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CIRCLE 2019 Participants : Meet Andrea Gautier - "Celluloid Nymphs"

Updated: Mar 8, 2020

Q: Please introduce yourself and your project briefly.

A: Producer, journalist and cultural manager, she has a degree in Journalism and a degree in Social Anthropology at the Universidad Complutense of Madrid with the research work Woman film collective that she developed at the University of Mexico (UNAM). On later years, she has worked as a journalist in several áreas (TV, audiovisual production, agencies) and as a teacher specializing in gender and communication themes. After a two year period working as a technical advisor for the Secretary of Culture Ángeles González Sinde, she completed her education with a Masters Degree in Cultural Organization at the Universitat Oberta de Catalunya.

I was studying a degree in Communication Science when I met Andrea Gautier, and the story of Cine Mujer Collective. We dreamed that we would make this film someday but we still had to mature professionally and hone our vision on the topic at hand. The moment to make the film has come. The day to day reality women in Mexico have to face is painful. The country has sunk into violence and brought to light an unsolved issue: gender violence. The normalization and silence that surround this issue have turned this problem into a time bomb.

The "Violet Spring" came after a series of femicides. It brought women into the streets to shout out in support of those women who had died and to unite the rest of us. Among those women, were several of our protagonists. Knowing that we are fighting for the same cause is inspiring and gives me the strength required to make this film. On 8 March 2019, the Cine Mujer collective went on the streets along with millions of women around the world.

2. What was the biggest challenge in making this film?

The biggest challenge in making this film was achieve the financiation. Yes, I think it was the search of the public money thanks to government grants, and private money thanks to collaboration companies.

Also, the film montage is now complicated because we have many hours of material filmed. The biggest challenge is use well of the elements to create a good documental (archive films, interviews, characters…).

Q: Can you compare your experience at CIRCLE with other similar platforms that you have been part of?

A: We have been prioritizing our presence as producers in several years in this type of meetings and we know the positive impact it has when your film comes supporting by participation in this type of forums.

In addition, these places are an excellent platform for development and launch of projects, networking and contacts with the industry. All of these are the basis of any international projection plan of our productions.

The project is currently in the assembly and postproduction phase, and has served as a shuttle to generate expectation in the project and to achieve with an important network of contacts that are already waiting to see a first cut.

Participation in this workshop will be very useful now in the Berlinale, for example, because we already have closed appointments with agents of the sector interested in monitoring the project.

Q: What were the most important benefits from being part of CIRCLE project?  

A: It has been an excellent opportunity to expand the network of contacts and European collaborators- Also, it has been perfect to meet industry professionals of the most relevant documentary cinema, especially in the last meeting that It was held during the Leipzick International Festival Industry Forum.

Participation in this workshop has also involved participation in new meeting forums that are opening from this initiative, as possible assistance to Doc Corner coming soon at the Festival of Cannes.

Attendance at this very complete workshop has allowed us to acquire new tools and knowledge about the documentary film industry, which include new business models and production design for a greater international projection.

We have also strengthened links with other professionals in the field international and European, as well as with the collaborating entities of the Workshop.

Q: What advice do you have for other (female) directors?

A: I would like say: please, women, don’t stop, don’t leave your motivation, go on and continue filming with your female vision, because we have a lot of things to explain and to create.

Also, I would like recommend to they that is very useful to go to this type of meetings because It is an excellent manner to empower themselves and be more creative and productive.

Q: Name your favorite woman-directed film and why.

A: Agnes Varda and Chantal Akerman. From Agnès I admire her commitment with the social issues during all her filmmaking career. From Chantal, I admire her film Jeanne Dielman 23, quai du Commerce, 1080 Bruxelles and how it broke the classic film narrative with a new treatment of filming time through a female view.

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