Aida Folch is a Spanish actress whose filmography includes films like ‘El embrujo de Shangai’, ‘Los lunes al sol’ y ‘The artist and the model’, in addition to the popular TV series ‘Cuéntame cómo pasó’.
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Aida has worked in films such as ‘Mi universo es en minúsculas’, by Hatuey Viveros: the historical epic ‘Henry IV’, directed by Jo Baier; ‘25 Kilates’, by Patxi Amézcua, for which she won the Silver Biznaga for Best Actress area ZineMalaga Festival in 2009; ‘Diente por ojo’, by Eivind Holmboe; ‘Las vidas de Celia’, by Antonio Chavarrías; ‘Salvador’, by Manuel Huerga; ‘Amar’, by Estebán Crespo; ‘Aquitania’, directed by Rafael Montesinos; ‘Fin de curso’, by Miguel Martí; ‘Siempre quise trabajar en una fábrica”, by Esteban Crespo; ‘El legado’, by Jesús Monlleó; ‘La mirada violeta’, directed by Nacho Peréz de la Paz & Jesús Ruiz; ‘Física II’, by Daniel Sánchez Arévalo and ‘Las lágrimas del cisne’, of J. Wilson. She has also worked in television films like ‘Con el 10 en la espalada’, ‘Inocentes’, ‘No estás sola, Sara’, ‘Morir en tres actos’ ó ‘Volveremos’, and in the TV series ‘Cuéntame como pasó’. In 2013 she co-starred with Imanol Arias, the miniseries `Vicente Ferrer´ for TVE interpreting Anna Ferrer.
On stage she has participated in the plays ‘Roberto Zucco’, under the direction of Lluis Pascual, and ‘Conte D’hivern’, directed by Ferrán Mádico.
In 2012 she starred ‘The artist and the model’, by Fernando Trueba, a film shot entirely in French where she works with Jean Rochefort & Claudia Cardinale. She also participated in ‘El amor no es lo que era, under the direction of Gabi Ochoa. In addition, she has directed ‘Estrellas’ and ‘Ella’, and was also responsible for the editing.
I worked with her when she was only 14, but already an actress, even if she didn’t know yet. I needed a teenager for the leading female role of "El Embrujo de Shanghai". After an exhausting audition, hundreds of girls in different cities ... one day Aida appeared. She showed up at the end of the day and just then, we knew she was what we wanted. Still, we kept auditioning her for a while. It was a very complicated project and we had to be sure. Ten years after that shoot, I had the pleasure and fortune to shoot with Aida again. Now she was woman. And an actress. But she hadn’t lost a thing along the way, on the contrary. She had simply become someone who was passionately in love with her work. During those 10 years, Aida had worked in long and short films, theater and television, lead roles and supporting roles... Aida knows just how hard and demanding the work and life of an actor really are. But all of that has only boosted her passion and her demand toward everything and everyone, but above all toward herself. Aida Folch is a force of nature, an explosive mixture of momentum and common sense, madness and wisdom, enthusiasm and skepticism, intuition and effort. She’s got such generosity it makes one think twice before asking her for something. An actor has very rarely given me as much as Aida gave to"The Artist and the Model". From moving to France to learn the language, to becoming a model before the film began so she could be true in front of the cameras. But that's nothing. Aida is not only capable of acting practically naked during most of the film and not letting that distract her one bit from her work, from the importance of the essence which was to give life and soul (and body) to the character of Mercè. At one point on the first day of shooting, Jean Rochefort took me to a corner of the set and asked: "Where did you find her? Not that I didn’t trust your judgment; I knew you'd pick a good actress for the character, but not in my wildest dreams had I imagined something like her". But that's not all, Aida also creates a wonderful atmosphere on the set. Everyone loves her. The camera loves her. So do I. If my colleagues knew what it was like to work with her, she would not have any free dates throughout the year. Aida is already a part of my films, but also of my life. And I only wish for life to give her everything she deserves.
The world of cinema is a better place since Aida arrived. I tend to exaggerate, but in this case, I know I’ll fall short. Aida's face should be declared Heritage of Humanity because it is art, elegance, sensitivity and perfection. My friend has been intelligent enough to polish that innate beauty in order to shape the most interesting and mature Spanish film characters. We could make references that evoke the Italian neorealism, or many of the female characters of the Nouvelle Vague but she is overwhelmingly inspiring in herself and has no comparison. Anecdotally I’d like to share something. Often, when she has an audition for a film she calls me to read the lines with her and even record the self tape-audition. In that moment of intimacy in which I record and give a response, I gape when I see the way she transforms herself; admiring her photogenic qualities becomes a mystical experience. So much that the last time I helped her with "La prueba" I was so dazzled that she scolded me: “Come on Fernando! We cannot be like this!”. A few months ago she made her first American film, learning English in record time; because her bravery does not understand excuses or buts, so she will conquer the world. Soon she will go to Andorra to mark an acknowledgment that you all have given her: Living legend of Spanish cinema. It is a good time to review her films, and to be alert of her coming films because actresses like Aida make cinema worthwhile. Actors, actresses and audiences are the ones who keep it alive. Don’t ever stop going to the cinema. Women like Aida work very hard to tell stories that will make you dream. The life those that are close to us is extraordinary. I love you sister. - Fernando Tielve I show her the portrait and she says: “I look so ugly, don’t I?”, and I say that it’s normal, because she is very ugly, possibly the most beautiful ugly woman in the world. Aida breaks the rule of every game out there, and that is the biggest treasure an actress can have. Aida has a character as hell and every one of those little demons carries a fiery love poem in their chest. When Aida smiles, her eyes slant and some I-don’t-know-what comes out of the corner of the lips and then, the world revolves on the right direction. Thanks, Aida, for each and every one of your confessions, for each and every one of your looks, for your silences (as I say in one of my old poems: "For our silences talk to each other like parrots"), for your smiles, for your jokes and your doubts. You're an ugly queen, and I do not know how or why, but you are also one of the most beautiful women in the world. I love you, friend.
I show the picture to Aida and said: "I look ugly, right?", And I say that's normal because you are very ugly, possibly the ugly most beautiful woman in the world. Aida breaks the rules of every game out there, and that, for an actress, is the greatest treasure to own. Aida has a character as hell and each of those demons embedded in the chest leads a love poem on. When Aida smiles, her eyes light up and comes out a something in the corner of the lips and then, the world revolves on the right direction. Thanks, Aida, for each and every one of your confessions, for each and every one of your looks, by your silence (as I say in one of my old poems: "For our silences talk to each other like parrots"), for your smiles, for your jokes and your doubts. You're an ugly queen, but do not know how or why, at the same time, one of the most beautiful women in the world. I love you, friend.
Interview with actress Aida Folch nominated for the Goya to the Best Actress 2013. She also participates in the short film “Veneno” in the Official Selection at the 3rd International Short Film Multifest.
Interview: David B. Islas
Aida Folch reveals what it was like to follow the path that has led her to the nomination for “Best Actress” at the Goya 2013, for her performance in the film by Fernando Trueba, ‘The Artist and the Model’. When this young actress started working in the cinema profession she did not know Trueba, she just knew that she “wanted to be an actress.”
Six years later, Fernando Trueba phoned this actress from Reus to ask if she could speak French. She replied that she could not speak that language, but in very predisposed manner she said, “But I can learn.” And so she packed up and moved to France. After six months Aida called the renowned director to tell him that she could now get by in French. That was the moment when Trueba fell in love with her.
For better or worse, the project took another four years to get started. Then, the long awaited script finally arrived which was very subtle and speaks of great things as the actress says.
A beautiful story that ended in Goya Nomination…