Aislinn Derbez

Eugenio Derbez fills theaters and tops box office charts across half the continent, but carrying that surname on a film set in Mexico City means being automatically suspected of favoritism. Aislinn González Michel chose to deal with it by putting distance between herself and the family name.

At twenty, she moved to New York to study painting and visual arts at the School of Visual Arts, while attending acting classes at The Actors Studio in the afternoons.

She wanted to paint, not pose.

She returned to Mexico in 2009 to take smaller roles in television and low-budget films, piling up hours in front of the camera far from the spotlight.

In 2015, the romantic comedy A la mala earned more than four million dollars at the Mexican box office alone. The figure far exceeded the project's costs and showed distributors that her name could sell without her father in the cast.

Breaking Into Prestige Television

Light comedies often trap actors in a repetitive cycle if no one hits the brakes in time.

In 2018, Manolo Caro offered her the role of Elena de la Mora in the Netflix series The House of Flowers, a satire on bourgeois double standards in which she built a cynical yet vulnerable character that set her apart from the usual mold of commercial melodramas.

And the gamble paid off.

Because the impact of the series allowed her to cross over from Mexican productions without going through the obligatory toll of Los Angeles.

In 2022, she traveled to Spain to shoot the feature film Con los años que me quedan between Madrid and the desert landscapes of Almería, sharing the cast with actors such as Paco Tous and Manuel Vega under the direction of Frank Ariza.

In 2023, she returned to shoot on the Iberian Peninsula in the dramatic thriller Noche de chicas alongside Leticia Dolera and María León, a story centered on female revenge against sexual violence in which she took on a dark, physical register unlike her earlier work.

Taking Control of the Paycheck

Aislinn Derbez quickly realized that making a living from acting jobs can leave an actor stuck in a permanent waiting room.

So she began taking on executive producer duties to decide which stories to greenlight and how to allocate budgets.

In 2025, she co-starred in the series Entre paredes alongside Christian Vázquez for Disney+, taking part in some of the project's creative decisions.

She put her own money on the table.

In 2026, she financed and co-starred in the romantic drama The Dead Don't Hurt under director Emiliano Castro Vizcarra, where she shared the screen with Mauricio Ochmann eight years after their divorce.

The film closed its international presales at rights markets with a budget of around two and a half million euros, concentrating the entire shooting schedule on natural locations to cut lighting and studio rental costs.