Roberto Álamo

Álamo's screen career picked up momentum in the early 2000s, though it's his theatrical work — capped by that Max Award for *Urtain* — that laid the groundwork for everything that followed. Spanish cinema. Serious roles. A reputation built one project at a time. His international profile sharpened considerably when Almodóvar cast him as Zeca in *The Skin I Live In* (2011), a psychological thriller in which Álamo's character arrives like a storm and exits just as abruptly — the kind of supporting turn that actors remember and casting directors don't forget. It's a small role by screen time, but it's the one that tends to come up first. The mid-2010s marked what you could reasonably call his most visible stretch in genre cinema. *May God Save Us* (2016), a procedural crime film directed by Rodrigo Sorogoyen, cast Álamo in a lead role and connected with critics in a way that's genuinely rare — that 100% Rotten Tomatoes score isn't marketing language, it's a verifiable data point. He then appeared in *The Goya Murders* (2019), continuing a pattern of choosing projects with real narrative ambition rather than chasing volume. *Family United* (2013) sits a little differently in his filmography — a comedy, broader in tone, which demonstrated that he isn't locked into one register even if drama is clearly where he's most comfortable. Recent years have kept him active. *Rita* (2024) and *The Captive* (2025) confirm that he's still in demand and still taking on projects with some heft to them (Kinoafisha, TMDB). The fact that he's also working as a talent agent alongside his acting career is the kind of detail that doesn't make headlines but says something real about how he's positioned himself in the Spanish industry — someone who understands the business from multiple angles, not just the performance side.