After her start as a theater actress, Lila Avilés moved into directing. Her work as a theater director includes “Gardenia Club,” “Microdermoabrasión,” “Antígona,” and “The Chambermaid,” which is the inspiration for her first feature film. She has also directed the operas “Cossi Fan Tutte” and “Alcina” by Mozart and Händel, respectively.
“The Chambermaid” will begin screening at the 2018 Toronto International Film Festival on September 9.
W&H: Describe the film for us in your own words.
LA: I would say that “The Chambermaid” is a subtle and feminine Mexican film with a strong principal character. It speaks to absence, resilience, and the search for identity.
W&H: What drew you to this story?
LA: A long time ago, I was very fascinated by Sophie Calle’s book “The Hotel.” The book talks about the time Calle was working in hotel cleaning rooms and I was so fascinated that I made a theater play about chambermaids — but I didn’t have a real understanding of the position. So, when I started to follow them in their daily lives for many years, I knew that I needed to make my movie no matter what. There was something in their work that really touched me. I developed strong relationships with some of them, so it was important for me to combine documentary with fiction in this film.
W&H: What do you want people to think about when they are leaving the theater?
LA: It’s difficult for me to answer this question because every person has their own point of view. But of course I would like them to like it, and beyond whether they like it or not, I see cinema as a moment to think and go deeper. For me, that is the importance of cinema — that something is moving.
W&H: What was the biggest challenge in making the film?
LA: I had many challenges. One of them was that I filmed “The Chambermaid” in only 17 days. I needed to be very consistent and rigorous. We put the first cut together in only one month in order to secure funds for post-production, and from there it was the same effort. A lovely marathon.
W&H: How did you get your film funded? Share some insights into how you got the film made.
LA: I funded the production of the film with my savings, and post-production and co-production with some prizes we won.
It has been a hard journey — but the most outstanding of them all.
W&H: What inspired you to become a filmmaker?
LA: In cinema I combine two things that I love the most: people and photography. For me, every frame is really important. It’s like putting together the essence of the world you want to tell.
W&H: What’s the best and worst advice you’ve received?
LA: When I was organizing the movie, I was reading a lot of notes from some directors that I admire and I read a quote from François Truffaut that really made sense to me. He was speaking about the need to open our intuition and to understand that a film is something powerful and alive. Let things happen.
W&H: What advice do you have for other female directors?
LA: For women and for everyone: do! I believe that my best advice is to do things. To produce something tangible is a very satisfying feeling. The important thing is to take the risk.
W&H: Name your favorite woman-directed film and why.
LA: Lucrecia Martel’s films. For me, her work embodies the power of narration and beauty. Every time I see a movie of hers I feel like she is speaking to my subconscious. She is a genius!
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?
LA: I have noticed some changes. I think it’s very important to talk. We must have the freedom to be able to speak, to have an opinion, and, above all, to have postura en la vida — to be able to express beyond gender or a political or philosophical point of view.
