This year is loaded with projects for you. The first, Perdiendo el Juicio (Losing the Case), is about to be released

Yes. The format reminds me a lot of the traditional prime-time family series but updated. It’s for all audiences and leaves you feeling upbeat. You can watch it with your parents, with your partner or even with friends, because it has a little bit of comedy, a little bit of heart...

What can you tell us about your character? You play an intern, a job position well known to young people...

The character is very affected by job insecurity. There are times when we joked about it: “If you’re in the sixth set of interns, when the time comes for them to give you a work contract, you are given the sack...” I haven’t experienced this, because actors cannot be hired as interns, but I have friends who are going through very hard times. My character – her name is Barbie – has little in common with me. She’s had a hard life and is a bit of a hustler. Everyone tells me how sweet I am, so I got some respect playing a tough character that is so streetwise. But I’ve been very excited to play her: from her fashion style and the depiction of her character to the way she relates to authority or conflict without fear of getting out of tight spots however she can. And casting director Juán León of Boomerang gave me a great deal of confidence as an actor.

You, along with Luis Zahera, are also in Animal Salvaje (Wild Animal), which will also premiere this year. What was shooting it like?
Animal Salvaje is a very special series. I’m glad it’s on an accessible platform like Netflix because it’s a sitcom without jokes that humanises, as Víctor García León said, the “clown”, the protagonist we laugh at. It’s been one of the projects that have most stolen my heart in my entire life. It had enormous significance as a vital moment and it was a turning point as a person and as an actor. I went to Galicia for four months to shoot the series and decided not to return home for the duration. It’s the project where I’ve felt the most confidence as a performer and as a colleague, because Víctor García León, Luis Zahera and the entire Alea Media team included me in the creative process from the beginning. And it was special with the animals: for me they are so important... If I hadn’t dedicated myself to acting, I would have studied ethology, so working with them gives me a lot of respect, because I need them to be well at all times. The good thing is that the team was just as pro-animal as I am. The contrast of my very tender character with the character of Luis, who plays a rural veterinarian, impressed me greatly. It’s a generational clash between country life and a boutique of luxury pet products.

And Todos los lados de la cama (The Two Sides of the Bed)? What has it been like to bring back the stories from two blockbuster films: The Other Side of the Bed, from 2002, and Both Sides of the Bed, from 2005, from the perspective of 2025?
Todos los Lados de la cama is a generational remix, with the characters you already know from the two previous films and with their children, who’ve just arrived. It has a very updated vision of sex and relationships. Jan Buxaderas and I talked to Samanta, the director, about the need to show an entertaining sexuality, with consent, with communication, with clumsiness and with empathy... It’s also a musical comedy with great tunes that everyone knows!

I started in the regional theatre in Rivas and, the year I left, my friends performed The Other Side of the Bed. I was kind of jealous! I must have been 14 years old and I remember watching the film – which I loved – again back then. Those two films are part of the culture of this country, but I recognise that we needed to have a new take on them, especially to show how far we’ve come. To be able to update a film made when our parents were young that was already revolutionary then, by showing for the first time two guys hooking up, or a threesome, and realise how far we’ve come in just one generation is wonderful. The shooting was full of bright and open people, with everything in our favour. Sharing space with the actors from the other generations was fantastic. Pilar Castro, who plays my mother, and I have become friends. Hopefully, in 15 years a fourth movie, in which our children will have something to teach us, will be made. The conversations of the characters show a lot of respect: “I don’t understand it, but I want to understand it.” This happens a lot to Ernesto Alterio’s character.

In your career, you have done drama, historical productions, series of all kinds, theatre and dance. Do you favour any particular genre?
I am very grateful to comedy. Until I became a teenager, which is when my self-esteem dropped, they didn’t start giving me characters in that genre. And it’s funny, because the reasons that make self-esteem go down are very good tools for doing comedy. Making fun of yourself, playing with your physique and your voice, making shame work in your favour, exposing vulnerability... Comedy – which is, at the moment, where I’ve developed myself the most with projects like I Don’t Like Driving or La Reina del Pueblo – came at the perfect time. It changed my vision of life because, as Chaplin said: “Life is a tragedy when seen in close-up but a comedy in long shot.” And comedy is tough. Each character has to be prepared based on their shortcomings. Even so, I feel that my forte could be dramatic theatre.

You’re very young, but you have 18 years of acting behind you. Have you ever looked back to reflect on what you’ve been through?

Many times. Four years ago, I started an internal process to ask myself why I was an actor. It seemed very important to me not to lose the main reason, especially because it is what will sustain you when the profession doesn’t treat you so well. On the one hand, I’m very grateful to have started so young, at eight, because I realise that it is absolutely what I am meant to do. But I also realise that such a long career has caused me to feel that, as a person, I don’t know how to do anything else. I’ve been lucky to always have a job – never anything that gave me too much visibility – but I’ve been there. I’ve had a lot of recognition – actors are addicted to feedback, whether from the industry, from followers, from critics – but there came a point where I didn’t get so much validation, and I wondered if I was doing it because I wanted to. And the fact is that it’s something that I chose as a child. I’ve had to learn how to give myself that external validation and how to separate my identity as an actor from myself as a person. I’m in the best working moment of my career and I really appreciate my career and the projects, but it hasn’t been easy.

What dream or goal would you like to achieve in the short term?

To produce theatre. I’m addicted to reading theatre. I love it and I’ve never stopped going to classes because I need to continue having that space for possible projects. I love to take – mainly – women authors (right now, I’m working on Catherine Guérard, but also María Velasco and Sarah Kane and Luna de Miguel) and do the staging, the adaptation... I would like to take it out of the sitting room of my house and out of the school and start doing it professionally.

Are there already new projects on the horizon?

I have a very cool project, a comedy film, in which I will play the main character. It’s the largest project that has come to me to date, but I can’t say anything. My 2025 looks great. I’ve got two months off now, which I am using to read, watch films and prepare this character very calmly.

Is there an Iberia destination you’d like to travel to?

I’d love to film in Latin America. I’d like to cross the pond for a while. Or Italy – to live a little alternative life for a few months there and build a new micro-world.