Cannes 2021 Women Directors: Meet Teodora Ana Mihai – “La Civil”

Teodora Ana Mihai was born in Bucharest, Romania, during the Ceausescu Regime and moved to Belgium in 1989 with her parents. She went to film school in New York. She started working in Belgium as a screenwriter and then assistant director. Her documentary “Waiting for August” has won prizes in over ten countries and was nominated for the European Film Awards.

“La Civil” is screening in the Un Certain Regard section at the 2021 Cannes Film Festival. The fest is taking place July 6-17.

W&H: Describe the film for us in your own words.

TAM: “La Civil” is the story of Cielo, a mother whose teenage daughter is kidnapped by a local cartel in a northern Mexican town. As the authorities fail to offer support in the search and her ex-husband adopts a fatalistic attitude, Cielo is forced to take matters into her own hands.

She slowly but surely turns from helpless housewife into avenging activist, absorbed by the vicious cycle of violence that made her a victim in the first place.

W&H: What drew you to this story?

TAM: I had been investigating the subject matter for a couple of years, thinking I would approach it from the point of view of a teenager growing up in the volatile environment that the drug war has caused in Mexico since 2006. But a meeting with a mother who shared her story and thoughts with me made me change course and decide to tell this from a mother’s perspective. That was back in 2015.

One of the first things she told me was, “When I wake up in the morning, I want to kill or die.” The person in front of me had the profile of a housewife and a mother, so these words — coming from her — felt like a slap in the face. I couldn’t help but wonder what she must have gone through to come to such conclusions.

The mother in question was Miriam Rodriguez, whose story became famous after her tragic death on Mexican Mother’s Day in 2017.

She was the inspiration for Cielo’s courageous character in “La Civil.”

W&H: What do you want people to think about after they watch the film?

TAM: The story handles a complex topic and I am no politician: I don’t pretend to have answers or solutions. But I wanted to make a touching story, one that would invite people to reflect on the situation and timely subject matter. I believe that this is a contribution towards, hopefully, some positive change.

What personally touched me very much in this story is how a commonplace relationship conflict — a separation, and a teenager’s subsequent rebellion towards her parents — can be enough to get a young girl into big trouble in a volatile living environment, such as Mexico under the threat of cartel violence.

Another point that truly touched me is the irony of Cielo’s transition from victim to perpetrator. The thought that, once touched by violence, one is condemned to join and to perpetuate it somehow, despite the best and most noble intentions.

But of course, these are my thoughts. The viewers are free to their own interpretation.

W&H: What was the biggest challenge in making the film?

TAM: It was not easy to do the research, nor was it easy to fund or shoot this film. But I guess the most difficult part was to write a fiction script that would stay authentic and truthful to the reality I had witnessed throughout the long investigation period. I wrote the script with Mexican writer Habacuc Antonio De Rosario.

W&H: How did you get your film funded? Share some insights into how you got the film made.

TAM: The film was mainly funded through European funding and state funding from Belgium (Flanders and well as Wallonia) and Romania. It was fantastic to be able to achieve that. Though I am a European filmmaker, it wasn’t to be taken for granted since the story is set in Mexico. But the essence of the story is quite universal, so that made the difference, I believe.

We also obtained some local support from Mexico, but no state funding.

W&H: What inspired you to become a filmmaker?

TAM: My father, through his contagious passion for photography. Andrei Tarkovsky, through his wonderful imagery. Agnès Varda, through her talent, perseverance, and unique voice.

W&H: What’s the best and worst advice you’ve received?

TAM: The best advice was, I guess, to persevere, to stay humble and focused, and work hard.

The worst was to compare myself too much to others.

W&H: What advice do you have for other women directors? 

TAM: I guess I would refer to my answer in the previous question. It has worked for me so far.

W&H: Name your favorite woman-directed film and why.

TAM: I have many favorites, to be honest, but one that was pivotal in my evolution as an aspiring filmmaker was “Europa Europa” by Agnieszka Holland. I saw it in my teens, and back then I was already flirting with the idea of studying film later on. After seeing that film, I remember thinking, “This director must be one strong lady.” I felt motivated and comforted that I could maybe get there one day too.

Another lady whose work I love, but got acquainted with just a bit later on, was Agnès Varda.

I was lucky to personally meet both Agnès and Agnieszka, which was a gift. I am grateful to them for their work and inspiring roles.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

TAM: The pre-production, production, and post-production of “La Civil” happened during this pandemic. It was an immense challenge for everyone involved, but at the same time everyone was truly happy to be able to stay active, to work!

Now, the promotion follows, and we all hope that despite COVID the film will get a fair chance to be seen by as many people as possible. The beginning is more than promising — we get to premiere in Cannes’ Un Certain Regard, which is a huge privilege, of course.

W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make it more inclusive?

TAM: I think the key is to have underrepresented groups active in think tanks and in creative positions, so that they can voice themselves. I mean, everybody knows what needs to be done — we just need to do it.