Juan Diego Botto, an Argentine actor born in Buenos Aires in 1975, has long carried the weight of a family tragedy that shaped his career. While he continues to shine as a leading man in films, the training and steadfast dedication inherited from his father, who disappeared during Argentina’s dictatorship, steered him toward a varied and evolving path. A playwright who earned the Max for Breakthrough Author in 2015 and a celebrated stage actor, Botto has accumulated six Goya nominations for cinema and has recently joined a production as Best New Director for In the Margins. His television work spans many series, with his latest turn featuring a character who admits a dislike for driving as part of a contemporary life twist.
It is striking how a topic so common in everyday life has not yet produced a dedicated series.
It is remarkable how many people endure the driving school journey, the nerves, the small crises, and the stubborn pace of progress, yet no show or film has treated it with the same warmth and empathy that Borja Cobeaga brings. The result is a funny program that feels deeply compassionate and genuinely enjoyable to watch.
How did Botto respond when the proposal arrived? What may seem minor can become significant in a moment.
Cobeaga picked up the phone and proposed a project. They met over coffee, and Botto recalls feeling thrilled because he regards Cobeaga as one of the finest voices in Spanish comedy. When the idea of a show about a man trying to obtain his driver’s license surfaced, Botto initially laughed at the notion, but curiosity won out. He read the script and found it rich with anecdotes about the licensing process while also offering a meditation on aging and the possibility of reinventing oneself at midlife—a second chance.
Botto notes that the protagonist has real character.
Lopetegui, a recently divorced man who has lost his father and grown irascible, is given a chance to change. Botto appreciates the opportunity to explore new beginnings at age 45 and to portray a man who is not finished with life yet.
When a clever writer like Cobeaga guides the project and the plot unfolds with precision, the work never feels trivial.
The series is praised for its strong writing. Botto and the writing team have crafted a show that blends humor with a delicate tenderness. It doesn’t chase loud laughs; instead, humor arises naturally from situations and characters, flowing with a texture that can make viewers smile throughout. The tenderness at its core gives the narrative staying power, with the fifth and sixth episodes leaving a lasting impression.
Do you know why Cobeaga believed Botto would be perfect for the role?
The director has admired Botto’s performances in the past, including Stay Away from Me and Europeans, directed by Víctor García León. He valued Botto’s ability to inhabit sharply drawn characters, especially those who carry a dry, biting humor. The grumpy exterior and the nuanced gentleness in his interactions with an ex-partner resonated well with Botto.
Botto also drew from personal experience. He learned to drive as an adult, a journey mirrored in Lopetegui’s arc. Reading the script, Botto recognized familiar moments from his own life and education in Cuenca, which added a layer of authenticity to his performance.
The driving lessons depicted in the show feel authentic and relatable. Botto has friends who completed the process quickly, and at 41 he finished his own driving education after starting at 47. The intensity of the two-week course contrasts with longer, more gradual programs, offering a realistic portrayal that many viewers will recognize.
Botto argues that he is a natural fit for the role.
The show also captures a broader theme: the sensation of being around younger people and feeling out of place. The actor reflects on what it is like to be surrounded by a younger generation, sometimes seen as an elder by others, and often labeled as a teacher rather than a contemporary.
Were you able to witness the show during its development? Which images from the production embody the second-chance narrative?
Botto recalls a few striking visuals, especially the title itself and a scene with a car colliding with a stone. The character Lopetegui appears as a frustrated teacher with a forced sense of superiority, who believes life owes him something greater but gradually realizes he is still catching up to reality.
The supporting cast is described as outstanding. The driving school instructor, Lorenzo, appears on paper as a source of humor but comes alive through David Llorente’s performance. Lucia Caraballo brings warmth to her part, embodying a patient, cheerful presence, while Leonor Watling and the long-standing collaboration between cast and crew add depth and familiarity. The evolving relationship between a couple who deeply loved but parted ways is handled with care and nuance.
Botto notes that directing the project offered a respite after previous intense work. He emphasizes that directing is a lengthy process demanding meticulous attention, but this series provided a refreshing balance after heavy dramas about evictions and other challenges. The lighter tone and the dreamlike cadence of this comedy offered welcome relief.
Attention turns to the director’s recognition in national awards. Botto expresses pride in the nomination for Best New Director, acknowledging that collaboration with Olga Rodríguez and the team has drawn deserved attention to a film that raised the bar for tomorrow’s filmmakers. The recognition holds meaning for Botto as it reflects the faith of colleagues who champion his work.