Isabelle Huppert Net Worth

What is the estimated net worth of the actress Isabelle Huppert? She is a person both men and women like and cherish. It is people like she who make us look up to Hollywood and other movie stars. We will talk about her net worth, but first, a little bit more about the actress herself. She is an French, Italian born in Paris, France on the March 16, 1953. Finding her talents at quite a young age, she studied and later graduated from National Conservatory of Dramatic Arts. Over a period of time she was selected to appear in many movies and TV shows. Popular in her home country and across the globe, Isabelle Huppert stands at 5′ 3″ (1.6 m). Ronald Chammah and Lolita Chammah, Lorenzo Chammah, Angelo Chammah make up her family. Since we know that Hollywood actors earn six, seven or even eight figure sums, Isabelle Huppert is no exception, having an estimated net worth of $40 Million.

Read more about Isabelle Huppert Biography

Structural info

  • Full Name: Isabelle Huppert
  • Net Worth: $40 Million
  • Date Of Birth: March 16, 1953
  • Place Of Birth: Paris, France
  • Height: 5′ 3″ (1.6 m)
  • Profession: Actress, Soundtrack, Producer
  • Education: National Conservatory of Dramatic Arts
  • Nationality: French, Italian
  • Spouse: Ronald Chammah
  • Children: Lolita Chammah, Lorenzo Chammah, Angelo Chammah
  • Parents: Annick Beau, Raymond Huppert
  • Siblings: Elisabeth Huppert, Caroline Huppert, Rémi Huppert, Jacqueline Huppert
  • IMDB: http://www.imdb.com/name/nm0001376
  • Awards: César Award for Best Actress, Cannes Best Actress Award, European Film Award for Best Actress, Volpi Cup for Best Actress, European Film Academy Achievement in World Cinema Award, David di Donatello for Best Foreign Actress, Silver Bear for Outstanding Artistic Achievement, New York Film Critics Ci…
  • Nominations: César Award for Best Supporting Actress, Golden Globe Award for Best Actress – Motion Picture – Drama, Molière Award for Best Actress, Molière Award for Best Actress in a Public Theatre Show, Critics’ Choice Movie Award for Best Actress, Independent Spirit Award for Best Female Lead, National…
  • Movies: Elle, Things to Come, The Piano Teacher, Louder Than Bombs, Valley of Love, Violette Nozière, Heaven’s Gate, Love, 8 Women, Going Places, Macadam Stories, Madame Bovary, Loulou, A Judgement in Stone, The Lacemaker, My Little Princess, Abuse of Weakness, In Another Country, The Nun, Ma Mère, Story …

Quotes

  • [on working with new directors] Oh, it’s just a bet I take, and I’ve rarely been wrong. All the directors whose debut features I’ve made in the past seven, eight years have turned out to be real film-makers – I have a good intuition. [2016]
  • [on Elle (2016)] The film is really rich, very surprising and enigmatic. It’s elusive. It’s not a genre movie, but it’s not a non-genre movie either – it floats somewhere between Chabrol and Hitchcock, but it’s still a thousand per cent Verhoeven. There’s also a sociological dimension. It’s about a very contemporary woman, not a victim, but someone who bears up – only you don’t see her bearing up. Things just happen to her and she lives through them, without complaining. You can’t say she’s a victim, or a heroine, or a woman of power – although she is a woman of power. All those categories distract us from reality, in a way. [2016]
  • In a close-up, a flicker of the eyelids is a major event. [2016]
  • Most of my characters are very, very ordinary women. Chabrol only ever cast me as fairly ordinary characters – they just have rather particular destinies. [2016]
  • [on how much of herself does she incorporate into her roles] A role is more like a trace rather than an imprint. When I act, I am at the same time myself and the self behind the mask of fiction. From the very beginning, and still to this day, I played many characters like survivors and victims, and I always felt they were essential to those films, female leads not in the shadow of men, and central to the overall story. That was my feminism.
  • [on working with French New Wave filmmaker Claude Chabrol, and avant-garde theater director Robert Wilson] – I always felt like a butterfly caught in a net with Claude, but it was comfortable to have that feeling of being locked in his net, which was his camera. You could fly, but at the same time you had limitations, and that’s what an actor seeks, that kind of freedom and limitation. That’s what one usually gets from good directors. Robert’s staging is extremely precise, almost mathematical, so as an actor your imagination flies high, there are no limitations on how you want to create the characters; you go wherever you want to go with him, but ultimately you also go wherever he wants you to.
  • [on if there’s a role that epitomizes her legacy] It’s a combination of all my films. What is interesting is to see them all. I never think in terms of past, present, future. I feel exactly the same as when I first started – that artistic potential was already within me. I didn’t have time to bring it all to the surface right away, but it was there all along. The roles I have done then I could do them now, and the roles I do now I could have done then. I don’t feel I drastically changed in terms of talent, nor do I think my personality dramatically changed over the years. I don’t think you can define what makes a good actress. You are either good or not. Growing up, I was free to do what I wanted to do. I had a classical education and a certain curiosity for things. You can come from anywhere, in terms of social background, and be who you want to be. There is no explanation to why you become an actor – that desire springs out of nowhere.
  • [on what it’s like being a woman in the film industry in the early 21st century] I don’t experience it as a battle. I do think it is more natural to be an actress than an actor, despite the common belief that it is easier for men. I think acting is more of a feminine frame of mind. For an actor it may be a battle – I don’t mean financially but rather artistically – because the main quality required is a particular form of passivity and power, and I think it is more difficult for men to accept this type of control. It is easier for an actress to consent to that specific psychological state, which is innate to the profession. An actor, more often than an actress, will inherently want to take over the power in a heightened manner, because deep down he cannot accept what he is being asked.
  • [on what still draws her to acting] Preparing a role is a mental process. You can sleep and still prepare a role; you think about it even when you don’t think you are thinking about it. It’s mainly the prospective of meeting a director, that’s what attracts me most to my choices, that’s what gives me the unique pleasure I get from doing what I do.
  • [on why we need movies in our lives] That’s a very good question. We need them because it is a different way to make our imagination travel. We can put poetry, intelligence, beauty in movies; it’s a way of re-creating reality, which is important. If you only have reality, that’s not enough. You need transformation of reality, you need painting, music, theater and cinema.
  • A movie is a way to mingle and flow between cultures and civilizations. Movies give news from the countries where they are made on issues that preoccupy its people and stories from a director. At the end however, we remain a part of a universal language: the one of the cinema.
  • [on Captive (2012)] For me, there was no character. That’s the strength of the movie: just to be hostages and be defined by the reactions you have to the fear, the unnatural conditions, the evil that happens, but certainly not by what you are or what you were previously. Because, by definition, you are not anything anymore. You are forced info being anonymous, this loss of intimacy, this promiscuity. That’s the life of a hostage, I believe.
  • [on Claude Chabrol] Claude didn’t film me as a woman object of desire, but like a daughter, always in a simple way, intimate, very sweet.
  • My choice of roles while not entirely a choice – you have to select from what you are offered. If I seem detached or distant, it’s because I think this is a more exact reproduction of life, where you hide as much as you show. When I see a scene in which feelings get loudly exteriorized, I say to myself, ‘Well, at least this never happens to me.’ I very rarely go through this type of expression. Most of the time things are hidden or at least much more subdued.
  • Many people don’t realize that it’s in what you think are the limitations of a certain form that you can often find your own rhythm and space. I would never be able to do what I’m doing in a classical production, because in a classical staging, while you might think you’re free, you’re not. You’re submitting to convention, to something totally arbitrary. In Claude Régy’s production, it’s the contrary: Because of the form, you can fly. I experienced this for the first time onstage with Bob Wilson. With him it’s such a mathematical space, with such precise regulations, and yet I never felt so much myself.
  • [on Funny Games (1997) and Austrian director Michael Haneke] I didn’t want to do it. The film was fascinating, but for an actress, it’s just incredibly hard to play. I regretted my decision later because it’s a really great film. But at the time, I just didn’t have the courage to play in it. Later, he offered me a role in The Piano Teacher (2001) partly, I suspect, as a challenge; he said to me: ‘You’ll see – it’s worse than Funny Games !’ I read the script and I thought it wasn’t worse at all. But the scenario was in English, and perhaps there were some scenes I didn’t really read properly.
  • About her performance as Euripides’s Medea on stage: If one does theatre, it’s to show human beings. They’re not gods. In Euripides, that’s clear. He was an avant-garde writer. Medea is a little like a Hitchcock film. The gods have decided what everybody knows, that’s to say, her children are going to be killed. The spectator’s attention works just the same way as in Hitchcock. The suspense consists in learning how she’s going to kill her children. But it’s Medea who decides herself to kill the children and she isn’t directed by the gods. So there’s every reason to make her a human figure.
  • It’s just a desire to work. A desire and a need, like eating. An actress may see herself as more than a baker, but it’s the same thing. I find it really hard to resist that desire. And it’s true that that can result in some bad cakes – but that’s never happened to me. I’ve never blushed at any of the films I’ve made. I’ve been very lucky.
  • I never feel I am playing characters. I play certain states, certain ranges of emotions, certain feelings. The contours of a character are something very vague. Initially, when I read a script, I have certain pieces or images that come up to the surface. I guess the difference would be between abstract painting and figurative painting. An established character would be more like a figurative painting: you have to paint this room, you have to paint the curtains, and so on. I think it’s more interesting to consider acting as non-figurative painting. As a canvas on to which you throw things. It can be a colour, it can be a rhythm, it can be music. And it’s also a vision of yourself. When I read the script of Ma Mère, I thought it was very difficult to do. Because in principle it’s a story about incest, even though it’s much more than this. I hesitated a lot over whether I was going to do it, and I had this very fugitive impression of the role – for me it was like a flame. I saw this woman as a little bit of fire, being very unstable, rickety, not very steady on her feet. I had this vision of my body – sometimes that’s enough.
  • I have attempted to keep this constant link between the films and roles I choose to do and my own persona. That’s why it’s so difficult to choose what film to do, and the people I work with. It’s like there is no division between doing a film and your own life. Making movies has so much to do with privacy, with intimacy. I think that in order to make a film I have to feel this potential, this possibility, of being private – more private and intimate than at home. It’s not a public matter for me, being an actress – it’s a really private matter. Most of the time that’s what cinema is. It’s public, it’s private, and that’s why movies create such an emotional impact. It’s also very pragmatic. It’s just work we’re talking about. The rest belongs to me.
  • I don’t think you work with Godard, you experience… Doing a movie with Godard – I have done two, which means I have spent almost two years with him – it’s more like doing an incomparable experience. Just watching Godard – it’s a gift for an actress to make films with him. When I say you don’t work with Godard I mean that you don’t go through any classical path where you build a character. With Godard it’s degree zero – you don’t do anything, it’s a very strange feeling. And yet it is acting – it’s very highly stylised and he’s very directive. The reason is always very precise, there is never any improvisation. I think, finally, he manages to get everybody to talk like him. It’s true! He always wants to close the sense at the end of a line. He closes the sense. It’s very strange. You can’t say, “I’m doing a Godard and I’m playing a prostitute,” because Godard is so far away from any assembly of images you may have about that character. That’s why he’s a great director – more than a great director, a great thinker of cinema.
  • I don’t believe one ever plays characters, one plays states of mind. A character is completely meaningless to me. One goes through states of mind and tries to link them together.
  • A great film is always a metaphor for the direction. A great director always says what he thinks of the cinema through his work, through a fictional story. It is always a reflection of what it is to be a director, what is a movie, what is an audience. It’s always the same case. In the case of La Pianiste (The Piano Teacher), Michael Haneke talks about control and loss of control, and he was filming a woman who I felt was more identified with the situation of the director. This is a woman who controls her desire, exactly as a director controls his own desire and the audience’s desire. In the film, the woman is not the object of desire, she is the one who wants to control her desire. That is why as a film – I’m not even talking about the story – as a film it is interesting because he has changed the status of an actress in a film. That is why the sexual scenes were easier for me to do because I am not set up in the usual situation of being an object of a man’s desire, I am the one who controls the desire of the man. So I felt completely protected by this change of focus.
  • I don’t try to sympathise with my characters, I just try to empathise with them. To try to understand. If I sympathised with the characters I would make idealised, romantic characters out of them, which I don’t do. I don’t idealise them, I just do normal characters, not very sympathetic, but just the way they are. I think I do this in films that are made in the shape of a question, not in the shape of an answer. They just try to make a very open statement and it is down to anyone’s subjectivity to find his own answer to that.
  • I don’t know if you ever say to yourself that you want to be an actress. It eventually becomes a social function – you are an actress and you make a living out of it, but at the beginning it’s more a matter of how to survive, or how to exist in a certain way. I think being an actress is more how to cope with the fact that you can’t do anything else than to express a talent. It’s a way of being untalented for anything. To say, “I want to be an actress” is to say, “I can’t do anything else, so let’s try to be an actress.
  • I think being actor is more difficult for men. The very best actors are not afraid of playing with their own femininity and leaving aside power struggles with the director. Because there’s no getting around it: on a film set, it’s the director who has the power. This fact is often more difficult to accept for an actor than for an actress.
  • Body language in the cinema is thus very particular. The screen can transmit an image very different of the body. In life, we see each other by facing each other. In the cinema, one is astonished to discover oneself from another angle. But at the same time there is no obligation to look. Serge Daney used to say that the work of actors is the make movies, and the work of the spectator is to look at them.
  • A script, even it differs from filmmaker to filmmaker, never tells the whole story; there are always elements that need to be invented. As soon as one decides to take a role after having read the script, the various elements begin to fall into place. A character begins to take shape. And regardless of whether the information given is ample or not, it appears to one, strangely, as an apparition. From that moment, one knows whether or not this figure will be able to pass through one; if there is a meeting point.
  • Acting is a way of living out one’s insanity.

Facts

  • In 2012, she starred in two films that competed for the Palme d’Or at the 2012 Cannes Film Festival; Amour (2012) and Da-reun na-ra-e-seo (2012).
  • Her father was of Hungarian Jewish descent. Her mother was of French background.
  • Michael Haneke is her favorite director to work with.
  • She was Michael Haneke’s first choice for the role of Anna in Funny Games (1997), but she declined the offer because she was scared to do it. The role went to Susanne Lothar instead.
  • In 2012, 32 years after her American film debut in Heaven’s Gate (1980), a newly restored director’s cut was re-released to acclaim in New York City and Venice, just as Huppert was featured in the year’s Oscar-winning foreign-language film Amour (2012).
  • In the ’70s, Huppert shared an apartment with Isabelle Adjani and the late actress Christine Pascal.
  • Appointed the president of the jury for the 2009 Cannes Film Festival [January 2, 2009].
  • Auditioned for the Holly Hunter role in The Piano (1993).
  • Her stage performance as “Hedda Gabler” in Ibsen’s play was critically acclaimed and awarded at the Mostra in Venice (2005).
  • Is interested in photography.
  • Born to Raymond Huppert, an engineer, and his wife Annick, an English teacher.
  • Friend of Kim Cattrall.
  • Graduated from the CNSAD (National Conservatory of Dramatic Art of Paris)
  • Member of the jury at the Cannes Film Festival in 1984.
  • During the shooting of 8 femmes (2002), Isabelle was always hungry at 5 P.M. and had to eat bread. As this made Danielle Darrieux also feel hungry, they shared their bread.
  • Isabelle Huppert starred with her daughter Lolita Chammah in four films, Copacabana (2010), La vie moderne (2000), Malina (1991) and Story of Women (1988).
  • Plays the piano.
  • Has recorded an album with French singer/”rock star” Jean-Louis Murat called “Madame Deshoulières”. They sing/recite lyrics taken from poems of nearly unknown 16th century writer Antoinette Deshoulières. (Album released in France by “Labels” on 26 March 2001.)
  • Most nominated actress for the César Award. As of 2016, she has been nominated 15 times, and won once, for La Cérémonie (1995). She has 13 nominations for Best Actress and 2 nominations for Best Supporting Actress.
  • She is the actress who has had the most films in the official competition of the Cannes Film Festival (18 films, as of 2016), and one of the four who have won the Best Interpretation Awards twice – for Violette (1978) in 1978 and The Piano Teacher (2001) in 2001 (the others are Vanessa Redgrave for Morgan! (1966) in 1966 and Isadora (1968) in 1968, Helen Mirren for Cal (1984) in 1984 and The Madness of King George (1994) in 1995, and Barbara Hershey for Shy People (1987) in 1987 and A World Apart (1988) in 1988).
  • Mother of 3 children: Lolita Chammah (born in October 1983), Lorenzo (born in January 1986) and Angelo (born in August 1997), all fathered by Ronald Chammah, who directed her in Milan noir (1988).
  • She is the youngest of five children, three sisters and a brother: director Caroline Huppert, actress/writer/director Elisabeth Huppert, Jacqueline and Rémi.
  • Saw the French team’s victory at the Stade de France in the final of XVI FIFA World Cup 1998 (1998) together with her son.
  • Sister of Elisabeth Huppert.

Trademarks

  • Often works with female directors
  • Often appears in the movies of Michael Haneke and Claude Chabrol

Filmography

Actress
Title Year Status Character
Barrage 2017 post-production Elisabeth
Marvin 2017 post-production Isabelle
Happy End 2017 post-production
Madame Hyde 2017 filming
The Sleeping Shepherd 2017 pre-production Marie
Untitled Hang Sang-soo Project 2017 post-production
Ce qui nous éloigne 2016 Short Isabelle
Souvenir 2016/I Liliane
Les fausses confidences 2016 TV Movie Araminte
Tout de suite maintenant 2016 Solveig
Elle 2016/I Michèle Leblanc
L’avenir 2016 Nathalie Chazeaux
Valley of Love 2015 Isabelle (as Huppert)
Louder Than Bombs 2015 Isabelle
Asphalte 2015 Jeanne Meyer
La ritournelle 2014 Brigitte Lecanu
The Disappearance of Eleanor Rigby: Them 2014 Mary Rigby
Le tourbillon de Jeanne 2013 TV Series Aude
The Disappearance of Eleanor Rigby: Her 2013 Mary Rigby
The Disappearance of Eleanor Rigby: Him 2013 Mary Rigby
Abus de faiblesse 2013 Maud Shainberg
Tip Top 2013 Esther Lafarge
Dead Man Down 2013 Valentine Louzon
Au bonheur des ogres 2013 L’éditrice (uncredited)
La religieuse 2013 Supérieure Saint-Eutrope
As Linhas de Torres Vedras 2012 TV Mini-Series Cosima Pia
Linhas de Wellington 2012 Cosima Pia
Bella addormentata 2012 Divina Madre
Da-reun na-ra-e-seo 2012 Anne
Amour 2012 Eva
Captive 2012/I Thérèse Bourgoine
Dubaï Flamingo 2012 La chèvre (voice, uncredited)
Mon pire cauchemar 2011 Agathe Novic
My Little Princess 2011 Hanah Giurgiu
Sans queue ni tête 2010 Alice Bergerac
Law & Order: Special Victims Unit 2010 TV Series Sophie Gerard
Copacabana 2010 Elisabeth Delmotte dite Babou
White Material 2009 Maria Vial
Villa Amalia 2009 Ann
Un barrage contre le Pacifique 2008 La mère
Home 2008/II Marthe
L’amore nascosto 2007 Danielle
Médée miracle 2007 Irène-Médée
Nue propriété 2006 Pascale
Comedy of Power 2006 Jeanne Charmant-Killman
Gabrielle 2005 Gabrielle Hervey
Les soeurs fâchées 2004 Martine Demouthy
I Heart Huckabees 2004 Caterine Vauban
Ma mère 2004 Hélène
Time of the Wolf 2003 Anne Laurent
La vie promise 2002 Sylvia
Deux 2002 Magdalena / Maria
8 femmes 2002 Augustine
The Piano Teacher 2001 Erika Kohut
Médée 2001 TV Movie Médée
Comédie de l’innocence 2000 Ariane
Merci pour le Chocolat 2000 Marie-Claire ‘Mika’ Muller
Les destinées 2000 Nathalie Barnery
Saint-Cyr 2000 Madame de Maintenon
La fausse suivante 2000 La comtesse
La vie moderne 2000 Claire
Keep It Quiet 1999 Agnès Jeancourt
The School of Flesh 1998 Dominique
The Swindle 1997 Elizabeth / Betty
Les palmes de M. Schutz 1997 Marie Curie
Elective Affinities 1996 Carlotta
Gulliver’s Travels 1996 TV Mini-Series Mistress
La Cérémonie 1995 Jeanne la postière
La séparation 1994 Anne
Amateur 1994 Isabelle
Navodneniye 1993 Sofia
Après l’amour 1992 Lola
Madame Bovary 1991 Emma Bovary
Malina 1991 Die Frau
La vengeance d’une femme 1990 Cécile
Seobe 1989 Dafina
Milan noir 1988 Sarah
Story of Women 1988 Marie
Les possédés 1988 Maria Sjatov
The Bedroom Window 1987 Sylvia Wentworth
Cactus 1986 Colo
Sac de noeuds 1985 Rose-Marie Martin – la femme maltraitée d’un flic violent
Sincerely Charlotte 1985 Charlotte
La garce 1984 Aline Kaminker / Édith Weber
My Best Friend’s Girl 1983 Viviane
Entre Nous 1983 Lena Weber
Storia di Piera 1983 Piera
La Truite (The Trout) 1982 Frédérique
Godard’s Passion 1982 Isabelle
Eaux profondes 1981 Melanie
Coup de torchon 1981 Rose Mercaillou
Les ailes de la colombe 1981 Marie
La storia vera della signora dalle camelie 1981 Alphonsine Plessis
Bande-annonce de ‘Sauve qui peut (la vie)’ 1980 Short
Heaven’s Gate 1980 Ella Watson
Loulou 1980 Nelly
Örökség 1980 Irène
Every Man for Himself 1980 Isabelle Rivière
Les soeurs Brontë 1979 Anne Brontë
Retour 1979 Jeanne Kern
Il était un musicien 1978 TV Series La jeune fille
Violette 1978 Violette Nozière
No Trifling with Love 1977 TV Movie Camille
Les indiens sont encore loin 1977 Jenny Kern
Des enfants gâtés 1977 La secrétaire du député (uncredited)
The Lacemaker 1977 Pomme
Je suis Pierre Rivière 1976 Aimée
Le petit Marcel 1976 Yvette
Le juge et l’assassin 1976 Rose
Docteur Françoise Gailland 1976 Élisabeth Gailland
Le grand délire 1975 Marie
Aloïse 1975 Aloïse jeune
Rosebud 1975 Helene
The Common Man 1975 Brigitte Colin
Sérieux comme le plaisir 1975 Une fille ramenée
L’ampélopède 1974 La conteuse
Plaies et bosses 1974 TV Movie Patsy Lackan
Madame Baptiste 1974 TV Movie Blanche
Going Places 1974 Jacqueline
Successive Slidings of Pleasure 1974 L’étudiante
Vogue la galère 1973 TV Movie Clotilde
Le drakkar 1973 TV Movie Yolande
Le maître de pension 1973 TV Movie Annie
Histoire vraie 1973 TV Movie Adelaïde
Qui êtes-vous Monsieur Renaudot? 1972 TV Movie Marthe 13 ans
César and Rosalie 1972 Marite
Figaro-ci, Figaro-l 1972 TV Movie Pauline
Le bar de la fourche 1972 Annie Smith
Faustine et le bel été 1972 Student #2
Les cent livres des hommes 1971 TV Series Gilberte
Le prussien 1971 TV Movie Elisabeth
Soundtrack
Title Year Status Character
Les soeurs fâchées 2004 performer: “Rue de Jollieres”
8 femmes 2002 performer: “Message personnel” Personal message
Sincerely Charlotte 1985 performer: “Souvenirs Chiffonnés”
Le juge et l’assassin 1976 performer: “La Commune Est En Lutte”, “Promenade”
Producer
Title Year Status Character
Navodneniye 1993 associate producer
Miscellaneous
Title Year Status Character
Wanda 1970 presenter: Re-release 2003 in France
Thanks
Title Year Status Character
Henri Cartier-Bresson: The Impassioned Eye 2003 Documentary thanks
La cloche 1998 Short thanks
Le bassin de J.W. 1997 acknowledgment
Self
Title Year Status Character
Cinema 3 2016 TV Series Herself – Interviewee
Verhoeven Versus Verhoeven 2016 Documentary Herself – Actress
Rencontres de cinéma 2010-2016 TV Series Herself
Close Encounters with Vilmos Zsigmond 2016 Documentary Herself
C 2013-2016 TV Series Herself
Le grand journal de Canal+ 2009-2015 TV Series documentary Herself
A.M.P.A.S. Tribute Film: Jean Claude Carriere 2014 TV Movie Herself
Dior et Moi 2014 Documentary Herself (uncredited)
Balkan Spirit 2013 Documentary Herself
Michael H. Profession: Director 2013 Documentary Herself
Días de cine 2009-2012 TV Series Herself – Interviewee
Le petit journal 2011 TV Series Herself
20 heures le journal 2000-2011 TV Series Herself – Interviewee
Les enfants de la télé 2011 TV Series Herself
Mondo Lux – Die Bilderwelten des Werner Schroeter 2011 Documentary Herself
The 2009 European Film Awards 2009 TV Special Herself – Award Recipient
Mein Leben 2009 TV Series documentary Herself
TV Festival Du Cannes 2009 2009 TV Movie Herself
Le cinéma français est en voyage d’affaires 2009 TV Movie documentary Herself
Ce soir (ou jamais!) 2009 TV Series Herself
La traversée du désir 2009 Documentary Herself
Europas Erbe – Die großen Dramatiker 2008 TV Series Herself
Empreintes 2008 TV Series documentary Herself
La nuit des Césars 1977-2006 TV Series documentary Herself / Herself – La présidente des Césars / Herself – César de la meilleure actrice
On ne peut pas plaire 2006 TV Series Herself
Først & sist 2006 TV Series Herself
Charlie Rose 2005 TV Series Herself – Guest
El Magacine 2005 TV Series Herself
La nit al dia 2005 TV Series Herself / Hedda Gabler
I Heart Huckabees: Production Surveillance 2005 Video documentary short Herself
La semaine du cinéma 2004 TV Series Herself
Tout le monde en parle 2004 TV Series Herself
Comme au cinéma 2000-2004 TV Series documentary Herself
20h10 pétantes 2004 TV Series Herself
Premio Donostia a Isabelle Huppert 2003 TV Special Herself – Honoree
Liebesversuche – Portrait Werner Schroeter 2003 TV Movie documentary Herself
Henri Cartier-Bresson: The Impassioned Eye 2003 Documentary Herself
La case de l’oncle Doc 2003 TV Series documentary Herself
Exclusif 2002 TV Series Herself
Ombre et lumière 2001 TV Series documentary Herself
+ de cinéma 2001 TV Series documentary short Herself
Bouillon de culture 1991-2001 TV Series documentary Herself
Isabelle Huppert, une vie pour jouer 2001 TV Movie documentary
Vivement dimanche 2000 TV Series Herself – Main Guest
Vivement dimanche prochain 2000 TV Series Herself
Signé croisette 1998 TV Series Herself
Nulle part ailleurs 1997 TV Series Herself
Poussières d’amour – Abfallprodukte der Liebe 1996 Documentary Interviewer
Lumière et compagnie 1995 Documentary Récitante: Segment Abbas Kiarostami (voice)
Un siècle d’écrivains 1995 TV Series documentary Récitante
A Film és… I.-XIV 1995 TV Series documentary Herself (1995)
The 49th Annual Golden Globe Awards 1992 TV Special Herself
Contre l’oubli 1991 Herself (segment “Pour d’Archana Guha, Inde”)
The 62nd Annual Academy Awards 1990 TV Special Herself – Presenter: Gordon E. Sawyer Award
The 47th Annual Golden Globe Awards 1990 TV Special Herself – Presenter
7 sur 7 1989 TV Series Herself
La biennale di Venezia: 45ª Mostra internazionale del cinema 1988 TV Movie Herself
Cinéma cinémas 1987 TV Series documentary Herself
Thierry Mugler 1985 Documentary Herself (Invalids Sequence)
Champs-Elysées 1985 TV Series Herself
Mardi cinéma 1983-1985 TV Series documentary Herself
Ciné regards 1978-1981 TV Series documentary Herself
Quelques remarques sur la réalisation et la production du film ‘Sauve qui peut (la vie)’ 1979 Short Herself
Gala de l’union 1978 TV Series Herself
Numéro 1 1976-1978 TV Series Herself
Monsieur Cinéma 1978 TV Series Herself
Les rendez-vous du dimanche 1977 TV Series Herself
Archive Footage
Title Year Status Character
Colpo di scena 2014 TV Series Herself
Dai nostri inviati: La Rai racconta la Mostra del cinema di Venezia 1980-1989 2013 TV Movie documentary Herself
Cinémas 2010 TV Series Herself
Cannes, 60 ans d’histoires 2007 TV Movie documentary Herself
Danielle Darrieux, une vie de cinéma 2007 TV Movie Herself
Premio Donostia a Matt Dillon 2006 TV Special Herself
Premio Donostia a Max Von Sydow 2006 TV Special Herself
Cinema mil 2005 TV Series Betty
French Beauty 2005 TV Movie documentary Herself
Final Cut: The Making and Unmaking of Heaven’s Gate 2004 Documentary Ella Watson
Les voleurs de la nuit 1984 ‘La Dame aux Camelias’ (uncredited)

Pictures

Isabelle Huppert Isabelle Huppert
Isabelle Huppert Isabelle Huppert
Isabelle Huppert Isabelle Huppert
Isabelle Huppert Isabelle Huppert
Isabelle Huppert Isabelle Huppert