Ivana Baquero is Netflix's 'La Viuda Negra': "Getting into such a dark mind is complicated"

The actress stars in this film based on one of the most high-profile events in Spain. We met with her to talk about the role that brings her back to our country.

A 2007 video reminds us of what was likely one of the most defining moments for the actress we’re about to speak with. In the footage, José Corbacho appears on stage, ready to present the Goya for Best New Actress. He introduces Anabel Alonso and Paco León, who are tasked with announcing the winner. After reading her name, the crowd erupts into applause. A young Ivana Baquero had just beaten Adriana Ugarte, Verónica Echegui, and Bebe. With confidence, she dedicated the award to her parents—those who introduced her to what she calls this "world of magic"—and, of course, to her mentor, Guillermo del Toro, to whom she made a heartfelt declaration of love.

That charming and talented girl who won us over with her unforgettable performance in Pan’s Labyrinth has grown since then, taking on roles in films and series like The Anarchist’s Wife, The Shannara Chronicles, and High Seas. That last project was her most recent in Spain—until La Viuda Negra came along. The film, based on the Patraix murder that shocked the country, stars Baquero as Maje, the woman accused of orchestrating her husband’s murder. With the film’s release just days away, we spoke to the actress about the complexity of this role that has once again placed her in the spotlight.

Did you know about this story before?

As I spoke to more people, it felt like I was the only one who hadn’t heard about the case. When I got the casting call, I started researching it, and what struck me the most were the audios—the wiretapped calls. They’re completely surreal and incredibly interesting to listen to, especially from a human perspective. I thought the character was fascinating, and diving into that depth... It was an immediate yes for me.

Is it more challenging to portray someone real?

Absolutely—it adds another layer. When you play a fictional character, there are gaps you can fill in as an actor. And while this isn’t a documentary—we took creative liberties—it’s still based on a real person. There’s pressure to do justice to the story and handle the topic with sensitivity. As an actor, getting into such a dark mindset is complicated, especially knowing these events really happened. It’s very disturbing. You have to empathize—not justify—but understand how someone ended up there, so it makes sense and the audience can connect. So yes, it was definitely a bigger challenge.

What emotions did you draw on to reflect the character’s coldness?

What fascinated me about Maje is how chameleonic she is—how she adapts to the situation and the person in front of her. She comes off as a victim, the good girl who’s never done anything wrong. She plays into that narrative. What’s interesting is that she behaves differently with everyone. That was the hardest part—making sure she didn’t come off as flat or entirely cold. We wanted to give her emotional depth and humanity. To reach that, I worked closely with Carlos Sedes, the director, and Ramón Campos, who had done extensive research and knew Maje’s case very well.

Were you able to speak with her?

No, neither with her nor anyone from her inner circle. My research was based entirely on public records, phone calls, documentaries, and the script.

Do you think her religious beliefs influenced her actions?

Totally. There were many factors at play in Maje’s actions, not just religion, but that was a significant one. For her, divorce was seen as worse than murder. She never imagined she’d get caught. She preferred to be seen as a victim rather than the villain in a divorce story.

There seem to be some parallels between your character and Úrsula Corberó’s in Burning Body. What do you think?

I’ve seen the series, and while the cases seem similar, I think in Burning Body, the character has a more sexual motive—she’s more of a femme fatale. We intentionally steered away from that. Carmen Machi’s character even says in the film that Maje isn’t a nymphomaniac, although that’s the most sensational take. What Maje wants is a harem—to feel loved and admired by the people around her. That’s what sets her apart from Burning Body.

Are you a fan of true crime?

Yes, I think it’s very human to be curious about extremes—about things we could never imagine doing ourselves—and to explore that darkness. You experience the story on screen, in a controlled emotional environment, and I like that. Some true crime stories are even educational from a legal or criminology standpoint. I find them fascinating and entertaining.

Did you take anything away from this role?

Absolutely. As an actress, it’s been a very enriching journey—one of the most distinct characters I’ve played. Also, Carlos’s way of filming was unique. He uses a lot of long takes, which is always a challenge. It was an interesting learning experience, expressing everything I needed to without the camera necessarily being on me.

"I find true crime fascinating and entertaining."

This film marks your return to Spain. Were you excited?

The last time was High Seas, also for Netflix and Bambú, and yes—I was really looking forward to it. I was filming another series when this casting came up, and there were scheduling conflicts. I wasn’t supposed to be able to do it, but I fought to make it work.

Do you think it’s harder to make it in Hollywood coming from Spain?

It’s hard for anyone to make it into the industry, whether in Spain or the U.S. There’s a saturation point, especially post-COVID, where casting directors don’t need to be in the same room as you—everything is online, and competition is fierce. It’s always been a tough industry, but I can’t imagine doing anything else. You need to persevere—there are lots of ups and downs. I hadn’t worked in Spain for four years, for example. I don’t think being Latina is a specific barrier to breaking into Hollywood anymore. There are lots of Latin characters. In my experience, it hasn’t held me back.

You won a Goya at 12. How did that impact you?

Well, it was the final push I needed to realize I wanted to be an actress. I was 12—still a kid—but very serious, and I never saw it as a game. My family is full of judges and architects—nothing to do with this world. That recognition was very moving and important to me, and I decided I wanted to pursue this path. I’ve stuck with it ever since. Other than that, it didn’t really change my life—I had a very normal childhood. I went back to school the next day.

Would that little girl be proud of what you’ve achieved?

I’m not even sure what I want sometimes. This job is a vocation—you quickly learn it’s a long-term career, and you have to love it beyond the money or fame, because that’s not always guaranteed unless you’re very well positioned. But I enjoy it so much that yes, I think little Ivana would be proud. I’ve followed my dreams and made a living from them.

Take a look to the beautiful shoot in our gallery.

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Photo Sessions > Photoshoots from 2025 > Cosmopolitan Spain

Photos by: Valerio Rioja

© Cosmopolitan Spain (May 2025)

(c) Interview by Cosmopolitan Spain

Translation by Ivana Baquero Italia.