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Lola Duenas

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Despite the family pedigree, no one has given anything to Lola Dueñas, who has built her acting career step by step. Among her qualities stands out how easily she crosses the border between drama and comedy without it sounding forced.

María Dolores Dueñas Navarro, better known as Lola Dueñas, was born in Barcelona on October 6, 1971. The world of entertainment was never alien to her, since her father, Nicolás Dueñas , is an actor, and her mother, María Navarro, is a representative of artists like Isabel Pantoja . This baggage had to weigh, because she Lola decided to study acting at the Institut del Teatre de Barcelona.

Throughout the 90’s he took part in some short films, but that wasn’t really a big deal. Her luck would change in 1998, the year in which she had the role of Cristina in the generational film Mensaka , which adapted a well-known novel by José Ángel Mañas ; the film was as important to her as it was to her young co-stars, Gustavo Salmerón , Tristán Ulloa , Adrià Collado , Laia Marull , María Esteve and Guillermo Toledo , and it earned her the award for new actress from the Union of Actors. That same year, the fledgling career of the actress was enriched by her presence in the television seriesJournalists and in the miniseries Entre naranjos . Although of course, if it is about highlighting her work on television, Dueñas is known mainly for her role as Dr. Susana Ramos in Police, in the heart of the street , since she intervened between 2000 and 2002 in more than 60 episodes.

Lola Dueñas can be very funny, she has a smiling air, a bit like Verónica Forqué . And she nevertheless moves like a fish in water in dramas of disoriented and aimless young people, who do not want to be like her elders, but who may repeat her increased mistakes. After testing it in Mensaka , she did the same with Marta y alrededores (1999), Las razones de mis amigos (2000) and Piedras (2002). Well, she was given choral films, where she was not the protagonist.

More important than Piedras was Pedro. Pedro Almodovar . The man from La Mancha appeared so to speak to the actress, who summoned her for Talk to her (2002). It wasn’t the main role, but it was there, so that the Sole of her, Raimunda’s sister- Penélope Cruz from Volver four years later was a much juicier composition, which she knew how to take full advantage of. A third collaboration would take place in Los abrazos rotos (2009). And the actress already seems so associated with Almodóvar that she has been signed by David Planell to act in La última de Almodóvar, where the director wants to take advantage of this in a comedy key and without any intervention, that is known, of the filmmaker from La Mancha.

The actress had a flair for comedy, see the outrageous Football Days (2003), or Fuera de carta (2008)… and for drama. In fact, this swimming between these two waters without seeming hysterical or unnatural was very well used by Alejandro Amenábar in Mar adentro (2003), where she was the woman captivated by Ramón Sampedro, to the point of collaborating for love in her suicide. . She embroidered a role of a simple woman, who follows the jokes of the quadriplegic, and who at the same time is a born sufferer. In this same line, she came to the hair of Lola Dueñas to do Yo, también (2009), where she described the unique relationship between her character and Daniel, who has Down syndrome, like the actor who played him,Pablo Pineda . Precisely the last two films meant for Dueñas two separate Goya awards in the category of best actress. Additionally, she won the Silver Shell for Yo, Too . It is perhaps the first time that it can be said that Lola Dueñas led a cast – “it is the biggest leading role I have been given in my life”, she confessed simply – and with her self-confidence she made her romantic conflict with Pineda credible, who He is not a professional actor, and he also exuded naturalness.

“The older I get, the more I think about it and go further. I don’t want to work with bad people”, declared the actress, who is still single at the moment. In the statement she seems to have in mind her bad professional experience with Javier Rebollo , who directed her in Lo que sé de Lola (2006) and in various shorts, as she stated in the newspaper El País that despite her disinterested work, the filmmaker He did not send her a bouquet of flowers. However, if she is asked specifically, she comments, “I will never say anything bad about him.”

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