Victoria Franco‘s first feature film, titled ‘Twelve Moons,’ will make its premiere this coming Saturday within the International Narrative Competition of Tribeca Festival. EbMaster has the pleasure of sharing a sneak peek from this movie and conducting an interview with its director.
The movie features Ana de la Reguera, a renowned Mexican actor who spans both Hollywood and Latin American films, sharing screen time with Ariel Award-winning Enrique Arreola. Michael Franco, Victoria’s sibling, serves as the film’s producer, while international sales are managed by The Match Factory.
(Note: I have used “Michael” instead of “Filmmaker Michel” for a smoother reading experience and simplified the sentence structure to make it more conversational.)
The story of “Twelve Moons” revolves around Sofia, a 40-year-old architect residing in Mexico City, who has endured a heart-wrenching loss. As she grapples with her intricate feelings and strives to remain authentic, she embarks on a journey that tests her resilience. Struggling with fertility issues and her role as a woman, the turmoil in her life seeps into both her personal and professional spheres, compelling her to seek answers within herself. Her inner search is what ultimately guides her towards hope and progress.
In the movie, it’s clear that Sofia struggles with both alcohol abuse and drug use. When asked about his portrayal of such characters, Franco explains, “For me, it’s crucial to depict individuals who don’t conform to societal norms. There are numerous people who don’t feel they belong in society yet still feel the weight of its expectations. As a woman, there is an additional burden to bear children, form a family, and be the ideal woman. I truly respect those who remain true to themselves and resist these pressures.
Sofia is depicted as being treated with empathy, and Franco suggests that her struggles with alcohol and drugs should be viewed as a “condition” rather than a personal flaw. According to Franco, Sofia turns to these substances as a means of coping when confronted by societal expectations and the pressure to fit in – to feel accepted, deal with her feelings of insecurity, and project an image of self-assuredness.
Due to infertility struggles, Sofia’s life – both personally and professionally – becomes intertwined and overwhelming. As the director puts it, “She lacks clear boundaries, making it difficult for her to differentiate between her professional and personal life, and she takes both aspects very seriously.
In her architecture, she believes there’s a means to link her emotions with others. She strives to design with a flow mirroring her feelings. In this movie, architecture plays a significant role as it reflects the protagonist’s feelings in various locations.
Franco depicts Sofia as an “ethical” architect who strives to design structures that foster a sense of liberation within their inhabitants. One can observe this philosophy in action as she explores buildings in Mexico City, such as those crafted by the architect Luis Barragán, which embody this very concept.
She advocates for designing areas that foster greater freedom for individuals. In a discussion, she’s expressing her viewpoint on reducing the number of parking lots to increase green spaces, aiming to enhance overall happiness within these locations.
I have a deep affection for Luis Barragán, who emphasizes the concept of spiritual architecture. This type of design fosters a sense of harmony between space and one’s inner self, creating a profound connection. It can also be described as architecture that exudes tranquility. Barragán was honored with the Pritzker Prize, and his acceptance speech was captivating. Indeed, his work is nothing short of breathtaking.
Regarding Ana de la Reguera, Franco remarks: “Ana exudes an impressive aura. She has a captivating countenance. Beneath her exterior lies a soul that runs deep. Upon discussing the script with her, I sensed she had a profound understanding of the challenges and expectations faced by women in their 40s in today’s society.
She’s an actress with two decades of expertise, so our casual conversation left me astounded. When I jokingly suggested imagining a camera and acting out, she effortlessly improvised actions that left me spellbound. At times, it seemed as though she had embodied the character for her entire life, as if she had lived with her.
About the film’s visual style, she notes: “Initially, I chose to make the movie in black and white, eliminating color as a potential distraction. This way, the audience can focus on the emotional depth and mental state of the characters more intimately.
As a passionate cinephile, I must share that this film is not just your typical storyline; it delves into the intricate world of architecture, making it a visual feast of geometry. The hunt for the perfect locations was arduous and often required tenacity to secure permission, but we persevered. A prime example of our success is the captivating fountain designed by Isamu Noguchi, the renowned Japanese artist, which graces one of our scenes.
Sergio Armstrong G., our talented cinematographer, worked wonders. We often went with the flow, never feeling we had complete control over every aspect. Instead, we embraced the spontaneity of being present and adaptable in deciding camera placement. We didn’t stick rigidly to a shooting script, which made the process feel liberating for me. Without Sergio’s expertise, I believe capturing the visual elements that reflected the character’s emotional state would have been challenging.
Just like in film noir, the movie employs light and darkness to portray the character’s inner world, but there were other significant cinematic influences at play. Often, I drew inspiration from Italian Neo Realism due to budget constraints on lighting. Yet, with its raw, unfiltered feel, the movie can seem like a documentary. The camera was kept remarkably modest because it didn’t require extensive lighting to look stunning. Additionally, shadows and geometric shapes played crucial roles in the film.
As a movie reviewer, I found striking parallels between the filmmaking styles of the lead actress and her on-screen brother. Both of them prefer a chronological approach to filming, which I think was particularly beneficial for the actress as it allowed her to deeply immerse herself in the character’s development and emotions. This method also enabled a significant amount of improvisation, resulting in a flexible script that evolved throughout the shooting process. Interestingly, renowned director Michel Gondry shares this production approach, leading me to suspect that they share similar filmmaking philosophies.
She highly commends her brother’s role as a producer, expressing that “he truly excelled due to his unwavering support and dedication to my creative vision throughout the production process. He never faltered in securing appropriate locations for our project, even when financial constraints were an issue. In fact, he tirelessly advocated for every aspect of the project, making it a delightful experience to collaborate with him.
Moving forward, Franco mentions that she’s working on a movie centered around a New York teenager, currently drafting the screenplay for it.
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2025-06-05 19:48