ANTONIO HERNÁNDEZ

Antonio Hernández was born in the town of Peñaranda de Bracamonte, in the heart of Salamanca’s province , in 1953. As a child he already showed signs of his comedic talent while delighting family gatherings with his impressions.

He grew up with the films by Orson Welles and Truffaut, Scorsese and Tarkovski, and after trying his luck as an actor under Miguel Bardem, León Klimovsky or Pedro Lazaga, at the age of 18 he took his first steps in filmmaking with a Super 8.

After moving to Madrid he founded with fellow students from the Complutense University a production company named Micra Film, with which he directed his first short ‘Soldado’. This was followed by ‘El arca de Noé’ and ‘Gustavo y la modelo’. Together with his brother Avelino, he wrote and produced ‘F.E.N.’, his feature film debut, which premiered in competition in the 24th edition of Seminci.

From drama he turned to comedy with ‘We Had Better Call it a Day’, and after filming ‘Cómo levantar 1000 kilos’, he remained away from the world of cinema for eight years in which he worked as a dubbing director and directed commercials as well as entertainment and fiction shows for Zepellin TV, before creating Zebra Productions.

In 1999 he returned to filmmaking in order to shoot ‘Lisbon’, which bagged a Best Actor award for Sergi López at the Malaga Film Festival and earned a Goya nomination for Carmen Maura. After filming in 2001 ‘El gran marciano’, the first Spanish film made entirely with a hidden camera, he achieved success in 2002 with a film dedicated to his father, ‘The City

of No Limits’, nominated for five Goya Awards, including one in the Best Film category, and the winner of two, respectively for Geraldine Chaplin as Best Supporting Actress and Enrique Brasó and Antonio Hernández himself for Best Original Script.

Since then he has directed films like ‘The Hidden’ (2005), ‘The Borgias’ (2006), ‘El menor de los males’ (2007), ‘Captain Thunder’ ( 2011) or ‘Matar el tiempo’ (2015). He has also directed TV series like ‘Gran Reserva’ or ‘Las chicas del cable’, among