Lee Levi and Cinema: Living Stories, Embodying Truth

She moves between worlds with a quiet intensity between countries, languages, and emotional landscapes. Raised across Denmark, Cambridge, and Los Angeles, her journey has shaped an actress who is deeply attuned to transformation, presence, and truth.

Italian cinema became her artistic home, offering not just roles, but a way of living and storytelling rooted in authenticity and human connection. From the raw beauty of Sicily to intimate character-driven narratives, her performances reflect a sensitivity that feels lived rather than performed.

Drawn to complex, evolving women and unafraid of emotional depth, she approaches each role as an immersion, into culture, environment, and the fragile spaces where identity is formed. In this conversation, the actress Lee Levi reflects on her path through cinema, the places that have shaped her, and the roles that continue to challenge and redefine her as an artist.

Lee, you’ve worked in several Italian productions, including The Years of the Father, directed by Stefano Veneruso, and Sicilian Holiday, directed by Michela Scolari. What has Italy offered you artistically and personally, and how has the country influenced the way you approached these roles?

Italy has offered me a deep sense of artistic grounding. There’s an emotional honesty in Italian storytelling that feels instinctive rather than intellectual. I have loved working in Italy and, honestly, it is my favorite place to work. I love Italians for their strong work ethic. I have learned so much working with Italians, and it was my “springboard” into the industry. I also feel they are very open-minded toward new actors and want everyone to have a chance, which is a great feeling.

Personally, Italy slowed me down in the best way. It reminded me that life and art are inseparable, and that character is shaped not only by dialogue but by environment, ritual, and human connection. That approach has influenced how I prepare for roles: I immerse myself not just in the script, but in the culture surrounding it. There is another sense of focus for me there. Especially on my last film, The Years of the Father, the entire setting, environment, and of course my great director gave me a feeling of calmness and creative freedom.

Sicilian Holiday brought you deep into Sicily, particularly the town of Sciacca. What did that experience leave you with, both as an actress and as a person, and are there any moments from the set that stayed with you?

My time in Sicily was the moment I truly understood how much I love Italy. I felt a deeper connection to the country during this stay, even though I had always come to Italy for vacations and had previously worked there on my film American Night. My stay in Sicily, however, was different.

Sciacca, in particular, has a raw beauty: the sea, the light, the history. As an actress, it stripped everything back. I couldn’t hide behind technique; the environment demanded truth, because there is something so raw and real about the place.

As a person, it reminded me of the importance of roots and community. The locals welcomed us into their lives, not just the production. It felt like a big family. Some of my strongest memories aren’t even from filming, but from shared meals, conversations, and simply spending time together. That experience reshaped how I think about presence, and that’s something I carry into my work beyond film and being on set.

Your background spans Denmark, Cambridge, and Los Angeles. Looking back at your early years and training, what led you to embrace such a wide range of roles, and is there a thread that connects your personal story to the characters you choose today?

Growing up between different cultures taught me to adapt very early on. Denmark gave me a sense of groundedness and simplicity; Cambridge sharpened my creativity and taught me discipline at another level; whereas Los Angeles exposed me to the scale and ambition of the industry. It gave me “thick skin,” if I may say so. That was the place where I truly learned how hard the industry is, and that I have to stay committed and not lose myself.

So, if I can say there is one thread connecting the characters I’m drawn to, it is “transformation.” I think I have a strong ability to transform because of my life experiences and my past. I’m interested in roles that exist between worlds, much like my own journey.

You’ve appeared in international productions such as American Night and Hood, as well as Italian films. How would you describe the differences and similarities between working in Italy and working abroad, and what is it about Italian filmmaking that resonates most with you?

I have not yet worked in the USA, and most of the film work I have done so far has been in Italy. I had my first major lead role in Denmark last year in the film Hood, which was a very demanding project, as I was in almost the entire movie and we had only five weeks to shoot it. It is currently available on streaming platforms such as Apple TV.

The biggest difference for me is rhythm. International productions, especially in Denmark, tend to be highly structured and fast-paced, which can be exhilarating. Italian filmmaking, by contrast, often allows more space for emotions to evolve organically, giving you more time, which I love. Truly, I love both, because working in different environments allows me to learn different things.

You recently wrapped filming on The Years of the Father, directed by Stefano Veneruso, an accomplished filmmaker and the nephew of the legendary Massimo Troisi. What about the collaboration with him, and how would you describe the dynamic you built on set?

Working with Stefano was an incredible experience. He has a deep respect for storytelling heritage, but he’s also incredibly present and open on set. You feel that cinema is part of his DNA, and he is a true artist.

I felt a professional connection with him from our very first Zoom meeting, where we discovered we had so much in common. He is very generous on set and allows you to explore and be creative. He truly has great respect for actors, which naturally makes you want to return that respect.

Looking ahead, what projects are you currently developing or preparing for, and are there roles or collaborations in Italy or elsewhere that feel especially aligned with where you want to go artistically?

I’m currently focusing on projects that challenge me emotionally and creatively, and I’m drawn to complex characters, women who are layered, flawed, and evolving. In my next film, I will play a woman who suffers from dissociative identity disorder. It’s a very demanding project, and I can’t wait to take on the role. The film is directed by Brian Sean Tange, an emerging Danish director. The production is set to shoot in Malta, and we already have a strong international cast.

I am also set to shoot two more projects next year, one of them a major Danish film. Alongside acting, I continue to enjoy my work in fashion and beauty, and I represent brands such as Bruuns Bazaar (a well-known Danish fashion brand), ZO Skin Health Denmark, and OPATRA London, for which I have been a face and ambassador for several years.