It is a happy coincidence that Victoria Abril has her birthday on July 4, during Gay Pride week. She, who starred in one of the first films about trans people in our cinema (and almost in history), ‘Cambio de sexo’ (1977), the first of an extensive collaboration with Vicente Aranda; she, who has made several of those French comedies with which to reflect on serious topics, such as cursed doormat one of the somewhat forgotten lesbian movies but that swept that year at the César Awards. The race of Victoria Abril, who debuted on the big screen the year Franco died, with ‘Obsesión’ (1975), and who became known throughout Spain as one of the hostesses of ‘Un, dos, tres’has been pushing the renewal of Spanish cinema ever since.
Victoria Abril (Benajarafe, Málaga; 1959) is one of the indisputable icons of our cinema. Winner of a Goya, and nominated eight other timesreceived in 2004 the Gold Medal for Merit in Fine Arts, an award that rests along with a Silver Bear from the Berlin Festival, two Silver Shells from San Sebastián, three Silver Frames and an honorary Feroz Award.
Since appearing briefly with Sean Connery and Audrey Hepburn at age 16 in Robin and Marian his career has also had a wide international projection. More in France -where she has lived for long periods of time and has also worked in theater and television-, and with some incursions in Italy, than in the United States. His biggest attempt to break into Hollywood, ‘Jimmy Hollywood’ (1993) by Barry Levinson, did not have the reception expected from the director of ‘Rain Man’, but in France he has been nominated twice for the César Awards and the have become essential on the red carpets of Europe.
In Spain She has worked in a dozen of Vicente Aranda’s films, filming with him some of the great successes of both careers, such as ‘Amantes’, and she was the Almodóvar girl between ‘¡Tie me up!’ (1989) and ‘Kika’ (1993). Penélope Cruz says that it was precisely her role in ‘¡Tie Me Up!’ what she decided to dedicate herself to the cinema. Both were able to work together in ‘No news from God (2001) by Agustín Díaz Yanes, another of the actress’s favorite directors and with whom after several nominations she finally won her first Goya, for ‘No one will talk about us when we have died’ (nineteen ninety five).
He has also worked with Juan Antonio Bardem, Mario Camus, José Luis Borau, Jaime Chavarrí, Francisco Regueiro, Gonzalo Suárez, Carlos Saura… in short, history of our cinema. We have often seen Victoria Abril sharing the screen with Imanol Arias, with Jorge Sanz and with Antonio Banderas, for whom he also made ‘El camino de los ingleses’, his second film as director.
Always ready for any role if the film suits her, Victoria Abril has made one of the best films of the Spanish Civil War, ‘Bicycles are for summer’ (1984), a period to which she has returned on other occasions; he has made movies quinqui with ‘El Lute: Carmina o revienta’ (1987), two prestigious literary adaptations of the 20th century classics, ‘La colmena’ (1984) and ‘Tiempo de silencio’ and comedies, especially in France where they have best appreciated your comedic side. On this other side it is more frequent to find it in intense dramatic roles, often with a hint of irony or black comedy, such as the films of Almodóvar, Aranda or some of the best thrillers of Spanish cinema by Agustín Díaz Yanes. To do, he has even made westerns and erotic films like ‘Between the legs’ (1999), another risque thriller with Javier Bardem.
In recent years, Abril, who was interested in dance and classical ballet when she was young, has also tried her luck in music. He has released an album of Brazilian music classics ‘Putcheros do Brasil’ (2005) and toured Europe concerts. Her last role was in the French series ‘Saving Lisa’ (2021), a French adaptation of ‘Mother’, the Japanese series that swept Spain in its Turkish remake.
After her time on ‘MasterChef Celebrity’ and the attention for the Feroz Award for her career, April was back on everyone’s lips recently for the wrong reasons: some inopportune (and misguided) statements about the covid-19 of the most late apologized. But she is, above all, the actress of some of the best films of Spanish cinema, of several decades of film and television that we review here through the best photos of Victoria Abril’s career.
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