Laura Plancarte is a London-based documentarist. She has been devoted to films and visual arts since 2009, and previously worked in Mexico City, Barcelona and Florence. She has recently released her fourth feature documentary, the filthy genius Mexican Dream. The movie tells the story of a Mexican woman who elects to take fertility treatment in the hope of producing a child. Eoghan Lyng argues that Laura captured conversations with “an authenticity that rarely makes mainstream Hollywood fodder” in his film review. The film premiered at Hot Docs.

…

.

Eoghan Lyng – Would you consider this project to be more of a representation of Male’s life, as opposed to a biography?

Laura Plancarte – Yes, it’s essentially a portrayal of Male’s life. In Mexican Dream, we documented Male’s life from 2020 to 2023. When Male regained custody of her children, she and I decided to change our approach and make a re-enactment of the most significant events we had captured. This decision was made to safeguard her relationship with her teenage children. Given their vulnerability, it wasn’t worth subjecting them to the pressure of a purely observational documentary.

EL – Early on, we see Male’s partner put pressure on her to procure a loan from her employer. Do you think this is a pressure women face all over the world?

LP – Yes, I believe patriarchy remains prevalent worldwide, and women often experience significant pressure from their male partners to fulfil the role of the problem solver. Consequently, many women take risks or place themselves in uncomfortable situations due to this pressure. In the eyes of their families and society, they are simply fulfilling what is expected of them as good mothers.

EL – This film began during the pandemic – did the Covid epidemic influence the pacing of the film?

LP – No, I met Male at the beginning of the pandemic. During the first two years of our collaboration, we carried out interviews via Zoom three times per week. Male filmed herself with the iPhone I sent her, and I filmed her when lockdowns eased. This period allowed us to form a strong bond, get to know each other, and understand what was happening in Male’s life. By the time the pandemic was almost over in 2022, we were prepared to select what we wanted to film for the re-enactment, which became the actual film.

EL – Was it difficult for María Magdalena to talk about her IVF treatment?

LP – At first, Male and her partner Edgar kept their plans about having IVF to themselves, fearing judgment from their rural community. However, as time passed and Male began to express her thoughts aloud in our weekly interviews, she realised she shouldn’t worry about the opinions of people in her town, as they would talk about her anyway. Additionally, the desire to fight once more to reconnect with her teenage children resurfaced. When Male met the women from the IVF group featured in the film, she felt supported. Hearing the other women’s stories and feeling the growing desire to reconnect with her children ultimately led Male to decide not to pursue IVF.

EL – It’s interesting that one of the film’s writers is the star; did this lead to creative challenges over the portrayal of the character?

LP – No, on the contrary, collaborating with Male was incredibly enriching. Previously, I had made purely observational documentaries, and at the end of each film, there was a bittersweet moment. Participants weren’t necessarily upset with how they were portrayed, but in some cases, they felt disappointed, as we all have an idealised version of ourselves in our minds. Therefore, being able to create Mexican Dream in collaboration with the protagonist from the beginning was a joy. It felt more natural and fairer, and I’m very happy with the end result. The way Male represents herself in front of the camera is incredibly powerful.

EL – Is it fair to say that the film abandons the artifice of cinema, to bring viewers headfirst into the reality of the story?

LP – I believe that all films, whether documentary, hybrid, or fiction, utilise the artifice of cinema, and that’s part of the beauty of filmmaking. Even in journalistic documentaries where the main focus is to depict facts as closely to reality as possible, there’s still an element of subjectivity inherent in storytelling. It’s important for audiences to remember that documentaries are not pure truth; they are shaped by the filmmaker’s perspective. Life is complex, and films and documentaries reflect that complexity.

EL – Considering his catalogue and career, Franklin Dow must have been an asset to the work; did he contribute many ideas ?

LP – Frank is an incredibly talented cinematographer and a lovely person to work with, and he brought lots of great ideas to Mexican Dream. This is the second film we’ve made together, and our collaboration has evolved organically. We can openly discuss ideas, and as a result, the projects enrich immensely. One of the aspects of filmmaking I love most is collaboration. As a director, you have your own ideas, stories, and concepts you want to convey, but unlike artists in other visual arts, you have the luxury of collaborating with a team of specialists who can enhance and enrich your initial vision. It’s a great pleasure. And when you collaborate with someone like Frank, the pleasure is doubled because he’s a great human being.

EL – Do you think British/European viewers may have misconceptions about Mexico you wanted to redress?

LP – Yes, unfortunately, not only British and European viewers have these misconceptions, but people from Latin America also share these views about women from impoverished backgrounds. One of the main ideas that drove me to make this film was to intentionally challenge these stereotypes of women from rural towns in Latin America. Often, they are portrayed solely based on the work they do and not as individuals with their own unique stories, dreams, and identities.

EL – I noticed a recurring motif of fire burning in the foreground in a number of scenes. Is there a metaphorical undertone, suggesting that the desire to carry children lingers like an unquenchable flame?

LP – I hadn’t thought about it like that before, but one of the things I love most about making films is hearing how people interpret different aspects of the film. I appreciate your metaphor about a fire that never goes out in relation to motherhood. Thank you!

EL – Do you think you could have made this film before 2017, and the rise of the #MeToo campaign?

LP – Yes, I believe I could have made it before 2017, but I’m very grateful for the #MeToo Campaign. It has not only supported women who have been abused but also helped society recognize women and opened doors to fight for gender equality. I think we still have a lot to fight for, and we need to keep pushing, but the past six years have been crucial for us.

EL – What do you hope viewers will take from this project?

LP – Women by having the possibility to give birth and become mothers, often find themselves juggling multiple aspects of life in order to maintain their identity as individuals. And society tends to take for granted much of what they do. Mothers shouldn’t still be expected to be saints, and when they make mistakes, they should find support in society rather than shame. Additionally, I would like viewers to see that people from impoverished backgrounds can have big dreams, and that pursuing those dreams is not foolish.

…

.

Laura Plancarte is pictured at the top of this interview. The other image is a still from Mexican Dream.