Interviewing producer and filmmaker Iván Löwenberg

1.-How did you get started in the film industry and what led you to become a producer?

When I was 12 years old, I saw the trailer for a Mexican film that looked incredibly exciting to me. But when I finally watched the movie, it wasn’t anything like what I had imagined. That moment sparked a question in my mind for the first time: 

What do you have to study to make the kind of film you thought you were going to see? 

From then on, I couldn’t let go of the idea of becoming a filmmaker.

I became a producer because I quickly realized that no one cares about your projects as much as you do. In such a challenging industry, if I wanted my stories to become a reality, I had to take full responsibility—not just creatively, but also logistically and financially. Producing became a way for me to push my own projects forward and make sure they didn’t just stay on paper.

2.-What have been your main influences in filmmaking?

That’s always a tricky question. I admire countless filmmakers—when I was studying cinema, I was mesmerized by directors like Buñuel, Bergman, Teshigahara, Kurosawa, and many others. But when it comes to influence, I believe it’s not always something we get to choose. Sometimes, we’re shaped more by things we don’t even admire, or by films we didn’t particularly like but saw at a formative time in our lives.

Our influences go beyond cinema: they include the place we grew up, the kind of music we heard, the absurd or magical stories we were told. For example, when I was a kid, there was a moment when people in my family believed that three days of darkness were about to come—a kind of apocalyptic prophecy. That experience left a deep impression on me, and years later, it became the basis for my film I Don’t Want to Be Dust. So, I’d say influence is a messy, fascinating mix of admiration, coincidence, and unresolved memories.

3.-Can you describe your work process when selecting a project to produce?

Honestly, it can be quite random. Sometimes I’m walking down the street, on public transport, or having lunch, and suddenly an image or a moment pops into my head and moves me emotionally. If that spark can grow into a concept that could become a short or a feature film, then I know it has potential—it wasn’t just a fleeting idea.

The main criterion is that it has to excite me visually. If I don’t feel genuinely moved by the possibilities it holds as an image on screen, then it’s not worth pursuing.

Making a film can take years of your life, and if you’re not emotionally invested from

the beginning, it becomes too easy to give up when you hit all the inevitable obstacles along the way.

4.-What types of stories are you passionate about telling through your films?

I’m drawn to stories that explore the tension between personal identity and societal expectations, often through characters who live with a sense of imposture or disconnection. I like narratives that are rooted in emotional truth but unfold in slightly absurd, heightened, or even surreal circumstances. Whether it's an elderly woman exploring late-in-life desire in Encuentro, or a group of people preparing for an apocalyptic prophecy in I Don’t Want to Be Dust, I’m interested in characters navigating complex inner worlds while the external world behaves in contradictory or irrational ways.

There’s often a mix of melancholy and dark humor in my work, and I gravitate toward themes like emotional repression, fear of the unknown, and the absurdity of social roles—especially in contexts like religion, bureaucracy, or performative success. I’m passionate about telling stories that feel personal but reflect broader, sometimes uncomfortable, collective truths.

5.-What has been the biggest challenge you’ve faced in your career as a producer?

So far, the biggest challenge has been getting I Don’t Want to Be Dust made. It took me ten years to find the right conditions to finance it. In the end, we shot it in a very independent way—with a minimal budget, a tiny crew, and right in the middle of the pandemic's peak. It was a constant test of resilience, creativity, and resourcefulness. But despite the difficulties, it was also one of the most rewarding experiences I’ve had, because the story meant so much to me.

6.-Can you tell us about your most recent project? What is it about and what inspired you to do it?

My most recent project is a feature film titled I Don’t Want to Be Dust. It’s about a woman who becomes obsessed with an apocalyptic prophecy that claims three days of darkness are coming. As she prepares obsessively for the end, the lines between faith, fear, and fantasy begin to blur—both for her and those around her.

The inspiration came from a real moment in my childhood when some people in my family believed this prophecy was true. I remember how surreal and frightening it felt as a kid to think the world might literally go dark for three days. That experience stuck with me for years. The film explores not just that memory, but the deeper emotional and social dynamics behind people’s need to believe in something— especially when the world feels chaotic or meaningless.

7.-What role do film festivals play in your film release strategy?

Film festivals are essential to my release strategy, especially for independent films. They provide visibility, critical validation, and a platform to reach both audiences and industry professionals that would be difficult to access otherwise. For me, festivals are not just a way to showcase a finished film—they’re part of the storytelling process. They allow the work to be contextualized, discussed, and, hopefully, championed.

For example, my short film Encuentro was nominated for the Ariel Award and qualified for Oscar consideration thanks to its festival run. That kind of exposure creates opportunities for future projects, helps connect with international collaborators, and builds a stronger foundation for distribution—whether it’s through platforms, broadcasters, or even direct-to-audience releases like YouTube.

I’ve also worked in film festivals for over a decade, so I understand how they operate from the inside. That experience has shaped my perspective, and it’s something I’m now sharing on my YouTube channel. I’ve started uploading videos to help students, people entering the industry, or curious audiences better understand how festivals work and why they’re crucial—not just for filmmakers, but for the film ecosystem as a whole.

8.-How do you manage budgeting and financing for your film projects?

Financing in Mexico is very different from the U.S., mainly because our exhibition ecosystem is more limited, and the chances of recouping investment are much smaller—especially without access to the global market. That’s why a large portion of films in Mexico are funded through public grants and tax incentives.

In my case, although I’ve applied to and benefited from some of these programs, what has truly made my projects possible is the support of friends and colleagues who’ve joined in with their time, talent, and in-kind contributions. Most of my films have been collective efforts—driven more by shared passion than by financial resources. That collaborative spirit has been essential in bringing my stories to life, especially when budgets are tight.

9.-What impact do you think technology has on current film production?

Technology has a very positive impact when it helps streamline administrative tasks, reduces the burden of tedious work, and increases access to the tools needed for filmmaking. It opens up possibilities that weren’t available before, especially for independent filmmakers like myself, allowing us to be more efficient and creative.

However, when technology is used to replace creativity or when it relegates us to handling the less exciting and more mundane aspects of production, that’s where I see a negative impact. If we end up spending more time managing systems or software than actually creating, it can strip away the joy and artistry from the process. Technology should enhance, not overshadow, the creative journey.

10.-Are there any lessons you’ve learned along the way that you’d like to share with aspiring producers?

The more, the merrier—and the better the chances of success. Collaborations are key to making things happen and expanding your audience. You can’t do it all alone, and bringing in others with shared passion and expertise makes the process both more rewarding and more viable.

Also, start your projects knowing that they might take many years and face countless obstacles. If you approach them with that mindset, you’ll be mentally prepared for setbacks. And if things move faster than expected, then it’s a pleasant surprise.

Patience and persistence are crucial in this industry.

11.-What upcoming projects are you currently working on?

I’m working on a film that I can’t talk about in detail just yet, but I can say that it will explore a cinematic genre I haven’t worked in before. Once again, it’s a Mexico- Argentina co-production, similar to I Don’t Want to Be Dust.

12.-How do you prepare for criticism and public scrutiny of your films?

It’s never easy, and there’s always some nervousness involved. I personally enjoy attending screenings to see what worked and what didn’t, especially in terms of humor. I don’t fear criticism per se; I try to analyze the reactions and learn from them.

I also keep in mind that my work doesn’t have to appeal to everyone—audiences are diverse in their interests, topics, and what draws them in. As for critics, if I find that I agree with a particular critic and they point out both positive and negative aspects, I listen carefully. There might be something useful to take from their feedback. But if a critic’s views have never aligned with mine, and I know their perspective differs fundamentally from my own, I don’t expect them to like what I do. It’s just not going to happen, and that’s fine.

13.-What message or legacy do you hope will leave behind for viewers who see your films?

Honestly, I don’t think much about leaving behind a legacy. It feels like carrying a very heavy burden over something that’s largely beyond your control. What interests me more is being surprised by the unexpected interpretations people have of my work—when they see something I hadn’t consciously processed, at least not in the way they did. That’s what fascinates me. I like to think about what elements they picked up on that led them to view it that way.

If I focus too much on trying to craft a specific message or legacy with my films, I feel I might lose that sense of discovery in the audience’s engagement with the work.