5 Questions #12 : Lila Aviles

The director of Mexico's nominee Totem delivers the answers

You may recall that end of the year, Eric Kohn wrote us a guest post on the 2023 films that filmmakers could use to find inspiration. Lila Aviles’ TOTEM was among them. Previously I had the good fortune of having Lynne Ramsey recommend Lila’s THE CHAMBERMAID to me. You do that math and you know you have to see her work.

People discuss filmmakers having a unique voice, but for me it is a phrase that falls short, particularly when we are speaking of artists like Aviles. It is the choice of the story, the rhythm, the style, the choices of both what is and not there — almost what feels like a casual deliberateness —the tone, the performance style, the color and light. Nothing feels like an accident, nothing that wasn’t fully and deeply considered, but yet still somehow still relaxed. With TOTEM things are not spelled out, the causality ambiguous, the journey not forced, yet somehow still a tapestry miraculously woven, with shining moments burned into consciousness, a bit like the dream that you remember long after you’ve woken, returning and appearing in the other thing. If it is voice, it sings in multiple dimensions, and harmonizes with songs you never knew you could sing.

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The American narrative system (3 acts, hero’s journey) is hard for artists here to avoid. Our dramas requires everything is “naturalistic/realistic”. There is no room for ambiguity. You are aiming for something different. What draws you into accepting a world beyond the here and the now, the set up and pay off, the psychological & the practical?

Yes, I think for me that's not coming from film school. I learned to film more openly and with more flexibility. And I really like that and enjoy that. In this field, I’ve received invitations to do workshops and classes and I always encourage new filmmakers to not think so much in their results and just try to play. I guess for me the key thing is to not try and do an efficient structure or a formula but to just try to capture what is the most important thing for you as a filmmaker. For me, it's all about characters. For me, that’s the thing I take care of. To take care of their actions and situations and don’t think so much about the dramatic arc. It’s more important to try and be near the characters and not leave them alone. That has been a good experience for me in both films.

In this current film ecosystem, what do you think have to consider in order to have a sustainable career? What are the things that are hard to accept?

I guess it all involves the magical word “freedom”. You can let things happen, and be more fragile but at the same time be more strong and more involved with the film and the story. I can change the country, I can change the language, I can change a lot of things but I cannot leave behind creative freedom.

What are some of the more unusual aspects about Cinema that you love most -- be it in your own work or others.

I think as a spectator, I really love films that I can get deeply into and connect with the feelings. I love that. Every day we are out with our cellphones, and on the computer, and all this content we’re involved in every day. It’s a matter of being out of ourselves. So me, I love books or films where I can connect to the narrative. That's the value and beauty of storytelling. It’s not about being out but more near and connected to your soul.

How do make sure you consistently grow & change & evolve as an artist? (I.e. how not to get stagnant or jaded)

Yes, I think the main thing is to keep playing. I guess not only for filmmaking but for whatever. If somebody is a chef or makes pottery, it's the same. You need to maintain your everyday exercise and cultivate your heart but also remain super open. I think that nowadays everything is so divided, but you need to be open and have that joy of playing and not putting so much pressure on yourself. Yes, you can be fragile. You can make mistakes, but it's also those mistakes that put you in a situation where you can get other perspectives. I think as a filmmaker you always need that objectiveness, and to just keep playing and finding people you admire and have respect for, and you can work together. It's like a garden, you need to cultivate and water.

What is the best or favorite advice you’ve received?

I got some really nice advice from a friend, he had been a cinematographer for a long time and we’ve known each since we were kids. When I was going to start filming THE CHAMBERMAID, he just told me “You know what Lila, you were a mother. No one told you how to be a mother, and your intuition and your sensitivity showed you the way, and you need to do the same with your film. No one will know the film better than you, so connect with that”, and I really loved that and his statement helped and I connected in that way with THE CHAMBERMAID and TÓTEM.

\What is the kindest thing someone did for you professionally?

I think I will always have respect and all my life be grateful to Jose Maria Riva. He was the man who helped with getting THE CHAMBERMAID made. He helped me so much, and so many filmmakers around the world, but mainly in Latin America. Filmmaking is work and you put so much importance in it. Every one of us, you know? Because so many artists in the history of the world have died and didn’t get to show their work. So it is beautiful to exercise that. In the industry you are not alone, you are part of cinema obviously but it's also a structure. You meet people at festivals and meet critics, there are so many different ways way of connecting with people and we need more people like him.

Lila Avilés is a Mexican independent film director, screenwriter and producer. She founded her company, Limerencia Films, in 2018. Her breakthrough debut feature film "The Chambermaid," 2018, was selected to represent Mexico at the 2020 Oscars© and Goya Awards. The film was invited to more than sixty film festivals around the world, garnering awards and critical acclaim. Avilés has served on many festival juries, including San Sebastian International Film Festival (Spain 2021), Morelia International Film Festival (Mexico 2019), FICUNAM (Mexico 2020), Lima International Film Festival (Peru 2020), Antofacine Festival (Chile 2020), Nespresso Talents 2019 (Festival Morelia 2019), Fic Monterrey 2022.

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PS. I am running more posts than usual this week. We will return to normal very soon. If you’ve been enjoying these 5 Questions, please check the archive for all that we have done.