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Norma Aleandro
Norma Aleandro
Norma Aleandro
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Norma Aleandro (born 2 May 1936) is an Argentine actress. She is considered one of the most celebrated and prolific Argentine actresses of all time and is recognized as a cultural icon in her home country.[1][2]

Key Information

Aleandro starred in the 1985 film The Official Story, a role that earned her the Cannes Award for best actress.[3] She has performed in other successful films like The Truce (1974), Cousins (1989), Autumn Sun (1996), The Lighthouse (1998), Son of the Bride (2001) and Cama Adentro (2005). For her performance as Florencia Sánchez Morales in the 1987 film Gaby: A True Story, she received a Golden Globe nomination and an Academy Award nomination for Best Supporting Actress.

Aleandro wrote the 1970 film The Inheritors and performed in various plays such as August: Osage County. Aleandro also appeared in the Argentine adaptation of BeTipul, the critically successful En terapia.

Life and career

[edit]
Aleandro in the 1950s or 1960s

Aleandro was born in Buenos Aires on 2 May 1936.[4] She is the daughter of actors Pedro Aleandro and María Luisa Robledo and the sister of actress María Vaner.[4] During the late 1970s, she was vocal about her progressive views and during the military dictatorship she was exiled to Uruguay. Later Aleandro moved to Spain and did not return to Argentina until after the military junta fell in 1983.[5]

In 1985, her breakout role was the Argentine Academy Award-winning film The Official Story. For her acting in the film she won the Cannes Award for best actress.

She worked in several other Argentine movies such as the Academy Award-nominated Son of the Bride, Sol de Otoño, and El Faro.

Aleandro co-starred in a few Hollywood films such as One Man's War, with Anthony Hopkins, and Gaby: A True Story (1987) for which she received an Oscar nomination. She also had a minor role in Cousins (1989).

Back in Argentina, she returned to the stage with Master Class and won the María Guerrero award in 1996. The same year, she was honored as Ciudadano Ilustre de la Ciudad de Buenos Aires ("Illustrious Citizen of the City of Buenos Aires").

She has co-starred five times with fellow actor Héctor Alterio: Los siete Locos (1973), the Academy Award-nominated The Truce (1974), The Official Story (1985), Son of the Bride (2001) and Cleopatra (2003), the last three of which they played husband and wife.

In 2009, Aleandro appeared in The City of Your Final Destination, directed by James Ivory and co-starring Anthony Hopkins, Laura Linney and Charlotte Gainsbourg.

Filmography

[edit]
Aleandro (as Macacha Güemes) with Alfredo Alcón in the 1971 film Güemes: la tierra en armas

Awards

[edit]

Wins

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Nominated

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Other awards

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Norma Aleandro

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Norma Aleandro Robledo (born May 2, 1936) is an Argentine actress and occasional director whose career in theater, film, and television has extended over seven decades, establishing her as a pivotal figure in Latin American performing arts. Born in Buenos Aires to actors Pedro Aleandro and María Luisa Robledo, she debuted on stage at age nine and built a reputation through roles in Argentine theater before transitioning to cinema. Aleandro achieved global recognition with her lead performance in The Official Story (1985), a film addressing the human rights abuses under Argentina's military dictatorship, for which she won the Cannes Film Festival Award for Best Actress and the film secured the Academy Award for Best Foreign Language Film. During the 1976–1983 dictatorship, she fled into exile in Uruguay and later Europe and the United States due to her public criticism of the regime's repressive policies. She later earned an Academy Award nomination for Best Supporting Actress for Gaby: A True Story (1987), marking her as the first Argentine actress nominated in a performing category.

Early Life and Family Background

Childhood and Upbringing

Norma Aleandro was born on May 2, 1936, in , , to actors Pedro Aleandro and María Luisa Robledo, both established performers in the local theater scene; her mother was of Spanish origin, reflecting the immigrant roots common among many porteño families of the era. Raised in a household centered on the arts but without significant financial wealth, Aleandro's early years were shaped by her parents' professional commitments, which exposed her to backstage life and performances from infancy. At age three, she first stepped onto the stage, substituting for an ill child in a production where she cradled her mother's character as it died—a moment she recalled as deeply traumatic, highlighting the emotional intensity of her premature immersion in acting. By nine years old, Aleandro had begun formal involvement in Argentine theater, performing in roles that built on her familial influences, with her parents actively fostering her affinity for the stage amid the cultural vibrancy of mid-20th-century .

Initial Exposure to Performing Arts

Norma Aleandro was born on May 2, 1936, in , , into a family deeply immersed in the , with her parents, Pedro Aleandro and María Luisa Robledo, both established actors who performed in theater productions. As the third generation in her lineage to engage professionally with theater, Aleandro's upbringing provided an immediate and intimate connection to the stage, where family members routinely collaborated in troupes and performances. Her initial exposure came through direct participation in her parents' theater activities during childhood, allowing her to observe and absorb the craft from an early age amid the vibrant theatrical scene of the . Influenced by this environment, Aleandro made her first onstage appearance at nine years old, marking the onset of her involvement in live performances alongside family members. This early immersion extended to acting in her parents' troupe, fostering foundational skills in improvisation, rehearsal dynamics, and audience interaction before formal training or independent roles. By age 13, Aleandro transitioned to her debut professional role, building on these formative experiences to establish a foothold in Argentina's theater circuit, though her initial encounters remained rooted in familial collaboration rather than solitary ambition. Such origins underscored a causal progression from inherited to personal agency, unmarred by external institutional biases prevalent in later academic narratives of artistic development.

Professional Career

Theater Beginnings and Achievements

Norma Aleandro, born on May 2, 1936, to Pedro Aleandro and María Luisa Robledo, debuted in theater at age nine in 1945, performing with her parents' troupe at the Teatro Smart in . This early immersion in her family's productions provided foundational experience, as she continued acting in their ensemble during childhood, honing skills amid professional environments. By her early twenties, Aleandro secured leading roles in major Argentine productions, solidifying her reputation as a versatile performer capable of classical and contemporary works. She underwent professional training at the Instituto de Arte Moderno around age 13 and later directed and taught acting in and abroad, including in , , and , where she introduced theater techniques to local artists. Key performances include starring roles in Scenes from a Marriage, , The Young Lady from , and , showcasing her range in dramatic and introspective characters. As a director, she helmed adaptations like La venganza de Don Mendo, , and the opera , contributing to both stage innovation and opera crossovers in . Aleandro's theater accolades encompass two Premio Talía awards in 1968 and 1975 for outstanding performances, multiple Premio ACE honors including a lifetime achievement gold, and the 1986 for from New York's Village Voice, recognizing her international stage impact. These honors underscore her foundational role in elevating Argentine theater standards through rigorous, character-driven portrayals.

Transition to Film and Television

Aleandro's entry into cinema occurred early in her , with her debut in the 1952 film La muerte en las calles, directed by Leo Fleider, where she appeared in a minor role at the age of 16. This initial foray marked the beginning of her gradual expansion beyond theater, though she continued to prioritize stage work amid Argentina's burgeoning . Subsequent appearances remained sporadic during the and early , including roles in Gente conmigo (), reflecting a cautious integration of screen acting that complemented rather than supplanted her theatrical foundation. By the late , Aleandro's involvement in film intensified, signaling a more substantive transition. She starred in La fiaca (1969), adapted from a play by Ricardo Talesnik, and took on a as and lead in Los herederos (1970), a exploring generational and social tensions in . The following year, she portrayed Macacha Güemes in the historical epic Güemes—la tierra en armas (1971), embodying the wife of the Argentine revolutionary hero, which highlighted her versatility in period pieces and contributed to her growing screen presence. These projects demonstrated her ability to adapt theatrical depth to cinematic demands, amid an era when Argentine cinema grappled with political undercurrents. Television emerged as another medium for Aleandro during this period, with the advent of national broadcasts in providing opportunities for serialized storytelling. By the early , she had established a foothold in TV, appearing in adaptations and dramas that paralleled her film work, though specific early credits underscore her established reputation across radio, theater, and screen by the mid-1970s. This multifaceted engagement allowed her to reach wider audiences while navigating the technical and narrative shifts from live stage performances to recorded formats, setting the stage for international recognition later in her career.

Key Roles and Breakthroughs

Aleandro achieved international breakthrough with her leading role as Alicia in La historia oficial (, 1985), portraying a history whose comfortable life unravels upon suspecting her adopted daughter's origins tie to the Argentine military junta's systematic kidnappings of dissidents' children during the . The role, written specifically for her by director Luis Puenzo, earned her the Best Actress Award at the 1985 , shared with . The film itself secured the Academy Award for Best International Feature Film, marking Argentina's first win in the category and amplifying Aleandro's visibility beyond . In 1987, she garnered an Academy Award nomination for Best Supporting Actress for her portrayal of Florencia in Gaby: A True Story, depicting the mother of a young woman with navigating family dynamics and personal aspirations in . This Hollywood production, directed by , represented one of her early forays into English-language cinema following , highlighting her versatility in dramatic supporting turns. Subsequent key roles included the widowed mother Norma in El hijo de la novia (Son of the Bride, 2001), a dramedy exploring family reconciliation and terminal illness, which contributed to the film's multiple Academy Award nominations including Best Foreign Language Film. In Cama adentro (Live-in Maid, 2004), Aleandro played Beba, an affluent employer facing economic downfall and relational shifts with her long-time domestic worker, earning her a Cinema Writers Circle Award for Best Supporting Actress. These performances solidified her status as a pivotal figure in Argentine cinema, often embodying complex maternal or authoritative figures confronting societal upheavals.

Exile and Political Context

Threats During the Dirty War

During Argentina's , the period of state-sponsored repression from March 24, 1976, to 1983, Norma Aleandro, a prominent actress with outspoken progressive views, was targeted by the for her perceived . Declassified files reveal that the regime maintained blacklists of intellectuals and artists deemed threats, including Aleandro alongside figures like novelist and singer , due to their cultural influence and opposition to authoritarian policies. These lists facilitated , , and violent intimidation against non-violent critics, reflecting the junta's broad campaign against perceived leftist sympathizers in the arts. On July 23, 1976, bombs were discovered under Aleandro's home and beneath the theater where she was performing, incidents attributed to or regime-linked groups amid escalating attacks on cultural figures. A follow-up phone call explicitly threatened her life, demanding she leave the country within 24 hours or face execution; similar calls were reported to her husband after an in her apartment building's lobby. These events, occurring mere months after the coup, compelled Aleandro to flee for and subsequently , marking the onset of her seven-year . Aleandro's threats stemmed not from militant involvement but from her public criticism of repression, including speeches against figures like , which the junta equated with domestic disloyalty. Mainstream accounts, while generally reliable on verifiable incidents like bombings, often frame such targeting within a emphasizing over leftist threats; however, Aleandro's case aligns with documented patterns of preemptive strikes against artists to suppress . She returned briefly in 1981 but maintained caution amid ongoing risks until the dictatorship's end.

Life in Exile and International Work

In late 1975, amid threats from the (Triple A), Aleandro fled with her husband, theater director Juan Carlos Berenguer, and their son, initially seeking refuge in neighboring . There, she spent approximately 18 months, during which she continued performing in theater, notably taking on the role of in a production that allowed her to maintain her professional footing despite the upheaval. Unable to secure a promptly from Argentine authorities, she faced prolonged uncertainty before relocating to in 1977, where she resided primarily in and obtained Spanish citizenship through her mother's Galician heritage. Her exile in , spanning roughly four years until her return in 1981, was marked by emotional hardship, including profound that Aleandro later described as a pervasive sadness, exacerbated by the death of fellow Argentine exiles from similar despair. She sustained her career through theater engagements, honing her craft amid a community of displaced artists, though specific productions from this period remain less documented compared to her pre- and post-exile work. No major film roles emerged during this time, reflecting the challenges of rebuilding professionally abroad while navigating political isolation from Argentina's junta, which had blacklisted her domestically. By 1981, despite lingering fears of reprisal, Aleandro decided to return to , driven by an irrepressible attachment to her homeland; she resumed theater immediately upon arrival, marking the transition from exile's constraints to renewed domestic opportunities. This period abroad, while professionally adaptive, underscored the personal toll of displacement for artists opposing the regime, with Aleandro later reflecting on it as a phase of survival rather than prolific output.

Return to Argentina and Later Career

Post-Exile Productions

Aleandro returned to Argentina in 1981 amid ongoing political risks, starring in the world premiere of Peruvian playwright Mario Vargas Llosa's La señorita de Tacna (The Young Lady of Tacna) at the Tabarís Theater in Buenos Aires; she reprised the role in subsequent Spanish productions. Following the military junta's collapse in 1983, she fully resettled and focused on cinema, beginning with the lead role of Alicia in La historia oficial (The Official Story, 1985), a drama examining the human cost of the dictatorship's forced adoptions; the film received the Academy Award for Best International Feature Film, marking Argentina's first such win and elevating Aleandro's global profile. Her post-return filmography blended international and domestic projects, including the biographical drama Gaby: A True Story (1987), where she portrayed the mother of a polio-afflicted girl, and the American comedy Cousins (1989), co-starring and . In Argentine cinema, she collaborated frequently with director Eduardo Mignogna on Sol de otoño (Autumn Sun, 1996), playing a Jewish woman aiding an undocumented immigrant, and with in El hijo de la novia (, 2001), as a terminally ill wife prompting family reconciliation; the latter earned her a Silver Condor for Best Supporting Actress. Aleandro sustained theater engagements, including a revival of by in the 1990s, and later films like La mujer de mi hermano (, 2005) and La maid (Live-in Maid, 2004), depicting economic downturns' interpersonal strains. Into the 2010s and beyond, she appeared in El secreto de sus ojos (, 2009)—an Oscar winner for Best Foreign Language Film—as a , and television series such as El jardín de bronce (The Bronze Garden, 2017). Her output emphasized mature roles exploring memory, loss, and resilience, often drawing from Argentina's socio-political scars without overt .

Recent Projects and Ongoing Influence

In 2021, Aleandro starred as the titular Maró in the Argentine drama film El secreto de Maró, directed by Alejandro Magnone, portraying a nonagenarian Armenian cook and survivor who reconnects with her heritage through a young journalist's inquiry. The film, which premiered commercially in on September 30, 2021, explores themes of memory, identity, and cultural transmission, earning praise for Aleandro's nuanced performance amid a modest production focused on . Prior to this, her television appearances included the miniseries The Bronze Garden (El jardín de las bronces), where she played a supporting role in a . Since 2021, Aleandro, now in her late 80s, has not taken on major new acting roles in film, television, or theater, reflecting a natural deceleration in output consistent with her age and extensive career spanning over seven decades. No public records indicate stage productions or screen projects in the 2022–2025 period, though she maintains a low-profile presence via accounts sharing archival content. Aleandro's ongoing influence in Argentine arts endures through her foundational contributions to post-dictatorship cinema and theater, serving as a benchmark for authenticity in portraying complex maternal and historical figures, as seen in enduring analyses of her work in (1985). Contemporary discussions of Argentine film history, including 2025 retrospectives, credit her with inspiring subsequent generations of performers by embodying resilience against , prioritizing depth over commercial trends. Her selective late-career choices, emphasizing immigrant and survivor stories, continue to inform curricula in Latin American , underscoring a legacy of substantive, evidence-based storytelling over performative .

Awards and Recognition

Major International Awards

Norma Aleandro won the award at the for her role as Alicia in La historia oficial (), sharing the prize with for . She also received the Award for in 1985 for the same performance. In 1988, Aleandro earned a for the Academy Award for Best Supporting Actress for her portrayal of Feiga Frisch in , becoming the first Argentine actress nominated in any acting category. At the 1996 , she was awarded the Silver Seashell for for her leading role in Sol de otoño (Autumn Sun). Aleandro received a nomination for Best Supporting Actress at the 1999 for her role in .
YearAwardCategoryFilmStatus
1985La historia oficialWon (tied)
1985La historia oficialWon
1988Best Supporting ActressGaby: A True StoryNominated
1996Sol de otoñoWon
1999Best Supporting ActressNominated

National and Other Honors

In 2001, Norma Aleandro received the Konex Brillante Award from the Fundación Konex, recognizing her as the most outstanding actress in Argentine for the decade 1991–2001, following her selection by a of peers as the recipient of the Konex de Platino in theater . She also earned multiple Konex Merit Diplomas, including in 1981 for dramatic in and theater, and in 1991 and 2001 for theater . Aleandro has been awarded the Martín Fierro six times by the Association of Argentine Television and Radio Journalism (APTRA), honors for television performances in 1964, 1966, 1968, 1969, 1973, and 1975, marking her sustained excellence in Argentine broadcast media. She secured three Cóndor de Plata awards from the Argentine Film Critics Association, affirming her contributions to national cinema. In November 2023, Aleandro was granted the Gran Premio Trayectoria by Argentina's Fondo Nacional de las Artes, a lifetime achievement award from the national cultural funding body, alongside other figures in for their enduring impact on Argentine . Additional national recognitions include Premio Talía wins in 1968 and 1975 for theater, and Premio Argentores in 1970 and 1980, highlighting her foundational role in Argentine dramatic arts.

Personal Life

Marriages and Family

Aleandro was born on May 2, 1936, in to actors Pedro Aleandro and María Luisa Robledo, both prominent figures in Argentine theater. She has one sibling, sister María Vaner, who also pursued acting. Her first marriage was to Oscar Ferrigno, which ended in divorce; the couple had one son, Oscar Ferrigno Jr. Aleandro later entered a long-term partnership with Eduardo Le Poole, whom she has described as her husband, noting in 2021 that they had lived together for approximately 50 years. No additional children are recorded from this relationship.

Health and Later Years

In her later years, Norma Aleandro has encountered several health challenges associated with advanced age. In 2016, she was diagnosed with , a condition caused by a viral infection that affected her hearing and , leading to vertigo, , and social withdrawal; she reported rarely leaving home or attending theater during this period, though the episode resolved without long-term effects. By July 2022, at age 86, Aleandro faced renewed concerns over her physical condition, described by associates as a "delicate state" marked by low energy and frailty, which forced her to abruptly withdraw from an ongoing theater production amid reports of hermeticism from her inner circle. These episodes reflect the toll of her extensive career spanning nearly eight decades, during which she maintained professional activity into her 80s, including film and stage roles, before health limitations curtailed her onstage commitments.

Legacy and Critical Assessment

Contributions to Argentine Cinema and Theater

Norma Aleandro's theatrical career spans over seven decades, beginning in childhood within her family's acting troupe, where she performed alongside her parents, actors María Luisa Robledo and Pedro Aleandro. She starred in numerous stage productions, including Mi Querido Mentiroso by Jerome Kilty, which ran for two seasons in Buenos Aires and provincial theaters. Aleandro also directed several acclaimed plays, such as Medea, La venganza de Don Mendo, Cyrano de Bergerac, and El prisionero de la Segunda Avenida, demonstrating her versatility beyond performance. Her preference for modern works by authors like Henrik Ibsen and Arthur Miller underscored her commitment to intellectually rigorous theater, often prioritizing artistic integrity over commercial appeal. In cinema, Aleandro's contributions elevated Argentine film's global profile, particularly through socially incisive roles amid political turmoil. Her early film The Truce (1974), adapted from Mario Benedetti's novel, showcased her dramatic range in portraying existential themes under censorship constraints. Following exile during the 1976–1983 military dictatorship, she returned in 1981 and starred in La historia oficial (, 1985), directed by Puenzo specifically for her, depicting a woman's awakening to the regime's atrocities involving desaparecidos. The film grossed a record $800,000 for Argentine cinema, won the Academy Award for Best Foreign Language Film, and amplified international awareness of Argentina's abuses during the democratic transition. Aleandro's portrayal earned her the award (shared with ) and a honor, cementing her as a pivotal figure in post-dictatorship cinematic reckoning. Subsequent films like Cousins (1989), Autumn Sun (1996), (2001), and Cama adentro (Live-in Maid, 2005) further highlighted her ability to blend personal drama with broader societal critiques, contributing to Argentina's "New Argentine Cinema" resurgence in the 1990s and 2000s. Her later works, including El secreto de Maró (2021), affirm her enduring influence, bridging theater's intimacy with film's reach to foster critical discourse on and resilience. Aleandro's oeuvre, marked by over 60 films and extensive stage engagements, positions her as a foundational in Argentine , often embodying characters that confront historical silences and ethical dilemmas.

Criticisms and Balanced Perspectives

While Norma Aleandro's artistic contributions have garnered widespread acclaim with minimal professional detractors, her public commentary on Argentina's turbulent has occasionally drawn polarized responses. In a interview, she described the decade as a "very unfortunate, very dark" era involving a "very particular " and a "rare and disastrous struggle," advocating for reflection on the period but cautioning against excessive discussion, stating it "has hurt a lot talking about that time and that event." This perspective, emphasizing healing over prolonged national introspection, has been interpreted by some as a measured call for amid ongoing societal divisions, while critics from advocacy circles view it as potentially underemphasizing the asymmetry between guerrilla actions and state-sponsored terror, echoing debates over Argentina's "theory of two demons." Aleandro has also voiced pointed critiques of leftist elements, remarking in that "there are people who call themselves left and it's shameful," while firmly condemning the dictatorship's appropriation of children from tortured and killed parents as morally indefensible. Such independence from partisan alignment—stemming from her self-described lack of interest in formal politics—has earned praise for , particularly given her personal risks, including after threats from the Triple A group in 1976. However, it has invited pushback from ideologically rigid quarters, with some perceiving her reluctance to unequivocally amplify one-sided narratives as insufficient solidarity with victims' families or anti-dictatorship movements. In artistic contexts, Aleandro has demonstrated , admitting initial dissatisfaction with her performance in La historia oficial (1985) despite its acclaim, and expressing hesitation to accept the role upon returning from due to perceived dangers from lingering military influence. Balanced assessments highlight this as reflective of her principled caution rather than evasion, underscoring a career where personal integrity often intersected with public peril, ultimately reinforcing her stature as a figure of moral complexity rather than dogmatic fervor.

Filmography and Selected Works

Notable Films

Norma Aleandro's breakthrough in cinema came with her portrayal of Alicia, a history teacher confronting the traumatic truths of Argentina's Dirty War and the adoption of her daughter, in The Official Story (1985), directed by Luis Puenzo. The film earned the Academy Award for Best Foreign Language Film in 1986 and Aleandro shared the Best Actress prize at the 1985 Cannes Film Festival for her nuanced performance depicting personal denial amid national atrocities. In The Truce (1974), adapted from Primo Levi's novel and directed by Sergio Renán, Aleandro played the wife of the protagonist, marking an early significant role in Argentine cinema that showcased her dramatic range in post-Holocaust themes of survival and adaptation. Aleandro starred as Elena in (2001), directed by , where her character as the ailing mother of Ricardo Darín's protagonist added emotional depth to the film's exploration of family reconciliation and regret; the movie received an Academy Award nomination for Best Foreign Language Film and holds strong critical acclaim. Her role as Gloria in Only Human (2004), a Spanish-Argentine directed by , highlighted her versatility in lighter fare, playing a mother entangled in interfaith family chaos, while in the same year, she appeared as Beba in Live-In Maid (Cama adentro), earning praise for depicting class tensions between employer and during economic crisis.

Theater and Television Highlights

Norma Aleandro's theater career, spanning over seven decades, established her as a foundational figure in Argentine , beginning with childhood roles in her family's productions. Born to actors Pedro Aleandro and María Bonaseo, she debuted on stage as an infant and by age nine performed in La asunción de María. Her early training under directors like Orestes Cavalli honed her skills in classical and contemporary repertoire, leading to lead roles in works by playwrights such as and . As a director, Aleandro helmed acclaimed productions including La venganza de Don Mendo (1971), a satirical play by Enrique Santos Discépolo that toured internationally; by ; Lo que vio el mayordomo by ; Hombre y superhombre by Shaw; De rigurosa etiqueta by ; and Toco y me voy by Santiago García. She also directed the opera La clemenza di Tito by at the in 1991, blending her acting expertise with operatic staging. These efforts earned her multiple ACE Awards from the Argentine Association of Theater Chronicles, underscoring her versatility beyond performance. Aleandro's television work, though secondary to her stage and film output, featured over 45 appearances across Argentine broadcasts, often in dramatic series and miniseries. Early credits include guest roles in state-produced adaptations like Romeo y Julieta (1962) and El amor tiene cara de mujer (1964-1965), marking her entry into the medium during its formative years. Notable later highlights encompass Operación rescate (1998), a crime drama series; Primicias (2000), where she portrayed a key ensemble character in a newsroom thriller; En terapia (2012-2014), an adaptation of In Treatment in which she played therapist Lucía Aranda across 50 episodes; Los ricos no piden permiso (2016), a family saga miniseries; El jardín de bronce (2017), earning praise for her role as Doris Lestelle in the psychological thriller; and El secreto de Maró (2021), a period drama. These roles demonstrated her range in serialized formats, often tackling themes of family dysfunction and social hierarchy, with viewership peaks exceeding 20% ratings for primetime slots on channels like Canal 13 and Telefe.

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  41. https://www.latimes.com/archives/la-xpm-1986-03-14-ca-20824-story.html
  42. https://www.rogerebert.com/reviews/the-official-story-1985
  43. https://www.filmfestivals.com/blog/alex_farba/golden_apricot_reviews_maros_secret_el_secreto_de_mar_truly_truly_truly_amazing
  44. https://billionhands.com/en/item/norma-aleandro-6798ec61b3a1a5d46e130f78?referred-ranking-id=6798ec66b3a1a5d46e130f7b
  45. https://www.infobae.com/sociedad/2017/04/09/norma-aleandro-hay-que-pensar-sobre-los-70-pero-no-hablar-tanto-se-ha-lastimado-mucho-hablando-de-esa-epoca/
  46. https://www.minutouno.com/espectaculos/norma-aleandro-confirma-que-no-queria-hacer-la-historia-oficial-n144640
  47. https://www.imdb.com/title/tt0089276/
  48. https://www.festival-cannes.com/en/p/norma-aleandro/
  49. https://www.themoviedb.org/person/46853-norma-aleandro?language=en-US
  50. https://www.filmaffinity.com/en/name-movies-awards.php?name-id=272866549
  51. https://www.rottentomatoes.com/celebrity/norma_aleandro
  52. http://www.filmreference.com/film/53/Norma-Aleandro.html
  53. https://www.infobae.com/teleshow/2024/05/04/cosas-fantasticas-que-norma-aleandro-hizo-y-dijo-el-premio-que-gano-con-cher-y-sus-facetas-como-pintora-escritora-y-youtuber/
  54. https://www.amazon.com/prime-video/actor/Norma-Aleandro/amzn1.dv.gti.ae449bcd-f445-4cf9-be98-db23350f55bf/
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