‘Tótem’ Review: Beauty and Tragedy Coalesce for a Middle-Class Family in the Latest From Lila Avilés
Courtesy of Janus Films.
With Tótem –– her follow-up to 2018’s The Chambermaid –– writer/director Lila Avilés solidifies her subtle skills for intimately depicting the multitudinous facets of her Mexican culture. Emotionally penetrating and intricately designed, Tótem captures a tremendous day in the life of a middle-class family through the perspective of one of their youngest members, a seven-year-old girl. Inspired by Avilés’ personal history, along with her interest in capturing the innocence and turbulence of youth, Tótem explores the joys of living and the sorrow of loss through its richly sketched central family.
In an early scene of Tótem, the film’s central character, Sol (Naíma Sentíes in an impressive debut), rides in the car with her mother. Passing under a bridge, holding their breath, and making a wish, Sol shares what she hoped for: “I wished for Daddy not to die.” Sol is then dropped off at her grandfather’s home, where her family is frantically busy preparing for her father’s birthday party later that day. Tonatiuh, or Tona (Mateo Garcia), is Sol’s father, a man who would be in the prime of his life if it were not for his debilitating, unnamed illness. Over the day and well into her father’s celebration, Sol manages to stay out of the way of her family, unable to reconcile with her father’s deteriorating condition or the idea of losing him. As Tona’s party unveils itself to be a celebration of his life that will soon be cut short, Sol’s understanding of the world changes forever.
Courtesy of Janus Films.
Tótem possesses a unique energy and tremendous warmth in its portrayal of Sol’s family despite their tragic circumstances. As Sol’s aunts prep for Tona’s soirée, the film uses meticulous methods to capture their domesticity, whether painstakingly making a beautiful birthday cake, dressing for the party, or wrangling their children. This fascination with their everyday actions helps the movie convey its concrete understanding of who these characters are and how this family functions. Their frenetic vibrancy communicates the stress and sadness Tona’s illness has cast over them, as well as their perseverance in putting on a courageous face for Sol and the rest of their clan.
As with The Chambermaid, Avilés’ direction in her latest film puts a strong emphasis on its female characters, who range in age from toddler to middle-aged. Sol’s grandfather, father, and other male relatives take a backseat so that Tótem’s narrative can focus on the women who run the show and how Sol interacts with them as the movie plays out. The financial strain of Tona’s illness is manifested through the exchanges between Sol’s aunts, as well as their hopeful attempts to improve his condition, albeit through unconventional means: one scene depicts Aunt Alejandra (Marisol Gasé) bringing a quantum therapist into their home, smudging the space to get rid of evil spirits who may be hindering Tona's progress towards healing. Holding much of the frame during Tótem’s brisk 85 runtime, Sentíes as Sol serves as the emotional core of the film. Suspended in the uncomfortable interlude between a small child and a blossoming youth, Sol is all too aware of her father's dire situation. Prematurely shedding the naivety of childhood, Sol is haunted by the idea of losing a loved one, possibly for the first time. Sentíes embodies her character's fragile state of mind with sorrow and grace that gel perfectly with the film’s subtlely moving emotional undertones.
Courtesy of Janus Films.
The visual language of Tótem is well-aligned with Avilés’ meticulous screenplay and the interpersonal relationships it focuses on. The film’s cinematographer, Diego Tenorio, mainly employs shaky handheld camera work to mirror the flux and frenzy of the day upon which the film plays out. Shot primarily within the confines of a modest family home, Tenorio’s camera works to heighten the unsteady footing felt by Sol and the rest of Tótem’s characters. The movie’s frequent use of closeup shots emphasizes the faces and compelling emotions of its actors. The camera’s fixation has an intriguing fascination with the textural details of the home: its wallpaper, garden plants, and books on shelves. Through these details, connections with memory and the household’s sense of history can be discerned.
In a straightforward translation from Spanish to English, Tótem’s title is representative of the spiritual and emotional connection held by Sol’s family, especially in the face of bleak times. Through the film’s framework, Avilés speaks gracefully to the high regard for familial traditions and connections in Mexico and, in turn, all of Latin America and its varying culture’s emphasis on blood ties. From the film, audiences can piece together a beautiful work that emphasizes the persistence of a middle-class family and the tragedies they may face together. Tótem premiered in competition at the 2023 edition of the Berlin Film Festival, where it was awarded the Ecumenical Jury Prize. From there, the film went on to make the rounds on the fall festival circuit before becoming Mexico’s official entry for Best International Feature at the Academy Awards. Although making the shortlist, Tótem did not receive a final slot in the Oscar nominations but did pick up nominations in the same category at the Gotham and Independent Spirit Awards. Janus and Sideshow Pictures will handle Tótem’s theatrical release in North America, which begins on Friday, January 26, in New York City at Film Forum before expanding to other cities in the following weeks.
4/5
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