Nandita Joshi joins Director Karla Badillo to discuss her feature-length directorial debut, Oca, which made its World Premiere at TIFF 2025. Oca is the story of a nun who embarks on what is seemingly a visit to the new archbishop but transforms into a mystical pilgrimage that tests her faith with every step she makes. Badillo discusses how she was able to create a dreamlike, intimate atmosphere and how her past experiences in film and TV prepared her for directing a long-form film. She also explains the importance of her filming locations and the difficulties faced on the shoot.

[Responses from Badillo were translated from Spanish and edited for clarity.]

Nandita: I wanted to start off by saying I loved the presence of temptation in the film and how beautifully interwoven it is within the narrative, that’s not super imposing or overbearing to watch. Particularly, I found it interesting that Rafaella, played by the wonderful Natalia Solián, was the focal point of this trial by temptations. So I was interested to understand whether there was a significance of having a woman lead this pilgrimage, as traditionally it has been men at the centre of religions for centuries.

Karla: Thank you for watching the film. I say for me, the character of the nun is very interesting because you know, there is very deeply rooted Catholicism in Mexico. For me, the nun is like an archetypal character, but I tried to build a more complex character about the nun because in films that I’ve watched, nuns are very simple, seeking divinity. So I tried to build a complex, feminine, and relatable character.

Nandita: Another thing that struck me from the beginning of the film was that there is a very heavy emphasis on stillness within the cinematography against really vast backdrops. It felt as if we, the audience, were looking in on intimate conversations and moments that shouldn’t be heard or seen. How did you work with cinematographer Diana Garay to create this atmosphere that felt so intimate?

Karla: We worked a lot around the place of dreams. It was important for me to give a sense of depth and weight to the people and to the characters, where the dimensions left the people seeming small in front of God.

Nandita: Having directed shorts like Oasis and Sin Regresos, whilst also having experience working as an executive assistant producer on TV series such as La Casa de la Flores, how did that prepare you for working on your first feature-length film? 

Karla: Yes, I studied cinema as a producer at Centro de Capacitación Cinematográfica in Mexico, a very popular school. My role as a producer in the TV series has been a great help because I was able to learn from other directors and was able to build the path towards making a film. Making a film requires funding, certain preparation and understanding in all the areas of the cinematic process.

Nandita: One aspect that I felt was really important in the film was the location at which you filmed. It created an isolation and an almost hopelessness within the narrative. I wonder where specifically you decided to shoot the film and how you came to decide that that was the perfect place to film the pilgrimage?

Karla: We were in San Luis Potosí. I was born in San Luis Potosí, Mexico. San Luis is a city, but it may also be a big town. But to me, it was very important to shoot here because I have a deeply Catholic education, as well as it being a very surrealistic place in many ways, because it is a large landscape. The logistics of filming there also had some complications as the narrow paths and mountains were difficult to navigate around, but it was still very fun.

Nandita: Finally, to close off, what was your favorite day shooting on set? What did that look like, and why was it so memorable to you? 

Karla: Getting to the little church with the pilgrims was difficult. The location is very special as it was a church literally between the two mountains. It was a really cold day and very complicated to film. That day, our faith was actually really tested because of the environment. Although it was challenging, I also remember it very warmly. 

Nandita: Well, thank you so much for your time. It was lovely speaking with you, and I’m very excited for everyone to see this film at TIFF.

Interview Courtesy of Nandita Joshi

Feature Image Compañía de Cine and TIFF