Saida Fuentes

Saida Fuentes—yeah, she’s not exactly a household name yet, but she’s got this weird knack for showing up in projects that stick with you. First off, The Assessment (2024) is probably her buzziest gig so far. The whole thing’s got this tense, almost claustrophobic vibe. You’re stuck with these characters while their morals get tested in ways that are honestly uncomfortable to watch (but like, in a good way, if you’re into feeling your skin crawl). Saida pulls off this layered, awkward energy that makes you keep guessing what’s really going on with her. She doesn’t just play a part; she kinda lingers in your head after the credits. Jump back a bit to Los olvidados (2014), and you get a totally different flavor. That film’s got this raw, indie feel—think grainy visuals, a little rough around the edges, but that’s the charm. Saida’s role isn’t flashy, but you can tell she’s got this undercurrent of emotion, like there’s more bubbling under the surface than what you see. It’s subtle, but it works. And then there’s Wax Is Love (2020), which is miles away from the first two. It’s quirky, offbeat, with moments that almost feel improvised. Saida leans into the weirdness, not afraid to look goofy or vulnerable. Honestly, it takes guts. She jumps around genres, never really repeating herself. If you blink, you might miss her, but she’s always pushing the edge, always a little unpredictable.