Olivia Baglivi (Madrid, 1994)
A dancer by training and a voracious reader by vocation, her dance career was cut short by severe scoliosis. Since then, her back has been crossed by a metal bar and 14 screws, but she says that her body continues to be key in the way of understanding her interpretation: “There are things that come out better when they do not go through the head “. Trained with William Layton and Corazza, Olivia is no newcomer. We had seen her in ‘The Crystal Girls’, by Jota Linares, and in ‘Rosalinda’, by Ramón Luque, but she has made the leap thanks to that small and unexpected film that is ‘Dragonflies’ (Luc Knowles), a story of female friendship with Milena Smit, whose complicity has crossed the screen.
He will soon fulfill one of his great dreams: to premiere Kafka’s ‘El proceso’ at the María Guerrero Theater, directed by Ernesto Caballero. “For me the theater is like a church and acting is a spiritual exercise,” she says. And she is immersed in the filming of a series for Prime Video, ‘Memento mori’, a thriller where she gives life to a bipolar police officer who, she assures her, “has taken me out of my comfort zone”. She admires the work of Ana de Armas and her interpretation in ‘Blonde’, when she is asked if she sees herself in Hollywood, she does not doubt it: “Of course.”