Isak Férriz

Férriz's career doesn't have one clean breakthrough moment — it's more like a slow accumulation of the right roles. His stage work, including the play *Sirenas en alquitrán*, came alongside early screen appearances, and he's also directed short projects (Wikipedia), which suggests he's never been purely a performer-for-hire. The kind of actor who's thinking about the whole shape of a story, not just his scenes in it. Television is where he's probably most recognizable to streaming audiences. *Gigantes* (2018–2019), the Movistar+ crime drama, put him in front of a prestige-TV audience that was paying close attention to Spanish productions in that period. Then came *Feria* in 2020 on Netflix, and later *El cuerpo en llamas* (2023) — a dramatization of a real Spanish murder case that ran as a limited series and drew significant viewership. That's three high-profile TV projects in roughly five years, which isn't an accident. On the film side, *Les distàncies* (2018) remains his most critically recognized work, sitting at 88% on Rotten Tomatoes — a quiet, character-driven piece that landed differently than the genre films surrounding it in his filmography. *Bajocero* (2021), a Netflix action-thriller set almost entirely inside a prison transport vehicle, reached a much wider global audience. He's since appeared in *Infiesto* (2023) and *We Treat Women Too Well* (2024), maintaining a presence across both Spanish-language and broader European productions. Three wins and one nomination across his career, with what feels like more recognition probably still ahead.