Mum, Mum, Mum
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    Mum, Mum, Mum

    Mamá, mamá, mamá

    Directed by



    65 min

    • Spanish


    One summer morning, a girl drowns in the pool of her house. Her little body stays there until her mother finds it and leaves her other daughter, Cleo, alone in the house for hours. Soon Cleo’s aunt will arrive, with “the cousins”: Leoncia, Manuela and Nerina. Each girl will be immersed in a particular micro universe; while Cleo, marked by the tragedy of her sister, but unable to express it: her mother is locked in her room, like her aunt, who takes care of her mother’s depression. That is why Cleo, along with her cousins, will immerse herself in the feminine world of childhood, just as perverse as death itself: the fear of never having kissed, the fear of being alone forever, fear of menstruation “that is like babies that cannot come to the world and die”, a body that no longer belongs to the same person that inhabits it, the change, the irreversible change of maturity.


    • Special Mention for the Grand Prix of the International Jury for Best Film (Generation Kplus)- Berlinale Generation



    Agustina Milstein
    Chloé Cherchyk
    Camila Zolezzi
    Matilde Creimer Chiabrando
    Siumara Castillo
    Sol Berruezo Pichon-Rivière
    Rebeca Rossato Siqueira
    Joaquín Elizalde
    Valeria Racioppi
    Mauro Mourelos

    Director's Statement

    The female world is rarely reached completely. And I do not speak just of Argentinian’s cinema, but of filmmaking in general. There is a small mystery there, that is difcult to penetrate. I am interested in the feminine world of childhood, of puberty. How the body grows but at the wrong time of the child. I do not speak in terms of maturity, but in ways of seeing life. The girl is taken to care for a world that she touches for the first time, while her body is already object of desire for adults. They are told to cover up, to hide what they used to take with freedom. They give you your first bra, but at the same time they gift you the fear of not wearing it, the fear of something escaping. I believe in a certain subtlety that is instilled in women spontaneously; there is a limitless sensitivity that tends to remain in love or everyday dramas because it is badly channeled. There is an extreme sensitivity that sees and feels everything that is not always used for artistic creation. This is why I chose to have just women crew; not to disbelieve the opposite gender but as a way of a test, to try to create a fraternity that only appears when there are only women. In addition, I consider directing girls as a great challenge: I wanted to capture them without discouraging their spontaneity. Therefore, I created a caring, almost maternal environment, I would say, and I am sure we were able to take care of that spark. In my house we were always women, four sisters. They have been my starting point for all my art. I see the fear to show, the tenderness in the way they are with each other. One of my younger sisters, when we were in my mother’s house, asked me to sit by while she took a bath, because she was afraid of being alone. She stripped and had grown pubic hair and hid it with shame even though she knew I had it too. She told me how at school people made fun of her because she had a mustache, because of her acne, because of everything she could not control. That was the end of the world for her at her age, although an adult could see it with another perspective. Another image that comes to my mind, is the four of us lying down with my mother, all in the same bed telling our sorrows, combing our hairs, watching at each other. There is a beauty in that everyday that I have not seen it portrayed anywhere and I pretend to tell all that constitutes us as women, as extra sensitive human beings, that almost reach the fantastic, surrealism. Thanks mama for making me a girl.

    Sol Berruezo Pichon-Rivière

    Sol Berruezo Pichon-Rivière


    Born in Argentina in 1996, Pichon-Rivière studied film directing at the Universidad del Cine in Buenos Aires. In 2017, she won first prize in a competition for new filmmakers run by the INCAA Argentine Film Institute which included support for her debut film MUM, MUM, MUM (2020), which she shot with an all-female crew and presented at Berlinale Generation.