Isabelle Anne Madeleine Huppert (French: [izabɛl ypɛʁ]; born 16 March 1953) is a French actress. Known for her portrayals of cold, austere women devoid of morality, she is considered one of the greatest actresses of her generation and of all time. With 16 nominations and two wins, Huppert is the most nominated actress at the César Awards. She is also the recipient of several accolades, such as five Lumière Awards, a BAFTA Award, three European Film Awards, two Berlin International Film Festival, three Cannes Film Festival, and Venice Film Festival honors, a Golden Globe Award, and an Academy Award nomination. In 2020, The New York Times ranked her second on its list of the greatest actors of the 21st century.

Huppert's first César Award nomination was for Best Supporting Actress in Aloïse (1975) and she won Best Actress for La Cérémonie (1995) and Elle (2016). For The Lacemaker (1977) she won the BAFTA Award for Most Promising Newcomer. She went on to win two Cannes Film Festival Awards for Best Actress for Violette Nozière (1978) and The Piano Teacher (2001), as well as the Volpi Cup for Best Actress twice for Story of Women (1988) and La Cérémonie. Huppert's other films in France include Loulou (1980), La Séparation (1994), 8 Women (2002), Gabrielle (2005), Amour (2012), Things to Come (2016), and Happy End (2017).

For her performance in Elle, Huppert was nominated for the Academy Award for Best Actress; she also won several critics' awards and a Golden Globe and Independent Spirit Award. Huppert is among international cinema's most prolific actresses with her best known English-language films including Heaven's Gate (1980), The Bedroom Window (1987), I Heart Huckabees (2004), The Disappearance of Eleanor Rigby (2013), Louder Than Bombs (2015), Greta (2018), Frankie (2019), and Mrs. Harris Goes to Paris (2022).

Also a prolific stage actress, Huppert is the most nominated actress for the Molière Award, with nine nominations; she received an honorary award in 2017. In the same year, she was awarded the Europe Theatre Prize. She made her London stage debut in the title role of the play Mary Stuart in 1996, and her New York stage debut in a 2005 production of 4.48 Psychosis. Huppert's recent credits include in Heiner Müller's Quartett (2009) in New York, Sydney Theater Company's The Maids (2014), and Florian Zeller's The Mother (2019) in New York City.

Huppert was born on 16 March 1953, in the 16th arrondissement of Paris, the daughter of Annick (née Beau; 1914–1990), an English-language teacher, and Raymond Huppert (1914–2003), a safe manufacturer. The youngest child, she has a brother and three sisters, including filmmaker Caroline Huppert. She was raised in Ville-d'Avray. Her father was Jewish; his family was from Eperjes, Kingdom of Hungary, Austro-Hungarian Empire (now Prešov, Slovakia) and Alsace-Lorraine. Huppert was raised in her mother's Catholic faith. On her mother's side, she is a great-granddaughter of one of the Callot Soeurs.

In 1968, aged 15, Huppert enrolled at the Conservatoire à rayonnement régional de Versailles [fr], where she won a prize for her acting. She also attended the Conservatoire national supérieur d'art dramatique (CNSAD).

Huppert made her television debut in 1971 with Le Prussien, and her feature film debut in Nina Companeez's romantic comedy Faustine et le Bel Été (1972). The film was shown Out of Competition at the 1972 Cannes Film Festival. Also that year she played Annie Smith in Alain Levent's adventure film The Bar at the Crossing and Marite in Claude Sautet's romance drama César and Rosalie with the former premiering at the Berlin International Film Festival. She made her theatre debut playing Lucile in Les Précieuses ridicules at the Comédie-Française in Paris from 1971 to 1972. Later that year she acted in A Hunger Artist at National Theatre Daniel Sorano in Paris followed by a run at the Shiraz Arts Festival.

In 1974 she acted in Alain Robbe-Grillet's art film Successive Slidings of Pleasure and Rachel Weinberg's fantasy film L'Ampélopède. She also gained notoriety for her later appearance as Jacqueline in Bertrand Blier's controversial sex comedy Les Valseuses (1974). Huppert acted alongside Gérard Depardieu and Jeanne Moreau. Vincent Canby of The New York Times panned the film writing, "It's not very invigorating to see so much talent squandered on such foolish mixed-up romanticism." The role made her increasingly recognized by the public.