Currents Director Milagros Mumenthaler discusses Sensory Filmmaking, the experience of motherhood, and the depiction of an internal emotional landscape.

      A slippery character examination and a breathtaking sensory experience, Milagros Mumenthaler’s The Currents was among my favorite finds at last year’s New York Film Festival. The story begins with an Argentinian designer named Lina (Isabel Aimé González Sola), who survives a fall from a bridge while visiting Switzerland, which significantly changes her life as she contends with the pressures of marriage, motherhood, and career, weighing heavily on her mind. Mumenthaler approaches these themes with a subtle and elusive touch, making her portrayal of Lina’s struggles rewarding upon multiple viewings.

      As Jourdain Searles noted in her NYFF review, “Writer-director Milagros Mumenthaler paints an intimate portrait of a woman grappling with her fractured identity, striving to avoid slipping into madness. Mumenthaler recognizes that motherhood entails a performance aspect, reminding mothers that their lives are no longer solely their own.”

      With the U.S. release of The Currents approaching, I had a short conversation with the Argentinian director, who grew up in Switzerland, about the creation of her TIFF and NYFF selection, her emotion-driven guidance, the format of her scripts, the pressures of motherhood, the intricate sound design, and more.

      The Film Stage: The Currents prioritizes emotion over narrative, immersing viewers in a distinct psychological state. Can you elaborate on this storytelling method?

      Milagros Mumenthaler: Typically, I am inspired by a powerful sensory image infused with emotion. That image serves as my starting point and motivates me to write. Therefore, the narrative may take a backseat. Within those emotional images, the story is present, but there is always an interplay between the visuals and the narration. We focus on connecting these elements cohesively. However, during the editing phase, I believe those sensory images I mentioned maintain prominence. Additionally, those emotional images originate from a character, who embodies those feelings and is clearly defined from the outset.

      What does your script-writing process entail? Much of the film revolves around unspoken emotions conveyed through striking imagery and close-ups. Is your script conventional, or is it more expressive in nature?

      As I previously mentioned, it merges narrative with imagery. I would describe the script as robust and conventional—highly descriptive. For instance, when discussing close-ups, the shot size will be detailed. We also specify sounds; we write things like “steps are heard”—very descriptive, particularly regarding elements outside the shot. Having a well-crafted script is crucial because it is essential for securing funding. A solid script is a vital tool for my DP, the art director, and the actors.

      I watched The Currents at NYFF almost right after If I Had Legs I’d Kick You, and both films vividly address the pressures of motherhood and the loss of self in a particular psychological state. Have you seen that film? Were you influenced by other works that tackle these often-overlooked issues?

      Honestly, I haven’t seen that film, but I can say that while motherhood isn’t the film’s main storyline, it does play a significant role, perhaps in a secondary layer. If this character weren’t a mother, the narrative would change drastically. It’s her role as a mother, alongside having a daughter, that creates tension. The film explores her relationship with her own mother, highlighting the theme of abandonment, and she strives not to repeat that with her daughter. I can’t pinpoint a specific film that inspired me.

      In discussing motherhood, for those of us who are mothers, it’s a deeply personal experience. Yes, motherhood represents immense love, but it also signifies that one is no longer the focal point. Your priorities shift, creating tension and conflict. The film’s creation spanned several years during which I immersed myself in literature, especially works by women about women's experiences. I feel a deep connection to those narratives and perspectives.

      The sound design is crucial, particularly in the opening, which is mostly devoid of dialogue. What was your strategy for creating an aural landscape that accurately reflects the character’s psychological state?

      Initially, I hadn’t noticed that the first seven minutes are without dialogue. However, from the very first shot, we view the world through Lina’s subjective perspective. The sounds at the beginning are very subtle, resembling a fan with a metallic quality. Both sound and image reflect her perception: what she hears and where she focuses her gaze. From the start, we aimed to represent her subjectivity in an old city with minimal sounds, capturing her perception rather than reality. If I had to describe Lina’s internal state, I’d envision it as tumultuous, illustrating internal strife. How do you convey those intense sensations through sound?

      For instance, when it comes to the lighthouse, I had noted in the script “the sound of the beam of light.” But since a lighthouse doesn’t make noise, we needed to create that sound. We brainstormed and decided it should have a