Going beyond dirty towels and fully stocked mini bars, Lila Avilés’ The Chambermaid shines a white sheets bright light on an a workforce that are mostly invisible. Perhaps a grandchild to Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles, this debut film is a container piece — with an aestheticism and discourse that evokes a certain hamster wheel non-progression for more than just the film’s central character. Influenced by photographer Sophie Calle’s book Hotel, Avilés offers a pensive look at how it feels to be below the ground floor and going up or down. I had the chance to sit down with the filmmaker at the 2018 Marrakech Intl. Film Festival.