Paulina de la Mora is a fictional character in the Netflix television series The House of Flowers, appearing in every episode and portrayed by Mexican actress Cecilia Suárez.

The other main story for Paulina is learning about her biological father, after she finds out in season one that her parents married when her mother, Virginia, was already pregnant.

[3][4][5] Cecilia Suárez, who plays Paulina de la Mora, is a frequent collaborator with the show's creator, Manolo Caro, and had acted in all but one of his previous projects.

[8] In August 2018, El País described Paulina as a "heart stealer"[9] and, in 2019, Vogue wrote that Suárez was "the new queen of the telenovela" because of the role.

[10] Capelo writes that "Paulina is the classic daddy's girl who grows up in a patrician family", but also acts as the bearer of woes and is there to help them deal with social appearance issues.

[15] Cobb says that the character is the "ever-loyal daughter" and a "standout tyrant" in the sense that she goes to extreme lengths to defend her family, "and she never even smudges her flawless red lipstick while she's doing it.

[15][22] The distinctive voice she is known for was improvisation Suárez tried during filming, on the fourth shoot day[21] during the scene where Paulina and Bruno are covering up Roberta's wake at the funeral home.

[23] Suárez has hinted that she and Caro devised a backstory for Paulina's voice between themselves, adding that they have some friends who do speak similarly and so using it is "a way to honor them".

[3] Scholar Paul Julian Smith has noted that videos of Paulina's memorable lines recorded from the show have been uploaded to the Internet by fans and received hundreds of thousands of views.

[29] Several media outlets, including the BBC, have suggested that Paulina's slow speech is a result of regularly taking the anti-anxiety medication Tafil (known in the United States as Xanax) because of an episode where the character says that she is addicted to it.

[23] In terms of characterization, Verónica Calderón of Vogue writes that Paulina's voice is demarcating of the fresa ('yuppie', 'posh') stereotype that her character plays with.

[10] She says that similar types of speech are not unusual in upper-class neighborhoods like Las Lomas, suggesting that it could be used as part of the show's socioeconomic commentary.

[10] Clarín's Pablo Raimondi said that the style of diction establishes her as a "daddy's girl" and a character who can know everyone's secrets because it is a stamp of such characterization.

[33] The Trendencias review noted that a lot of Paulina's outfits are more the style of a working woman, in plain and neutral colors and with many blazers.

[32] Elsa López of Glamour opined that Paulina's outfits stand out more because of the simplicity, and that her simple and minimalistic taste "perfectly reflects her personality" in that it is to-the-point as well as bold where she is not scared to express herself.

[35] Juanra López of El Confidencial also reported on Paulina's style, noting that she wears her hair in a functional low bun most of the time, and that her make-up is minimal and is "not intended to emphasize her sexuality".

The two grow close again, especially with the family being more accepting of María José after Paulina's brother Julián comes out as bisexual, and they work together to track down their teenage son Bruno when he goes camping without telling anyone.

Virginia reveals she sold the florist's to bail out Ernesto for the party, then cuts it short and tells Paulina to go after her own family, which she does, intercepting them at the airport and asking to try again.

She also meets a Catalan man called Alejo, who was a friend to Virginia when she was dying and claims she asked him to check on her children; she has an affair with him.

As an upper-class woman in for white-collar crime, lawyers assure Paulina, María José, and Alejo that she will be quickly released with the right amount of money.

Her Paulina de la Mora is a revelation, a poster girl buried to the eyebrows in meds who, however, was the most modern and determined character in the story.

[13] In an otherwise scathing review of the show where he described other characters and performances as "lacking" and "pretentious", Gaona made exception of Suárez and Paulina, giving both high praise.

[43] Zurro, who had a bad view of all aspects of the season, added that "of course, Paulina de la Mora is still there, and she and Cecilia Suárez are still the rulers of the series".

Vinícius Nader of Correio Braziliense wrote that it is "very forced and [has an] artificial rhythm", not finding it pleasant,[49] but Manuel Betancourt of Remezcla described it as "deliciously languid", seeing it as a starring feature of her character.