QUESTION#1: What excited you the most when making this film?: The most exciting part of making this film was weaving the folklore of my Mexican upbringing into a personal story about family and grief. Exploring how myth and storytelling can help a family navigate profound loss felt incredibly meaningful. Since this was also my thesis film, the chance to craft a fantasy epic was especially thrilling. As a director, collaborating with actors is always a highlight, but I also loved working with miniatures to make La Bruja’s fantasy world feel real and magical. We used old-school cinema tricks to create a sense of scale and worked hard on both a script and visual level to ensure seamless transitions between the film’s worlds. While I wouldn’t say this film is entirely autobiographical, it is very much an ode to my Aunt Olga. There are countless breadcrumbs of my family’s history woven throughout — from the set design to the actors’ performances. In many ways, I created something I wish I had when my Aunt Olga died: a story to hold onto.

QUESTION#2: What was the most significant film you've seen AT THE THEATER in 2024, and how did it influence your filmmaking?: I was very struck by Conclave. Watching Conclave influenced my filmmaking by reinforcing the importance of working closely with actors to build trust, so the camera can stay on them without needing to cut around a weak performance. It also reminded me that sometimes all you need is a simple wide shot and a close-up at the scene’s fulcrum — or even just a two-shot — rather than overloading with setups. Most importantly, it underscored how crucial it is to ensure the story builds from sequence to sequence, avoiding repetitive beats and keeping the narrative momentum strong.

QUESTION#3: What's an obvious and not-so-obvious question someone might ask about your film?: "Were you inspired by Pan's Labyrinth?
Yes and no. I’m incredibly flattered by the comparison, as Guillermo del Toro is one of my filmmaking gods. However, Pan’s Labyrinth was never a direct reference for my DP or production designer. We drew inspiration from filmmakers like Georges Méliès, whose use of matte paintings helped craft our fairytale world. My DP and I are also huge fans of The Lord of the Rings, and if you look closely, you’ll see visual nods to Peter Jackson’s direction and Andrew Lesnie’s cinematography throughout our film.

QUESTION#4: A magic movie genie is giving you an unlimited budget for your next production! However, you're only allowed to use it on either "above line" or "below line" resouces. Which do you choose and why?: I would use the budget on below the line resources because a film’s success is built on the strength of its crew. Cinematographers, production designers, makeup artists, sound teams — their work is what shapes the film’s visual and emotional impact. If you have the resources to fully support their creative visions, you’re bound to create something extraordinary. At the end of the day, it’s the story — brought to life through their artistry — that stays with the audience.

QUESTION#5: What is it about your current movie that will influence your next film?: La Bruja is about the power of storytelling to heal grief and make a broken family whole again. For my next film, I want to explore what happens when someone uses a fairytale as a curse and, through their own actions, brings their family back together. I’m interested in examining the more bitter aspects of grief through a child’s perspective and how they learn forgiveness over the course of the story.

I also want to push the fantasy elements further, playing with a paper-inspired aesthetic while keeping the effects as practical as possible. Since La Bruja, I’ve directed more children and found their energy inspiring, so I’m excited about working with younger actors again and discovering what they bring to the story through collaboration.

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