In Conversation with Cristian Proa

From painting to filmmaking, Cristian Proa constantly stretches the limits of what it really means to be an artist. It’s not just about your brand or marketability, as some argue nowadays; it’s about contributing something back to the world. No matter your resources or experience, creating is about expressing what’s trapped in your soul.

Cristian Proa is a Mexican film director currently living in Miami, Florida. He is widely known for writing and directing his feature film, Mephisto. In this interview, we asked him some questions to gain a deeper understanding of his process and inspirations. With insightful conversation, we uncovered the past, present, and future of creating art.

You’ve mentioned before that you've loved film from a very young age. How was your experience as an emerging creative to break into the film industry?

“It’s really interesting, because when you’re a kid, you’re always filled with dreams. But to most people around you, those dreams seem unrealistic. So at an early age, you have to be aware of your passions, and not be influenced into thinking it’s ‘just a phase.’”

“My first encounter with film was when I was very young, but I quickly knew that it was what I wanted to dedicate my life to and live off professionally. But the first obstacle I encountered was how am I going to do it, and with what? Because let’s face it, film is very expensive.”

“The good thing about your generation is that everyone carries a camera in their pockets nowadays. Back in my day, cameras were very large and very expensive. So growing up, I constantly prepared, watching every film I could, reading every book I could, because you never know when it can open doors for you. In this industry, nothing is useless. And this journey of learning and preparation helped me meet people who got me closer and closer to my dream.”

How do you think being Mexican and growing up in Mexico has influenced your art?

“I grew up in a family of tarotists and shamans, so the environment that I grew up in consisted of a version of Mexico that was very surrealist, magical, and unordinary. I believe everyone chooses the country where they’re born, and I chose Mexico because it has magic hidden in every corner. There’s just something in the air in Mexico full of teachers, indigenous peoples, and healers.”

“In my film, I tried to portray this version of Mexico where there are always strange things happening, spirits surrounding us, and no clear distinction between reality and a dream. The day of the dead is one of my biggest inspirations, the notion that no one really dies until they’re forgotten.”

“It’s a warmth that I don’t often experience in places I visit. When I was screening Mephisto in Venice, I encountered that same surreal feeling, but it’s something I long for when I’m in places like Miami. Miami is a very young city, and I like the feel of the age and history in the walls.”

In contrast, how do you think living in Miami for almost a decade has influenced your current work?

“Admittedly, I’m not a fan of Miami in terms of climate or geography. I don’t care much for the beach, and I would much rather be in colder areas. However, this conflict provides an interesting dynamic when producing my work. I often spend long stretches of time by myself with my projects, usually because I’m always so far from everything with Miami traffic, and friends have packed schedules in such a fast-paced city.”

“These moments where I’m on my own have led me to more self-discovery and reflection. I have created more projects in Miami compared to any other place I’ve lived, simply because I spend so much time with my own thoughts.”

“People criticize Miami for being ‘superficial,’ but I think there’s a real depth to it if you know where to find it. It’s a place with a rich history of Native Americans, and I’ve connected with a part of myself that’s learned to make the most out of my own company. I’m finishing up my first novel and have taken up painting, something I’ve always wanted to do.”

“If I were in Mexico, I don’t think I would have taken the time to do these things. Miami is a city that really forces you to sit down and take a look inside yourself. It’s almost a restless feeling at times; I feel like I constantly want to keep giving back to this city and creating more than I have before.”

What are some projects you’re currently working on that you’re very passionate about?

“I’m currently finishing a book with one of my mentors, about someone who sets out in search of death but is instead met with life. It’s a lot of going back into time and into their own memories, and seeing what calls them to this journey.”

“I also have an  art exhibition coming up in a couple of months, where I’m presenting a series of paintings titled “Cuartos Interiores” (interior territories). As the name suggests, it’s exploring what emotions would be like if they were physical spaces.”

“However, my most ambitious project is my next film. I just finished the script and have been having conversations with some people about making it happen in the following year. This project is the first time I’m exploring what technology means to us as people, especially with the rise of AI. It raises questions like, will it take jobs, what is it useful for, where are we in this journey, etc. It’s a back-and-forth between human and machine.”

“I’m constantly asking myself questions. Mephisto tackled loss and grief, while this new project speaks more about the human experience and isolation.”

A lot of your projects seem to have a theme of loss and making peace with death. Do you think each project is a continuation of the same question you’re asking yourself, or do you make a mental separation between works?

“It’s really interesting that you mention that. I remember a quote from a director that said something along the lines of, ‘a filmmaker makes the same movies over again but in different ways.’ There are themes that I think, as a person, will always fascinate me and stir questions in me. Although my projects are each different, I think they do have an underlying need for a specific answer in the world.”

“I always want my art to speak to someone, to help even a single person feel less alone. I think art needs to be able to shine a light in the darkest places, not in places where people can already see clearly. With Mephisto, I wanted to shine a light to people who might be dealing with the loss of a loved one. Through my art, I want to speak to someone who might be questioning death and tell them that life is still beautiful and worth living.”

“Honestly, the best art is the type that generates questions, not answers. It has to shake you up a bit. I want someone in 50 years who is grieving to watch this movie and still be touched by it, even after I’m gone. That’s really the most you can hope for with your art, to still be able to help people even when you’re gone from this earth.”