Nearly two decades after her first visit to the Cannes Film Festival, Sofía Espinosa returns to the Croisette with an artistic maturity that reflects every step of her journey. As part of the 65th Critics' Week, her participation with Six Months in a Pink and Blue Building not only marks a milestone in her career, but reaffirms a constant search for intimate, honest, and deeply human stories.
In this conversation, the actress reflects on the meaning of this return, the emotional construction of her characters, and the evolution of an artistic practice that has expanded across acting, writing, and producing — never losing the sensitive pulse that sets her apart.
"It is an immense joy that the work is seen and resonates with different audiences around the world."
Your arrival at the Cannes Film Festival, within the 65th Critics' Week, marks a significant moment in your career. After years of building a solid and diverse filmography, how does this selection speak to your evolution as an actress and the decisions you have made throughout your career?
Sofía Espinosa: It's curious — I went to the Cannes Film Festival for the first time in 2007 with the short film "Watching It Rain", which won the Palme d'Or. Returning with a feature film now, almost twenty years later, is very exciting. In some way, it reaffirms this choice to be an actress from such a young age and to still be here, playing and finding my path.
I think I have been fortunate. I have been part of projects with wonderful people, telling stories with a lot of heart and care. And this film is like that — woven very finely alongside the director, with a great deal of time and affection dedicated to it. Those are truly the projects I enjoy making the most. They don't always have this kind of luck, but when they do, it is an immense joy that the work is seen and resonates with different audiences around the world.
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| Photo: Courtesy |
In "Six Months in a Pink and Blue Building", directed by Bruno Santamaría Razo, you become part of a deeply intimate story set in 1990s Mexico City. What drew you to this project, and how did you approach emotionally a story told through the eyes of a child?
Sofía: It is a very honest and very personal film from the director. It speaks about a family and is, in part, the director's memory of something that happened in the 90s. My character is Diana, the mother of this family. She is a beautiful, resilient, joyful character with a lot of energy. She is an aerobics teacher, a canteen cook, a multitasking mom. There was a great deal of research, many working sessions with Bruno, a lot of exchange. That made it, from the very beginning, a unique and very special project where I had the space to create and immerse myself in his universe. And the work together with Lázaro (the father) and Jade (the child) was also very deep and meaningful.
You have moved naturally between arthouse cinema, more commercial projects, and also writing and producing — as in "Open Cage" or "Mist". In that sense, where does acting stand today within your broader artistic practice?
Sofía: Acting is what I love most. It excites me. It challenges me. It moves me. It introduces me to incredible people. I think the journey has taken me through different types of projects, and I learn from all of them. Acting is a career of endurance. You have to trust, be patient, and learn to diversify — there is a great deal that is out of your hands. Writing, for me, is that: a way to keep imagining stories and possibilities so I can keep acting.
From "The Girl On the Stone" to "GLORIA", for which you received the Ariel Award, your work has been defined by complex and emotionally demanding characters. What do you look for today in a character that makes you say yes at this stage of your career?
Sofía: I have learned how important it is to enjoy the process. So in part, I look for a good experience. Having the time to build a character alongside a director is always wonderful — I seek that. And a good story that steps away from the commonplace is very appealing to me. Cinema is always very personal; you leave a great deal of yourself there. And they are very intense and passionate processes. That is something I love.
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| Photo: Courtesy |
Critics' Week tends to be a platform for emerging voices and bold proposals. How do you perceive the place of contemporary Mexican cinema in international spaces like Cannes, and what do you think this film contributes to that conversation?
Sofia: Mexican cinema has always been very diverse, and I think we have had many films participating in major festivals for some time now. There are tremendous artists in our country.
Six Months is a very special film because there is a genuine search within it. It offers a very fresh perspective on an era, on what it means to grow up, on a family navigating a difficult moment through joy and celebration. It is a very intimate, honest film, and I believe it can connect with audiences in a very beautiful way.
Throughout your career, you have shown a particular sensitivity toward stories that explore intimacy and human relationships. After this experience at Cannes, where are you interested in moving creatively — both in front of the camera and behind it?
Sofía: I always hope to have the possibility of making deep, honest films made with heart. I am also interested in continuing to write and develop my own projects. And to keep diversifying as an actress. I love doing theater, and I think that in the world of streaming platforms, interesting projects are also happening that I want to be part of.
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