The seventies and eighties may have been more varied than nowadays in terms of the women considered eligible for appearing in erotic movies in terms of their physiques. The Barcelona softcore scene of 1978-83 boasted Raquel Evans, who certainly did conform in this respect to what one would expect from such actresses, but there was also the large, middle-aged Lynn Endersson and the powerful-looking Andrea Albani (who, prior to making films, had been a basketball player and swimmer until she gave up on realising that it was making her too stocky), plus the small, dainty-looking, thin-lipped, blue-eyed Berta Cabré i Cercós, who was admitted into the group even if her bodily type was even further from the standard. She looked none the worse for that.
Presumably from Barcelona (her name is Catalan at any rate) and presumably born c. 1960, CabrĂ© studied acting under the tuition of the well-regarded actor Albert Vidal. To judge from some high-kicking scenes in her filmography, she may also have received some dancing tuition. Her film acting debut, playing a sassy female lead by the name of "Berta", was in JosĂ© Antonio de la Loma's delinquent film Los Ăşltimos golpes de "El Torete" (1980). In this and in a few other films such Miguel Iglesias Bonns's accomplished crime film Barcelona connection (1981), she was oddly billed as "Berta Singerman", like the Argentinean poetry reciter of that name, the moniker being reportedly the idea of her agent, the actress Marta Flores. CabrĂ© later reverted to her real name, apparently for legal reasons. She made films within both the mainstream and exploitation, working for people as varied as Larraz, Iquino, Hubert Frank, Vicente Aranda, JoaquĂn Coll Espona and the self-titled “Professor” D'ArbĂł, and her filmography, in contrast with the sexpot image she found herself cultivating onscreen, actually includes the children's film Las aventuras de Zipi y Zape (1982). However, where she was probably most conspicuous was in the De la Loma film cited above and in several modish softcore features, a kind of film that reunited her once again with Iglesias Bonns in the sadistic ViolaciĂłn inconfesable (1981), in which her character was subjected to much abuse by her husband and, later, by her husband's acquaintances. It was possibly her ability to speak several languages that recommended her for several co-productions. These placed her in such company as that of Raquel Evans, Eva Lyberten, Andrea Albani, Karin Well, Ajita Wilson and, most frequently, Bernard Seray, a Teutonic-looking regular in such films, who she had co-starred with in the De la Loma film. She gained a measure of exposure in the USA with Ismael González's South of Eden, which turned up on American cable TV. Other roles include that of the possessed teenager who has to be exorcised by Antonio Molino Rojo’s priest in D’ArbĂł Viaje al más allá, a girl who falls to her death in Larraz’s Estigma (1980-1982), an uncredited part as a girl in a disco in the same director’s Las alumnas de Madame Olga / Sex Academy (1981). In later years, she worked in non-erotic films, either as actress or production manager, until she retired from the cinema in 1992 to begin a new career as a natural therapist. She now owns her own alternative medicine practice and gives classes on the subject. She surfaced again in 2007, when writing a letter to the press protesting against the treatment an article gave of alternative medicine, and in 2008 she was one of the undersigned in an international manifesto against Neoliberalism.
