Cristina Poccardi is an Italian voice actor known for her work dubbing anime series and films for the Italian market. Born in Florence, she began her career in the theater before moving into voice acting in 2000, learning the craft by observing experienced colleagues in the recording studio. Her approach to voice work emphasizes the importance of interpretation, rhythm, and emotional depth, distinguishing it from a simple vocal reading.

Poccardi's filmography includes a range of roles in internationally renowned animated productions. In the Studio Ghibli film My Neighbors the Yamadas, she voiced the character Maestra Fujihara, the children's teacher. She also contributed to another Ghibli work, providing a voice in the 2015 redub of Grave of the Fireflies. Her other anime credits include the role of a Woman of Bar California in Mai Mai Miracle, Bona in the series Arte, and Korin Shimizu in Nabari no Ou. Beyond animation, her voice acting spans live-action series and films, including Svetlana in the Italian version of Shameless, Kiyomi Azumabito in Attack on Titan, and a role in The 100.

In addition to her work in front of the microphone, Poccardi is deeply involved in the cultural organization of Lucca Comics & Games, an annual festival she has been a part of since 1996. Within the festival, she curates Voci di Mezzo, an event held at the Teatro del Giglio that brings together voice actors from major fantasy sagas to perform readings from the original literary works. She has also co-created the Graphic Novel Theater format with Emanuele Vietina, which adapts comics for the stage, such as Zerocalcare's Kobane Calling. Poccardi is also the co-creator and voice of the independent Italian podcast FollyChannel – il podcast del disagio, which explores unusual and thought-provoking stories from contemporary life and technology. Her professional representation is listed as Genius Management in Rossano, Italy. She is an outspoken advocate for the quality of human performance in dubbing, particularly in the face of emerging artificial intelligence technologies, arguing that a synthetic voice cannot replicate the intention and emotion of a live actor.