Victoria Abril Worth Income Profile and Salary. (Victoria Mérida Rojas, Madrid, 1959) Actress of Spanish cinema. After making her debut as a hostess on television, in programs One, two, three, respond again and 625 lines, made small interventions in the cinema, until the director Vicente Aranda offered the first starring role in Sex Change (1976). After its marriage with the soccer player Gustavo Laube (1977-1982), it initiated a relation with the French camera Gérard de Battista, with whom it had two children, and established its residence in Paris. That city was the springboard of her future works in France, Italy, Switzerland and Portugal. In Spain she became the favorite actress of Vicente Aranda, to whose orders she shot eleven films and two series for TVE, El crimen del capitan Sánchez (1985) and Los hinetes del alba (1990), and Pedro Almodóvar, who directed her in Four other films; Worked without interruption with the most prestigious filmmakers until she grew up, in her youth, a filmography of more than sixty titles and accumulated several international prizes. The criticism is unanimous in choosing Victoria Abril’s performance in Nobody will talk about us when we died (1995) as the best of her career.
Her first vocation was ballet and, from a young age, she studied classical dance. She debuted on the tables at the Teatro de la Zarzuela in Madrid, in the company of Ana Lázaro, only fourteen years old, shortly before Francisco Lara Polop chose her to play the servant of Obsesión (1974). Her work as a bookkeeper for the television contest One, two, three, responds again (1974-1977) gave him great popularity, more than her still very brief appearances in productions as peculiar as the Spanish The bridge (1977, Juan Antonio Bardem) and The man who knew to love (1978, Miguel Picazo), or the American Robin and Marian (1976), by Richard Lester, starring Sean Connery and Audrey Hepburn.
In 1976 Vicente Aranda offered him her first important paper, the one of the transsexual adolescent of Sex change. During that time she also worked in theater with the company Tirso de Molina, recorded discs of pop songs and presented the program of Spanish Television 625 lines. Aranda, a key director in her career (the versatility, psychological density and energy emanating from her compositions, as well as her remarkable capacity for emotional tearing, make it the perfect mold where Aranda can shed her intellectual and personal obsessions), (1979), adaptation of the novel of Juan Marsé, and Murder in the Central Committee (1982).
From 1982 on, her presence became one of the most attractive of Spanish cinema and was required to participate in a multitude of films by directors such as Mario Camus (La colmena, 1982), Jaime Chávarri (Bicycles are for summer, 1983) , Manuel Gutiérrez Aragón (The most beautiful night, 1984), José Luis Borau (River down, 1984), Francisco Regueiro (Our Father, 1985), Jaime de Armiñán (The witch hour, 1985), Emilio Martínez Lázaro 1988), Rafael Monleón (Bâton Rouge, 1988), Eduardo Campoy (A solo with you, 1990) or the Chilean Miguel Littín (Sandino, 1990).
With Vicente Aranda filmed in those years Time of silence (1985), The Lute: walks or bustles (1987) and If they say to him that it fell (1989), and intervened, to the orders of Pedro Almodóvar, in the law of the desire (1987 ) And Tie Me Up! (1990). Her role as the mother of an autistic child in Mater amatísima (J.A. Salgot, 1980) had opened the doors to European cinema; In 1984 and 1985 she was nominated in France for the César Award for Best Supporting Actress for her work in Jean Jacques Beineix’s La lune dans le caniveau and L’adittion by Denis Mar respectively. She also played a supporting role in Max, mon amour (Nagisha Oshima, 1986).
Her work in this first stage was recognized with numerous awards, including the San Sebastian Award for Best Actress at the San Sebastian International Film Festival in 1987 for her role as El Lute’s wife in El Lute: walk or bust , By Vicente Aranda; She also obtained three Silver Pictures, one Golden TP and five Goya nominations. During those first years, she combined her cinematographic career with notable interpretations for television, such as La barraca (adaptation of the novel by Vicente Blasco Ibáñez), La huella del crimen (starring the episode directed by Vicente Aranda, El crimen del capitan Sánchez ), Los pazos de Ulloa (adaptation of the homonymous novel by Emilia Pardo Bazán), The woman of your life or, again with Aranda, Los hinetes del alba (based on the novel of the same name by Jesus Fernández Santos).
By the 1990s, the actress had already reached her creative maturity and offered her full interpretive potential. Her next work was one of her most successful creations, in a new collaboration under the orders of Aranda: passionate and carnal Luisa, a swindler on which turns the love trio that constitutes the crux of the plot of the thriller of time Amantes (1991 ), Who co-starred alongside Jorge Sanz and Maribel Verdú; For her torrid and energetic performance (at the same time contained: her voice barely abandons the whisper), she received the Silver Bear of the Berlin International Film Festival, a Turia Prize, an ADIRCAE Prize and two new nominations for the Goya and the Silver frames.
Also in the 90s she alternated works in Spain and France, with the exception of a brief and unsuccessful foray into Hollywood, by Barry Levinson, who offered him the female lead role of Jimmy Hollywood (1993), with Joe Pesci and Christian Slater. In the Gallic country she filmed Une époque formidable (1992) and Casque bleu (1994), by Gérard Jugnot; Gazon maudit (1995), by Josiane Balasko; La femme du cosmonaute (1998), by Jacques Monnet, and Mon père, ma mère, mes frères et mes soeurs (1989), by Charlotte de Turckheim. In Spain she worked in a bouquet of notable feature films, such as Heels distant (1991) and Kika (1993), by Pedro Almodóvar; Too Much Heart (1992), by Eduardo Campoy; Intruso (1993) and Libertarias (1995), again with Vicente Aranda, and Between the legs (1999), by Manuel Gómez Pereira.
But her best performance was undoubtedly that of the splendid thriller of Agustín Díaz Yanes. No one will speak of us when we died (1995), which was finally her first Goya (of the eight who received the film in 1996), in addition to The first Ondas Awards and the Actors Union, and the second Silver Shell of the San Sebastian Festival. With Díaz Yanes she would return to work on two occasions: in Sin noticias de Dios (2001), next to Penélope Cruz, and in the continuation of Nobody will speak of us when we are dead, titled I just want to walk (2008), next to Ariadna Gil, Pilar López de Ayala, Elena Anaya and the Mexican Diego Luna.
Net Worth of Victoria April
The Net Worth of Victoria Abril in 2017 is $270 Million.
|Net Worth||$270 Million|
|Annual Income||$30 Million|
In her last years her appearances in the French cinema have remained as numerous as in the Spanish. Among the latter are the titles such as El seventh day (2004), by Carlos Saura (for which she received the Actors Union Award for Best Supporting Actress), Inca (2004) by Miguel Bardem (Best Actress in The International Film Festival of Porto), and School of Seduction (2004), by Javier Balaguer. Her last collaboration so far with Vicente Aranda was Tirante el Blanco (2006), adapted from the novel of chivalry with Joanot Martorell, followed by Antonio Banderas’ Road of the English (2006), Óscar, a surrealistic passion (2008), by Lucas Fernández, and Better than Never (2008) by Dolores Payás.