MATANDO MOSCAS – Post-Shoot Q&A

MATANDO MOSCAS, written and directed by Ericka Lavin, was our Fall 2025 Short Film Fund Finishing Funds Winner. The story follows an office worker, trapped in monotony, who hires a hitman to kill him the next day, painless and unexpected, but fate has other plans.

Born and raised in Mexico City, Ericka is a director and first assistant director with extensive experience working in both the United States and Mexico. With over a decade in film and advertising, she worked as an on-set assistant to Alfonso Cuarón on the Oscar-winning film Roma and produced Al Ras, a short that screened in the Short Film Corner at the 66th Cannes Film Festival.

Tell us about your short. What is it about, and what inspired you to write it?

MATANDO MOSCAS is a dark comedy about Gustavo, an office worker who feels completely drained by the monotony of his life. He hires someone to end it for him the next day, quietly and without pain, because he cannot bring himself to do it. The moment he lets go of control, everything begins to unravel in unexpected and absurd ways.

The story grew from something deeply present in Mexican culture, which is our instinct to find humor in darkness.

One day, I searched “hitman Mexico City” out of curiosity and found actual ads. That strange mix of the surreal with the ordinary sparked the idea. From there, the film became a reflection on routine, fear, and the uncomfortable humor that appears when life refuses to go according to plan. Ultimately, I hope the film stays with audiences as a quiet reminder of how routine can drain us, and how the absurd often arrives to shake us awake.

What motivated you to enter the Short Film Fund? How did you feel when you found out that you won?

I applied to the Short Film Fund because we put so much effort into making this film, and I knew we would need help to keep it moving through post. It felt like a real possibility but also a dream. I wanted to see how far the project could go and how it resonated outside of our own team. Submitting was a way to understand how the film lived in the world and whether its voice connected with others.

When I found out I had won, I honestly could not believe it. It gave me a sense of validation that is hard to describe. Making a short is such an act of faith, and receiving this support felt like a clear sign that the film has a life beyond us. It felt like someone was saying, “Keep going, this story matters.” I felt grateful, relieved, and very energized to finish the film in the best way possible.

How did you crew up for your project, what did you shoot on, and where did you shoot?

From the beginning, I knew the film needed collaborators who understood the tone of the story and were excited by its absurdity. I reached out to people whose work I admire and who I knew could bring a very intentional visual and emotional language to the film. My producers, Michael Petrucelly and Nicolás Celis, were the foundation of the project. Their belief in the film and their support through every stage made the production possible. Azul Villagrán Ballesteros joined the project as line producer and executive producer, and her leadership, precision, and care were essential in bringing everything together on set. Our cinematographer, Lluis Martí, was one of the first to join. His eye for controlled, expressive imagery shaped the entire visual approach. Our production designer, Micaela Urrutia, created environments that reflected Gustavo’s emotional state, from the timeless warmth of his apartment to the oppressive structure of the office. Casting was led by Luis Rosales, whose sensitivity and experience were essential. He helped us find actors who could carry both the vulnerability and the tone that the story requires. Our costume designer, Estebán “KWA” Árzate, and our hair and makeup designer, Antón Garfias, added layers of personality and subtle storytelling through their work.

Location support came from Film Locations México. Peque and Miguel were incredible partners who helped us find spaces that aligned with my vision. Our equipment support came from CTT, which allowed us to work with the tools the project needed. We shot on an ARRI Alexa Mini LF with Canon FD (TLS) Imperia lenses, which gave us the warmth and character that the story required.

The film was shot in Mexico City in two main locations. Gustavo’s apartment was designed as a quiet, introspective space, while the office became a visual metaphor for the monotony and pressure of his routine. Working with this team was a gift. Everyone brought intention, artistry, and true commitment to a story that moves between the ordinary and the absurd.

How many days did you shoot for? Were you able to stay on schedule? Did you get everything you hoped to capture?

We shot for five days. It was scheduled during the rainy season, and somehow it did not rain once, which already felt like a small miracle. We had full days in each location, and despite the challenges of shooting in downtown Mexico City, everything flowed. The city and the everyday pedestrians became part of the film. It felt magical. We did have limits with daylight and the way the sun moved, and we had clouds that made filming harder and forced us to pause and wait for them to clear, but that was part of the challenge.

We had an amazing crew who worked exceptionally well to stay on schedule. Those days were intense, but they gave us exactly the material the story needed.

Were there any last-minute changes that happened during production? Any changes to the story resulting from practicalities or obstacles that came up during the shoot?

Yes. About seven days before shooting, we suddenly lost our office location. The building was foreclosed, and the space was no longer available. It was a big shock so close to production. The one piece of good news was that Peque, our Location Manager, was able to buy the cubicles and office furniture we needed, which were essential to the film’s visual language. The challenge then became finding a new space where we could rebuild the office from scratch.

Luckily, I learned that a longtime friend and collaborator, Arturo Fincowsky, had become a partner in one of the busiest multistage facilities in the city. These spaces are usually very expensive and rarely available. I reached out to him and asked for a huge favor, explaining the situation and the film. By pure luck, the stage I wanted the most was not in use during our shoot dates, and he generously let us use it.

In the end, the new location was even better than the original one. We were able to install our furniture, control the environment, and create an office that fully supported the tone and visual world of the film. What started as a major obstacle ended up becoming one of the strongest elements of the production.

Where are you in post-production? What are your next steps?

We are currently deep in post-production. I am working closely with the material, going scene by scene, refining rhythm, tone, and performance to make sure the film fully lands its emotional and comedic beats. At this stage, I am focused on shaping the cut and making strong creative decisions before moving into the final post phase.

Our next steps include locking picture, moving into sound design, music, color correction, and finishing visual effects. The goal is to deliver a polished final cut that honors the absurd tone of the story while staying grounded and precise. From there, we will begin preparing the film for festival submissions.

What are your aspirations for the short once it’s completed?

Once the film is completed, my hope is for it to have a strong life on the festival circuit and to connect with audiences who recognize themselves in Gustavo’s quiet frustration. I want the film to travel, to be seen, and to spark conversations about routine, control, and the absurdity of everyday life.

On a personal level, I see this short as an important step in my path as a director. It represents the kind of stories I want to keep telling, and I hope it opens the door to future projects that continue to explore uncomfortable spaces with humor and honesty.