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Ana is the protagonist of the third short film, “Entering Red” of the series “Red Hands” by Campari, which premiered on February 2019. The short film was directed by Matteo Garrone, and was shot in Milan. Lorenzo Richelmy , known worldwide as the Marco Polo of Netflix, and Cristiano Caccamo join the short film as Ana’s costars. Following the philosophy of Campari for which “every cocktail tells a story”, Entering Red not only tells an intriguing story, but is also an ode to the famous Negroni, cocktail symbol of Campari, which celebrates its centenary in 2019. The premiere and red-carpet of “Entering Red” will be held in the hometown of Campari, Milan, February 5, 2019 , in conjunction with the worldwide launch of the digital.

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Film Productions > 2019 — Entering Red

 

 


Added some brand new outtakes from the 2017 photoshoot for Esquire magazine:

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STUDIO PHOTOSHOOTS > 2017 > SESSION 008 FOR ESQUIRE


In this April 2018 edition of GQ Mexico, Ana graces the cover and has a, once again, lovely photoshoot done. Enjoy scans, the photoshoot and a small video shared by the magazine:

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MAGAZINE SCANS > 2018 > APRIL: GQ MEXICO

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STUDIO PHOTOSHOOTS > 2018 > SESSION 003 FOR GQ MEXICO

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SCREENCAPS > PHOTOSHOOTS CLIPS > 2018, APRIL FOR GQ MEXICO


If you’re travelling via Virgin Atlantic, you’ll be able to read Ana’s newest interview for Vera Magazine, a in flight magazine.

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STUDIO PHOTOSHOOTS > 2018 > SESSION 002 FOR VERA

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MAGAZINE SCANS > 2018 > FEBRUARY: VERA


We have not only a new event, but also a photoshoot and one new picture from the set of Blade Runner 2049

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Public Appearances > 2018 > 13.01 Awards Event with Belvedere Vodka

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Studio Photoshoots > 2018 > Session 001

Film Productions > 2018 — Blade Runner: 2049 > On Set


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Studio Photoshoots > 2017 > Session 017 for Gotham

Magazine Scans > 2017 > December: Gotham

Magazine Scans > 2017 > December: Michigan Avenue

Magazine Scans > 2017 > December, LA Confidential

 

After her knockout turn as an all-too-human hologram, Cuban actress Ana De Armas’ Hollywood career is materializing into something more substantial.

Ana de Armas takes pride in her ability to zero in on the emotional core of a character, but she admits things get a little tricky when her character is composed of ones and zeroes.

That’s the case in visionary filmmaker Denis Villeneuve’s sci-fi/noir epic, Blade Runner 2049, in which de Armas plays Joi, a hologram who, in pulp detective tradition, serves as a faithful high-tech gal Friday—and maybe more (think Siri with a digital body and the devotion of Mike Hammer’s secretary, Velda)—to Ryan Gosling’s replicant-hunting K. And although artificial, Joi is also in many ways the story’s beating heart, which made for some serious acting challenges for de Armas, such as when her character suffers tech glitches.
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