You will be redirected back to your article in seconds

Director Aaron Schock Delves Deep Into the Heart of Mexico in “Circo”

Director Aaron Schock Delves Deep Into the Heart of Mexico in "Circo"

This interview with “Circo” director Aaron Schock was originally published during indieWIRE’s coverage of the 2010 Los Angeles Film Festival. “Circo” hits select cinemas this Friday, April 1.

Gorgeously filmed along the back roads of rural Mexico, “Circo” follows the Ponce family’s hardscrabble circus as it struggles to stay together despite mounting debt, dwindling audiences, and a simmering family conflict. Tino, the ringmaster, is driven by his dream to lead his parents’ circus to success and corrals the energy of his whole family, including his four young children, towards this singular goal. But his wife Ivonne is determined to make a change. Feeling exploited by her in-laws, she longs to return to her kids a childhood lost to laboring in the circus. Through this intricately woven story of a marriage in trouble and of a century-old family tradition that hangs in the balance, “Circo” opens the viewer to the luminous world of a traveling circus while examining the universal themes of family bonds, filial responsibility, and the weight of cultural inheritance. [Synopsis courtesy of First Run Features]

Directed By: Aaron Schock
Executive Producer: Sally Jo Fifer
Producers: Aaron Schock, Jannat Gargi
Writers: Aaron Schock, Mark Becker
Cinematographer: Aaron Schock
Editor: Mark Becker
Music: Calexico

Responses courtesy of “Circo” director Aaron Schock.

Examining rural Mexico…

I make films to satisfy my curiosity about the world, and the inspiration to make “Circo” was to examine rural Mexico. Once I found the subject of the traveling circus, questions emerged that I just had to answer. How could this way of life continue for over a century, given the hardships involved? The circus is unlike almost anything else in that it is totally consuming, that there is no separation between your art, work and life (with the one big exception being documentary filmmaking, of course). I was interested in why people continued despite the sacrifices, and how individuals negotiate their individual relationship to this all consuming enterprise.

The inspiration to make “Cico” was a desire to reverse the direction of the documentary lens that has typically looked at Mexico only from the border up and singularly through the subject of immigration. Instead, I wanted to go deep into the Mexican countryside and find a story that could communicate both the richness and the complexities of a vast culture and social order unfamiliar to most Americans. My original plan was to make a film about corn farmers. But one night while I was in a small village doing field research, a traveling circus came to town. That night I went to the circus, the plan changed.

Over the next several days, I got to know the family that had brought this little bit of magic and diversion to this poor farming town. The Ponces had been living and performing on the road continuously since the late 19th Century, but what I discovered was so far removed from the stereo-type of “circus types.” Instead, I encountered a family working extremely hard to run a small business and to maintain some control over their destiny with the cultural resources passed down to them through the generations. In other words, I found the story that I had been looking for, but just not the one I had expected.

The heart of the conflict…

It often happens in documentary that you discover your story sometime after you have chosen your subject. When I began filming, I didn’t know I was about to enter a simmering family dispute between a husband and wife over whether they should pass their century-old circus tradition on to their children. The heart of the conflict was an archly conflicting view of filial responsibility: Should parents serve children, or should children serve parents? What I felt I was witnessing was really a process of value change in rural Mexico, and the stains that that change caused in this particular tradition and in this particular marriage. Overtime, it was clear that I would interweave the story of the fading of the circus tradition and the dissolution of this marriage.


Probably my biggest challenge was also one of my greatest assets. During production I worked completely alone. There are some very obvious cost savings, but that isn’t the reason I work this way. I do so because I feel that being alone really enables me to achieve the intimacy that I want with my subjects, and it allows me to use all my energies to focus on my relationship with the subjects and not to the crew. Moreover, I come to film from a photography background so for me directing and being behind the camera are really one and the same thing, and can’t imagine relinquishing that role. I am not saying this is the best way to work, but it is the only way I know how. In the whole process of filmmaking, it’s what I love most.

Director Aaron Schock. Image courtesy of LAFF.

But this approach does not come without certain difficulties and liabilities. When you are lost in not knowing what you should film next, or when you need someone to be looking over your shoulder, or just need some reassurance you are doing something of value, it can be a challenge when in the field.

The big hope…

My hope is that “Circo” tells both a universal story while allowing the audience to enter into and learn about a specific family, tradition, and country. The Ponce families story is really a universal one about family bonds, filial responsibility, and having to decide what right for your children and family. And it is about a beautiful traveling circus, beautiful, and a hell of a lot of fun.

My goal is to create a compelling cinematic experience that emotionally and forcefully conveys the world inhabited by my subjects. I feel most inspired by this visually immersive approach to documentary, films like “Iraq in Fragments” and “To Be And To Have” and just about anything by Joris Ivens. That’s what’s going on in one half of my mind while I work, the part connected to the eye. At the same time, I am always looking for the larger meanings and metaphors, to the small stories speak to more universal themes. This side of my brain has the Maysles brothers and so many other great documentarians of that generation.

What’s next…

Bring your checkbook and I’ll tell you. More seriously, this is my freshman effort and I still have my final exams before me – bringing “Circo” out into the world. I’ll be ready to jump into a new project after that.

This Article is related to: Features and tagged ,



Just had the opportunity to watch this doc and loved it. Bravo to Schock for work well done. Re: Sarah, participants in docs are generally not compensated for their appearance.

sarah h.

Circo was a beautifully shot film with a clear and moving story. The intimacy between the subjects and filmmaker felt authentic, for the most part, and added to the richness of the viewing experience. However, I was left with a few really burning moral questions. How were these people, who are immensely struggling, compensated for providing the filmmaker with their images and stories? Did they participate under the guise of thinking that the final product would bring them financial assistance, fame, or wider acclaim? It is clear that the filmmaker gained these things in large part through the generosity, vulnerability, and trusting nature of his subjects. What did they gain by offering themselves up to such a process?

Your email address will not be published. Required fields are marked *