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Barbara Magnolfi was born in France to an Italian father and French mother. Raised in Rome, Italy, she began studying ballet at age four. Falling in love with the art of dance, she rose to the level of lead ballerina by age 10. Making the leap from stage to screen at 13, Barbara was spotted at a restaurant by director Antonio Pietrangeli and cast her on sight for his current film, Come, Quando, Perché. Innately comfortable in front of the camera, this experience with a master Italian lens-man was Barbara's confirmation of her chosen path.

Determined to pursue her dreams, at 15 she was forced to leave an abusive home situation. Out of necessity, she supported herself by working as a couture model at an upscale atelier for elite clients. There, she caught the eye of the fashion photographer and major print ads for Fiorucci and Coca-Cola to name a few soon followed. By the early 70s, it was evident that Barbara's star power was on the rise.

Making her entrance on the Italian silver screen in the mid 70s, Barbara officially debuted as the fetching Floriana in Sergio Martino's 1975 thriller, The Suspicious Death of a Minor. 1976 saw her in Duccio Tessari's "commedia all'italiana" romp La Madama and the romantic drama Ready for Anything, directed by Giorgio Stegani.

But the actress is most beloved for her standout performance in 1977 as the slinky, scene-stealing Olga, the nail-painting gossipy girl who takes great pleasure in harassing Jessica Harper about snakes in Dario Argento's classic film, Suspiria. Bringing a captivating element of electrically feminine power to the role, even Argento noted her beguiling presence, calling her 'La Mia Streghina' (my little witch). With an epic ensemble cast featuring classic Hollywood legends such as Joan Bennett and Alida Valli, and cited often as one of the greatest horror films of all time, Barbara's cinematic legacy was sealed through her indelible contributions to this genre-defying film.

She then starred in Umberto Silva's Difficile Morire, as an intrepid noblewoman living through Italy's social upheavals between 1911 and 1944. Shot at Cinecitta, the iconic Roman film studios, Barbara's workday often began by sharing breakfast and banter in the studio's cafeteria with none other than legendary director Federico Fellini, who was there preparing for his next film. In 1978, she played the main character in Enzo Milioni's The Sister of Ursula, a dark psychological thriller. However, during filming the producers decided to add unscripted scenes without the star's knowledge nor consent. Despite this devious attempt to associate the film with a disreputable genre, Barbara's outstanding lead performance as the complex Ursula was lauded by critics and fans alike. She wrapped up the decade as a sweet 16 year old girl who comes of age in director and scriptwriter Gianni Martucci's 1978's Blazing Flowers, where the set's family-like atmosphere offered Barbara a welcome respite from her recent professional tensions.

By the early 80s, Barbara was a young widow, as her husband, actor Marc Porel, died from meningitis due to complications of drug addiction. Barbara then devoted herself to informing the public about the dangers of drugs. To inspire others on their journey back to life, she spearheaded a series of anti-drug campaigns, opened an information center in Paris, was a celebrity speaker at many events for "Dico No alla Droga" (I say No to Drugs).

She turned to television in 1985-1986 when she co-starred with Fabio Testi in I figli dell'Ispettore, a prestigious television show directed by Aldo Lado, and worked once again with Sergio Martino, in his miniseries Caccia al Ladro d'Autore.

Her next roles took her to Australia, where in 1991 she guest starred in top-rated television series Police Rescue and the short film Gotcha. After focusing on her family for several years, in 1996 she accepted what proved to be a fateful invitation to visit Southern California. A sold out screening of Suspiria at the American Cinematheque at which she was a guest of honor marked her arrival in Hollywood.

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