Anna Castillo, born in Barcelona in 1993, has emerged as one of the most solid talents on the Spanish screen despite her relatively young age. The breakthrough came with Olives, a film that earned her the Goya Award for Best Newcomer in 2017, and her rise has continued ever since. She became associated with Los Javis, appearing in both the musical and the film. In Call, and similarly with Viaje al cuarto de una madre, her work drew another Goya nomination, and she also delivered a powerful turn in Wild Sunflowers. Her television work spans Doctor Mateo, Club Super 3, Amar es para siempre, Estoy vivo, and Madrid is on Fire. Currently, Nati, one of four residents sharing a supervised apartment in the Easy series, marks a new chapter for Movistar Plus+.
How did the idea for this project come about? Was there a connection with Anna R. Costa’s Madrid collaboration?
It felt surprising to Anna, given her anticipation of adapting Reading Easy, that casting would include someone like me: a person close in age and profile, yet with a disability. They seemed to be seeking older performers with a particular set of experiences. I asked for even a cameo, and suddenly an opportunity arose to inhabit one of the roles. The process proved intensely creative, with the four actresses carrying many doubts and insecurities.
Do you think it would be hard to work with someone as transformed as Natalia Molina in the role of Marga?
There is a moment when the group of four girls enters a shared universe, and the disability theme shifts through levels. Meeting Marga and pondering whether she engaged with Kevin became more intriguing than her disability itself. The focus wasn’t on her injury; it was about uncovering other dimensions in the characters. Nati, for instance, speaks with a bold political stance. The aim was to convey bodily presence and expressiveness, ensuring every word and gesture carried meaning and consistency.
Has the source novel been read?
Not initially. The team explained that the worlds would differ enough that reading the book beforehand could color the interpretation. It seemed wiser to wait and see how the universes diverged, and the material was tackled afterward.
“We visited supervised apartments to understand living dynamics and group interactions”
Did they consult with people who have disabilities?
Definitely. The team explored supervised apartments to grasp daily life and group dynamics. A dedicated apartment assistant guided the process, offering ongoing advice. Integrated dance lessons with La Troca helped reveal how art can connect people with disabilities in meaningful ways. The journey for Nati’s character centers on expressing herself through movement.
Do you think a dance education in childhood leaves a lasting impact?
Yes, it informs presence and timing. Dance is bodily and expressive, not merely about technique. It adds a layer of immediacy to social moments and celebrations alike.
Has studying psychology helped with the character work?
The performer pursued psychology but discovered a stronger pull toward using therapy and empathy within acting. That empathetic stance proved crucial to shaping the character and guiding interactions on screen.
What about Nati’s disability specifics? Is autism mentioned in the show?
The exact condition isn’t specified. Nati sustains an unforeseen injury after an accident, leaving her with emotional and expressive blocks that go beyond a single diagnostic label. When developing the character, it became clear that every disability is unique, and the story rests on emotional constraints rather than a defined condition. The arc emphasizes how frustration can arise when emotions outpace understanding.
It can be hard to watch when you sense everything yet lack a clear reaction.
The essence lies in connecting with emotion through movement. That approach offers a visible metaphor: art binds something deeply personal to how one experiences the world. Viewers can feel how Nati communicates through dance, questions, and choices.
“A lead with Nati’s disability would not be a simple fit for this role”
Nati finds joy in dancing and riding a motorcycle.
The wind energizes her, movement becomes a force of life.
Has there been criticism about not portraying an entirely disabled character?
It is important to represent disabled characters in audiovisual work. The series aims to provide a genuine introduction to those experiences. While many talented performers could bring compelling characters, Nati’s specific disability was not meant to be a blanket label for the role. The performance was about following a script faithfully, and most audiences understood that approach.
Barcelona shines through, especially Barceloneta. As a native, there is a sense of pride.
Family roots trace back to Barcelona, with memories anchored at La Salle in Barceloneta. That connection made the project especially meaningful.
For Anna R. Costa, this project marks a first solo endeavor. Was there a sense of stepping out from under a male shadow?
It was thrilling to witness Anna’s process. From Arde Madrid to this new venture, her intelligence, sensibility, and talent became evident. The team built a supportive environment, and the collaboration, facilities, and direction all reflected a strong, shared vision. Costa pushed for her best work, and the result felt transformative.
“I chose to stay quiet amid the discussion because I deeply admire the author and the director”
How did critics respond to the adaptation by Cristina Morales and Anna Costa?
The approach differed from the original book, which centers on four monologues and resists a straightforward adaptation. Anna crafted multiple plots and universes within the show, and while some viewers welcomed the interpretation, others disagreed. Different tools, different codes, and that variety is part of adaptations—it invites conversation rather than a single verdict.
The project slate has many compelling entries.
Wild Sunflowers represented an emotional challenge, tackling motherhood and weighty themes, and it stands as one of the actor’s proudest efforts. Dates to Tell offered a lighter, two-week shoot—almost like a summer camp—and proved to be a contrast in mood. The current project is a Netflix mini-series, A Perfect Story, based on a novel by Elisabet Benavent, keeping the momentum going with fresh storytelling.