Paco heads the project on Gypsy Bride. Elena Blanco emerges as the chosen actress after a long casting process where several performers were considered. The story follows a BAC inspector, a tough woman, who tells a distressed father that to uncover why his son disappeared years ago she must solve a case that erodes her own pain. The actress has portrayed figures who have endured hardship, including a mother in Minimal Ada, taking on a smaller role in Goya as Best New Actress in 2014.
Although the series draws from the novel Carmen Mola Break Every Sunday, this Wednesday, the 28th, the Atresplayer Premium Antena 3 network premieres the first episode publicly.
When Paco Cabezas reached out, did he inquire about Elena?
Imagine this moment. The phone rang and the director asked if Elena Blanco was on the line. Nervous, the responder hesitated, then asked if someone else was involved. The reply came quickly, a confirmation that it was Elena Blanco being discussed. Since that call, Elena Blanco has been a topic of ongoing conversation.
Has the novel Carmen Mola been read?
It was read for the cast, but the script revealed elements that demanded deeper character work. Building the role required time, with collaborators who trained in singing and acting for several months, shaping the performance through the script and rehearsal process.
Clear. She sings in the first episode!
Elena Blanco performs a song not to entertain but to cope. The moment of singing expresses the pain of a missing son. The character uses music to release the weight she carries. Karaoke becomes a vulnerable outlet, a turning point that allows the audience to understand her resilience. The question of how she endures daily life is intertwined with her role as a BAC investigator, a tension that fuels the narrative. It is a deliberate choice that adds depth to the character. The scene invites viewers into a game where perception shifts as the night unfolds.
The way she has sex says a lot about her too.
The performance conveys intensity. The character does not seek pleasure in intimate moments but uses them to purge sadness and pain. The emotional release is a key mechanism through which the story explores trauma and healing. When pain remains unresolved, it risks erupting in unpredictable ways.
“Elena Blanco doesn’t make love. She is with men not for pleasure, but to take the sadness out of that pain”
She doesn’t forgive her ex-husband for the way he handled life with their son.
The ex-husband is a strong presence, yet there comes a moment to release the past. A mother often refuses to close the door completely because the search for her son persists. Elena’s arc revolves around this struggle. Part of her pain remains, and she refuses to let go, convinced that the son is somewhere out there. The question becomes how a mother can truly move forward without letting hope fade.
Ángel Zárate defies him in another way.
As the head of BAC, Zárate acts with purpose. He does not allow interruptions from someone inexperienced, yet when emotion surfaces, the balance shifts and the situation deteriorates. In Zárate’s case the entry is messy, and the tension hinges on how firmly he stands his ground.
But then he brings the case home.
A darker crack appears within him. He notices the same flaws in others and feels drawn to the pain he sees. There is a sense of potential in those around him, though something is off. He is a capable detective, or so it seems, and his bond with Sonia deepens this shared suffering. Mariajo becomes the confidant who lets him be vulnerable.
How was filming with Paco Cabezas and did the American shoots influence the process?
Paco brings a cinematic sensibility, a freedom that draws on large-scale American productions. Yet the work remains grounded and authentic. In this space, everyone wears a mask at times, but the collaboration stays intimate. The director is generous, and the cast feels a strong connection. They share a deep mutual understanding despite the madness in his head.
“I think I have an Arabian and a Gypsy part in my DNA. I wish I could express more!”
Did you learn a lot from the Gypsy artists?
The experience was extraordinary. Working with hundreds of gifted Gypsy performers created a unique energy. The production captured a living culture with authenticity, and the director revealed the community’s cracks in a way that felt personal. The sense of representation finally reached them. The speaker feels a deep kinship with both Arab and Gypsy roots and wishes to express more of it. Flamenco’s influence runs deep, and the gratitude toward the director is profound.
Did the role in Minimal Island and Island of Lies leave room for comedy in her career?
There is an essential versatility in the performer. While one character may dwell in mystery and intensity, there is always room for lightness. A smile remains a constant companion, and the gaze carries depth. The sense of mystery is tied to a history etched in the eyes, an invitation to explore more. The journey continues with openness and gratitude toward the universe.
Was the author Carmen Mola truly a woman?
The question remains a controversial topic, but there is gratitude for the authors who crafted compelling female characters. Three men wrote those roles with conviction, and the impact speaks for itself.
Leading the conversation during the pandemic
Nerea Barros contributed to one of the most promising stories during the pandemic by stepping away from routine and wearing a nurse’s outfit to help. The news surfaced on social media when colleagues discussed the effort publicly. Barros recalls the moment as a turning point, recognizing the need to act and to protect those most at risk.
Her focus centers on the elderly, climate change, and women. This perspective shapes her directing work, which aims to capture the beauty of aging and the scars of devastated places. The project Memory, about a grandfather, a grandchild, and sea changes, is a passion project that has traveled to festivals and is headed toward recognition at national awards.