‘Mamífera’ Director Liliana Torres on the Stigma of “Non-Maternity” and Why Catalan Film Is Better Than Ever

As a fellow film enthusiast, I was truly captivated by the heartfelt performances of Maria and Enric in “Lola”. Their chemistry was palpable, and their portrayal of Lola and Bruno resonated deeply with me. It’s always a joy to witness such dedication and professionalism from actors who share a genuine bond off-screen.

This year, it’s been announced that 22 films from Catalonia will be showcased at the 72nd San Sebastian International Film Festival, demonstrating a significant growth in the region’s cinematic sector.

Included in the collection is the film “Mamífera,” which was directed by Liliana Torres. This Barcelona-native director chose to address the topic of “non-maternity” – a woman’s choice not to have children – as it’s a stigma she has experienced personally.

Torres’ current film project, set to screen in San Sebastian this week, centers around Lola (portrayed by Maria Rodríguez Soto) and Bruno (Enric Auquer), a content couple both in their forties. As Lola observes her friends and relatives becoming overly preoccupied with either raising their own kids or wanting children, she is taken aback when she discovers she’s pregnant, feeling uneasy about the situation. Surrounded by people who seem to embrace motherhood wholeheartedly, Lola questions whether there may be something amiss within herself.

The movie presents a thoughtful critique on the expectation society imposes on women to conform to what Torres calls a misrepresented “instinct.” Additionally, it pays tribute to Catalan as a language and Catalonia as a region, given that the Catalan government plans to allocate more funds annually towards film and television production, with an anticipated budget of approximately €50 million ($54.5 million) by 2024.

Torres discussed topics like “childlessness” and the current excellence of Catalan cinema, particularly in relation to female directors, during an interview with The Hollywood Reporter on the shores of Spain.

Congratulations on such a thought-provoking film. How did Mamífera come to be, and why did you want to make a movie on this subject?

Throughout my life, the decision not to have children has been a constant topic of conversation. Since my youth, I’ve always known that being a parent wasn’t for me. In my twenties, people would say, “Oh, no, you’re too young to understand.” Then, as I reached my forties, they warned me, “You will regret it.” However, this topic has been with me since the beginning, and Mamífera serves as a means for me to bring some justice into the situation.

And this stigma, is it something that you think is specific to Spain?

From my perspective, this issue isn’t limited to any specific nation; it spans across all borders. It revolves around the conventional perspective on females, often referred to as patriarchy, which tends to prioritize motherhood and make it the central focus of a woman’s life, implying that its significance is derived from it. The other options for women within this system can appear insignificant or questionable. For instance, what purpose does a woman’s existence hold if she chooses not to bear children? This seems to be the unspoken question: What’s her plan? It carries an undercurrent of suspicion and keeps us confined within the realm of domesticity for extended periods. Women are often pulled away from their professional pursuits by the responsibility of child-rearing.

This word, “non-maternity,” that is used to describe the film’s plot, I’ve not seen it before.

As a gamer, I prefer to express my lifestyle choice more casually and positively. Instead of “childless” or terms that might sound negative, I’d rather use “parent-optional.” It implies that while I may not have children, I’m still very much alive and active in my own way, just like a character in my favorite game can be without being a parent in real life.

I’d like to discuss a few aspects regarding Mamífera. Lola observes her friends who yearn for children or already have them, which triggers a sense of discomfort within herself about her own physical and mental wellbeing. This feeling also stems from the pressure she experiences in this situation.

It’s my belief that the concept of motherhood is deeply connected to patriarchal teachings, which have led us to assume for centuries that motherhood is a natural, instinctual role. This idea has left me questioning myself: if motherhood is supposed to be an innate ability, then why do I struggle with it? Biologically, this has made me doubt my own worth. These thoughts lingered in my mind until I began my studies, during which I encountered the works of Simone de Beauvoir. Her ideas about motherhood as a socially constructed role were eye-opening and helped me immensely. Through extensive reading, I found many books that reinforced this notion, arguing that motherhood is not instinctual but rather a product of societal expectations.

Even if you’re a mother, it’s your decision.

I’d like to inquire about the assistance Lola receives from her partner, Bruno. She admits that for men, the transition into parenthood might be less challenging or a more straightforward choice. Was it crucial to portray Bruno as supportive in the story?

I was yearning for a deeply connected couple who had decided not to have children. Their longstanding relationship and mutual understanding held great appeal to me, as the idea of having a supportive partner was crucial. While they could maintain a wonderful relationship without offspring, it didn’t necessarily mean they desired them. Even in the case that such desires surfaced, as depicted in ‘Mamífera’, there would be reasons. Bruno, being quite progressive, never forced his own wishes but rather asked and suggested solutions like changing jobs. However, Lola understood that choosing motherhood would require her to let go of many dear friends, a reality she couldn’t evade.

Maria and Enric delivered exceptional portrayals. Their on-screen connection was convincing, making me truly believe they were a couple. I’m certain you were satisfied with the final result.

In real life, they share a strong bond of friendship which greatly benefited our production. Moreover, they are both exceptional actors. I must express my sincere gratitude towards them for their dedication and professionalism. They truly enjoyed the rehearsals, script readings, and discussions on the topic. Interestingly, despite their contrasting personalities, they managed to bring unique flair to their roles. For instance, Maria quickly immersed herself in Lola’s character with her wit, sarcasm, and a blend of care and assertiveness. On the other hand, Enric, accustomed to playing male characters, initially adopted a testosterone-fueled approach when portraying Lola. However, he was corrected, “You’re not debating, you’re just talking at her,” which helped him understand the nuances of Bruno’s character.

As a passionate admirer of cinema, I’d like to inquire about the process of filmmaking in Catalan, the role it plays in showcasing Catalonia, and where Catalonian films stand within the broader film industry landscape.

The progress of Catalan productions is thriving exceptionally, especially in the realm of authorship. Notably, an abundance of female writers is contributing significantly to this success. Among them is Carla Simón, a native of Barcelona who was awarded at the Berlin Film Festival the previous year.

It’s significant for us that numerous authors and names from beyond Spain are gaining international recognition, winning awards, and making an impact in Catalan literature. This is crucial as it helps preserve our language and culture, but there can be challenges. For instance, films need to be dubbed so they can be screened in multiple Spanish cinemas. Unfortunately, this process can be tedious because we believe it would be more straightforward if subtitles were used instead. As we are in Spain, subtitling seems like a more natural solution for us.

Why do they insist on dubbing?

It seems that exhibitors often hesitate to screen movies with subtitles in Spain due to two main reasons: firstly, people may be reluctant to watch such films because they prefer not to read, and secondly, there’s a cultural aspect at play. The dominant culture sometimes overlooks or marginalizes the cultures of Catalonia and the Basque Country within Spain.

Is it accurate to say that Catalonian cinema is currently thriving in terms of production, with a total of 22 Catalan productions being showcased at the San Sebastian Film Festival this year?

In terms of authorship, for sure. The amount of productions, yeah, a good amount.

For someone like me from Catalonia, how significant would it be to see Catalonia portrayed on the big screen?

Indeed, it holds significant value for several reasons. Firstly, it’s closely tied to our cultural identity. Secondly, there’s a substantial momentum in Catalan cinema led by female directors. For us, this matters greatly as we strive towards equality, and I’m thrilled to see my peers receiving awards and showcased in main festival sections. I believe this moment signifies a significant shift in Catalonia’s film industry. I’m incredibly grateful for the government’s support throughout this journey.

Finally, what would you like to make a film about next? Is there anything on the horizon?

Currently, I’m developing a script that tackles two personal themes close to my heart. One is early menopause, an experience seldom discussed publicly but has had profound impacts on my life, affecting me more dramatically than puberty – both mentally and physically. The other theme is the environmental crisis in Catalonia, specifically focusing on the excessive exploitation of resources such as water, air pollution, and deforestation caused by intensive pork farm factories. I aim to intertwine these themes through a single character and setting, illustrating how these two challenges can coexist and influence each other within one landscape.

2024-09-24 00:55

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