Several Canary Islands actresses have stepped forward with serious accusations against film professional Armando Ravelo, describing coercive behavior and psychological manipulation. In social media posts, one writer recalls being told she was invited to “do bad things,” followed by claims that he was “too old to do more bad things with you” and suggestions that such actions could be planned or provocative. The accounts allege that Ravelo pressured a teenager for sexual involvement, introduced drugs and explicit material into conversations, and used flattery to push boundaries. These statements, published by Koset Quintana, have sparked a broader conversation about power dynamics and abuse within the Canary Islands entertainment scene.
The allegations extend beyond Ravelo, touching on a broader case involving Spanish filmmaker Carlos Vermut, who faces accusations of sexual violence in events spanning May 2014 to February 2022 related to his film Magical Girl. Complainants argue that Vermut’s status and visibility granted him opportunities and control within cinema without consent. Quintero, inspired by these disclosures, shared his own account to express collective frustration with influential men who abuse authority to exploit others. He notes that a filmmaker living in the Canary Islands has received government support despite troubling conduct.
Quintero met Ravelo during a workshop where the director discussed film history. Afterward, he recalls, conversations occurred with a young participant seeking recognition and trust. He describes instances where the director complimented a teenager and proposed roles, with remarks about the teen’s appearance that felt inappropriate and revealing of an intent beyond professional interaction. An image or description shared in the post was interpreted by some as suggestive or provocative.
Within hours of the post, hundreds of comments appeared—many supporting the storyteller while others echoed shared pain from other actresses who described similar experiences with Ravelo. One Canary Islands actress, Marta Viera, spoke of a “dark period” in her life and the sense of destruction left by harmful encounters in the industry. She, along with others, emphasized that healing requires acknowledgment and accountability, and that survivors should be believed and supported as they navigate legal and personal consequences.
Other testimonies highlighted the long-term impact of abuse, with Laura Perdomo recalling years of mistreatment and underscoring that pursuing a role should never require compromising personal safety or integrity. Nati Vera, an actress and singer, described persistent insinuations and the coercive dynamics that forced a reconsideration of professional collaborations. Sigrid Ojel expressed gratitude to Quintero for raising the issue and stated a firm resolve to avoid working with individuals who abuse power. Minerva Santana, a journalist and performer, affirmed the traumatic influence Ravelo’s behavior had on her life and the lived reality of many women in the field.
Testimonies also came from male professionals, with camera operator Aridane Díaz recounting his own difficult work experience with Ravelo in 2020, highlighting troubling treatment and methods. Quintero suggested that the stories described might only represent the tip of the iceberg, noting the prevalence of harassment online and psychological manipulation. Advocacy groups such as the Women Filmmakers and Audiovisual Media Association (CIMA) have encouraged all complaints to be channeled through proper avenues. The Canary Islands’ acting school had already begun warning about Ravelo, advising that casting and networking occur in appropriate settings rather than informal or coercive environments.
Anonymous colleagues described job offers that hinged on romantic or sexual favors, with some reporting that proposals escalated to manipulation rather than legitimate professional mentorship. The collective message from these accounts is that such dynamics undermine trust and safety in creative spaces, and that speaking out can be a critical step toward change. Quintero’s publication has been viewed by many as a form of relief or salvation for those who felt unheard.
Ravelo’s response to the allegations
Ravelo later acknowledged certain conduct that he described as ugly toward women. He said he met a young person at a workshop and believed her to be an adult, and he apologized for the harm caused by his remarks, insisting there was no intention to justify inappropriate behavior. He claimed to have seen the young person as part of a fleeting joke at the time and asserted that his statements had no justification, expressing regret for his past actions and the context in which they occurred.
The filmmaker claimed to have since altered his approach toward working with actresses and women, mentioning personal therapy and a commitment to change. He argued that such issues deserve scrutiny and accountability, and he welcomed public dialogue to address past wrongs. He offered a broad apology to the community, acknowledging that his early career involved conduct that required reflection and apology.
In closing, Ravelo noted that his most recent project, Once upon a Time in the Canary Islands, has support from regional and local authorities as well as cultural organizations. The film, which explores immigrant experiences in the archipelago, was among the nominees for the Best Film category at the 2024 Goya Awards. His career in cinema began in 2011 with the creation of the Bentejuí project and includes numerous works across film and theater, along with public recognition and awards.
Because these revelations intersect with power, art, and accountability, many in the Canary Islands are reassessing boundaries, consent, and the responsibilities of mentors in the cultural landscape. The dialogue continues as communities seek justice, safety, and healthier practices for everyone involved in film and theater.