Tótem

Among the 10 best films I saw in 2023, four are about little girls who, in their childhood and growth, confront situations that transcend their daily activities, due to the strength or charm of the events. In the medium-length film «Le pupille» by the Italian director Alice Rohrwacher, the events that the girls experience during Christmas, in the middle of World War II, are closer to play and rebellion; but in «Alma viva» by the Portuguese cineaste Cristèle Alves Meira, «Brujería» by the Chilean filmmaker Christopher Murray and now in «Tótem» by Mexican director Lila Avilés, three girls must face powerful situations that affect their family stability.

«Tótem» revolves around the birthday party of Tonatiuh (played by screenwriter Mateo García Elizondo), a 27-year-old painter who is dying of cancer. This celebration will mark the life of his daughter, little Sol (Naima Sentíes), who, in the morning, arrives at the house of her psychologist grandfather (and father of Tonatiuh or Tona), where the party will be held. However, staying at her father's house is not a pleasant experience. The residents include two aunts who are mothers and do not seem to have a partner of any gender; three cousins and the woman who takes care of Tona. Among the eight residents there is a dynamic that makes the family dysfunction very evident, and Tona's illness seems more like a consequence of this toxic coexistence.

There is no mention of why Sol and her mother do not live with them, even though they both adore Tona, who is dying out, getting thinner, weaker and more suffering, and who will need extra strength and effort to be present at the party. During the morning, a spiritualist (who carries out a spiritual cleansing of the house, through rituals and incense) and a client of the grandfather also arrive: both women contribute to creating our impression of emotional imbalance. The house (no misogynistic allusion on my part) is like a matriarchal cage, where the men seem almost mutilated: the grandfather has lost the voice and Tona is dying. And I feel this impression because of the strength of the three main female characters in the house, compared to grandfather and Tona, who seem like byproducts of this family unit.

The excellence of Liles' direction and script, Diego Tenorio's cinematography, and of the performances by all cast members, combine to bringing this family to life on a crucial day in their lives and creating an exceptional film.

I saw this movie 2 hours ago and still have a lump in my throat.

An absolutely real and utterly absorbing story about a family living through a loss, together- magically - before the loss had even fully occurred.

The amazing thing about this movie to me was what it did NOT say. Never preachy, always forgiving - as we are with those we love - the screenplay painted the negative space, telling a far more eloquent story by letting us fill in the blanks with our own experiences.

Acting was terrific- which in this film meant that they didn't seem as if they were acting at all. Every actor fully inhabited their characters, effortlessly. Seamlessly. We watched them, these people, and laughed with them, and felt what they felt. I feel as if I'd been invited to the gathering as a part of the family.

So many scenes I'm left thinking about- wondering about not only what was unsaid but what had come before, and what went after. And then I realize I already know.

Finally, I would say the timeless "TOTEM" is, simply, an indelible statement on the value of life and love, and the meaning of our passing - as meaningful and as beautiful in its way as life itself. This movie is not only, suddenly, one of my favorite movies ever, but I'd say it's also one the few I've seen that changed me.

To me, this film is testament to film as a vehicle to make us feel, and remember to always feel, alive.

I'm not usually fan of children in films, but boy - Naíma Sentíes' performance here as the young "Sol" is terrific. She, replete with multicoloured curly wig is with her mother preparing for a party to celebrate her father's birthday. What we learn from very early on is that her dad "Tona" (Mateo Garcia) is very unwell. Indeed, from the brief scene we see of him in the shower - this is a twenty-seven year old not destined to survive much longer. Clearly that information is known amongst the man's family and friends with his sisters, and his father, taking quite distinctly differing approaches to dealing with their impeding loss. The story takes it's time, but it's never dull. The observational nature of the drama, and the hugely charismatic effort from the young Sentíes is enthralling to watch as their day continues revealing stresses, strops, strains and a slightly defiant degree of optimism. As ensemble performances go, Marisol Gasé, Montserrat Marañon and Teresa Sánchez ensure that this well cast and presented story of a family in distress works evocatively. There are few tantrums, just a stoicism and dignity that makes this really quite a poignant story of a young girl - and a family - that doesn't quite appreciate that life is soon to change for ever.

The everyday lives of average individuals ordinarily might not make for especially engaging storytelling. However, when they're framed within the context of extraordinary circumstances, they take on an added new dimension, as witnessed in the second offering from Mexican writer-director Lila Avilés. This warm, heartfelt, bittersweet comedy-drama tells the endearing story of a family hosting a birthday party for Tona, a young, beloved painter battling advanced cancer (Mateo Garcia Elizondo), told largely through the perspective of his seven-year-old daughter, Sol (Naíma Sentíes), who hopes against hope for her father's recovery. As events play out, viewers watch as Tona's family makes preparations for the celebration - often involving simple tasks told with delightfully funny twists that provide much-needed comic relief - as well as the various means with which his relatives are dealing (or not dealing) with an apparently impending inevitability that no one really wants to address or discuss. Yet what might seem destined to be an exercise in forced festivities with an underlying sense of morbidity turns out to be a loving, earnest celebration of life, despite the undeniable presence of an unwanted, intangible "guest" lingering in the background. While the film incorporates a few sequences that are inherently a little too incidental in nature compared to the larger overall narrative, "Tótem" nevertheless serves up a charming, touching, authentically presented tale that reaches out to audiences and surrounds them with sincere, loving feelings and a big, well-earned hug. This National Board of Review winner and Independent Spirit Award nominee is a fine, little-known indie gem that will surely move you, even if it leaves you with uncomfortably mixed feelings as its story unfolds. It effectively illustrates that there indeed can be times of boundless, overwhelming joy even in the face of overwhelming lament but that what ultimately matters most is what we make of these circumstances when they play out, especially when it comes to expressing how we feel for those whom we truly care about most.

Subtle but thoughtful family drama in which acclaimed director Lila Áviles accurately reflects the different nuances of each character and shows the different ways in which each of them faces an imminent tragedy within the family nucleus.

Lila develops the plot in an almost poetic way with visually attractive but meaningful shots that represent the interaction between the characters.

The young and promising actress Naíma Sentíes offers a spectacular performance in which she manages to communicate through her gaze and few dialogues the endless emotions that a child can't fully process in such a complex situation.

Warm and emotional, Tótem is a film that stands out from the average Mexican production in terms of substance and form.