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The 24th FICM and Le FIFA Present: TINA: ART, LOVE, AND REVOLUTION

Omar Sosa

In collaboration with Le FIFA (Festival International du Film sur l'Art), the documentary Tina: arte, amor y revolución (2026, dir. Daniela Mujica) was screened at the 24th Morelia International Film Festival (FICM). The screening was introduced by FICM programmer Chlöe Roddick; programming director of Le FIFA, Paul Rothé; the film’s producer, Bárbara López; and animators Amanda Woolrich, Adriana Conti, and Christian Trujillo.

Through a combination of animation and archival footage, Tina: arte, amor y revolución chronicles the tumultuous life of the Italian photographer and revolutionary activist, who traveled to Mexico, Spain, and other countries to defend her political convictions.

Rothé thanked the Morelia audience and the festival for welcoming the Montreal festival through this screening.

“The film you’re going to see tonight is really important to those of us in programming. It’s about Tina Modotti, an artist who, for a long time, was forgotten and rendered invisible,” Rothe said.

For the French programmer, the film takes on special relevance given the depoliticization of many artistic spaces. Rothé shared an anecdote about when the director, Daniela Mujica, traveled to Montreal to present the documentary and, during a Q&A session, was asked for her opinion on the relationship between art and politics. Unlike other filmmakers who have avoided discussing politics in relation to their artistic practice, she responded that the two were deeply interconnected.

“The idea for this film began in Mérida, Yucatán. I was working there at a festival when I met Daniela Mujica. That was the first time we talked about this project—twelve years ago,” said the Cuban producer, who was thrilled to premiere this film in Mexico before the Morelia audience.

The animators highlighted the dynamic of working with Mujica, who granted them extensive creative freedom compared to the usual constraints of other productions. This openness allowed them to use their preferred techniques and manage their own schedules, resulting in an extremely fluid process.

Regarding the project’s approach, they added: “Her vision for the documentary was very interesting […]; in the area of animation, she gave us a lot of freedom to explore the dreamlike without having to stick to what actually existed in reality. I found it interesting to play with the imaginary within a documentary based on factual research.”