Biography of Victoria Abril:- After making her debut as a hostess on television, in programs Un, two, three, respond again and 625 lines , made small interventions in the cinema, until the director Vicente Aranda offered the first starring role in Sex Change (1976).
After its marriage with the soccer player Gustavo Laube (1977-1982), it initiated a relation with the French camera Gérard de Battista, with whom it had two children, and established its residence in Paris.
Biography of Victoria Abril
- Born:- 4 July 1959 (age 58), Madrid, Spain
- Height:- 1.57 m
- Spouse:- Gustavo Laube (m. 1977–1982)
- Children:- Martin de Battista, Felix de Battista
That city was the springboard of his future works in France, Italy, Switzerland and Portugal. In Spain she became the favorite actress of Vicente Aranda, to whose orders she shot eleven films and two series for TVE, The crime of Captain Sánchez (1985) and Los hinetes del alba (1990), and Pedro Almodóvar, who directed it in four other films; Worked without interruption with the most prestigious filmmakers until he grew up, in his youth, a filmography of over sixty titles and accumulated several international awards.
See Also: Biography of Freddie Mercury
The criticism is unanimous in choosing the interpretation of Victoria Abril in No one will speak of us when we died (1995) as the best of his career.
Her first vocation was ballet and, from a young age, she studied classical dance. She debuted on the tables at the Teatro de la Zarzuela in Madrid, in the company of Ana Lázaro, only fourteen years old, shortly before Francisco Lara Polop chose her to play the servant of Obsesión (1974).
His work as a hostess for the television contest One, two, three, responds again (1974-1977) gave him great popularity, more than his still very brief appearances in productions as peculiar as the Spanish The bridge (1977, Juan Antonio Bardem) and The man who knew love (1978, Miguel Picazo), or the American Robin and Marian (1976), by Richard Lester, starring Sean Connery and Audrey Hepburn.
In 1976 Vicente Aranda offered him his first important paper, that of the transsexual adolescent of Cambio de sexo. During that time he also worked in theater with the company Tirso de Molina, recorded discs of pop songs and presented the program of Spanish Television 625 lines. Aranda, a key director in his career (the versatility, psychological density and energy emanating from his compositions, as well as his remarkable emotional tear ability, make it the perfect mold where Aranda can shed his intellectual and personal obsessions) She retold her to star in girl with the golden panties (1979), adapted from the novel by Juan Marsé, and Murder in the Central Committee (1982).
From 1982, his presence became one of the most attractive of Spanish cinema and was required to participate in a multitude of films by directors such as Mario Camus ( La colmena , 1982), Jaime Chávarri ( Bicycles are for summer , 1983) Manuel Gutierrez Aragon ( The most beautiful night , 1984), José Luis Borau ( Downriver , 1984), Francisco Regueiro ( our Father, 1985 ), Jaime de Armiñán ( The witching , 1985), Emilio Martinez Lazaro ( The most funny , 1988), Rafael Monleón ( Baton Rouge, 1988 ), Eduardo Campoy ( alone with you , 1990) or the Chilean Miguel Littín ( Sandino , 1990).
Vicente Aranda rolled in those years Time of Silence (1985), The Lute: walks or bursts (1987) and If They Tell You I Fell (1989), and participated, to the orders of Pedro Almodóvar in Law of Desire (1987) and Tie Me Up! (1990).
Her role as the mother of an autistic child at Mater Amatísima (JA Salgot, 1980) had opened the door to European cinema; In 1984 and 1985 she was nominated in France for the César Award for Best Supporting Actress for her work in Jean Jacques Beineix’s La lune dans le caniveau and L’adittion by Denis Mar respectively. He also played a supporting role in Max, Mon amour (Nagisha Oshima, 1986).
Her work in that first stage was recognized with numerous awards, including the San Sebastian Award for Best Actress at the San Sebastian International Film Festival in 1987 for her role as El Lute’s wife in El Lute: walk or bust, By Vicente Aranda.
He also obtained three Silver Pictures, one Golden TP and five Goya nominations. During these first years, he combined his cinematographic career with notable interpretations for television, such as La barraca (adaptation of the novel by Vicente Blasco Ibáñez), La huella Del crimen (starring the episode directed by Vicente Aranda, El crimen Del capitan Sanchez),
By the 1990s, the actress had already reached her creative maturity and offered all her interpretative potential. Her next work was one of her most successful creations, in a new collaboration under Aranda: passionate and carnal Luisa, a swindler on which turns the love trio that forms the crux of the plot of the thriller of the time Lovers (1991 ), Who co-starred along with Jorge Sanz and Maribel Verdú.
For his torrid and energetic performance (at the same time contained: his voice barely abandons the whisper), he received the Silver Bear of the Berlin International Film Festival, a Turia Prize, an ADIRCAE Prize and two new nominations for the Goya and the Silver frames.
Also in the 90s he alternated works in Spain and France, with the exception of a brief and unsuccessful foray into Hollywood, by Barry Levinson, who offered him the female lead role of Jimmy Hollywood (1993), alongside Joe Pesci and Christian Slater.
In the Gallic country he filmed Une époque formidable (1992) and Casque bleu (1994), by Gérard Jugnot; Gazon maudit (1995), by Josiane Balasko; La femme du cosmonaute (1998), by Jacques Monnet, and Mon père, mère, mes frères et mes soeurs (1989), by Charlotte de Turckheim.
In Spain he worked in a bouquet of notable feature films, such as Heels distant (1991) and Kika (1993), by Pedro Almodóvar; Too Much Heart (1992), by Eduardo Campoy; Intruso (1993) and Libertarias (1995), again with Vicente Aranda, and between the legs (1999), by Manuel Gomez Pereira.
But his best performance was undoubtedly that of the splendid thriller of Agustin Diaz Yanes. No one will speak of us when we died (1995), which was finally his first Goya (of the eight that received the film in 1996), in addition to The first Ondas Awards and the Actors Union, and the second Silver Shell of the San Sebastian Festival. With Diaz Yanes he would return to work on two occasions: in Sin noticias de Dios (2001), next to Penelope Cruz , and in the continuation of Nobody will speak of us when we died , titled I just want to walk (2008), next to Ariadna Gil, Pilar López de Ayala, Elena Anaya and the Mexican Diego Luna.
In his last years his appearances in the French cinema have remained as numerous as in the Spanish. Among the latter are titles such as El seventh day (2004), by Carlos Saura (for which he received the Actors Union Award for Best Supporting Actress), Inca (2004) by Miguel Bardem (Best Actress in The International Film Festival of Porto), and School of Seduction (2004), by Javier Balaguer.
His last collaboration so far with Vicente Aranda was Tirante el Blanco (2006), adapted from the novel by chivalry of the same name by Joanot Martorell, followed by Antonio Banderas’ Road of the English (2006), Oscar, a surrealist passion (2008).
