Ana de Armas decided early that her naked body was a tool, not a liability, and she has never revisited that decision. From a Spanish bathroom scene at twenty to a biographical marriage in Hands of Stone to the calculated exhibitionism of Deep Water, three films across fifteen years trace the same unhesitating confidence. Her Cuban upbringing, where the female body is met with admiration rather than anxiety, explains why she arrived already comfortable. Same fearlessness, three completely different registers.