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Being Maria

Being Maria

The true story of Maria Schneider behind the making of Last Tango in Paris.

2024100 minMidcredits score: 47th percentile of all films
Director
Jessica Palud
Starring
Anamaria Vartolomei, Céleste Brunnquell, Matt Dillon, Marie Gillain

A young, struggling actress lands her dream role in a film by an emerging Italian director, starring alongside an American superstar. What begins as her big breakthrough quickly turns into a living hell.

Where to watch

Where can I watch Being Maria?

As of October 24, 2026, MovieCove lists Being Maria streaming on Kino Film Collection via Prime Video and to rent or buy on Prime Video.

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via Prime Video

Your rating, lists and review

Highlights

What stands out about Being Maria?

Being Maria earns 2 badges, led by Award Winner and Broadly Agreed.

  • Reception
  • Awards and box office

Reception

Is Being Maria worth watching?

Being Maria's Midcredits score is the 47th percentile of all films, from 9.1K ratings across 6 sources. 42% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

47th percentile

Better received than 47% of films

22nd percentile among Biography49th percentile among 2020s
Acclaim (how much people like it)53rd
Approval (how many liked it)41st

62 /100

53rd percentile of all films

30th percentile among Biography54th percentile among 2020s

Critics 59 · Audience 63

Critics and audiences broadly agree.

Rating distribution

A broad spread centered near 6.1 — solid but not unanimous.

42% liked it

41st percentile of all films

15th percentile among Biography42nd percentile among 2020s
42% rated it 7–1058% rated it 1–6

Critics 60%

The Rotten Tomatoes critic score.

Awards

0 Oscars won · 0 Oscar noms · 2 wins / 1 noms overall

Reach

How many have seen it

87th percentile

9.1K ratings across platforms

71st percentile among Biography87th percentile among 2020s
TMDB popularity, last 37 days to Oct 26Up 3% in 30 days

Box office

Opening weekend$5.8K
Domestic gross$20K
Worldwide gross$2.3M

45th percentile earner in its genre.

What reviewers say

Common ground

Both camps agree the film centers on the devastating aftermath of Maria Schneider's exploitation during the making of Last Tango in Paris, anchored by a strong lead performance.

Fans praised

  • Vartolomei's raw, searching lead performance
  • Dillon's uncanny Brando impersonation
  • Conveys the trauma's lifelong fallout with fury

Detractors panned

  • Flat, by-the-numbers storytelling
  • Meandering, low-dramatic-tension second half
  • Brando and Bertolucci left as caricatures

What stands out

ActingDivisive75

Vartolomei magnetic, Dillon uncanny but caricature-ish

Atmosphere70

Immersive in 1970s filmmaking world

Emotional impactDivisive65

Trauma conveyed, but tonally scattered

Characters60

Schneider complex, Brando/Bertolucci underexplored

Originality60

Audacious premise, cliché execution

Plot and storyDivisive45

Meandering, lacks second/third act

Ending40

Consequences depressing, low dramatic payoff

PacingDivisive35

Sluggish, low tension in second half

Watch experience

What is Being Maria like to watch?

Conclusions only — categories and positions, no plot detail.

Harrowing: browse every movie of this kind

Watch this when you are ready for a hard story that does not look away.

It is intense and leaves you angry. Skip it when you want an easy night.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Room for heavy feelings.

What it feels like

Harrowing.

Moods
DreadMelancholicTense
Heaviest: middle
Register
Solemn: Grave and dignified; treats its subject with weight and respect.Bleak · 8% of films
Told as
Three-act: Setup, confrontation, resolution — the default Hollywood shape.
ToneThe film treats its traumatic subject with gravity and unflinching sincerity, never undercutting the emotional weight.
The rideThe emotional peak centers on the traumatic production, with a lingering melancholy afterward.
StructureThe film charts her early career, the traumatic production of Last Tango in Paris, and its devastating aftermath in a conventional biopic structure.

How it leaves you

what you carry away

Angry.

The answer rests on this: Infuriating · 4% of films: Leaves you angry at an injustice the film shows, never at the film.Haunting · 14% of films
Why it leaves you this wayThe exploitation and lasting damage to Schneider's life leaves the viewer angry and unsettled long after the credits.
How it ends · evidence
Tragic ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).Tragedy
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9% (this title): Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3% (this title)
  • Rebirth 13%: Redemption 3% · Healing 5% · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22%

Tragedy: A flaw or fixation drives the protagonist to ruin. · Crushed by fate: Destroyed by forces beyond the protagonist's control.

9% of films fit this archetype

Why this archetypeMaria Schneider's life follows a tragic arc: a young actress exploited on set, her career and psyche destroyed by forces beyond her control.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfTraumaSurvival
Every theme, clockwise from the top
  • Bonds 27%: Romantic love 15% · Marriage 2% · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% (this title) · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% (this title) · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15% (this title): Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% · Trauma 7% (this title) · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Survival

Trauma · 7% of filmsOppression · 4% of filmsIdentity · 14% of films
Mourns its theme: Grieves its theme, or what has been lost of it.Intimate stakes: Consequences reach a person or a household.Single lead
How it treats its themeThe film focuses on the lasting harm of on-set exploitation and how it shaped Maria Schneider's life and sense of self.
StanceThe film grieves Maria Schneider's lost potential and the lasting damage of exploitation, framed from her perspective.

The world

Late 20th centuryUrbanInstitutionalRealistic
Orchestral modernAmbientSupportive music · original score · Benjamin Biolay
SettingParis film industry and the set of Last Tango in Paris in the early 1970s
MusicBenjamin Biolay's score likely underscores the emotional journey with a mix of orchestral and ambient textures.

Content guide

Is Being Maria okay for kids?

As of August 31, 2026, Midcredits content scores put its violence at moderate (44/100), sexual content at intense (62/100), language at intense (67/100), drug and alcohol content at intense (75/100) and frightening material at severe (100/100). Its violence, language, drug and alcohol content and frightening material have too few votes to rank.

Ratings in 10 other countries
  • AustraliaR 18+
  • FranceTP
  • South Korea15
  • Brazil16
  • FinlandK-16
  • Hong KongIIB
  • Netherlands16
  • Taiwan15+
  • Türkiye18+
  • UA16+
Overall
Intense · all five categories
not ranked
Violence & Gore
Moderate
too few votes to rank (3 votes)
Sex & Nudity
Intense
heavier than 82% of all films
Profanity
Intense · audience split: No severity level holds a majority of voters
too few votes to rank (3 votes)
Alcohol & Drugs
Intense
too few votes to rank (4 votes)
Frightening / Intense
Severe
too few votes to rank (1 vote)

Point along a line to see a well-known title at that level.

Too few votes to rank this title overall (24 votes across 5 categories; ranking needs 10 in at least three).

Source: Midcredits content scores, 0 (none) to 100 (severe) per category, with each standing ranked against other films that have them.

What content warnings does Being Maria have?

Not screened for content warnings yet.

Cast and crew

Who is in Being Maria?

Cast

1 of the cast already had the standing of a top-10% working actor.

Anamaria Vartolomei
as Maria Schneider
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Céleste Brunnquell
as Noor
Matt Dillon
as Marlon Brando
Established: A standing when this film came out that a top-10% working actor has today.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Marie Gillain
as Marie-Christine Schneider
Yvan Attal
as Daniel Gélin
Veteran: 15 or more years in, with as much work as the typical long-career actor.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Stanislas Merhar
as Behrman, l'agent
Giuseppe Maggio
as Bernardo Bertolucci
Aurélie Garault
as Maquilleuse Daniel Gélin
Jonathan Couzinié
as Michel Schneider
Mélissa Barbaud
as Rose Schneider

Crew

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