People meet in families, greet each other, make promises, move away, talk endlessly, but in handshakes there is a void and in hugs a bloodless habit. We have already learned that love is the most difficult way to know each other, as we have learned that nothing has value and importance apart from it.
In the film “Totem”, the house opens to welcome the guests of a sad farewell party. Relatives, friends and neighbors arrive to say goodbye to 30-year-old Tonya, who, like his mother, is dying of aggressive cancer. It’s Tonya’s birthday and the house is thrown wide open to welcome the visitors who will come to see the terminally ill patient.
The seven-year-old Sol, the daughter of the celebrant, arrives first at the grandfather’s house, where all the miracles happen together and all the wounds are opened at the same time. The little girl is the medium, the camera and the lenses of the Mexican director Lila Avigues (The Chambermaid), through whose eyes we observe the movements and reactions of the uncles, the fights of the children, the arguments of the brothers, the irritation of the patient , the stoicism of the nurse and the jumble of preparations between narratives, memories and anecdotes regarding the short and interesting life of the 30-year-old, father, brother, friend and neighbour.
As the patient’s loved ones gather to celebrate his birthday, which doubles as a farewell party, the house becomes a microcosm of raw emotions and unacknowledged tensions. From his young daughter, Sol, to his siblings, father, and extended family members, each character struggles with their own unique response to impending loss.
One of the most fascinating aspects of the film is its depiction of the ordinary within the extraordinary. Despite the looming shadow of death, life continues to unfold in all its messy, chaotic beauty. Avigies deftly captures the everyday moments of family life – from cousins playing and fighting to grandparents grumbling regarding the noise – juxtaposed with the weight of impending loss. Through these seemingly everyday interactions, the film underscores the profound effect Tony’s presence has on his loved ones, revealing the depth of their grief as they struggle with the impending void.
At the center of “Totem” is little Sol, the seven-year-old’s innocence and vulnerability serving as a poignant magnifying lens through which themes of loss and mortality are explored. As she navigates the complexities of her father’s illness, Sol serves as a poignant reminder of the enduring power of love and family bonds. Through her eyes, we are invited to experience the raw intensity of grief, as well as the resilience of the human spirit in the face of adversity. Little Naima Sentias in the role is magically convincing, tenderly expressive and captivates us from the first scene to the depths of her unanswered questions.
-When will the end of the world come? He wonders amid constant noises, endless preparations and non-stop shouting.
Totem is one of the most discussed festival films of recent years, awarded at the Berlinale with the prize of the Universal Commission. Avigies’ inventive direction is complemented by a sensitive approach to people and the things of the house, a cinematography that captures the beauty and the fragile side of life. From sweeping shots of nature to intimate moments of family bonding, each frame is imbued with a sense of vibrancy and anguish at the same time. The juxtaposition of life and death runs throughout the film, as the vibrancy of the natural world contrasts starkly with the emaciated, battered and helpless body of the patient.
“Totem” is a deeply moving exploration of family, loss and legacy. Through its stark depiction of ordinary moments in extraordinary circumstances, the film invites us to confront the inevitability of death while celebrating the enduring power of love and connection.
Because all of us in this life deserve a love that, with silence, will strip us of the unnecessary, touch us on the neck and we will feel the magic of life. A love that will blow the hair from our forehead and we will see the world to its edge, will look us in the eye and promise us everything we will desire in our life until deep deprivation.
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