Beyond the Silence: Nava Mau Unpacks the Unspoken Truths of Love and Breaking the Cycle of Violence
Do we truly heal from love and toxic relationships? Nava Mau‘s life and new short film, “All The Words But The One“, grapples with this profound question, offering a roadmap through the complexities of love, trauma, and ultimately, self-discovery. From her binational upbringing to her experiences as an advocate for queer and trans survivors, Nava’s journey has illuminated the power of vulnerability and the potential for growth. In this captivating Q&A, we explore Nava’s unique perspective on the transformative nature of love, the silences that speak volumes, and the courage it takes to rewrite our stories. Prepare to be inspired by Nava Mau’s profound insights on finding healing, connection, and self-love in a world that often prioritizes punishment over understanding.
FEATURE INTERVIEW:
Nava, your ability to convey love is remarkable. I want to delve into your perspective on love, starting with how it’s taught in childhood. How did growing up between Mexico City and San Antonio shape your storytelling, identity, and the worlds you create?
I grew up in a family whose first language was love. I’m bilingual, binational, and bicultural. Love was always the answer. It’s only in adulthood that I’ve understood how problematic and painful love can be.
Love transforms, often uncomfortably, but it’s necessary for growth. How has your experience deepened your perspective on love’s transformative power? Does love in its purest form require us to unlearn and reconstruct ourselves?
Love forces us to consider other people’s perspectives. We can’t be selfish or isolated in love. That’s scary for people because caring for and empathizing with someone forces you to take their needs into account. Transformation happens when you make choices while considering love. So many of the world’s and our individual problems could be solved with love.
Your short film explores a relationship haunted by unspoken truths. What drew you to tell this story of longing and reconciliation?
I wanted to consider the possibility that people who have hurt you can change. We live in societies steeped in punishment and isolation. What if we created space for conflict and recognized that healing requires us to pay attention to conflict rather than locking it away?
How has living through violence and working with survivors helped you find self-love and peace?
I wanted to explore what a character would look like that didn’t have the support and community that I’ve had in healing from violence and what it would look like for somebody who maybe was a lot more isolated and maybe, um, entered in a relationship way before she was ready and um uh and sort of just did not have the tools to contend with her trauma.
In the film, Maya and Santiago’s encounter is unexpected, and old feelings resurface. What are your thoughts on timing and love? Is it meant to be, or is timing a necessary part of how love unfolds?
If you believe in infinite universes, there’s a version where two people meet at any point in time. When we experience a connection that takes hold, it’s because of the timing, who those people were, and where they were on their journey. Sometimes the timing isn’t right, and that’s hard, but it’s a reality.
Silence is a powerful element in the film. How do silence and nonverbal communication reveal truths that words often hide?
What is unsaid can often speak louder than what we can put words to.
How does opening up to someone else, especially within the LGBTQ+ community, affect the healing process and build relationships?
By the end of the film, I think you know, we see them actually being able to connect and be honest and vulnerable.
What about the lemon?
You don’t get to control the healing process. You don’t get to decide when or how. Sometimes you have to just create the space for it, and it happens when it’s meant to.
What was the most difficult part of filming?
Oh, let me tell you about the audio! We had a huge problem with the audio recorded during production. Something went wrong with one of the settings by mistake during filming of the violence because there was screaming and movement, and so we had to adjust the settings, and then, um, the rest of filming basically, we had unusable audio, um, for like, most of the characters. Aisha’s audio, I think her mic was fine.
So, yeah, almost half the film ended up being re-recorded in post. I recorded at a studio in North Carolina, in my parents’ house in Texas! Dominic was in Paris, recording in his uncle’s apartment. Sean was in North Carolina. I’m pretty sure Dominic even recorded some lines on his phone at one point. It was a wild goose chase, trying to reconstruct all that dialogue. There was a moment where I thought we’d lost the film. My best friend suggested we just make it a silent film – experimental, you know? Thankfully, we pulled it off, massive thanks to the cast and all the studios for being willing to go through that again.
What’s the biggest challenge of being the writer, director, and main character in a film?
You don’t get to have that much fun. You don’t get any downtime because the downtime from acting is eaten up by directing. It requires a lot of focus and can be isolating.
What message would you give your past self going through hard moments?
If you reach out, someone will be there to hold your hand, but you have to be the first to reach out.
TEAM CREDITS:
Editor-in-Chief: Prince Chenoa
Feature Editor: Taylor Winter Wilson (@taylorwinter)
Writer: Frida Garcia D’Adda (@fridadda_)
Photographer: Pablo Costanzo (@pablocostanzo)
Wardrobe Stylist: Amanda Lim (@itsamandalim) , Luca Kingston (@lucakingston)
Hair Stylist: Rena Calhoun (@rena.calhoun)
Makeup Artist: Luigi Chamorro (@luigichamorro)
