This savage satire written, directed and produced by Omar Rodriguez Lopez topped my list of most excellent American Latino films that popped up in 2012. Los Chidos cracked people’s faces when it premiered in competition at SXSW last year, as you can tell by the savvy mainstream and hard core cult film critic quotes in the trailer. Having seen the film thrice, I can appreciate this sneaky and clever approach in contextualizing the film’s mad provocation. Thanks to Adam Thomson (editor/producer) for giving me a first look. Enjoy. More screening play dates to be announced soon and a unique distro plan is likely. Follow @ORLProductions if you are not already trying to keep up with Omar’s progressive and nonstop music and film creating endeavors.
Coming Soon
Help tell this SF Mission Noir story, THE OTHER BARRIO
The Other Barrio is an upcoming film based on a short story by Alejandro Murguía, a poet, novelist, professor and founder of San Francisco’s Mission Cultural Center. Shot on location in the Mission District last year, the project has only six more days to go on the crowd-funding site, Indiegogo to scrounge up much needed post production funds. After learning a bit about the 62 year old Murguía and reading a few of his poems, I am an eager new admirer and will be seeking out his books immediately – like this one in particular, This War Called Love. Born in Cali, raised in Mexico, he’s been in San Francisco since the 70s where his persona and dedication to his Raza has made him into a sort of old school keeper and guardian of the Chicano Arts and History community up in the bay. Indeed Mayor Ed Lee honored Murguía by naming him Poet Laureate of San Francisco, a two year term. Read more about him on this SF Gate article and read a few of his poems online here.
In the film, Richard J. Montoya stars as Roberto Morales, a building inspector who investigates a suspicious arson on 16th & Valencia (this really happened btw) which leaves 7 innocent dead. Realizing he’s perfectly set up as the fall guy, he solo treads the ice with a local big business (nee crime) boss, a matron real estate tycoon and naturally crosses paths with a beautiful lady and unrequited love from his past, as darker and bigger picture begins to emerge – one in which only a few feast off the sad and vexing neighborhood destruction and displacement for new rapacious hip SF business, all at the cost of its vibrant and humble people who have given their richness to the city.
A veiled look at the gentrification, under the table modern and accepted corruption and most of all the demolishing and stripping of the city’s diverse cultural history, this noir screen adaptation has much more cultural weight and power than most noir films. The film is directed and produced by Dante Betteo a Chilean born San Francisco bay area filmmaker and Louis F. Dematteis, also a SF native filmmaker.
With less than a week to go, the film has only managed to raise two thousand dollars of its 60,000 goal. Unlike Kickstarter, on Indieagogo the filmmakers are able to keep whatever amount they can raise so anything you can chip in would greatly help. This is a story really worth telling. Consider giving a few bucks to Indieagogo, or sharing the link on your Facebook, liking the film’s Facebook page and check out the website
Film contact <theotherbarrio@gmail.com>
Docs due to break through: Top 5 American Latino Docs to watch out for in 2013
Last week I offered up my top 5 fiction films to look out for in 2013, and as promised, here is my non-fiction list of films coming down the pipeline, bound to make an impression and impact this year. Two are profiles of influential iconic American activists whose work and spirit have left indelible marks on their generation. Hopefully their reintroduction through the docs will serve to celebrate and carry on their positive influence as Latinos for many next generations. The other films deal with redefining our perception of American identity, gender and human rights while wielding cinematic ingenuity and power. As these films prove, docs can be just as striking in their characterization and cinematic form as their fiction counterparts, in addition to their intrinsic educational value. Take note, all of these are seeking opportunities to engage with their audiences so again click on the links to follow and show your interest in their work so we can bring awareness and demand their exhibition.
1.LAS MARTHAS by Cristina Ibarra, produced by Erin Ploss-Campoamor
In Laredo Texas, there exists a debutante ball held by the exclusive Society of Martha Washington that takes place every year celebrating George Washington’s birthday. A 114 year-old tradition, the lavish affair presents members’ daughters- all of aristocratic pedigree and lineage dating back to the foundation of Texas, who dress up in grand, colonial gowns representing characters from the American Revolution. Las Marthas follows a couple of high achieving, bi-literate and conscious young Mexican Americans going through the lengthy preparations as they enter this rite of passage that ends with a parade that draws huge crowds. What’s especially remarkable about the whole patriotic event is that we are talking about a city that is 94% Latino. Laredo became part of Texas in 1848, when everything north of the Rio Grande became the United States. Many families who stayed, benefited off the oil boom and settled into an upper class aristocracy. Many generations later these are still the most prominent Laredo citizens and proud bearers of this historic tradition.
I’m so proud of this Chicana sister for revealing this world. She has intuitively seized on and explored this unique legacy, which clearly demonstrates the vibrant bi-culture of Texas and shows how aptly the founding father narrative belongs to Mexican Americans. She is also working on a fiction feature titled Love and Monster Trucks about an 18-year-old Chicana artist named Impala Mata who can’t wait to escape her 4×4 truck-obsessed, Texas bordertown family. Sounds so cool. Need to track that one too.
Filmmakers website here
2. CESAR’S LAST FAST by Richard Ray Perez, produced by Molly O’Brien
Back in the Spring on Chavez’s anniversary I wrote about this documentary in progress here on the site. Cut to today and I’m happy to share it is just about ripe and ready for its premiere. Wisely and effectively entering the vast legacy by angling on Chavez’s 1988 Fast for Life, the film focuses on conveying the private sacrifice and spiritual conviction behind Chavez’s struggle for the humane treatment of American farm workers. With each and every day adding up that he refused to eat in protest of the rampant use and ill effects of growers spraying pesticides on farm workers, Chavez seriously risked his health and life and in turn inspired a nation. It boasts never-before-seen footage in which artists and activists came to see him, endeared in solidarity by his fortitude, including the likes of Rev. Jesse Jackson, the Kennedy family, interviews with his son Paul Chavez, Chicano filmmaker Luis Valdez, activist veteran, Dolores Huerta and Martin Sheen, along with showing the press hoopla this man was able to attract back then. It’s taken years for the family to trust someone with his story so it’s telling that Rick has managed to gain their support.
Film contact <CesarsLastFast@earthlink.net>
3. RUBEN SALAZAR: MAN IN THE MIDDLE by Phillip Rodriguez, produced by City Projects
On August 29 1970, just as the Chicano Moratorium March, a protest denouncing the extremely high number of Chicano soldier casualties in Vietnam (front of the line browns), was winding down, a tear gas canister was suddenly thrown by LA County police into the old Silver Platter Cafe on Whittier Blvd, killing the pioneering civil rights journalist Ruben Salazar. Set to broadcast on PBS in the Fall, this documentary is the first thorough investigation into the life and mysterious death of Salazar who was raised in El Paso and went on to become a brilliant reporter covering Vietnam, the Olympics and the Chicano movement for the LA Times and KMEX TV 34 television, making him the first Mexican American to cover news for mainstream outlets. In that critical and turbulent moment in the Chicano rights movement, Salazar gave voice, rationale and dignity to Chicanos’ fight to demand equality. An inquest was later regarding his untimely death made but murder charges were never brought. Instead Los Angeles County paid $700,000 to the Salazar family to settle a wrongful-death lawsuit.
Just last month, after two years of requests, Philip Rodriguez finally won the battle to uncover case details when MALDEF sued Sheriff Lee Baca for withholding unredacted records regarding the 42 year old case. This new unearthed footage, photos and documents will appear in the film along with interviews with Salazar’s family, friends, colleagues as well as the deputy who threw the fatal tear gas missile, Tom Wilson. So the story goes, there had been allegedly a tip that an armed man entered the bar (hence blindly throwing tear gas while folks were in there?). For the first time we might get answers and insight surrounding the mysterious and suspicious circumstances of this leading Latino voice. As quoted on KPCC, Phillip Rodriguez says, “I think this is one of the most important stories that has remained on the margins and that has been characterized as a regional or an ethnic story and it’s a fantastic American story”.
4. THE WILDNESS by Wu Tsang produced by Kathy Rivkin
Although this premiered at a few noteworthy film festivals in 2012, including Austin’s SXSW, Outfest in Los Angeles and MOMA in NYC last December, I’m thrilled to know there is still a long life ahead towards sharing this beautiful experience with the public so it definitely deserves to be on the Watch Out For list. A dazzling requiem to the 7th & Alvarado corner bar joint, Silver Platter, specifically the transformation and haven as a Latin/LGBT/immigrant community spurred on by the introduction of performance parties known as Wildness, produced by a fiercely talented collective including Wu Tsang, the director of the film. The intersection of stories and people borne out of that multi cultural, trans and cross-generational magic potion is fascinating and poignant to behold in this cinematic and audiovisual piece. The cinematography captures the wonderful and tragic beauty, and by personifying the bar as a majestic hostess welcoming all wayward transients, the film pulses with heart. Currently looking for distribution opportunities (repped by Cinetic). Check out the trailer below and go to the Facebook for more info.
5. WHO IS DAYANI CRYSTAL? by Marc Silver, produced by Canana and Pulse
I previously highlighted this unique docu-drama about the discovery of a migrant found dead in the border desert and the unfolding mystery of his identity with the parallel of a retracing of his journey, as part of my WTF is Latino at Sundance post. The film will open the World Cinema Documentary Competition at the 2013 Sundance Film Festival this Thursday and I will be onsite to cover the audience’s reaction (Don’t forget to follow me on twitter for my sporadic SFF coverage). Not only is it a feat of ingenuity in the way the narrative is structured, it’s an extremely urgent topic deserving a larger audience to provoke more humanity and thought into the pressing immigration reform debate. I guarantee this one will travel to many festivals in 2012 and get theatrical distribution, aided in no small part by its compassionate and driven producer and narrator, Gael Garcia Bernal. Last year, Searching for Sugarman screened in the same Day One screening slot, was subsequently snapped up by Sony Pictures and as of last week officially nominated for an Academy Award. Hmmmm. Get updates by following their twitter @DayaniCristal
Film Contact: < lucas@pulsefilms.co.uk>
Ojos! 5 Hot American Latino films to discover in 2013
Peep this and pay mind folks, especially Festival Programmers and Distributors. Here’s my list of the most exciting American Latino independent fiction films coming through the pipeline ready to break out and make noise in 2013.
All are first features by wildly original voices who are remixing potent multi-cultural heritage and inventing their own unique brand of genre. So much talent! Makes this Chicanita proud.
Let’s start with numero uno:
1. WATER & POWER – from Chicano wordsmith warrior and Culture Clash iconoclast, Richard J. Montoya, produced by Mark Roberts. This is the screen adaptation of Montoya’s 2006 play originally performed at the Mark Taper Forum. Rife with the City of Angels’ legends, haunts and lore, the Chicano noir tale (how cool is that?) takes place over the course of one fateful night. An intense story unravels centered on twin brothers nicknamed “Water” played by Enrique Murciano and “Power” played by Nicolas Gonzalez who were born and raised on the East Side streets playground – one grows up to be a senator and the other a high ranking cop. The amazingly gifted musical artist and composer Gingger Shankar (Circumstance, Charlie Wilson’s War) has contributed music to the film. The project participated in the 2007 Sundance Institute screenwriters & directors lab. A madly prolific playwright (a regular Berkeley and Yale Repertory Theatre collaborator), I got a chance to see Montoya’s uproarious and thought provoking American history redux play, American Night: The Ballad of Juan Jose last fall (read the LA Weekly feature review here). An uncompromising artist with a thundering voice all over the pop culture pulse and map, Montoya’s first feature film tops my list of films to watch out for in 2013. Can. Not. Wait.
Like the Facebook page to stay on top of future premiere announcements and here’s a pic on Mark Roberts website
Film contact: <mark@robertsdavid.com>
2. PARDON – written and directed by R.F. Rodriguez and produced by his production company BadMansSon. A story that deals with a cholo ex-con who returns to his barrio ready to go on the straight and narrow but soon finds himself pulled by his old gang familia may sound familiar, but never has it been as emotionally excavated and depicted with such sensitivity and complexity. Hector Atreyu Ruiz is Saul Sanchez whose driving motivation is the chance to reunite with his estranged daughter. Guided by a sympathetic parole officer, played by Tracey Heggins (from the 2008 indie African-American gem Medicine for Melancholy), Saul tackles catch-22 circumstances towards his mission and confronts a growing uneasiness and threat from his vatos who continue to test if he’s still down. At its core the film is an exploration about fatherhood and coming home, and speaks to the social phenomenon of absentee fathers as the result of incarceration, an issue predominantly afflicting Latino families and communities.
Set in Highland Park, Rodriguez, a USC film school grad, shot the feature before graduating, having fleshed the story further out of the short film he made of the same name. His project mentor, Patricia Cardoso (Real Women Have Curves) encouraged him to do more with it and this is the amazing result. With earnest and raw performances, the moving and powerfully directed film marks this a sign of a true filmmaker talent discovery.
Film contact <contact@badmansson.com>
3. RECOMMENDED BY ENRIQUE written and directed by Daniel Garcia and Rania Attieh and produced by their NY based company En Passant Films. Shot in border town Del Rio, Texas (the U.S. side of the Rio Grande) with an offbeat hipster cast of young non-professionals plucked locally, the quirky, mystical tale is about an aspiring actress and an old cowboy who each arrive into town with respective plans and expectations, only to end up waiting for something to happen. Forced to wait out their time, they’ve nothing to do but explore the bewitching town and its people. Lino Varela plays the Cowboy and Sarah Swinwood, a Canadian newcomer actress nails the airhead wannabe star.
This is the second feature film from Texas native Daniel Garcia and Lebanese born Rania. Their first film, OK, ENOUGH, GOODBYE screened at San Francisco International Film Festival among other world wide festivals, and the duo were included in 2011’s Filmmaker Magazine’s 25 New Faces of Independent Film. Undertones of a Twilight Zone type of dimension and the spellbinding pull of the dusty town are perfectly captured – as anyone who’s been in these strange little Texas towns can attest. Unexpected and unpredictable, this definitely gets my recommendation.
Film contact < info@recommendedbyenrique.com>
4. VINCENT & LUZY (FKA On the Run) written and directed by Alberto Barboza and produced by Cinético Productions. A charming, hip and modern fairy tale love story between a soulful graffiti artist,Vincent, played by Miguel Angel Caballero, and sexy tattoo artist, Luzy played by Iliana Carter Ramirez. The film captures and romanticizes the happening, multi-culti rockabilly/emo scene and counter culture of Boyle Heights and features lots of home grown talent and spots like Self Help Graphics, the community visual arts mission center. The posters created by Vincent in the film are designed by rising street artist, El Mac (Miles MacGregor). You’ll recognize some of his murals around LA like this one on Hollywood and Wilton, one of my favorites. He just did the album cover for No Doubt.
An eclectic soundtrack featuring local Vallenato band, Very Be Careful, Hermanos Herrera, Irene Diaz, Doghouse Lords and more. The cast also includes ol’ G’, Sal Lopez (American Me) and Lupe Ontiveros in what may be her last film role before she passed away last year (she also has a small role in Water & Power).
Fresh, exuberant and inhabiting a distinct, heightened magical street reality, Vincent & Luzy might be the first film to truly reflect this young, vibrant artist subculture, making this one a hot flick to track.
Film contact: info@CineticoProductions.com
5. BLAZE YOU OUT – written and directed by Mateo Frazier and Diego Joaquin Lopez and produced by Alicia J. Keyes. Set in the rarely seen mystic world of New Mexico, this young female driven thriller is uniquely atmospheric. Starring the rising young talent, Veronica Diaz Carranza (Mamitas) along with a terrific cast including Elizabeth Peña, Q’orianka Kilcher, Raoul Trujillo and Mark Adair Rios, all who ignite the screen. Diaz stars as Lupe, a DJ who is forced to venture into her town’s heroin trade underworld in order to save her younger sister Alicia’s life. To do so she must confront mysterious occult figures and harness the power within her to connect with the divine that surrounds her.
I was thrilled to hear that Lionsgate picked up the film at AFM a couple months ago. Lionsgate/Grindstone will release the film July 2013. 6 Sales is handling rights to rest of world. Intense and wicked and unlike anything else this is a sizzling genre film to look forward to. In the meantime, check out the press kit, pics and more on their site.
MUST MENTION
CHAVEZ – written and directed by Diego Luna and produced by Canana Films, Mr. Mudd and backed by Participant Media. Given it’s a biography of an iconic Chicano figure, labor rights activist Cesar Chavez, and Luna is an international name talent, this project has already attracted major press coverage ever since it was first announced so it doesn’t really fit my ‘Discovery’ profile. That said, it is a highly anticipated and important film. I really hope the film opens wide and mainstream – although Participant will likely need a partner to make this happen in the U.S. Michael Peña, the Puerto Rican actor catapulting towards leading man roles and already a regular in big Hollywood films (he’s in Gangster Squad opening this weekend), embodies a young Chavez. It wasn’t quite ready for Sundance so it’s possible the film will bow at a high profile festival like Cannes or Toronto. Although I’m hoping Stephanie Allain, director of Film Independent’s LA Film Festival will go hard after the film to wrangle what would be a fitting LA gala premiere. Diego Luna proved his salt as the filmmaker of Abel, an eloquent and heart-stirring portrait of a little delusional boy who pretends to be the man of the house since his father left. Peña recently shared his approach was to be truthful to Cesar the MAN not necessarily the legend or myth generated by his colossal perseverance and labor rights feats. All eyes will be on the representation of such a querido and influential figure. My bet? All in. I trust the filmmakers and cast will deliver a resonant and accomplished cinematic film worthy of the inspiring civil rights story, and more importantly re-introduce Chavez to mobilize our millennial generation.
Do you have a hot independent American Latino film recommendation I should track? Holler at your girl. Email me at <chicanafromchicago@gmail.com>
Next up, Non-Fiction American Latino films to track in 2013
Coño! These locos are wildly ingenious and talented artists
So these are the wild cats from Miami, Jillian Mayer and Lucas Leyva, representing at the 2013 Sundance Film Festival with their latest short #PostModem. I’ll be sure to track them down in Park City for an interview. These guys are insanely and outrageously creative and young audiovisual artists. They form part of a radical collective called Borsht Corp which just put on a killer festival happening last month. Read all about it here and check out this Mark Bell’s immersive festival account on Film Threat. Keep up with this crew on their FB page. Here’s a teaser of #Postmodem followed by three clips of their previous shorts.
NSFW
From creature feature master, 3 Amigo member, Guillermo del Toro
OYE! FIRST PEEP AT NEW FILM, “LOVE, CONCORD”
There is no shortage of US Latino stories and filmmaker talent. Trust. I screen a high volume of films throughout the year specializing in submissions that are Hispanic/US Latino. True, not enough of them are technically slick, but there are some out there, and more often than not, they have specific US Latino points of views and permutations, and offer chronicles of unheard of, or unique Caminos de la Vida (walks of life). All of which I find is in direct correlation to their distinct American mestizo identity. Sadly there are not enough slots at film festivals, and there is not a savvy marketplace interested in embracing the fragmented and under-served US Latino community until they figure out how to monetize it. Rather than dwell on this distribution dearth, however, I’d like to take a counter- positive approach by celebrating and getting the word out on US Latino films ready to give birth and ignite with audiences. Oye means listen up! I’ll be profiling brand spanking new US Latino films, in various stages and different genres so our community can promote their trajectory online and by word of mouth, and yes hopefully so distribution outfits and festivals take note! Case in point this week: Love Concord:
Love, Concord is a buoyant high school comedy about Gerry (Jorge Diaz), a fun loving popular goofball who is all about basketball and has a penchant for 8 bit videogames. One day he notices cute bookworm Melinda (introducing Angelina Leon), a smart, sassy not-girly girl who eventually becomes his first ever girlfriend. As they enter their Senior year, they must sweat the stress of facing where they are going to college and what that means for their relationship. He is not your stereotypical jock nor is she your stereotypical nerd. Did I mention they are Latinos? That’s what’s so refreshing about Love, Concord, the bubbly and earnest feature debut by Gustavo Guardado, Jr., who received his Masters in Film Production at the prevalent Loyola Marymount University; his charming, semi-autobiographical story set in the suburban Bay area of Concord where he grew up avoids stereotypes and doesn’t perpetuate Latinos as they are most commonly represented. It’s likely due that its based on his experience growing up in Concord where he says that race just never felt like an issue. It’s this personal perspective that gives the film an organic sense in how it portrays its US Latino characters.
With a comic and endearing combination of quintessential John Hughes and a YA sensibility, the film eschews any condescension and pretension in the characterization of teens and it feels pretty right on. Guardado knows that teens just seem to get it these days. They have a better sense of what lies ahead of them. They ARE smart, grounded and realistic. Their expectations are more driven by their sense of self than parents and peers. More important than ever in the rite of passage into a conscious and responsible individual is the mantra ‘Don’t Sell Out”. The notion is becoming redefined to a millenial (or ME) generation to signify that one must not sell out who you really are inside, something that Melinda reminds Gerry when he gives into his popular role as class clown at his own expense and deprecation.
What makes this universal story, Latino? Its conveyed in subtle yet inherent ways. Melinda’s half Mexican and Gerry’s Salvadoran ethnicity is demonstrated intrinsically rather than it being imposed. Again, that’s the beauty of the film. Take for instance the mother and son dynamic that displays the latino male relationship with his ‘jefa’. Gerry’s mother isn’t seen throughout most of the movie save for the notes on the fridge they exchange yet she’s always there. When she does appear, she sits “Gerardo” down and they have a real catch up moment that illustrates the strong relationship between a single, hard working mother and her maturing son.
Like the 8 bit animated story chapters, this coming of age tale has a nostalgia for one’s high school dog days. It also has a very fresh sense of modernity with its portrayal of teens and in particular its portrayal of US Latino teens. It’s a sweet, funny and a refreshingly authentic US Latino coming of ager bound to touch audiences.
Love, Concord is currently being submitted to festivals. Watch trailer here
Like it on Facebook here
Follow it on twitter here
Cesar Chavez – Todavia Se Puede!
In honor of the social rights activist who would have been 85 today let’s take a look at not just one but both of the feature films about his life’s work in the pipeline.
One is a narrative being directed by Diego Luna and written by Keir Pearson (Hotel Rwanda), the other, a documentary by Richard Ray Perez, an established film and video documentarian which has been supported by Sundance Institute. Both stand to give honor to the dogged labor rights organizer and activist in two distinct cinematic approaches. The documentary which is called Cesar’s Last Fast is entering the last stages of editing and a rough cut is expected by mid-summer. While the narrative, only referred to as Chavez for now, has just begun shooting.
THE REAL (FOOTAGE) CESAR
Most doc critics and enthusiasts would agree that a question worth asking when considering documentary cinema, is finding out the filmmaker’s connection to the subject/story. That is, why is THIS given filmmaker the best person to tell THIS story. In Cesar’s Last Fast, its fascinating to hear. Apparently it’s by inheritance that brought Rick Perez to the project. A woman very close to Chavez collected years and years of documentation and upon her death willed that only one person could take on and carry the project to fruition and that was Rick Perez. His venerable team includes Molly O’Brien, emmy award winning producer. What’s the focus of the documentary? As evident by the title, Cesar’s Last Fast, the documentary looks and is anchored by the specific 1988 act, the grueling 36 day fast Chavez undertook to protest pesticides, which exemplifies the man’s sheer strength and will. The documentary looks to have a very spiritual and humanizing bent. It includes very intimate, never before seen material from the family’s personal archive. More importantly it ties a lot of the history of Union Farm Workers Union he founded in 1962, with what is going on today; asking what is the face of organizing today – critically placing a contemporary context to it. No doubt the combination of these elements is what made this specific portrayal of Cesar Chavez so appealing to the Sundance Documentary Film Program which got involved early on with funding support. Sundance typically supports contemporary social issues but perhaps recognizing the same issues loom just as pressing today, were drawn in by the relevance Rick Perez posits. In addition to the money support, Sundance invited Rick to participate in the Sundance Producer’s Summit and a Works in Progress screening at the Hammer last year , a popular and overcrowded event which was accompanied by a panel with Edward James Olmos, Paul Chavez, Cesar’s son, along with current heads of the union. And recently, the DFP had a lab down in Imperial Valley free to all, where they had another work in progress screening of Cesar’s Last Fast followed by a master class given by Rick about story structure.
CHAVEZ – BASED ON A TRUE STORY
Back in 2010, screenwriter Keir Pearson and producer Larry Meli optioned life rights to a Chavez biopic after working with the family for over a two year period in which they visited them, including Paul Chavez, and gained their trust. Canana got involved by way of attaching Diego Luna to direct and adding Gael Garcia Bernal and Pablo Cruz as producing partners along with Larry Meli. Also attached as producer is John Malkovich’s Mr. Mudd, and additional cast include popular Culture Clash founder, Richard Montoya. Diego Luna previously showed off his directing skills in Abel which premiered at Sundance 2010, a psychologically harrowing story about a kid who takes on the role of man in the house when his father isn’t around. His traveling documentary festival, Ambulante was recently awarded with WOLA’s Human Rights Award back in November. Speaking for the Chavez film, over email Larry Meli was kind enough to email me back saying, “This is a terribly important story for all time and particularly in this moment in our history more so as we see manual workers being squeezed along with an entire middle class. There were some successes and some failures but most important it shows that one person CAN make a difference. For Mexican-American’s, it will be a great source of pride as Cesar stood up for the rights of others against the corporations and the system and won!!!”
I wasn’t able to find out what the screenplay’s take and focus is, whether it will be an epic period set retelling of Chavez’s personal lifestory, or if it will have a specific focus like the documentary, portraying his deeply personal struggles, and or pivotal marches and strikes as it relates to today. Considering Michael Peña has been cast as Chavez, and Rosario Dawson as his co-organizer, Dolores Huerta, I hope it means a considerable chunk will be about the early days, the beginning stages and HOW the literal first ever grassroots mobilization was accomplished, what later would go on to become the United Farm Worker’s Union.
SI SE PUDO?
Of the four library books I checked out on Chavez this week, Conquering Goliath by Fred Ross, which is all in Chavez’s words where he catches up with his buddy and mentor Fred Ross about the 6 year span in which he organized the Oxnard Community Service Organization, right before he moved to East LA to start the national movement, was the most fascinating. For one, the reader hears his inner doubts and insecurities (making him human and not on held up on a pedestal) and second how he learned to play ball with the growers, state and federal outfits, and interestingly how much it cost him to gain the trust of the workers. All the strategizing he learned in these early days sets the stage for when he took on the bigger challenge of mobilizing a national union. One is tempted to say, “The Rest is History”, but in this case, that history deserves to be analyzed and told and retold.
I’m personally thrilled that we have two films in two totally different genres that will embody deal the life history of Chavez and his efforts to make Labor Law change. In addition to reflecting on the impact he has today, I hope clear historic nuts and bolts will be told that which we could refer to in order to comprehend government policies that stand in the way of tackling the issues Chavez took on including the dangers of exposing workers to pesticides, and crucially, immigration rights. Chavez’s Si Se Puede (“Yes We Can”, hence, my post title, “We Still Can) is an inspirational chant used today. But its in studying the sweaty losses as much as his triumphs that we might fully understand the weight and responsibility that comes with that statement. Many issues we face today about immigration reform harken back to the Bracero Program, the guest worker program in which Mexicans were imported to the US to work the lands, a people caught in between Chavez’s struggle to gain rights for ‘domestic workers’. The more I read and begin to understand the political aspect, the program set the pattern and tone for the immigration rights battle we face today. Although in 1964 Congress voted to end it, like an ugly ‘call it by another name’ phenomenon, it exists today. A factsheet from the Immigration Policy Center (pulled from this article) reports between 53% and 75% of the 2.5 million farm workers who work in the U.S. each year are undocumented. Collective bargaining does NOT help this population; the provisions of a union contract are only enforceable for documented workers.
It’s nice to render tribute through films and books the symbolic meaning of Chavez, but its our responsibility and the filmmakers tackling this story, to responsibly learn and apply the lessons learned from his life to truly honor his legacy. And I trust both filmmaker teams will do just that.
Check out the Kickstarter trailer of Cesar’s Last Fast and the website here
Like it on Facebook
About Cesar Chavez Foundation
Chicana from Chicago 