Laura Ángel Córdoba was born in Bogotá, Colombia, and migrated to Costa Rica. She has participated in over 30 documentary projects focusing on a wide variety of topics in Costa Rica, Panama, Guatemala, Nicaragua, and Honduras. Her short films “Ruta Ajena” and “Coswak lleva la bola” have screened at CRFIC (The Costa Rica International Film Festival), and several other Central American film festivals. Córdoba is currently developing her second feature film, “Rizoma.” “Ernesto, Gracias” is her feature length debut.

“Ernesto, Gracias” is screening at the 2022 Hot Docs Canadian International Film Festival, which is taking place April 28-May 8. Find more information on the fest’s website.

W&H: Describe the film for us in your own words.

LAC: “Ernesto, Gracias” is an intimate autobiographical documentary, almost like a process of healing and transformation.

In the film, I make a close portrait of Ernesto, my brother, and my mother Liliana. There is a lot of love, sensitivity, and strength in the movie.

W&H: What drew you to this story?

LAC: As a child, I grew up hearing that my brother’s autism was something bad, ugly, painful, and something like a punishment from heaven. In the 1990s people were unaware of this condition, so what I heard was full of taboos, fears, and incomplete information.

I had a tremendous need to discover more about this condition and see our reality with different eyes despite how difficult it was. This encouraged me to investigate autism but beyond that, [my need] wanted to transform — through my work — what I myself believed about autism.

W&H: What do you want people to think about after they watch the film?

LAC: I don’t want them to think anything specific.

I want them to have the opportunity to approach a complex reality generally relegated to the domestic space. At the same time, I seek recognition of the strength of women who, like my mother, take on the care of a person with autism alone. I do not attribute this loneliness to the fact that Ernesto’s father never assumed his paternity; the State of our country is also absent, the educational system for people with autism is absent.

We demand participation and presence.

That feeling of women in constant resistance and strength is something that I want people who see the film to recognize and feel through the images.

W&H: What was the biggest challenge in making the film?

LAC: The biggest challenge was deciding whether or not I as the director, sister, and daughter should be a part of the film. At first, I was in a distant position observing and participating minimally. Then everything took a huge turn and the film was transformed. It was a whole process of acceptance, trust, and putting the ego in another place.

W&H: How did you get your film funded? Share some insights into how you got the film made. 

LAC: The film was financed in part by the FAUNO fund (Costa Rica’s audiovisual development fund), and on the other hand with our own resources from our production companies. Now we are looking for and listening to purchase and exhibition offers.

W&H: What inspired you to become a filmmaker?

LAC: I like to tell and share with people through cinematographic language, dance, and music. I consider myself a person close to various artistic expressions and my life revolves around this. I think I have been true to my desires and to express myself and allow other people to express themselves in my films and other creative projects.

 W&H: What’s the best and worst advice you’ve received?

LAC: A well-known documentary filmmaker in Central America once told me in a forum that I was not ready to make films. I am very glad not to have listened to her and continued despite the adversities, with the movie.

Another documentarian friend inspires me with his work, it’s not about making the best film in the world — although you always have to try. It’s about being persistent, dedicated, and sensitive.

W&H: What advice do you have for other women directors?

LAC: Never stop creating, networking among women, supporting projects of other director friends, following your instincts, and really working with those you want.

W&H: Name your favorite woman-directed film and why.

LAC: I love most of Agnès Varda’s projects. They really inspire my creations. I like her close way of telling stories, her sincerity, and poetic style with which she approaches her films.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how? 

LAC: I have tried to stay informed about COVID-19 but I have not given it the leading role in my life.

I have kept creating, writing, making music, dancing, training, recording, and taking pictures. And trying to keep my energy calm. The immune system is smarter than we think and our mood greatly influences our biochemistry. I never had COVID and I wasn’t very much at home either.

W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

LAC: As human beings we have the ability to empathize, create true affections with the themes and characters with whom we are working, I believe that as documentary directors we must have that empathy, sensitivity, and control over our ego to be able to project honesty and transparency in our work.