Tótem Review | A Beautiful Mexican Tear-Jerker Seen Through a Girl’s Eyes

Back in 2018, a groundbreaking little film came out of Mexico called The Chambermaid. Years later, its director, Lila Avilés, continues to move the poignancy needle with an Oscar-shortlisted family drama feature, Tótem. Its title already evokes ancestral vibes, and we watch a day in the life of an extended clan readying themselves and their house for an ailing young father’s birthday.

Don’t let the language barrier throw you off here — the family antics are relentlessly relatable. There have been a number of outstanding films out of Mexico in recent years, and Tótem should certainly be added to the list. Rightfully selected as the Mexican entry for Best International Feature Film at the 96th Academy Awards, Tótem is a can’t-miss. Bring tissues, and dark glasses if you’re embarrassed about tearing up in front of other moviegoers.

You’re Right There in the Room

The opening shot brings us right into the action, but interestingly, it’s not in the aforementioned family house — rather, in a public restroom. Our cinephilic senses are already tingling at the sight of the movie’s 1:1 aspect ratio here, rather than the more conventional 16×9 or even 4×3. There is little to no background music throughout the film, particularly in this raw, somewhat comical opening scene involving seven-year-old Sol (Naíma Sentíes, a star in the making) and her mom. It brings to mind the opening moments of another indie film, American Honey (a raw film that doesn’t even bother with opening credits).

Eventually, the two are kicked out of the restroom and make their way to the family’s home, where we meet the film’s other shining star: Sol’s Aunt Nuri (Montserrat Marañón), who looks more than busy readying a party for, as we quickly learn, Sol’s ailing dad, Tona (Mateo Garcia).

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The family dynamic is so unflinchingly raw that we get right up in the business of other relatives, such as Sol’s granddad. This guy keeps himself preoccupied with his gorgeous plants in the backyard greenhouse, and he’s a man of few words — mainly because he requires one of those larynx speech-aid devices to speak (presumably from years of smoking). Sol and her cousin even sneak off with his speaker and play with it at one point, but we don’t hate them for the mischief. They’re just kids, after all.

On that note, this family is hardly saintly, and the film’s all the more rewarding that way. Other relatives smoke indoors. Nuri probably drinks too much and ultimately burns the birthday cake. And this whole time, we’re witnessing through the lens of a shaky, handheld camera that never ceases to evoke that documentary feel, despite the fact that this is a fictitious tale (though it’s hard to imagine that a day like this wasn’t inspired by some past real-life family drama tied to the filmmaker).

Tótem Is ‘Brutiful’

Tōtem

4 /5

Release Date

January 26, 2024

Director

Lila Avilés

Cast

Naíma Sentíes , Marisol Gasé , Saori Gurza , Mateo Garcia , Montserrat Marañon

Runtime

1hr 35min

Writers

Lila Avilés

Pros

• Totem is a beautifully moving study of family.
• Excellent direction and cinematography paint a quietly gorgeous world.
• Everything feels very grounded and real in a film that takes place during one day.

Cons

• While likely intentional, the film ultimately feels small.

There are countless expressions about family dynamics — “families are messy,” “family first,” etc. — but one word comes to mind when reflecting on the masterful feature that is Tótem: “brutiful.” It’s a silly combination of the words “brutal” and “beautiful” that controversial Oscar winner Will Smith used in a surprise appearance at his wife Jada’s memoir-promotion event back in October. He used the makeshift word to describe their rapport, and we get a similar vibe watching young Sol navigate a colorful family that is both enjoying life and stressing about the future all at once, over the course of this single day. It’s actually more like part of a day, further evoking the grounded but ephemeral nature of Avilés’s latest feature.

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The poignant moments just keep coming, and certain spirit-oriented families might get a kick out of watching Sol’s relatives invite different “experts” to rid the house of evil forces that might be hindering Tona’s health. Sol sneaks off to sip a hidden bottle of wine and detests it. She asks Siri, “when will the world end?” That might get a laugh, except she also asks Siri when her dad will die. Yes, there is tugging of heartstrings aplenty.

Meanwhile, Tona’s on-edge sister Nuri argues with her relatives in the other room about how Tona needs chemotherapy to treat his illness, even though he’s rejecting it (perhaps for the sake of religion). This whole science vs. religion vibe is forever a hot topic, making Tótem a uniquely universal experience despite its purposefully container feel.

Some scenes are hard to watch, including Tona’s moments of dealing with his failling health in private before entering the grand party outside. There’s a tender moment where Sol is finally in the same room as both her parents, and they embrace for an extra-long hug that you pray will never end. A thoughtful, inquisitive, and lovable child like Sol needs one of these every day, but it’s clear this doesn’t happen nearly enough.

Another moment that seems to last an eternity: when Sol helps her dad make a wish before blowing out the birthday candles. Everyone waits in silence, as Sol stares right at us, over the tiny flames before finally exhaling. It’s a sensational moment that might remind movie fans of that elongated take from Paul Thomas Anderson’s Boogie Nights, when the strung-out Mark Wahlberg sits in silence in the druglord’s house, clearly contemplating his place in the crazy world around him. We rooted for Dirk Diggler then, and we’re rooting for Sol in the exceptional feature that is Tótem.

From Sideshow and Janus Film, Tótem is now playing in U.S. theaters.