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Trisha Ziff's LA MIRADA DE FRIDA at the 24th FICM

Katia Barragán

The documentary La mirada de Frida (2025), directed by Trisha Ziff and co-written with screenwriter Marina Stavenhagen, was screened as part of the 24th Morelia International Film Festival (FICM).

The film explores Frida Kahlo’s transformation from artist to icon, as well as her influence on contemporary society. The various ways in which the painter has been represented—extending well beyond a single, fixed image—have been embraced by diverse groups, ranging from Chicano and Mexican communities to collectives focused on disability and queer representation.

These are just a few of the spheres in which Frida Kahlo has become an essential point of reference and an unavoidable symbol. Her persona represents an extraordinary and unique phenomenon, one that blends the iconic and the mythical with an inexhaustible consumer culture.

Ziff, accompanied by fellow filmmaker Viviana García-Besné, thanked FICM for inviting her for the sixth time and expressed her pride in presenting her documentary. He also expressed his respect to programmer Chloë Roddick for always including his films in the festival's program.

She also acknowledged her co-producer Juan Carlos Valdez Dragonné, who was present in the room, as well as copyright lawyer Adrián Ojeda, who helped her navigate the complex legal landscape surrounding the figure of Frida Kahlo.

Following the screening, a Q&A session took place, during which one of the most discussed topics was the audio accompanying the film’s credits: a recording from the famous auction of Frida Kahlo’s work The Dream (The Bed), which sold for a record-breaking $54.66 million.

The discussion also touched upon the challenges involved in making the documentary, specifically due to legal issues surrounding the brand and the Frida Kahlo Corporation (FKC)—the company that holds the global commercial rights to the Mexican painter’s name and image. In this regard, attorney Ojeda pointed out that none of the corporation’s owners or shareholders is Mexican.

Finally, Trisha Ziff expressed her hope that the documentary will secure distribution and be made available on digital platforms, or return to movie theaters next year.