Victoria Luengo in conversation with Carlos Megía
Her story isn’t that of a young girl who debuted in a streaming hit only to wake up as a household name. Nor is it that of a protégé handpicked by a prestige director to be his next muse. And it’s certainly not the tale of someone riding the wave of a famous last name to reach the top. There is nothing accidental or overnight about Victoria Luengo’s career. “I decided to change my professional name because a decision made at 14 no longer made sense to me,” she explains, a move of maturity that signals the start of a new, more conscious chapter. That is precisely why her story deserves to be told. Because her ascent to the heart of Spanish cinema has been a slow-burn architecture, built on versatility and a talent that consistently shines with its own light. The ‘next big thing’ label no longer fits; there is nothing fleeting about the trajectory of a woman who, in 2026, is reaping the rewards of years of steady cultivation. From solidifying her place under the direction of masters like Pedro Almodóvar and Rodrigo Sorogoyen, to her highly anticipated return as the lead in the second season of Red Queen (Reina Roja), Luengo’s secret is about to go global.
You were born in Palma de Mallorca but grew up in Barcelona. How did cinema enter your life, and how did your surroundings influence your desire to become an actress?
Victoria I’ve never been able to pinpoint the exact spark that ignited my desire to become an actress. It feels as though it’s something I was born with. No one in my family worked in the arts, but I was very lucky to receive their unconditional support, as well as the privilege of growing up in a middle-class family that could afford for me to start studying acting when I was ten years old. I celebrate every day the fact that my passion for this profession remains just as strong as it was when I began.
“We’re always entering new phases, because life keeps moving and changing. It feels good to see that I’m closing chapters and growing—anything else would be awful. I see phases more as personal periods defined by how I feel internally, rather than by what’s happening externally.”
Your career has been built step by step, without shortcuts. What did those years of training, theatre, and small roles give you as an actress?
Victoria The greatest learning experience. I wouldn’t be the actress I am today if I hadn’t learned this craft through theatre, which taught me the importance of teamwork and instilled in me a love for the leap into the unknown that comes from stepping on stage every night without knowing what will happen. I also wouldn’t be who I am if I hadn’t experienced the frustration of not being cast so many times. That forced me to ask myself who I wanted to be in front of a camera and to accept what I could—and couldn’t—offer. Every small role, every project I’ve been part of, has allowed me to be a sponge and absorb everything that makes me who I am today.
This year you’re releasing very different projects by highly prestigious filmmakers. How do you experience a moment like this: with euphoria, vertigo, or a mix of both?
Victoria A mix of both. I feel very excited, but also a little scared. It’s inevitable to feel vertigo when you see a year coming with such a high level of exposure. Excessive outside scrutiny can distort your own self-perception, and you have to actively work to stay grounded. At the same time, this is a year in which I’ve fulfilled childhood dreams, so I couldn’t be happier or more excited. I’m really looking forward to sharing all these films with audiences.
You worked with Pedro Almodóvar on The Room Next Door (La habitación de al lado) and now return to his universe in Bitter Christmas (Amarga Navidad). What has changed in your approach this time, and what was the biggest challenge posed by the character of Patricia?
Victoria The first time I was obviously more nervous than the second. I now understand Pedro’s universe and his way of working much better. He’s a very special person—he has ideas in his head that you can’t even begin to imagine, and when you finally see yourself on screen, you’re surprised to discover things you weren’t consciously aware of while acting. The biggest challenge was understanding his code and language. When you say one of his lines, it sometimes feels as though all his previous female characters are speaking through you. Pedro writes in a language only he knows how to write, and in order to truly enjoy his work, you have to learn how to speak it.
Is there really a ‘before and after’ for an actress after entering the Almodóvar universe, or is it a quieter transformation than it appears from the outside?
Victoria I don’t know—I think that’s something I’ll discover over time. I’m not yet fully aware of what it means. I imagine that when I’m older and look back, I’ll think that one of my great fortunes was being able to contribute my small part to the filmography of a director like him.
“I wouldn’t be the actress I am today if I hadn’t learned this craft through theatre, which taught me the importance of teamwork and instilled in me a love for the leap into the unknown that comes from stepping on stage every night without knowing what will happen. I also wouldn’t be who I am if I hadn’t experienced the frustration of not being cast so many times.”
In Rodrigo Sorogoyen’s The Beloved (El ser querido), you share the screen with Javier Bardem, who plays your father. How do you build that sense of family intimacy from scratch, and what did you learn from observing his approach to the craft?
Victoria Javier Bardem is one of the greatest actors in the world, and it was a privilege to watch him work up close. He’s deeply committed to the craft—he’s passionate, meticulous, and incredibly detail-oriented. Understanding his way of working was truly inspiring.
Is there anything about Javier’s way of working or approaching characters that has stayed with you?
Victoria I’ve learned many things that feel as though they’ve seeped into places I can’t yet fully identify. Perhaps one of the most valuable lessons was seeing the permission he gives himself in every take to allow the character to surprise even him.
For years you’ve spoken openly about feeling insecure at photocalls and red carpets. With everything that lies ahead—festivals, premieres, awards—do you feel more prepared now to enjoy that public side of the profession?
Victoria Yes, it’s something I’ve learned to enjoy. It took me time to find my identity at these events and to understand what image truly represented me and what values I wanted to uphold. Now I experience it in a much healthier way. These projects place you on an international stage.
Do you feel you’re entering a new phase, or do you prefer not to anticipate what might come next?
Victoria We’re always entering new phases, because life keeps moving and changing. It feels good to see that I’m closing chapters and growing—anything else would be awful. I see phases more as personal periods defined by how I feel internally, rather than by what’s happening externally. Of course I’m excited about the doors these films might open, but that’s something only time will tell, and it’s not worth spending energy worrying about it now.
Read the full interview on Muse February Issue 67.
