Muti has truly been a prolific performer, stepping into the world of cinema at just 15 years old and steadily building an impressive body of work ever since. Over the years, Muti’s career has spanned a remarkable range—from early roles in low-budget Italian erotic films to more polished appearances in glossy American TV movies. And throughout it all, Muti has managed to leave a lasting mark on European cinema with standout performances in high-profile productions. Just take, for instance, her compelling role in Volker Schlöndorff’s Swann in Love (1982) or her nuanced portrayal in Francesco Rosi’s Chronicle of a Death Foretold (1987)—both of which showcased Muti’s depth as an actress. What really set Muti apart, though, was her unique ability to blend sophisticated sensuality with a delicate, almost child-like innocence. This duality made her especially captivating in two of Marco Ferreri’s most intense psychosexual dramas: The Last Woman (1976) and The Future Is Woman (1984). In these films, Muti didn’t just play a character—she embodied complex emotional landscapes in a way few could match. Truly, Muti’s legacy is one of bold choices, artistic range, and enduring presence on screen.
When it comes to Ornella Muti’s most acclaimed work, fans and critics alike often point to After the Life (2002) as her highest rated film. It really stands out in Ornella Muti’s career, showcasing her talent in a powerful and memorable way. Over the years, Ornella Muti has delivered many strong performances, but this one especially seems to resonate with audiences. On the other hand, looking at the lower end of the spectrum, Once Upon a Crime (1992) tends to be viewed as one of her least successful projects in terms of ratings. While it had its moments, it didn’t quite capture the same level of praise as other works in Ornella Muti’s filmography. Still, even in less celebrated roles, Ornella Muti brings a certain depth that makes her performances worth watching.