Marta Vieira Alves

Marta Vieira Alves is one of those names that pops up and makes you pause—like, “Wait, where have I seen her before?” Dig in a little, and you’ll find she’s carved out a wild, unpredictable filmography. Pacifiction (2022), for example, is this trippy fever dream of a movie that blurs the lines between paradise and paranoia. Marta slips into the world like she’s always belonged there, bringing a kind of quiet intensity to the whole tropical-political mess. You can’t take your eyes off her, even when everything else gets hazy. Then there’s When the Waves Are Gone (2022). Don’t go in expecting your standard cop drama. The movie’s all about the weight of guilt, the ghosts that don’t leave you alone, and, honestly, Marta’s performance gives off this vibe that she knows a little too much about regret. She’s not just a side character; she’s got this gravity, pulling the whole thing tighter. Her scenes linger long after the credits roll. And jump to L'empire (2024), where things get even weirder. The film’s got that whole surreal, offbeat tone—think reality bending in on itself, and Marta? She just rolls with it, somehow making the bizarre feel grounded. Whether she’s at the heart of the chaos or just orbiting the madness, she brings something real and raw. Honestly, you never know what she’ll do next, and that’s exactly why you keep watching. Her film choices aren’t safe, and that’s the fun of it.