Award-winning actor Antonio Pauletta trained at the LIM Musical Academy in Rome, building a rigorous foundation in the performing arts before expanding his craft through international masterclasses in screen acting, physical theatre, and vocal technique.
He is best known for his compelling lead performance as Jerry in the short film L.I.K.E. (directed by Giulio Manicardi), which earned him a Notable Mention for Outstanding Lead. His screen and stage credits include appearing alongside Gael García Bernal in Amazon Prime’s Mozart in the Jungle, and a co-lead role in Angélica Liddell’s acclaimed theatrical production The Scarlet Letter.
Antonio is also part of the cast of Homo Homini Lupus, directed by Matteo Rovere (winner of the prestigious Nastro d'Argento for Best Short Film), and Subdermal by Francesco Roder, an indie project recognized with multiple Italian and international awards.
A truly multilingual talent with a commanding physical presence, Antonio is fluent in English, Spanish, French, and Dutch, with a sharp ear for German and regional accents. This vocal flexibility allows him to bring seamless versatility, discipline, and authenticity to global co-productions.
He is deeply passionate about independent cinema—particularly narratives exploring queer identities and underrepresented voices—driven by the core belief that film, television, and theatre possess the power to challenge perspectives and spark change.
Originally from Pordenone (Northern Italy), Antonio has been drawn to the stage since childhood. He approaches every project with sharp professionalism, artistic curiosity, and a profound commitment to collaborative storytelling.
Beyond the Script
I grew up in a small village in Friuli, the most north-eastern corner of Italy, better known for forging blades than for nurturing artists. No wonder the stage became my refuge: the one place where being unique wasn't something to apologise for.
Friuli is border country. Latin, Germanic and Slavic cultures have rubbed shoulders here for centuries, and I absorbed that mix early. Every summer, emigrants from across Europe would return for their holidays and fill my family's hotel. Languages, habits, ways of seeing the world, all of it drifting through the corridors. That, I think, is where it started: a certain ease with otherness, a fluency in moving between worlds, that has quietly become the foundation of everything I do.
My grandmother had run the hotel kitchen for years. Long after the restaurant closed, that way of working, precise, unhurried, nothing wasted, stayed with her. I spent hours watching her turn flour, eggs and yeast into pasta and crostata with an ease that looked effortless and wasn't. Something of that passed to me. In the kitchen I find my footing: following a recipe, but also trusting instinct, working with what's to hand. A kind of practical intelligence that no training manual covers, and that on set, as at the stove, tends to be the thing that actually matters.
There is another inheritance. My great-grandfather travelled Europe with his camera: Venice, London, Paris and the 1900 Universal Expo. Along the way he met a young German woman, who became my great-grandmother, which perhaps explains the fair complexion that still catches people off guard.
Those photographs still exist, and I keep them carefully: the most tangible thing he left behind. My grandfather carried it on in his own way, still lifes, portraits, the quiet textures of daily life.
I grew up with that sensibility around me, that instinct for the moment worth holding. The difference is that I don't stand behind the lens. I stand in front of it.
To give shape and voice to what they were trying to keep. Perhaps that has always been the work: to find something true, and hand it back to whoever is watching.
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