Do not be deceived by the stillness of The Chambermaid, the directorial debut of Mexican filmmaker Lila Avilés. Under its serene takes and silent protagonist, Avilés depicts a working culture that is too familiar in Mexico, and a presence that is loud in its aspirations but composed when facing the outside world.
Evelina (Gabriela Cartol) works as a chambermaid in a high-end hotel in Mexico City. While in another story this setting would be the source of excitement and turmoil, Avilés and her cowriter, Juan Márquez, focus on the dullness of Evelina’s professional life and the peculiarities of the Mexican society that come to life in the limited interactions between Evelina and others.
Subtle and quiet, she fulfils her role placidly and effectively. From her optimistic glance and careful ways, it is evident that she is proud of her job. Evelina is always on her own and never talks to anyone. Her existence is lonely and monotonous, and her days consist of cleaning the 21st floor and talking on the phone with her son. She practically lives in the hotel, always working or taking advantage of the facilities that are better than the ones she has at home.
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The camera offers closeups of her face when she deals with others. Her nervousness and discomfort are clear as she adapts herself to the dynamics of those around her. Whereas when she is alone, the filmmaker offers medium shots that show Evelina enjoying her solitude, sometimes being too diligent on her job and others exploring the secrets of the guests that are ready to be discovered by her curious eyes.
Her invisibility is often reinforced by the interactions she has with numerous guests. One time she finds a body on the floor, only for the old man to come to his senses and dismiss her rudely. Another man asks for endless amenities, orders her around, and doesn’t even bother to look her in the eye.
Evelina forms a special bond with an Argentinian woman when she needs help taking care of her son as she takes a bath. She wins Evelina over with plans of new opportunities only to leave her behind unexpectedly and unannounced. Through these exchanges, Avilés allows us to understand the psyche and assumptions of foreigners and the Mexican upper class.
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Evelina’s ambitious mind comes alive when her supervisor tells her that she could soon become the chambermaid of the more luxurious 42nd floor, a promotion that instantly excites her. Soon, Evelina starts to interact with her peers, takes lessons to graduate from high school, and forges a friendship with Minitoy (Teresa Sánchez), a fellow chambermaid that is free-spirited and relaxed.
While we follow her discreet existence, Avilés offers clues and insights into the peculiarities of Evelina’s workplace and the Mexican way of doing things. Through language and tone, we can understand the social dynamics that define the relationships of Evelina with peers, supervisors, and guests. The way she talks to other maids, the way her professor refers to her and her classmates, and even the words that her manager uses, are windows into the dynamics that are well-established in the local society.
A clear example is the way everyone conditions everything. If she wants to get the promotion, Evelina will have to work tirelessly, even if she already does. If she wants to get a red dress that has been in the lost and found closet for a long time, she will have to “behave herself”.
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Conditioning is a recurring feature in Mexican culture, and Avilés exposes it clearly and cleverly. Almost entirely devoid of accompanying music and sounds, The Chambermaid presents the silent revolution inside of Evelina’s head.
Slowly she goes through massive changes in her character and relations to others. She learns to read for pleasure and embraces this new hobby. She also entertains the idea of seducing a window cleaner that constantly pursues her.
More importantly, she shows disappointment when she faces the reality of the work system in Mexico. Even though her supervisors promote the idea of merit and hard work, Evelina discovers that her efforts are disregarded by plotting minds that work behind closed doors.
The Chambermaid is a discreet but noticeable debut by a Mexican filmmaker that understands the peculiarities of Mexican life. And who is skilled enough to offer a commentary without preachy or judgemental ways. Through the stoic figure of Evelina, Lila Avilés shows the presence of those that are often invisible, but that also have aspirations, plans and disillusionments.
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