He has shown perseverance, courage and talent in abundance, in each of the film projects in which he has been involved, committing to the films, taking risks and enjoying.

Ángela Cervantes (Barcelona, ​​1993) is generous, very affectionate, extremely demanding of herself, serious, caring and terribly sensitive; She grew up in the Poblenou neighborhood, she did a lot of theater in alternative theaters and, from 2017 to 2021, she recorded the daily TV3 series As if you were there.

At the age of 23 she moved to Madrid and was able to tell others and herself: I am an actress. He follows in the footsteps and advice of his brother, the actor Álvaro Cervantes, who supports her unconditionally, although Ángela has been flying alone for some time and is affirming and confirming herself in the sky of Spanish cinema, step by step and with her own light.

His first movie, Girls, The debut feature of filmmaker Carol Rodríguez Colás, meant for her her first nomination for the Goya Awards in the category of Best New Actress, and made her the winner of the Gaudí Award for Best Supporting Actress in 2022.

From the hand of his second film, The maternal by Pilar Palomero —where Ángela plays Penélope, the mother of Carla, a 14-year-old teenager who becomes pregnant—, has won for the second consecutive time the Gaudi Awardand this year she has been nominated for the Goya Award for Best Supporting Actress.

Two features, two awards, two nominations, from the hand of two filmmakers, Carol and Pilar, whom he admires and with whom he has forged a solid friendship after filming their respective films.

Currently, Ángela is surrounded by sheep in the beautiful valleys and mountains of Huesca, in the middle of filming the feature film What’s left of you, Gala Gracia’s debut film.

And she waits, without expecting it, for the outcome of the Film Academy Awards gala that on February 11, in Seville, will make her the owner, or not, of a “cabezón”, as a reward for her performance in The maternala film that Ángela defends, loves and feels her own, with the love of a mother and the enthusiasm of an actress.

You are experiencing, for the second time, the recognition and emotion of having been nominated for the Goya Awards, the first time by Carol Rodríguez and now thanks to your work in Pilar Palomero’s film, what does it mean for you?

I feel very lucky, it is already difficult to work because imagine doing it with these directors who have extended their hand to me and have accompanied me during the process with a lot of love for what we were telling, I admire them as filmmakers and I love them very much because they have become true friends.

What do you think about the change we are enjoying in Spanish cinema thanks to the perspective of this generation of filmmakers who are also writing leading female characters in their films?

I think the range of views is opening, they have always been there, but they had not been given a voice; They have had the opportunity to tell their stories, which is evident proof that something was missing in our cinema, and proof that this cinema interests, likes and connects with people in Spain and internationally. I think it’s great news for our industry.

How do you approach the construction of your character, Penélope, in The maternal? From what proper place do you approach her?

At first, it was a great challenge for me; It scared me, because it was about reflecting a reality very far from mine, I am not a mother, I was born in a family that has given me facilities… but, later, I understood and was able to experience that I was not that far from Penelope.

What made me fall in love with this character, and I talked about it a lot with Pilar, was his contradiction, because I believe that in life we ​​are not just one thing, we are many and we are changing. I was fascinated by those opposites in her, her strength and her vulnerability, so I delved a lot into those areas.

Also, when I put on my armor, from the outside I can seem like a very strong and tough person, who can do anything, but I am also the most sensitive and vulnerable person on the planet. I had zero judgments towards her, my challenge was for people to understand her. It’s nice, it’s the same thing that happens in life, you want people to love you and understand you.

I was wondering, am I defending her well? Because it was also easy to blame her, but I had the opportunity to work with the girls from The maternal; One day one of them introduced me to her mother and there I understood many things better: that other journey parallel to that of Carla, the protagonist of the film, which is that of her mother, Penelope, who also feels very judged, feels that Society asks her: what have you done, as a mother, to not have seen the problem in time and avoided it?

And then there is the impossibility, even physical, of breaking patterns and the complexity of how mother and daughter communicate with each other…

Yes, it is very difficult to escape from what you have already learned regarding the way of relating, of loving, of expressing love, of communicating. Between Carla and Penelope, it’s not that the mother doesn’t want to, it’s that she doesn’t know: mother and daughter don’t touch each other because they don’t know.

That’s why the dance scene is so important in the film, because that awkward, dancing hug is the only way they can get closer to each other, which is why that moment is so exciting.

How has that long and intense time shared with your companions in the film, the child or adolescent mothers who tell their real experiences with motherhood, transformed your life?

It has been very nice, one of those exceptional gifts that this profession gives you. I remember the first time I rehearsed with them, something very similar to the testimony scene in the movie happened, they told their stories, it was very emotional.

There were moments when I thought: “I am an actress for this, how lucky I am to be in this project and be able to tell their stories,” because that is really what I want to do, tell stories, and if that can also help make certain certain things visible. topics that we try to avoid because they are really very painful, well it is wonderful.

Tell me about the filming of The maternal, What memories do you have, professional and personal, that have meant learning or confirmation for you?

I had a great time filming because the team was wonderful but, at the same time, I experienced constant pain in my chest. On a professional level, I have seen that what at first scares you, because it represents a very big challenge, can later be very rewarding, launching yourself, taking that leap into the void, the risk.

I have learned that it is okay to be a little afraid, that it is okay as long as it is not paralyzing, as long as it is a fear that keeps you active. On a personal level, I have discovered a whole reality that was foreign to me and, above all, it has been good for me to remind myself not to judge anyone without knowing their story, everyone has their stories and before judging, it is okay to ask.

And furthermore, before the age of 30 she has been a mother and grandmother, in fiction…

Yes, I have also thought about that, I have just turned 30 and I would like to no longer be stuck with the role of mother, to be able to give a little more time to the daughter, the friend, the sister… When I read the script I thought, oh boy, I’m going to do it. grandmother’s But it’s nice that what happens to you in life, the surprise, the doubt, is the same thing that the character is feeling.

How are you preparing for the whirlwind of nerves and emotions that lie ahead at the Goya gala in Seville?

I am very nervous, even more than with my first nomination because, last year, everything happened very quickly, I think I was learning along the way; However, this year I am more aware and I also feel an extra responsibility, I want to be able to accompany the film well, live up to what it is. The maternal, there is more pressure.

And I am impressed by the colleagues with whom I have been nominated because for me they are references, actresses with whom I have been inspired, I would not be here if it were not for them and their work, being nominated with them is very impressive. I am very happy to be there.

In addition, she is in the middle of filming What’s left of you, the first feature film by Huesca director Gala Gracia, once again promoting the debut feature of a filmmaker.

They are the ones who drive me, it is very nice to accompany each other, to work with so much love, and there is something that makes me very excited: it is so difficult to start a film that I am excited to think that, finally, the project is being shot. that the director has been waiting for for so long, being able to witness it is very exciting.

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