Brazilian-American actress and producer Bia Borinn joins the cast of the new series “The Gringo Hunters,” created by the producers of “Narcos,” which premieres on Netflix on July 9th. In this true-life production that inverts the logic of immigration by depicting Mexicans hunting illegal Americans, Borinn plays a character still shrouded in mystery. Having lived in the United States for ten years, the artist, who holds a degree in Performing Arts from USP, uses her role to spark discussions about immigration, representation, and Latino stereotypes in Hollywood, solidifying her presence in major international productions.
“The Gringo Hunters” inverts a historically dominant narrative. What was it like for you, as a Brazilian actress living in the US, to be part of a story that challenges the logic of traditional immigration?
First of all, I’m incredibly happy to be part of a series of this magnitude, which involves major production companies like Red Run, Imagine, and Woo Films, with Red Run having previously produced Narcos Mexico. It’s my first international television series, so I’m thrilled. For me, it’s really cool to be part of a production that inverts the logic of what we usually see, because we need to see things through other people’s eyes. We’re living in a time of great division, and the more we can invert narratives—not in the sense of distorting, but of putting ourselves in someone else’s shoes—the closer we become. And that’s what Gringo Hunters does: it shows Mexican police intelligence hunting American criminals who crossed the border into Mexico, not the other way around, as we usually see. I’m very proud and happy to be part of this project.
You describe your character as “surprising and loaded with symbolism.” What kind of impact do you hope to make with this performance, especially in the current political climate in the United States?
My character, Orla, is shrouded in mystery. I can’t say much because she doesn’t recur throughout the series, only appearing in episode 4, so I don’t want to give any spoilers. But the development process was interesting: she’s not Mexican, so she needed a distinct accent and an undefined appearance, making it unclear where she came from. As a Brazilian actress, I speak Spanish, but not with an American or Mexican accent. My appearance also contributed: I have roots in Portugal and Italy, which gives me a more European look, even though I’m a Latina actress. This served the character very well. Hollywood usually likes to pigeonhole actors, which is difficult for me, because I’m a Latina actress who speaks Portuguese, has European features, and speaks Spanish with a distinctive accent. This complexity worked perfectly for Orla, and it was a wonderful surprise for me.
In political terms, this also shows how diverse people are. The more we try to fit them into labels, the more we reduce them. Orla is a complex character, just as I am a complex person—as we all are. The more we open our eyes to this complexity and human paradoxes, the harder it is to judge. This has a lot to do not only with the political context of the United States, but also of Brazil and the world in general.
Acting in Spanish, your third language, and with two renowned coaches was an intense process. How did this preparation shape your connection with the character?
Acting in Spanish was my first television role in that language. I’d done other things before, but not a series of this size, so I prepared extensively. Acting in a third language requires improvisation, and I wanted to be prepared. I take Spanish classes and worked with a coach, Eduardo Milevics, an Argentinian, who helped me a lot. I also spoke extensively with Milton Justice, who was Stella Adler’s right-hand man, about script analysis and the character’s role in the story. Despite only appearing in one episode, she had a very specific profession and characteristics, linked to yoga, and I needed to delve deeper into that. Between passing the audition and filming, I had about a month to prepare, which was essential. Orla resonates deeply with me, especially because of its connection to spirituality, but at the same time, it challenged me to explore new aspects. It was a very exciting and enriching process.
You had to improvise with extensions and make the self-tape yourself. What lessons did you learn from this selection process—especially about resilience and authenticity as an artist?
When I received the audition, I realized that the character’s hair was very important. I’ve always had short hair, but I bought a hairpiece, and when I put it on, I felt it changed my posture, almost like a crown. I really value preparation: I enjoy classes, coaches, and information. But I also believe in intuition and experimentation. I remember hearing an actress say that she stopped seeing auditions as “tests” and started seeing them as presentations—an opportunity to show her vision of the character. This takes the weight off and gives the actor more power. It was with this spirit that I approached Orla’s audition, and it worked out well. I also like to present two versions of myself at auditions, to demonstrate flexibility and a willingness to be directed. I think that’s something directors look for.
In the series, you work alongside artists of different nationalities. How did this multicultural exchange on set influence your perspective on the Latin American audiovisual market and its connections with Brazil?
My set was small, and I worked mainly with Regina, Manuel, and Andrew. He was Mexican-American; the others were Mexican. But there were people of various nationalities involved, which was incredible. I learned that Mexico has an impressive audiovisual powerhouse: they are creative people, with a strong industry, producing series, films, and shorts nonstop. This surprised me, because we always thought of Hollywood as the center, but I saw that there’s no shortage of work there. It even made me want to live and work in Mexico. It was really cool to see this diversity and see that, today, it’s possible to work with people from different countries, especially with the possibility of self-tests. Cities like São Paulo, Los Angeles, New York, and Mexico City bring together people from all over the world, and also from various regions of the country itself, bringing even more diversity.
You’re already a prominent figure on the international art scene, but you’re also dedicated to promoting the Portuguese language in the US. How do you balance your artistic work with your cultural activism?
In 2017, I founded Brazilian Play and Learn, which teaches Portuguese and Brazilian culture to children, teenagers, and young adults in the United States. After the pandemic, we largely migrated online, but the project received an award from the US government through the Latin American Institute at UCLA. I always say that you can’t talk about culture without talking about education—and vice versa. I believe that if Brazilian children grow up in the US with a sense of Brazilianness and mastery of the language, they could become producers, screenwriters, or showrunners in the future who understand what it means to be Brazilian in all its complexity. It’s also a way to promote Brazilian culture internationally, and I think the Brazilian government could invest more in this, as Portugal does with the Camões Institute. Although it’s a side project—since I’m an actress and producer—I strongly believe in its long-term impact, not only for my generation but for future ones.
Besides Netflix, you’ll also be starring in Ryan Murphy’s new series alongside Kim Kardashian and Naomi Watts. What’s it been like transitioning between such different productions, and what can we expect from you in this new phase?
Being part of Ryan Murphy’s pilot for All’s Fair, alongside Naomi Watts, was a wonderful surprise. The series premieres in November, and although my role is small, the experience was incredible. In Los Angeles, the competition is fierce, especially now with the challenges of streaming and artificial intelligence. You have to be incredibly prepared. I remember thinking, “I have one minute to show that I have a 25-year career.” And in that minute, you have to improvise, earn more screen time, and demonstrate your commitment. There’s, of course, the element of luck, but it’s also important to audition extensively and build connections. I love acting in series, but I also don’t just wait for invitations: I produce my own projects and partnerships. I’m passionate about creative independence. This experience, in particular, was remarkable because I never imagined I would be acting alongside Naomi Watts, of whom I’m a fan. It was very special.
You’ll be the face of this year’s official LABRFF poster. What does this recognition mean to you, especially after so many years supporting Brazilian cinema abroad?
Labriff is a partnership with Meire, the festival director. I discovered the event when my short film “Self,” co-produced with Duda de Almeida, was selected for the competitive section. I found the festival incredible: democratic, diverse, with productions of all styles. Gradually, I became closer to Meire, who recognized my pedagogical side with Brazilian Play and Learn, as well as my artistic and activist side. She invited me to host the festival, and since then, I’ve presented three times. This year, she wanted to put me on the poster as a symbol of the Brazilian woman who pioneers, who blends Brazilianness with Los Angeles without giving up her dreams. It’s a mutual tribute: me to the festival, and the festival to the dreaming women. Being an artist, a mother, and an immigrant is a huge challenge, but we remain steadfast. I’m thrilled to be hosting again this year and can’t wait for the program, which will be incredible. Labriff has 18 years of history and continues to grow. It’s an honor to be a part of it. Thank you very much for the space and congratulations on the portal, which always values the diversity of artists and news.
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