Cosas que no hacemos, a 2020 documentary directed by Bruno Santamaría Razo, takes us on an intimate and bold journey through the life of Arturo, a teenager from a small fishing village in the Mexican state of Nayarit. This film is more than just a snapshot of his life; it explores the struggles of identity, self-expression, and the harsh realities that challenge the innocence of youth. Set against the backdrop of the Pacific Ocean, Arturo is portrayed as a free spirit, a boy who dances, runs, and plays with the unburdened joy of a child. In a seemingly peaceful village, his life is abruptly disrupted by a violent incident. As the pervasive cloud of toxic masculinity looms over his community, Arturo finds the courage to break free from his constraints and make a bold request to his parents: to dress as a woman. Through its raw and candid storytelling, Cosas que no hacemos captures the tensions of a world where masculinity is often imposed on individuals, and the act of questioning gender norms is a brave act.
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The film's title, which translates to "Things We Don't Do," encapsulates the cultural and social expectations that limit personal freedom and expression in such a tightly-knit, conservative environment. This documentary offers a rare glimpse into a fishing village where children play and dream, and one of them searches for their true self amidst a world that demands conformity. Bruno Santamaría’s film has received international acclaim for its vitality, sincerity, and its fearless approach to confronting sensitive themes. The film’s boldness lies not only in its portrayal of gender identity but also in the tenderness with which it conveys Arturo’s personal journey. His struggle is not just internal, but also deeply connected to the societal pressures surrounding him. From the moment the film opens, we see a community of children running and playing, unaware of the internal and external struggles they will eventually face. Slowly, the focus shifts to Dayanara, the character who, like Arturo, must navigate this world on her own terms. Santamaría has mentioned how Cosas que no hacemos evolved as the filmmaking process unfolded. Initially, the documentary captured a collective portrait of the children in El Roblito, the village where the story takes place. As the filmmakers immersed themselves in this environment, Dayanara's story gradually emerged as the central narrative. Santamaría reflects on this organic unfolding: "The film doesn't just tell a story - it happens. It is part of the process, where reality meets storytelling."
In the documentary, the arrival of Dayanara in the narrative feels almost magical. The filmmakers introduced her to the audience in a manner that mirrors their own initial encounter with her - innocent, almost fantastical. The playful and dreamlike sequences, like Santa Claus dropping presents from a helicopter, are metaphors for the surreal experiences that Dayanara, and the filmmakers, navigate as they pursue her story. Santamaría explains that the film's editing process aimed to preserve this sense of discovery. The "simulation of the experience" is key to understanding Cosas que no hacemos as a participatory document of lived moments. What is depicted on screen is not merely the result of objective observation, but the intimate experience of being present with the subjects. The documentary’s power lies in the vulnerability of its subjects and the honesty of its approach. As for Dayanara herself, she has found comfort and strength in the film. The process has helped her not only accept herself but also transform how others see her. Santamaría shares that, after the film’s screening in El Roblito, Dayanara felt empowered enough to request a special dance performance in front of her community. Dressed in women’s clothes, she danced to the film's original score, composed by Tomás Barreiro. For Santamaría, this moment was profoundly significant - it marked the culmination of a personal and community-wide journey of acceptance.
The film’s success in international film festivals has paved the way for its commercial release, which is a new milestone in its journey. Cosas que no hacemos has already captured the attention of audiences across the globe, but Santamaría and his team now hope to bring it to broader Mexican audiences. The story's universal themes of identity, love, and acceptance resonate deeply with audiences, regardless of their cultural background. Its impact is further amplified by the sensitive, respectful portrayal of LGBTQ+ characters - something that is becoming more common in modern cinema, yet is still rare in the Mexican context. Through the film's careful storytelling and honest depiction of a young person grappling with gender identity, Santamaría’s work aligns with a broader movement of filmmakers exploring transgender and queer lives in a compassionate, authentic way. Films like Las flores de la noche by Omar Robles and Eduardo Esquivel also focus on LGBTQ+ themes, further pushing the boundaries of what is represented on screen and offering diverse perspectives on gender and sexual identity. In discussing Cosas que no hacemos, Santamaría reflects on the work of directors like Roberto Fiesco, whose Quebranto explores the lives of transgender people, but from a more somber, isolated perspective. Cosas que no hacemos, in contrast, embraces a more joyful tone, highlighting the hope and liberation that comes with living one's truth. Santamaría sees these films as part of a larger effort to break down barriers and bring stories that were once marginalized into the spotlight. "This film is part of the legacy of many other filmmakers who have paved the way," he says, acknowledging the efforts of those who fought for the visibility of LGBTQ+ narratives.
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The commercial release of Cosas que no hacemos marks a significant moment for the team, including Santamaría and producer Abril López Carrillo, who have worked together for years. Their partnership, built on mutual trust and shared creative vision, has been crucial to the film's development. López Carrillo’s role as a producer was vital in ensuring that Santamaría’s vision was realized, even as the project navigated the challenges of working with a tight budget and a lengthy production schedule. Reflecting on the production process, López Carrillo shares that the most difficult moments arose when Santamaría needed more time to explore the nuances of his subjects. Santamaría, known for his slow and methodical approach to filmmaking, often found himself at odds with the practicalities of production. Yet, López Carrillo emphasizes that the key to their success was their constant communication and shared understanding of the importance of preserving the integrity of the film. The documentary was produced with a minimalist approach - Santamaría and his team made few concrete plans early on but allowed the story to unfold organically. From the start, the filmmakers knew they wanted to capture the transition of the children in El Roblito as they grew older and faced the harsh realities of life.
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While the film explores a region affected by organized crime, the violence that the villagers experience is not the focal point. Instead, the film highlights how children must grapple with other forms of violence - labor exploitation, scarcity, and social expectations. These elements contribute to a broader narrative about growing up and seeking one’s identity amidst pressure and adversity. The documentary has also become a tool of empowerment for the characters it portrays, particularly Arturo, whose relationship with Santamaría developed into a deep and personal connection. Arturo’s journey, much like Dayanara’s, is one of self-discovery, where he is able to express his true self by embracing femininity in a world that is not always ready to accept such a choice. In the end, Cosas que no hacemos is not just a story about identity - it is about resilience, community, and the courage to be who you are, even when the world around you may not understand. Through the lens of these young characters, Santamaría crafts a narrative that is tender, raw, and profoundly human, offering a powerful statement on the importance of self-expression and the search for belonging in a world that often demands conformity. As the documentary moves beyond the festival circuit and reaches wider audiences, Santamaría and his team are hopeful that Cosas que no hacemos will continue to inspire conversations about gender, identity, and the strength it takes to live authentically.
Image credits: YouTube
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