Anna Castillo, born in Barcelona in 1993, spent a weekend in Gran Canaria as part of the island’s 22nd International Film Festival. The scene was set with the sea breeze from Playa Mujeres in the background as she reflected on a year filled with new professional challenges, from sound editing to a romantic comedy mini-series that promises to stream on Netflix this year.
What will the roundtable at the festival feel like for the two rising stars? In Gran Canarian company, the discussion centers on the realities of a career in acting, especially for young women. One participant notes that the dialogue should address both the highs and lows of the profession, not simply on a feminist axis, but from the perspective of two women navigating early career pressures and the vulnerability that accompanies it.
When asked about the start of her journey, the actress, now 29, reflects on a decade of growth. She describes the early years as fueled by imagination and determination, a time when passion outweighed pragmatism. Looking back, she recognizes that those years laid the groundwork for learning to prioritize personal well-being alongside professional ambition.
The topic of feminism often arises in discussions about the industry, and the interviewee acknowledges that equality remains incomplete across all fields. She highlights that Spanish cinema is currently in a phase of widening opportunities for female directors, screenwriters, and producers, which in turn enriches roles for actresses with stronger, more feminist character work. Yet she remains aware that inequality persists, a point she attributes to ongoing structural gaps within the industry.
Wage disparities surface as a prominent example of ongoing inequality. She notes that this topic remains sensitive and difficult to gauge, partly because money has traditionally been taboo, making precise comparisons challenging.
On the topic of voice work, the conversation turns to a recent project focused on audio editing rather than visual performance. She explains that this shift was liberating, offering a chance to explore a different craft after many audiovisual roles. The experience was empowering enough to consider a second season, with the anticipation of continuing to challenge herself beyond traditional on-screen appearances.
Regarding recent filming in Greece, she confirms a Netflix-bound project described as a dramatic series that will debut this year. The prospect of venturing from drama into romance glamor resonates with her, as the actor explains that romantic comedies have long been a personal favorite, offering a sense of freedom and joy when the right team and director are involved.
The shift from stage to screen is acknowledged, with the actress admitting a longing for theater. She notes that the current audiovisual focus can sometimes overshadow opportunities in theater, yet she remains hopeful about future theatrical roles and the possibility of creating projects with friends if the right moment arises.
Rather than pursuing a formal plan to launch a production company, she describes ongoing conversations with fellow actors about potential collaborations. These discussions are driven by friendships and a shared interest in developing long-term creative ventures, though nothing concrete has yet emerged.
Performance life has required emotional boundaries on set, and she explains that balancing connections with a crew and then moving on to the next project has become a learned skill. She describes building a lasting professional network as a protective practice, allowing for future reunions with colleagues even after years apart, which she finds deeply meaningful.
Looking ahead, she is interested in portraying varied family dynamics and relationships, recognizing that every family contains multiple currents of emotion. She wants to explore siblings and mother-daughter dynamics, aiming to uncover the nuanced patterns that shape individual identity. The goal is to illuminate family life in ways that resonate with audiences and reflect real-world relationships.
Love stories have repeatedly captured center stage, yet she suggests it is important to acknowledge the emotional weight of less visible family ties. The evolution of these dynamics over time offers fertile ground for storytelling, and she notes that readers and viewers alike are drawn to authentic portrayals of how family roles influence personal growth and connection.
Recently, she has been reading Annie Ernaux, finding a particular fascination in the book Job. The narrative, though compact, examines obsession and jealousy through a woman’s perspective, offering insight into complex emotional landscapes. This literary reflection informs her ongoing interest in intimate relationships and the forces that shape them. [Citation: Interview transcription with festival participant, Gran Canaria International Film Festival]