‘Twelve Moons’ Director Victoria Franco Has Been Waiting for Her Tribeca Moment

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As a devoted admirer and sibling to Michel Franco, I’ve had the privilege of being an integral part of his filmmaking journey, serving as a creative producer behind the scenes for numerous projects. From the Jessica Chastain and Peter Sarsgaard-led ‘Memory’, to the Tim Roth-starring ‘Sundown’, my contributions have been significant. However, my ultimate aspiration has always been to break new ground by stepping into the director’s chair myself, and bring my vision to life through short films.

On Saturday at the Tribeca Film Festival, she will debut her directorial debut with the film Twelve Moons. In this project, her renowned brother Michel, a Mexican filmmaker, takes on the role of producer. The story of Twelve Moons centers around Sofia, a 40-year-old architect who, following a heartbreaking loss, grapples with intense emotions while striving to remain true to herself. As her personal and professional lives crumble, she seeks guidance within herself for a way forward.

Michel’s movies are recognized for their raw, meticulously managed narrative structure, a technique developed from his real-time editing process. This innovative approach, first used with his sister Victoria in the early stages of his career, involves sending footage straight from the camera to an editing suite, where an editor and Victoria work collaboratively to evaluate the story as it progresses, instead of waiting until the end of filming. Victoria applied this method in her own movie, and she reported some unexpected outcomes.

With a unique blend of emotion, intuition, and an undeniable personal flair, Victoria found herself seated alongside Michel for an engaging conversation with The Hollywood Reporter, delving into the depths of their creative connection.

How did you decide on the title Twelve Moons?

VICTORIA FRANCO What captivated me about the title was its ability to encompass various aspects I wished to explore. The movie delves into themes such as femininity and substance abuse. The number twelve symbolizing the twelve stages of recovery and the twelve months in a year. The crescent moons signify a woman’s menstrual cycle.

You both pioneered this process of live editing together. How did that come to be?

As a passionate film enthusiast, I embarked on a unique project titled “Through the Eyes” alongside the talented Victoria. This production was a blend of fiction and reality. While I oversaw the fictional aspects, she masterfully handled the documentary portion. Due to the lack of a script, we edited as we filmed, with a team member handling the computer, making us both the editors in chief. The freedom and creativity this process offered captivated me so much that I continued employing it on subsequent films, starting with “After Lucia.” Additionally, I have maintained shooting in chronological order since then, a system Victoria and I perfected fifteen years ago.

VICTORIA FRANCO On Saturdays, we consistently reviewed all the content during filming for our fictional project. Our approach was quite intuitive, focusing on our instincts and the demands of the narrative. Intuition plays a crucial role in every aspect of movie-making.

Victoria, what was it like using the live editing process on your own for Twelve Moons?

VICTORIA FRANCO The filmmaking experience was quite unexpected, as there were numerous elements not originally outlined in the script. I wasn’t aware that I would be editing on-the-fly during production – the process was incredibly flexible and evolved as we advanced. For me, filmmaking is all about being present in the moment. My best approach is to adapt swiftly to real-time changes. Working on set gave me the liberty to experiment with the structure. I aimed to let the audience experience the emotions intended for each scene – rather than imposing my own editing style upon it.

Michel, did you work in the editing room on your sister’s film? Was the dynamic reversed?

MICHEL FRANCO I don’t typically work on the set when I’m producing. This was also true for Vicky. I aim to provide directors with ample space and allow each crew to establish their unique working methods. In fact, my absence from the set is often a positive sign, suggesting that everything is running smoothly without my intervention.

Victoria, did you try to move away from Michel’s style while making your film?

VICTORIA FRANCO While I’ve gained valuable insights from Michel, it was crucial for me not to mimic him during the making of Twelve Moons. The elements I appreciate and respect in his films wouldn’t align with my filmmaking style. If I had attempted to replicate him, the outcome wouldn’t have been satisfactory. He possesses unique talent, whereas I approach cinema from a distinct perspective. This way, our work enhances each other – we create depth.

MICHEL FRANCO Victoria’s character and perspective on life differ significantly from mine. When viewers encounter Twelve Moons, they’ll get to know Victoria’s unique personality and the way she perceives the world, which is quite distinct – she has crafted a universe all her own.

Could you please share your thoughts on the novel “Twelve Moons”, Victoria, and what key ideas or emotions do you think the readers should carry with them after finishing it?

VICTORIA FRANCO The movie is about overcoming addiction and struggle, with elements of family and heritage woven throughout. While I have personal ties to the story, it’s crucial for me not to influence emotions. Instead, I hope viewers can forge their own connections.

As a gamer, I chose to cast my very own mom in “Twelve Moons.” The decision wasn’t easy, but I felt her unique charm and wisdom would perfectly embody the character. Casting her was a heartwarming and emotional experience. It allowed us to share a new bond, transcending our traditional roles as mother and son, and diving into an extraordinary partnership in this creative endeavor.

VICTORIA FRANCO In the movie, the mother is more than just a character – she’s a powerful symbol, and my real-life mom embodies such a strong sense of motherhood that I never considered anyone else for the role. It was an emotionally challenging process, particularly since her character signifies death. Watching her portray this role was tough, yet somehow comforting. Perhaps it helped me confront my own fears a bit more.

Now that you’ve established yourself as a director, will you still collaborate with Michel?

VICTORIA FRANCO It seems like we’ll continue to team up in the future. We’ve been working together since childhood, and there’s still plenty for us to learn from one another and our methods.

Michel Franco: We focus on one project at a time, yet there’s no division between our personal lives and our films. When others require assistance, be it in their daily lives or in their work, we are often the first ones they seek help from. This instinctive response is just part of who we are.

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2025-06-08 03:54