That little girl from the series "El internado" had charm. But in other cases it has already happened that the good reception of a series could lead to the successful death of many of its protagonists already separated from the common cinematographic imaginary. That the case of Ana de Armas managed to escape this domino effect, which takes so many actors and actresses ahead, would depend on luck and that Ana de Armas certainly had much more than charm.
The usual legend that accompanies success. Ana de Armas also describes behind her the wake of the great stars hoisted thanks to perseverance from nothing. And surely the epic will have its point of realism in your case. But Ana de Armas had in her favor her incomparable camarogeny, a neologism that I just invented as an extension of photogenicity. Because there is no camera that resists not only the image of Ana but also her transit through the scene. This Cuban actress moves with the lightness of a muse while, paradoxically, she carries the heaviness of gestures that can plunge us into a melancholy that crosses us with her gaze.
I do not know if it is a matter of training in dramatic arts. I only know of final results. And Ana de Armas summarizes everything that can be asked of an actress. She can snatch from her smile or her tears. Everything she does has that residue of absolute verisimilitude. The only thing about her but about her is what in her beginnings could have been a virtue to adjust to more "juvenile" roles. I mean that appearance of eternal youth. Curious that she can only put a but from the purely physiognomic. Beauty maintained over time can sometimes play against it.
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Top 3 recommended movies of Ana de Armas
Blonde
AVAILABLE ON ANY OF THESE PLATFORMS:Getting into the role of Marilyn Monroe anticipates easy criticism. The very director of the film, Andrew Dominik, knew it and announces that there is something in it that will offend everyone. No doubt he will be right because the legion of offended is multiplied among the mythomaniacs.
But when you are able to see this biopic of the ill-fated Marilyn with a liberated vision, things change. In the first place, because the matter stems from a previous fiction, from a novel by Joyce carol oates nothing less. And so you get rid of the staunch detractors who will jump from the first scene.
Afterwards, everything happens with a spectacular mimicry like few have seen when dealing with any minimally biographical representation. A performance-gesture-interpretation at the height of Rami Said Malek playing Freddie Mercury. A spectacular job by Ana de Armas, full of risks but finally achieving that status of actress with capital letters that Armas had already been demonstrating regularly in recent years.
At times, Ana de Armas's Marilyn looks like the same Joker from Joaquin Phoenix. In fact, there is something of a tortured character that we all sensed in Monroe that fits with the same emotional deficiencies of that memorable sinister Joker from madness or bipolarity.
Then there is the pestilent aroma of the cruelest machismo, the most physical, the one that pulled abuse with subhuman daily life that even so only fills the unfortunate existence of Monroe. And Ana de Armas provides the highest drama so that nothing else that bursts into the movie continues to be that traumatized girl with whom the film takes off.
The rest is drama in an amazing journey where tragedy appears at every moment. Appearances taken to their most lacerating consequences. The strange virtue of beauty charged as compensation with the sentence. Only that on this occasion there is little concession left for the lights. Monroe's fictions for the cinema were farces, while her most rabid interpretations closed in a spiral on the completely alienated human being who lived in her entrails.
Vainglories extended like bridges over abysses. A sensation of terror hovering at every moment. No compromises for popular brilliance. Quite the contrary. This film is shadows and more shadows in a descent into hell as the fate of a Dante unable to get out of the rings of hell. Because no one accompanies Monroe in her particular future. Neither Virgil nor God.
Daggers in the back
AVAILABLE ON ANY OF THESE PLATFORMS:You can also watch this movie by Ana de Armas completely free this link: RTVE PLAY.
The character of Ana de Armas sustains the plot of this juicy mix between comedy and suspense. Because the deceased patriarch Harlan Thrombey everyone aspires to that last kind hug turned into millions or properties. Sons and daughters-in-law, sons and sons-in-law. Everyone awaits the corresponding reward with which to relaunch their lives.
But old Harlan seems tired of interested love and focuses on his nurse Marta, played by Ana de Armas, his last hope that his legacy ends up in the best hands. Everything happens at a frenetic pace. At times it seems that the brown of the grandfather's death is going to be eaten by poor Marta. Some seem good and are very bad, while others seem to obscure the plot to finally shine. Typical change of roles but not magically surprising.
When renowned mystery novelist Harlan Thrombey (Christopher Plummer) is found dead in his mansion, just after his family's 85th birthday celebration, inquisitive and courteous detective Benoit Blanc (Daniel Craig) is mysteriously recruited to investigate the matter. He will move between a network of false leads and interested lies to try to discover the truth behind the writer's death.
blade runner 2049
AVAILABLE ON ANY OF THESE PLATFORMS:Ana is capable of transmitting, from her disconcerting beauty, a cold sensation of alienating perfection. Hence, her role in this film as a replicant named Joy was captivating. Essentially programmed to please, but finally converted into an ally of the protagonist, Ana de Armas gives the film a charge of magnetism, of fascination for what the future could hold for us in terms of old myths of robotics and Artificial Intelligence.
The film was received with the typical disappointment of lovers of the original thirty years before this adaptation. But it is certainly a film with improved effects, a more dynamic plot, and even losing that existentialist point of the initial film, it is undoubtedly a benchmark of current science fiction.
The human being capable of generating human replicas not from cloning but from technology. Let's tell the old about life and death and the paradox that the work outlives the maker like a failed God. In addition, as I say, a very juicy plot and an invoice as a blockbuster that gave that special pleasure to see it in the cinema.
Other recommended movies of Ana de Armas
Aguas profundas
AVAILABLE ON ANY OF THESE PLATFORMS:Eroticism and suspense, erotic thriller as specialists already call films of this nature. A film where Ana de Armas is fully convincing as a femme fatale, loaded with all her weapons of conquest until the defeat of her lover by complete madness. Ana de Armas (Melinda) is the mantis that devours her partner, Ben Afflet (Vic) after each passionate delivery in bed or wherever he touches.
For her there is no passion without exceeding limits. Melinda knows that Vic is completely devoted despite his whims, his outbursts, and his pursuit of sex in every other arms. But there is no unbridled passion without excesses that can lead to crime, to a thirst for revenge of the rejected.
The waters can always collect the darkest secrets. And as long as there is no definitive evidence, Vic can continue to focus her passionate hatred on increasingly treacherous crimes. Because once he became the murderer of passion, one more victim doesn't matter anymore.
Fully understandable tension in abundance for a convincing female lead on that road to madness. the very Patricia Highsmith I would be proud of this adaptation where Melinda offers a maddening sweetness, sensual but depraved.
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