Interview
Jennifer Remba

1. Could you share a bit about your background and how your experiences in cultural management and film production have shaped your approach to filmmaking?

 

Since I was very little, I wanted to do something with my life that involved filmmaking, but I really didn’t know I could study film as a degree. Growing up in a small city, there were not many opportunities to work in the film industry. I tried studying music to make film scores, but that wasn’t what I really wanted, so, almost by accident, I started studying cultural management. During my university studies, I was able to study a film diploma and also be a part of some short film projects. I started organizing film workshops, and when I graduated, I got offered a job that involved documentary film, film festivals, and film diplomas and workshops, so I learned a lot and ended up making the decision to study a MFA in film and making more and more short films.

 

2. "Rue Tea" explores themes of fear, overcoming adversity, and the acceptance of one's inner darkness. What inspired you to delve into these themes, and how did you approach incorporating them into your storytelling?

 

I had an abusive relationship with a narcissistic psychopath; one of the most common forms of abuse was to undermine me and make me believe I was mean and evil towards him. In order to leave his constant abuse, I needed to embrace my own darkness and “be evil” and truthful to myself. In that scenario, the beast is a metaphor for one’s inner darkness and strength.

 

3. As someone with a background in gender critical studies, how do you ensure that your films reflect feminist perspectives and contribute to discussions on gender-based violence and women's empowerment?

 

I’m not sure if I really ensure it, since my voice and my gaze are not the only feminist perspectives. But I do think that something, as female storytellers, is visible in our life experiences and what being a woman implies. In this project in particular, I tried to talk about my life experiences and have conversations with other women who lived in similar situations to build a better character.

 

4. Can you discuss the challenges and rewards of conducting artistic research through filmmaking, especially when addressing sensitive and personal topics such as violence against women and abortion?

 

I think artistic research is a methodology to address poetics and affections from an emotional perspective. The challenge is that art isn’t often seen as a valid form of science or scientific methodology, but it actually defies “objectivity” and the traditional and patriarchal ways of epistemology or knowledge creation. In that sense, addressing violence against women and abortion through artistic research is also a disruptive strategy to reach that knowledge.

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5. How do you balance your academic pursuits with your creative endeavors as a filmmaker, and how do they inform each other in your work?

 

My artistic work and my academic pursuits are inseparable; as an artistic researcher, I’m constantly working on my own creative endeavors, so they need each other in order to exist.

 

6. What strategies do you employ to engage your audience emotionally and intellectually with your films, particularly when tackling complex and often difficult subject matter?

 

I try to avoid dialogue so the film is “universally understandable” and try to challenge myself and the audience to build meaning through image and sound. Empathy is something I try to build by making characters with whom women can actually relate.

 

7. As a founder and director of the Film Arts and Sciences Academy of Hidalgo, what initiatives do you prioritize to promote the film industry in your region, and how do you see it evolving in the future?

 

I used to be the director, but I’ll always be the founder. Educating and supporting new filmmakers will always be priorities for the region to have a film industry. Making a community is always necessary to increase the quality and quantity of production, and I hope that, in the future, Hidalgo and every other region in Mexico, outside of Mexico City, are capable of competing with any kind of national or international production.

 

8. In your opinion, what role does cinema play in challenging societal norms and promoting social change, particularly regarding issues like gender equality and violence against women?

 

It plays one of the most important roles since cinema is so influential on our subjectivities and cultural beliefs. We need diversity in filmmakers in order to build better societies, so everyone can relate to what they watch in films and stop trying to make themselves into this irreal image Hollywood projects on us.

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9. Can you share any memorable moments or experiences from your filmmaking journey that have had a significant impact on your perspective or approach as a director?

 

Teaching film is one of the most memorable experiences that made me and still makes me learn the most. It has taught me patience and to embrace mistakes, as they are needed to improve. As a film teacher, I also take part as a student, and that makes me more open to imperfection and caring for others.

 

10. How do you see your filmmaking style evolving in the future, and are there any specific genres or themes you're interested in exploring further?

 

I’m always trying to explore gender from different perspectives in horror and post-horror narratives. Right now, I’m working on a project about trans identities and another one on plastic surgery.

 

11. Looking ahead, what are your aspirations for the future of your filmmaking career, and what message do you hope to convey through your body of work?

 

I hope to keep up my work as a teacher and academic. When I finish my PhD and keep working on my own horror films with a feminist perspective, I want to be a part of all the female filmakers who are building an image for us to reflect on with love, empathy, and acceptance.