Bárbara Mori, born on February 2, 1978, is a prominent Uruguayan-Mexican actress and model who captured widespread attention with her standout performance as Rubí Pérez in the immensely popular telenovela Rubí (Televisa, 2004). This role not only made waves across Mexico but also became a sensation internationally, firmly establishing Bárbara Mori in the entertainment industry.
Before her acting success, Bárbara Mori began her career in modeling, a field that helped her gain initial exposure in the world of media and fashion. She smoothly transitioned into acting, and over the years, she has appeared in a variety of Mexican television productions. One of her notable roles came in the Netflix series Control Z (2020–2022), where she showcased her versatility as an actress.
In addition to her television work, Bárbara Mori made her film debut in Inspiration (2001), which marked the beginning of her journey on the big screen. Her performance in My Brother’s Wife (2005) further elevated her status in the film world and earned her additional recognition.
More recently, Bárbara Mori returned to the small screen in the Apple TV+ series Women in Blue (2024), proving her continued relevance and adaptability in an evolving entertainment landscape. Beyond acting, she has taken on roles as a producer and has become a passionate advocate for women’s health issues. Her personal experience with breast cancer has fueled her commitment to raising awareness and supporting others facing similar challenges.
Bárbara Mori remains a dynamic figure in both the artistic and humanitarian spheres, consistently broadening her influence and impact.
When it comes to Bárbara Mori’s film career, one standout performance definitely shines through—Bárbara Mori’s highest rated movie is Kites: The Remix, released back in 2010. It really showcased her talent and brought her into the spotlight in a big way. On the other hand, looking at her filmography, Bárbara Mori’s lowest rated film so far has been La Mujer de Mi Hermano from 2005. While opinions may vary, these two titles mark the highs and lows in terms of critical reception for Bárbara Mori’s work in cinema.