In recent years, there has been an increase in interest in the study of the training of film actors. Discussions about it often reference the use of non-native pedagogies, in particular those stemming from Stanislavsky, despite the fact that since the 1940s many generations of Italian actors have learned the craft through Orazio Costa’s Mimic Method. While scholars have explored the impact of this pedagogy in theater schools, there are no specific studies on the use of this pedagogy in the context of audiovisual training. This chapter will thus analyze how the Mimic Method is used today by Mirella Bordoni, a former student and long-time assistant of Costa. As a teacher at the Centro Sperimentale di Cinematografia (CSC), Bordoni has long been involved in adapting the method to the specific training of future actors in film and new media. The program of work in her class aims to restore the original close cooperation between the phonological apparatus and mimic activity, for the education and re-education of the highest system of expression. In particular, she teaches students a technique that uses body movements to express emotions in close-ups. This experimental teaching method is offered to students at the beginning of their three-year course at the CSC.