---
title: "Tótem"
year: 2023
kind: "film"
canonical: "https://film.one/film/totem"
fi1m_id: "totem"
imdb_id: "tt26315142"
tmdb_id: 958186
wikidata_id: "Q116327000"
fi1m_score: 85
critics_score: 84
critics_reviews: 16
published: "2026-09-30T22:14:25.643143+00:00"
updated: "2026-09-30T22:14:26.989561+00:00"
region: "NZ"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Tótem (2023)

Directed by Lila Avilés · 1h 35m · Drama

## Identity

Tótem

- **Canonical:** https://film.one/film/totem
- **Type:** Film
- **Fi1m ID:** totem
- **IMDb ID:** tt26315142
- **TMDB ID:** 958186
- **Wikidata ID:** Q116327000
- **Same entity:** https://www.imdb.com/title/tt26315142/, https://www.themoviedb.org/movie/958186, https://www.wikidata.org/wiki/Q116327000

**Fi1m score: 85** · Critics 84 from 16 reviews

*In a sentence:* The house is full of aunts, animals and bad energy, and the one person she wants is behind a shut door

> Lila Avilés follows a seven-year-old through one day in her grandfather’s house as the aunts prepare a party for her dying father. It is small, loud and exact, and it got to us. Only the last minutes reach for effects it had done without.

## Synopsis

Sol (Naíma Sentíes), aged seven, is driven by her mother Lucía (Iazua Larios) to her grandfather’s house. Her father Tonatiuh (Mateo García Elizondo) is dying, and the family is giving him a birthday party that evening. Sol wants to see him; he is behind a shut door with his nurse Cruz (Teresa Sánchez), and the adults keep saying later. Her aunt Nuri (Montserrat Marañon) bakes a cake and opens the wine. Her aunt Alejandra (Marisol Gasé) dyes her hair and has hired a healer, Lúdica (Marisela Villaruel), to drive the bad energy out of the rooms. Her grandfather Roberto (Alberto Amador) speaks through a device held to his throat and tends his bonsai. The house fills with relatives, a cat, a parrot and snails while Sol waits.

## Review

Lila Avilés’s first film, *The Chambermaid*, kept to one hotel and one woman cleaning it. *Tótem* keeps to one house and one day, and again she trusts that if you watch a place closely enough for long enough it will tell you everything. It does. We recommend it warmly, and to more people than its size suggests; a film about a dying man’s birthday party sounds like something to be got through, and this is not that. It is 95 minutes and it is frequently funny.

The day belongs to Sol, played by Naíma Sentíes, and Diego Tenorio’s camera stays at her height and mostly at her shoulder. The frame is close to square, so the house feels like a box with too many people in it, and the handheld camera goes where she goes: down a corridor, into the kitchen, up to a door that stays closed. We hear the whole house at once, a blender, a parrot, two aunts talking over each other in the next room, and Omar Guzmán cuts between rooms the way a child drifts between them, without announcing a scene has begun. Nothing is explained to Sol and so nothing is explained to us. We work out who is who by listening, which is exactly how she does it.

The adults are a comedy the film never quite laughs at. Nuri (Montserrat Marañon) is baking a cake and steadily emptying a bottle while she does it. Alejandra (Marisol Gasé) is dyeing her hair and has paid for Lúdica (Marisela Villaruel), a healer who arrives with smoke and instructions and a fee, to cleanse the rooms of whatever is in them. The grandfather, Roberto (Alberto Amador), has lost his voice to an illness of his own and speaks through a buzzing device pressed to his throat, which does not stop him giving opinions. Nohemi Gonzalez’s production design fills every shelf with plants, jars, books and half-finished things, so the house looks like a family has been living in it for forty years and nobody has thrown anything away. Jimena Fernández and Nora Solís dress everyone in ordinary clothes that have been worn before, and the party outfits, when they come, look new and slightly wrong, as party clothes do.

What moved us more than we expected was a small scene in which Sol, alone, asks the assistant on a phone when the world is going to end. Sentíes does not play sadness. She plays waiting, with the flat patience children have when adults have told them something will happen and have not said when, and it is worse than tears. Earlier, in the car, she holds her breath through a tunnel and makes a wish, and we knew what the wish was before she said it. The film’s one clear glimpse into the father’s room, with Teresa Sánchez’s Cruz moving calmly around a man who can barely sit up, lasts less than a minute and told us more about the family than an hour of the party.

Not all of it holds. Avilés is fond of the small creatures in the house, a snail on a hand, an insect on a wall, a fish in a bowl, and by the third or fourth one we could feel the point being made. Some of the adults, Napo (Juan Francisco Maldonado) among them, are faces at the table rather than people. And in the closing minutes Thomas Becka’s music, which has stayed almost silent all day, comes in fully, and the camera does something we will not describe except to say that the film had earned its feeling already and did not need to insist on it. It is a few minutes’ lapse in a film that otherwise refuses every easy move.

Films about children and death usually make the child wiser than any child is. Avilés never asks Sol to understand more than a seven-year-old would, and never asks us to feel more than Sol does. That restraint is what makes the party, when it finally starts, so hard to watch and so pleasant at the same time: everyone is singing and the guest of honour can barely stand.

It is a 12A, and a child of Sol’s age could see it, though they would have questions afterwards. Sit close, and give up on catching every subtitle when the room is loud. The film has already decided you will miss some of it, because she does.

*Fi1m score 85, published 30 September 2026.*

## What the critics say

The reviews are close to unanimous. Fifteen of the sixteen critics are positive, and they agree on what the film is: a tender drama about a family gathered around a dying father that never turns into a tearjerker. The praise gathers around Lila Avilés’s direction and her camera, which most critics describe as restless and observant, moving through the crowded house at a child’s height and picking out small, solitary moments in the commotion. Several single out Naíma Sentíes as the young lead and the naturalistic ensemble around her, and many note that the film is funnier and livelier than its subject would suggest.

The spread is narrow. The only mixed score belongs to The New York Times, whose review could not be read, so it may not be a dissent at all. The cooler notices, from Eye for Film, Deadline and Paste, still find the film moving; they simply admire it a little less, and Eye for Film suggests the family gathering feels carefully arranged. Nobody calls it sentimental.

## Straight answers

**Is Tótem worth watching?**

*Tótem* is worth watching, and we scored it 85: a small, loud, exact film about a seven-year-old waiting all day to see her dying father while her aunts prepare his birthday party. It is frequently funny and it moved us more than we expected. Only the closing minutes reach for effects the film had done without.

**How long is Tótem, and what is it rated?**

*Tótem* runs 1h 35m. It is a drama film.

**Where can I watch Tótem in New Zealand?**

*Tótem* is not on any streaming or rental service in New Zealand at the moment. It is available in 19 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Tótem, and is it suitable for children?**

*Tótem* is a UK 12A with no violence and nothing frightening in the usual sense; its weight comes from a dying man behind a shut door and a child who is not told when she can see him. A child of Sol's age could see it, though they would have questions afterwards. It is a film about death, not a film that shows it.

**How does Tótem compare to The Spirit of the Beehive?**

*Tótem* is the noisier, warmer film; [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive) is the quieter and more unsettling one. Both watch a child work out the adult world from its edges in a big house, but Avilés fills every room with relatives, animals and talk, while Erice's images sometimes hold us at a distance. We recommend both; Tótem is the easier evening.

### Reviews we read (16)

- **The Guardian**, Wendy Ide (5/5): Ide calls the film an exquisite, tender ensemble drama that balances grief with joy and love. She praises its child-height perspective and the camera’s lyrical, observant movement through the family home. [Read](https://www.theguardian.com/film/2023/dec/03/totem-review-lila-aviles-exquisite-mexican-family-drama-of-joy-and-heartbreak)
- **IndieWire**, David Opie (A): Opie calls the film a bittersweet, quietly transformative celebration of life amid loss. He particularly praises its child’s-eye perspective and cinematography, which turns a family’s day into fleeting, memory-like moments. [Read](https://www.indiewire.com/criticism/movies/totem-review-lila-aviles-1234949148/)
- **Los Angeles Times**, Justin Chang (90/100, inferred): Chang finds the film quietly devastating, praising its intimate, unsentimental portrait of a family gathered around a dying father. He singles out Avilés’ restless camera and sharp observation of the house’s crowded human and animal life. [Read](https://www.latimes.com/entertainment-arts/movies/story/2024-02-01/review-totem-review-lila-aviles-mexico-oscar-submission)
- **Vulture**, Alison Willmore (90/100, inferred): Willmore praises Tótem as a tender, vivid family drama that makes a goodbye gathering feel organic and deeply affecting. She singles out the fluid camera work and the film’s openhearted balance of love, pain, death, and life. [Read](https://www.vulture.com/article/totem-review-a-goodbye-party-youll-never-want-to-leave.html)
- **Slant Magazine**, Gregory Nussen (3.5/4): Nussen praises the film as an unexpectedly beautiful, tender portrait of a family facing impending loss. He singles out its tactile, fly-on-the-wall style and the way Sol’s perspective illuminates the family’s grief. [Read](https://www.slantmagazine.com/film/totem-review-lila-aviles/)
- **Variety**, Peter Debruge (Critic's Pick): Debruge praises the film as an intimate, emotionally rich portrait of a family confronting mortality, without resorting to overt sentimentality. He particularly highlights its lifelike, lived-in family dynamics and the emotional force of the farewell gathering. [Read](https://variety.com/2023/film/reviews/totem-review-1235530576/)
- **Sight and Sound**, BFI (85/100, inferred): The critic finds the film exuberantly lovely and emotionally affecting without becoming a tearjerker. They especially praise Avilés’s lively direction and the camera’s ability to capture both family commotion and intimate grief. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/totem-dazzling-vibrant-childs-eye-view-jubilation-tragedy)
- **The Hollywood Reporter**, Leslie Felperin (85/100, inferred): Felperin finds the film noisy, joyous, and richly rewarding, with an emotional impact that exceeds its brief runtime. She praises Naima Senties’s naturalistic performance and Avilés’s skill in shaping the family gathering’s apparent chaos. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/totem-review-lila-aviles-1235330602/)
- **The New Yorker**, Anthony Lane (85/100, inferred): Lane finds Tótem a sad, lively, and often funny portrait of a family facing a father’s impending death. He praises Avilés’s attentive camera, which notices solitary figures and small moments amid the crowded gathering. [Read](https://www.newyorker.com/magazine/2024/01/29/totem-movie-review-iss)
- **Little White Lies**, Marina Ashioti (80/100, inferred): Ashioti finds the film affecting, lyrical and warmly buoyant despite its profound sadness. She praises the naturalistic ensemble and the young lead performance, alongside the film’s tactile symbolism and sensory craft. [Read](https://lwlies.com/festivals/totem-first-look-review)
- **Screen Daily**, Jonathan Romney (70/100, inferred): Romney’s standfirst presents the film as an elegant drama about a family in crisis. The visible text singles out its elegance, while the review’s full discussion is behind a paywall. [Read](https://www.screendaily.com/reviews/totem-berlin-review/5179009.article)
- **The New York Times** (64/100, inferred): The page is blocked, so the critic’s verdict cannot be determined. No praise or complaint from the review is visible. [Read](https://www.nytimes.com/2024/01/25/movies/totem-review-lila-aviles.html)
- **The Playlist** (90/100, inferred): The review appears strongly positive, presenting the film as a moving portrait of love in the face of grief. It singles out the intimate microcosm Avilés builds around that profound love. [Read](https://theplaylist.net/totem-review-mexican-director-lila-aviles-stuns-with-a-soul-nourishing-microcosm-built-on-profound-love-in-the-face-of-grief-berlin-20230221/)
- **Paste**, Anna McKibbin (7.9/10): McKibbin praises Tótem as a nuanced, empathetic view of childhood amid grief. She singles out Naíma Sentíes’ performance and Avilés’ close-up, child-centered filmmaking for bringing Sol’s perspective to life. [Read](https://www.pastemagazine.com/movies/lila-aviles/totem-review)
- **Deadline**, Stephanie Bunbury (78/100, inferred): Bunbury finds the film moving without resorting to sentimentality. She especially praises Avilés’s extraordinary eye for detail and the close, observant camera work. [Read](https://deadline.com/2023/12/totem-review-lila-aviles-mexico-oscar-entry-1235669088/)
- **Eye for Film**, Amber Wilkinson (75/100, inferred): Wilkinson finds the film warmly poignant and sweetly comic, with its family gathering carefully orchestrated. She praises Avilés’ handling of the different emotional worlds of children and adults. [Read](https://www.eyeforfilm.co.uk/review/totem-2023-film-review-by-amber-wilkinson)

## Details

- **Director:** Lila Avilés
- **Director:** Lila Avilés
- **Writer:** Lila Avilés
- **Cinematography:** Diego Tenorio
- **Editor:** Omar Guzmán
- **Music:** Thomas Becka
- **Production design:** Nohemi Gonzalez
- **Costume design:** Jimena Fernández, Nora Solís
- **Producer:** Siobhan Flynn, José Tamez, Tatiana Graullera
- **Cast:** Naíma Sentíes as Sol; Montserrat Marañon as Nuri; Marisol Gasé as Alejandra; Saori Gurza as Esther; Mateo García Elizondo as Tonatiuh; Teresa Sánchez as Cruz; Iazua Larios as Lucía; Alberto Amador as Roberto
- **Runtime:** 1h 35m
- **First release (Germany):** 20 February 2023
- **Genres:** Drama
- **Box office:** $163,399
- **Trailer:** https://www.youtube.com/watch?v=cEYx_vOof1w

## Where to watch in New Zealand

Not streaming, renting or buying in New Zealand at the last check.

Also available in: AR, AT, BE, BR, CA, CL, CO, DE, DK, EC, GB, IE, IT, JP, MX, NL, PA, PE, US. Add `?region=XX` to this URL for another country.

## Awards

- International Submission to the Academy Awards 2024: International Submission to the Academy Awards (nominated)

## If you liked this

- *The Chambermaid* (2018): Avilés’s first film: one hotel, one worker, and the same patient way of watching
- *The Spirit of the Beehive* (1973), Fi1m 87: A Spanish child works out the adult world from its edges, in a big quiet house — [Fi1m page](https://film.one/film/the-spirit-of-the-beehive.md)
- *Still Walking* (2008): Kore-eda’s family gathers for a day and says everything without raising a voice
- *Summer 1993* (2017): A Catalan six-year-old, newly orphaned, spends a summer learning who her family now is
- *Ponette* (1996): A four-year-old grieves her mother; Doillon films her without a trace of condescension

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/totem