Rosario, a housewife who is the caregiver for her ill husband, silently struggles between her responsibilities and her desire for a more fulfilling life.
Interview with Writer/Director Marlén Ríos-Farjat.
Congratulations! Why did you make your film?
I wanted to tell a story that is happening right now in thousands of homes all over the world. Also, I would like the audience to look deeper the next time they meet a caretaker. The social stigma and personal guilt they face are rarely acknowledged in public. So, most of their stories remain hidden behind closed doors.
Imagine I’m a member of the audience. Why should I watch this film?
I would want you to put yourself in another person’s shoes for ten minutes through the film, within the safe space of the movie theater. So you can see what people hide in their silence. And hopefully to produce in you an emotional response to the content and form of the film.
How do personal and universal themes work in your film?
The short film comes from a very personal place in my life. What is beautiful from drawing inspiration from your real life, is that you can make use of so many subtle details. This enriches the story and gives it a real-life feeling. Which in turn gives it a universal appeal.
How have the script and film evolved over the course of their development?
There were several versions of the script. And it was in the editing process where things that were out of character for the main character were left out.
What type of feedback have you received so far?
It’s been very positive, thankfully. I often come across people at the end of the screenings that tell me their own life stories about this kind of caretaking. They’re grateful to have these conversations out in the open. About the film, we’ve had great reviews about the cinematography, the rhythm, the music as well as the performances. The lead actress was recognized with an award last year.
Has the feedback surprised or challenged your point of view?
It has surprised me. I used to think that very religious or conservative people would fail to understand the film. But I realize now that they understand and show empathy towards the situation portrayed. I had a prejudice in that respect, so I am glad I have been proven wrong.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I would like to engage with an even larger audience that is interested in intimate stories and family portraits.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Fortunately, we’ve had a successful festival run so far. But we’d like to keep the momentum going so the film can be viewed as much as possible. The word of festival directors and great journalists is a good way for us to keep going.
What type of impact and/or reception would you like this film to have?
I would want that many people get to see it and get to be moved by the story. At the end of the day, I’m a firm believer in the power of film.
What’s a key question that will help spark a debate or begin a conversation about this film?
What would you do if you were in Rosario’s place? What could you do to help?
Would you like to add anything else?
Support women in all their endeavors in filmmaking. We need to see ourselves and others on the screen not just the same old pattern of a male dominated society. We need to be aware that there is a gender perspective in life. And films have the potential to transform society by giving visibility to what we normally fail to see.
What other projects are the key creatives developing or working on now?
I’m currently working on the preproduction of my thesis short film. I’m collaborating again with the cinematographer of “Rosario”, Ignacio Miguel Ortiz, in this new film. And we are scheduled to begin production at the end of January 2018. Also, I’m about to finish writing the screenplay for my first feature-length film.
Interview: November 2017
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
A conflict can be suffered in the deepest silence.
Length: 10:08 minutes.
Director: Marlén Ríos-Farjat.
Producer: Mayra Chávez and Orlando Jácome.
Writer: Marlén Ríos-Farjat.
About the writer, director and producer:
Marlén Ríos-Farjat attended film school at Centro de Capacitación Cinematográfica (CCC) in Mexico City. She currently works as a director, script supervisor and editor.
Mayra Chávez is a Mexico City-based actress and producer. She attended CCC in the film production program.
Orlando Jácome also attended CCC in the film production program.
Key cast: Ana Karina Guevara, Ramón Saburit, Sofía Sanz, Socorro de la Campa.
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Film festival directors and journalists.
Social media handles:
Funders: Centro de Capacitación Cinematográfica, A.C.
Where will the film screen in the next month?
This November we will be playing at: Cork Film Festival in Ireland, Sulmona International Film Festival in Italy, Miami Short Film Festival in the US, Kansas International Film Festival in the US, International Women’s Film Festival “KIN” in Armenia, UK Film Festival in England, Izmir International Short Film Festival in Turkey, among others.