Reel de Oro

Celina Eslava

A well-directed piece is one that manages to enhance the product: Celina Eslava from Oruga Films

07 de junio de 2021

Celina Eslava is an advertising film director and has been part of the Oruga Cine directors' roster since 2019. She has extensive experience in large-format national and international productions. She has made numerous clips, fashion films and art videos that were screened at the Milano Fashion Festival and Croatia Fashion Film Festival, among others. Her visual narrative mixes disciplines such as fashion, dance and the everyday life, along with hyper-detailed sound and visual work.

Her work as a photographer has earned her recognition in the art world. Today her production is part of private collections of contemporary art.

At Oruga, she works for agencies such as Don, Ogilvy, VMLY & R, Dhélet, Ponce and clients such as Unicenter, Halls, Bagley and Softys. Celina was born in Comodoro Rivadavia and she graduated in Image and Sound Design from the UBA. Besides being an advertising film director and a photographer, she plays tennis and practices yoga.

1. Disciplines such as fashion and dance are all over your work. How have these been present in your personal life and in you becoming a director?

Since I was a little girl, I was fascinated by fashion and sports magazines. Our body language speaks for us. I love looking through the camera and understanding how bodies move, they seem like a mystery to me. My job is to discover the way to film each one in particular. It is a beautiful round trip with the person in front of us.

2. Do you have any work, artistic piece, musician or designer that has had a great influence on your photographic and film work?

One of my favorite works is Airpods Pro - Snap by Kim Gehrig, because I feel that it empowers the idea of ​​the product and the realization is incredible. I also love it because it adds a bit of fantasy to the batch, and it doesn't try to be totally real. It adds a layer that has to do with the sensory more than with factual facts. As references I can mention you, in addition to Kim Gehrig, Aoife Mcardle, Melina Matsoukas, Ian Pons Jewel, because they break it with advertising pieces from recognized brands such as Apple, Nike, Google but at the same time, they have an arty sensitivity that is always there. I think that a well-directed piece is one that manages to enhance the product and not only enhance the director. That's where the piece clicks.

3. How has the year of social distancing and strong presence of digital impacted your creative processes and work? Have you made any discoveries?

I understand that it is a super complex context to produce because also the rules change all the time and that does not allow you to plan, but on the other hand, it is a year in which we learned a lot. Above all, that the world is closer, that we don't have to go anywhere to create. In my case, I was able to focus on learning new things, undertaking personal projects and sharing my work with producers from other countries. The world has already changed and it is good to see where it is going. As my mother used to say: fishermen win a rough river. At this stage of my career, any change, shuffling and giving again excites me, because the world as it was is not that good either.

4. How is it like working with the Oruga Films Team? What do you enjoy the most?

Oruga is really a family, I felt welcomed from minute one. There are directors and producers at different times in their careers and lives, and each one is encouraged to give their best version. Projects are widely shared and collaborative work is done. Ideas are thrown on the table and there is always someone willing to add. It is a space in which there is a work culture that blends perfectly with our lives and that makes for our personal and professional growth.

5. What is the current outlook for women in the film industry compared to a few years ago?

I think women are more represented than a few years ago. But I also feel that it all is still a little made up. The advertising field is a little behind in inclusion issues than other fields such as politics or business.
Ok, all the production companies have female directors, now it is necessary for those directors to get scripts, to participate in the pitchs, so what we all think and say begins to come true. A producer does not get a "script for men", a script simply arrives, and it is done by a male director, because if it is for a woman, it is clarified.

For years, women have held strategic positions in the film industry, making technical, productive and creative decisions, both in the local and global markets. But their work was totally invisible, it is only a matter of making it visible, it is not that from now on we have to invent women who work from this, because the reality is that there are thousands of us.

6. What kind of projects motivate you the most and which ones would you like to develop in the future?

I would love to do a project with athletes from the Olympic Games and I also love filming cars. I think many years on set as an assistant director in international productions made me feel very familiar with large-format productions both on a technical and narrative level.