María José Cuevas’ practice draws from her experience in documentary, experimental video, design, and photography. She has collaborated on a variety of diverse cultural projects, which have screened at different festivals and art venues in Mexico and abroad. “Beauties of the Night” is her first feature documentary.

“Beauties of the Night” will premiere at the 2016 Toronto International Film Festival on September 16.

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

MJC: It is the life journey of five women who were major celebrities in Mexico and great beauty icons in their youth. Above all, it speaks of the strength that we need to reinvent ourselves after youth and success have been left in the past.

It is a moving film that teaches us an important lesson about how to interpret the story of our lives.

W&H: What drew you to this story?

MJC: I grew up seeing these women — they are part of my childhood memories. This film came from a desire to pay tribute to these women, I wanted to find out what had become of them, and their world absolutely fascinated me.

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

MJC: I want them to leave with the same experience that I had as a witness to the transformation of these women over the eight years during which I shot the film. It is a thought-provoking film that addresses universal issues. We all have to face our own vulnerability, we all deal with human issues, we all deal with aging, and we often hit rock bottom, but the key is to keep on moving ahead.

It is a hopeful and positive film. These characters are warm and memorable women who also display strength and independence, as well as being great fun. “Beauties of the Night” takes you on a roller coaster of emotions, from laughter to tears, all while feeling great [connections] with the characters. I see “Beauties of the Night” as a celebration of life.

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

MJC: The most important challenge was getting to know the characters and getting them to agree to be in the documentary. These are women who do not trust people easily, and are reluctant to let you into their homes. When I first met them, I found many of them intimidating.

First, I had to establish a relationship of trust before I dared to turn on the camera and start recording their lives. That process defines whether or not magic is going to happen. Our relationship developed organically, and much of it was based on their sense that I approached them with respect and admiration.

At the beginning, they appeared in character as the stars that they once were: they wore the same outfits and makeup as they did 40 years ago, and in the interviews they told me all about their experience as music hall stars.

But they gradually forgot about the camera, the feathers, the fake eyelashes, and started to reveal their human sides, forgetting about whether or not they were on camera in full makeup.

We spent many hours, then years, together and became friends and accomplices. It is impossible to plan all of this; either it happens or it doesn’t. That is the magic of human relationships.

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

MJC: I applied to the EFICINE Mexican film development fund. I was fortunate enough to see my film selected among hundreds of projects that apply every year. That made it much easier to get the film started with the necessary funds.

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

MJC: At first sight, this story appears to be completely local, given that these women were only ever famous in Mexico. I am honored and excited to be showing this story to an international audience and to share universal feelings, regardless of the identity of the characters. This is what films are all about: reaching a different audience that stimulates and inspires you.

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

MJC: My sister Ximena, who also edited the film, always told me that [collaboration] within a film’s crew is essential, and that is precisely why I assembled a crew of great accomplices such as my sister Ximena as editor, Juan Pablo Bastarrachea as associate producer, and my beloved stars, who helped me to believe in what we were doing throughout the duration of this extremely long project. It is very important to not feel that you are on your own along the way.

Given that “Beauties of the Night” is my first film, I was given a lot of bad advice, or rather I made some very bad decisions, but each of those poor decisions taught me to trust my own judgment more, and to understand the true essence of the film.

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

MJC: Always follow your intuition; you need to be very stubborn to make a movie. Never give up and forget all about those statistics saying that women filmmakers do not have the same opportunities or recognition as men.

Our greatest strength will always be the passion that we feel for what we want to do.

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

MJC: It is not easy to single out just one film. I like films such as “Cléo from 5 to 6” by Agnès Varda or “The Swamp” by Lucrecia Martel, for their sensitive, insightful depictions of everyday life and emotions.

A recent movie I really like is “The Wolfpack” by Crystal Moselle. I am fascinated by intimacy and privileged access in documentaries.

W&H: What are the filmmaking opportunities for women in your country? Have you seen recent improvements? What do you think needs to be done see some significant change?

MJC: Despite the fact that men are still predominant in the film business, I am surrounded by a large number of women filmmakers and friends who are getting their films made.

There is greater gender balance between men and women in documentary film. Without a doubt there is still a lot of male chauvinism within the film world, and in general my country is chauvinistic, but personally I never embark on a project believing that I will have fewer opportunities because I am a woman.

The community of women filmmakers is growing bigger and bigger, and I believe that our strength also lies in our support for one another, seeking greater balance.