The Directors: Carmen Rivoira
Carmen Rivoira is a dynamic director from Buenos Aires, Argentina. With a background in design and arts from top universities like UTDT, UBA, and UNTREF, Carmen has made her mark in the film industry, she is currently editing her last short film.
Her debut short film, “Mientras Las Olas” (Meanwhile the Waves) caught international attention, earning spots at prestigious festivals like Berlinale and the Mar del Plata International Film Festival, where it won the award for Best Argentine Short Film. Today, she balances her creative energy into directing captivating commercials, music videos and cinema.
Name: Carmen Rivoira
Location: Buenos Aires, Argentina
Represented by: Mama Hungara - Mexico, Argentina.
Awards: Mar del Plata International Film Festival (º33) / Best Short Film in the Argentine Competition and CineAr Award.
FICIC - Festival Internacional Cine Independiente de Cosquín (º9) / Best Short Film RAFMA Awards
FESTIFREAK: Festival Internacional de Cine Independiente de La Plata (º15) / Special Mention in Argentine Short Film Competition.
Clients: Prosegur, Molinos, BetWarrior, Bonafont, Personal, Just, Natalia Lafourcade & Conociendo Rusia, Julieta Venegas, Cazzu, Chita, etc.
LBB> Tell us about your latest fiction work?
Carmen> I’m into all sorts of films and love being part of different processes. Each film comes with its own unique creative and production journey, and I find that really fascinating. I don’t think there’s a “right” way to make a film; it all depends on the project and timing. Some films are shot with a simple camcorder and just one person, while others need carefully written scripts and big technical crews.
Right now, I’m juggling a few different film projects at the same time, and they’re all quite different, which I find really exciting. On one side, I’m co-writing a fiction series script with Valeria Bertuccelli, Mora Elizalde, Josefina Alen, and Maria Wolff. It’s my first time writing in a team, and I’m loving it.
On another front, since last year, I’ve been filming and editing a movie without a script, mixing fiction and documentary. It’s more experimental, something I’m filming solo, and I’m approaching it in a really personal and independent way. It’s a lot of work on my own, but it’s really satisfying too.
Lastly, I’m wrapping up the edit of 'El Parque' (The Park), a documentary short I co-directed with Abril Lucini and Delfina Gavalda. We directed it as a collective, which was such a rewarding experience. And being a short film, it gave me a bit of a breather from the longer, more time-consuming projects. There’s something really refreshing about seeing a project come to an end—it’s like a breath of fresh air.
[Her cinematographic style in the videoclip "Nena" by Isla de Caras, which captures a brief yet deeply personal family scene.]
LBB> What are your upcoming projects that excite you? Tell us a little about them.
Carmen> I'm currently immersed in an exciting campaign for BetWarrior. The creative minds at Di Paola have presented a fascinating challenge: crafting a split-screen narrative brimming with sports action and app usage. Our collaboration has been intense and rewarding, leading to a piece that manages to be both dynamic and elegant. I couldn't be more thrilled with the results we’re achieving.
Next on the horizon is a project in Mexico City, which is at an early stage. This campaign offers a unique blend of humour and sensitivity, it provides a wonderful opportunity to explore a naturalistic and cinematic aesthetic. I’m particularly excited about the chance to delve into more nuanced acting and to experiment with some creative camera work—both of which are elements that always ignite my passion for filmmaking.
[Carmen Rivoira in her last project for BetWarrior, Casino & Sports Campaign.]
LBB> What excites you most about the advertising industry right now as a director? Are there trends or changes that are opening up new opportunities?
Carmen> I believe the advertising industry is now at a point where it embraces and even incorporates highly cinematic approaches. I often draw on techniques from experimental cinema, music videos, and video art—spaces that have shaped my creative voice. It's incredibly gratifying to see these influences being welcomed in the industry.
Filming is my true passion, and advertising offers the perfect playground to experiment, explore diverse universes, and work with different tones and techniques within short time frames.
The demand for diverse voices and perspectives is also growing, which is especially exciting as it allows for more inclusive and culturally rich stories to be told on a global scale.
LBB> Which pieces of your work do you think best showcase what you do and why?
Carmen> I have several pieces on my reel that I hold close, each offering its own unique narrative and style. I’m grateful for the chance to explore different genres while ensuring my vision remains consistent across various contexts.
My work on 'Bonafont', for instance, allowed me to experiment with a close, sensory-driven approach, while the Prosegur project gave me the space to infuse everyday moments with a light-hearted tone. The music video I directed for Conociendo Rusia and Natalia Lafourcade was an exciting venture into innocent romanticism and tender fantasy—territory I was keen to explore.
On the other hand, "CTRL" by Maria Wolff allowed me to play with a more cynical humour and dynamic camera work, contrasting sharply with the intimate warmth and realism of "Nena" by Isla de Caras, which captures a brief yet deeply personal family scene. Each project stands on its own, but together they showcase my commitment to diverse and compelling storytelling.
[A shot from the impactful Hero Campaign for Prosegur.]
LBB> What kind of work are you most passionate about? Is there a particular genre, theme or style that appeals to you the most?
Carmen> I’m drawn to a wide range of genres and themes, and I couldn’t possibly choose just one—that’s part of what makes this work so beautiful.
I feel at home exploring a broad spectrum of tones, from deeply emotional and sensory-driven pieces to those that incorporate humour or touches of fantasy.
Each project brings its own universe and unique set of challenges. My focus is always on uncovering the most human element within a story and elevating it with the right cinematic tools, no matter the subject.
[The music video Carmen Rivoira directed for Conociendo Rusia and Natalia Lafourcade: “An exciting venture into innocent romanticism and tender fantasy.”]
LBB> In your opinion, what is the most important working relationship a director should have with another person when making an ad? Why?
Carmen> Every role on a film set is essential. A team functions like an intricate network, and the more harmonious that network is, the better the final product becomes.
I find immense joy in building bonds of camaraderie and collaboration, both with the technical crew and the creative team at the agency. These connections not only enhance the final outcome but also enrich the entire filmmaking experience, which I believe is crucial.
Filming is at the heart of our lives, and much like in any aspect of life, I believe we should strive to deliver our best work while also having fun and learning from each other.
This philosophy is precisely why I choose to work with Mama Hungara; we share these fundamental values. My previous experience with them as an art director was incredibly fulfilling, making it one of my favourite work environments where I felt both understood and comfortable. So, when the time came to decide which production company I wanted to represent me, the choice was unmistakably clear.
LBB> What is your relationship with new technologies and, if so, how do you incorporate future technology into your work (e.g. virtual production, interactive storytelling, artificial intelligence, etc. data-driven visuals, etc.)?
Carmen> I find new technologies fascinating because they are powerful tools, much like those that have come before them. The history of audiovisual media is rich with inventions, innovations, and formats that have continuously expanded our creative possibilities.
The choice of tool depends on the needs of the project.
I believe that having more options is advantageous as it broadens our creative scope. However, I’m not swayed by novelty alone; my focus is on how new technologies can genuinely enhance a project or contribute meaningfully to the story we’re telling.
I respect innovation but integrate it thoughtfully based on its relevance and value.
[This Campaign “Km Que Nos Mueven” for Bonafont allowed Carmen to experiment with a close, sensory-driven approach.]
LBB> What do you think will be the future of advertising in the next 10 years?
Carmen> I'm not entirely sure where the future of advertising is headed, but I do know one thing: like all forms of audiovisual media, it’s in a state of constant evolution.
Communication strategies, resources, and formats are always changing.
Audiences are evolving, and our work must evolve with them. What truly excites me about the advertising industry right now is the incredible fusion of storytelling and technology.
We’re witnessing brands becoming more daring, embracing innovative narratives, and utilising immersive tools like AR, VR, and AI to craft deeply engaging experiences.
This shift towards authentic, emotionally resonant content is opening up entirely new creative avenues for directors, making it an incredibly thrilling time to be a part of the industry.
LBB> Before finishing, what advice would you give to a director who is just starting out?
Carmen> If I were to give advice to a director just starting out, I’d say: be curious. Explore different themes and investigate various approaches to storytelling.
By stepping into different territories, you gradually discover your own style; it reveals itself in the process.
I’d also recommend connecting with other directors—be genuinely interested in their work, learn from each other, collaborate, and even co-direct. Co-directing is a beautiful way to learn from others, and it also helps you understand yourself better by contrast.
