pain herself. You get these flashes of vulnerability and stubbornness that just feel real, not polished or fake. And then there’s Sopravvissuti (2022)—a survival drama that leans more into suspense and psychological tension. Here, she’s part of an ensemble trapped in a bad situation (think: absolute worst-case scenario), and she’s not just background noise. She’s got this intensity, this sense that she’s holding something back, maybe a secret, maybe just fear. Each project she touches, she leaves a mark—sometimes subtle, sometimes razor sharp. Basically, if you spot Margherita Aresti in the credits, you know you’re in for something a little unexpected.