Argentinian filmmaker María Silvia Esteve brings raw honesty and emotional depth to her latest documentary, “Mailin,” which centers around a survivor of sexual abuse by a Catholic priest. Esteve’s project sheds light on the institutional structures that protect abusers, sparking a powerful conversation about justice and healing. Her film, now an IDFA competition title, offers a poignant exploration of trauma, motherhood, and survival.
A decade ago, María Silvia Esteve was moved to action after seeing Mailin Gobbo on television, bravely sharing her story of abuse by her local priest, Carlos Eduardo José. Gobbo’s public struggle for justice catalyzed Esteve’s desire to delve deeper into her story, resulting in the creation of “Mailin.” The film investigates the systemic protections that allowed José to evade accountability, highlighting the complexities of institutional power structures within the Catholic Church.
Esteve recalls the moment Mailin first appeared on TV, expressing frustration with the interviewer’s insensitivity. “Mailin was exposing herself emotionally because she really wanted this man to be in prison,” Esteve shares. Mailin’s urgency was fueled by the fear that her abuser could harm others, including her own daughter. Esteve recognized the importance of truly listening to Mailin’s story and decided to help her amplify it through cinema.
The journey of making “Mailin” took eight years, as Esteve worked hard to build trust and friendship. She wanted the film to transcend sensationalism and instead focus on the profound narratives of motherhood and survival. “It was a process of great patience,” she explains. Esteve often prioritized being a supportive friend over filming, acknowledging the blurred boundaries that abuse survivors often experience.
Defying institutional power wasn’t a deterrent for Esteve. While her documentary critiques the systems that safeguard abusers, she emphasizes broader societal failures, noting, “The judicial system also failed Mailin.” José continued to receive support from the church, allowing him to evade justice. Esteve underscores the complicity of power structures, with Mailin initially filing her claim when the future Pope Francis oversaw the church in Argentina.
Visually innovative, “Mailin” blends courtroom footage, personal testimonials, and abstract sequences to convey trauma’s complexity. Esteve experimented with form, realizing that rigid animation didn’t serve the narrative. “The challenge was trying to seek a form that could merge them all,” she explains. Her short films provided a creative playground to refine these techniques, ultimately enhancing the film’s visual storytelling.
Esteve’s journey with “Mailin” was emotionally taxing. As a respite, she began developing “Fauces,” a fiction project inspired by her earlier short, “Creature.” This new work explores themes of traumatic memory, loss, and motherhood, allowing Esteve to process her experiences creatively. “I’m revisiting the same things over and over again, but the questions are different,” she reflects.
Returning to IDFA, where she debuted her first feature “Silvia,” Esteve values the opportunity to collaborate with a festival that believes in supporting filmmakers’ visions. “Mailin” benefited steadily from IDFA’s nurturing environment, enabling Esteve to maintain creative control and integrity throughout production.
“Mailin” is produced by María Silvia Esteve at HANA Films, with co-production by Alejandra López for Ikki Films and Cristina Hanes and Radu Stancu for deFilm. Party Film Sales handles global distribution. The film marks a significant contribution to discourse on institutional accountability and personal resilience.
