Mia Gypsy Mello da Silva Goth was born on 25 October 1993 at Guy’s Hospital in London, to a Brazilian mother and a Canadian father from Nova Scotia. Her maternal grandmother is the Brazilian actress Maria Gladys and her maternal grandfather the American artist Lee Jaffe, so performance and art were the family trade before hers.

Her childhood moved between Brazil, Canada and London, and she grew up speaking English, Portuguese and Spanish. That upbringing matters commercially as well as biographically: she arrived in the industry without a British drama-school pedigree and without a settled base, which shaped a career built on directors rather than on studios.

She was spotted at thirteen at the 2007 Underage Festival in London by the photographer Gemma Booth and signed to Storm Model Management. Campaign work for Miu Miu and Prada followed, with an appearance in the Pirelli Calendar and editorial for Vogue and W. Modelling of that standing earns in the low six figures, and we put her total from those years at $150,000 to $400,000.

Her screen debut came at nineteen in Lars von Trier’s Nymphomaniac, released in 2013. A supporting part in a European art film pays $25,000 to $60,000 on our estimate, roughly what the next three years of small independent work paid her too.

The breakthrough was Ti West’s X trilogy for A24, and it made her famous twice over: as Maxine Minx in X and as the title character in Pearl, both released in 2022, then as Maxine again in MaXXXine in 2024. She also co-wrote Pearl with West, a credit that turns a performer into an owner of the material. The Hollywood Reporter examined how cheaply the trilogy was made: X and Pearl together cost under $10 million, and Pearl itself about $1 million against a $10.1 million gross.

Those returns are the studio’s, not hers. Her own money from the three films is our estimate: $150,000 to $300,000 for X, $200,000 to $450,000 for Pearl including the writing fee, and $400,000 to $900,000 for MaXXXine, where she was both the draw and a producer. Around them sat A Cure for Wellness in 2016, her first studio lead at $200,000 to $500,000, plus Suspiria, High Life, Marrowbone, Emma and Infinity Pool at $50,000 to $300,000 each.

What followed is the step change that matters to a net worth figure. She played Elizabeth in Guillermo del Toro’s Frankenstein in 2025, a Netflix production at a scale beyond anything in her filmography, which on our estimate paid $1 million to $2.5 million. Variety then reported her casting in Christopher Nolan’s The Odyssey, in an ensemble alongside Matt Damon, Tom Holland and Zendaya; an ensemble part in a Nolan picture we put at $500,000 to $1.5 million.

The largest single payday of her career is almost certainly ahead of it. Variety reported that she joined Shawn Levy’s Star Wars: Starfighter opposite Ryan Gosling, and Lucasfilm confirmed the cast at Star Wars Celebration in Tokyo. A named antagonist in a studio tentpole with a fixed release date is a $1.5 million to $3 million job at her current standing, and it is the first time she will have been paid franchise money.

Pearl premiered at the Venice Film Festival in 2022 and the performance, particularly its closing monologue, turned her from a well-regarded character actress into the most recognised horror lead of her generation. The label attached to her since — modern scream queen — is commercially useful in a way few genre reputations are, because it travels to festivals and to franchises at the same time.

The recognition that counts financially is the casting. Within three years of Pearl she was working for del Toro, Nolan and Lucasfilm, as NME and the trade press recorded, which is the clearest evidence that her market rate has moved.

Her commercial income runs through fashion rather than consumer brands, which follows from where she started. The relationships built as a teenage model, principally with Miu Miu and Prada, have continued into campaign and event work since she became famous.

Campaign fees at her level of fame sit between $100,000 and $300,000 a shoot for multi-market use, and we put her total campaign income since 2022 at $200,000 to $600,000. It is a real line in her accounts but a small one next to the film fees, and she has not taken the ambassador route that would make it the larger of the two.

Goth’s business interests are inside her own films rather than beside them. Co-writing Pearl gave her a writer’s credit, a writing fee and residual participation in a film that cost about $1 million and took ten times that, and she carried a producing credit into MaXXXine.

That is a more valuable position than it looks. An actor paid a fee owns nothing; a writer and producer holds contractual points in the picture and in whatever comes after it, including sequels, remakes and library sales. For a performer whose defining work was made independently, that participation is the part of her balance sheet most likely to keep paying after the films leave cinemas.

Goth has divided her time between Los Angeles and London through her working life, and property is where most of her retained earnings will sit. On our estimate her housing equity, net of mortgage, is $300,000 to $900,000, a band consistent with a performer whose seven-figure fees have arrived only in the last two years.

Her other assets are contractual: the writing and producing participation in the X trilogy, residuals across fourteen released features, and the unearned portion of the Starfighter deal. Nothing in the public record points to a car, art or jewellery collection of the kind that materially changes a figure at this level.