Anna Muylaert was born in São Paulo. She has directed many shorts, including the award-winning “The Origin of Babies.” Her feature credits include “Durval Discos,” “É Proibido Fumar,” and “Collect Call.” In 2015 Muylaert released “The Second Mother,” which won awards at Sundance and the Berlinale.

“Don’t Call Me Son” will premiere at the 2016 BFI London Film Festival on October 12.

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

AM: It’s a film about fighting for your own identity no matter how hard it might be.

W&H: What drew you to this story?

AM: The need to change, take risks, and grow stronger.

W&H: What do you want people to think about when they are leaving the theater?

AM: I want them to feel in the same position as the character — a little bit in shock, and a little bit empowered.

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

AM: Finding the right teen actors and directing them.

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

AM: I got an award from Brazil’s Ministry of Culture [that covered the budget].

W&H: What does it mean for you to have your film play at LFF?

AM: It’s a big honor and a big joy.

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

AM: The best advice: get to know your film in three lines before shooting.

The worst advice: don’t talk so much about sexism.

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

AM: Be as good as you can be and fight for your voice even in the darkest night.

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

AM: “Seven Beauties” by Lina Wertmuller. [It has] humor, irony, and [multi-dimensional characters].

W&H: Have you seen opportunities for women filmmakers increase over the last year due to the increased attention paid to the issue? If someone asked you what you thought needed to be done to get women more opportunities to direct, what would be your answer?

AM: We need to talk about this issue, and we need to talk about it all the time. We must be aware and make other people aware of how unvalued we are — not only in cinema, but in all fields of all lives.

We have already got the right to work: now we want the right to be valued.