In lieu of a short film this week (busy week covering American Latino films at the Dances with Films Festival and now NALIP this weekend), I’m posting this HOT trailer of the upcoming film, The House That Jack Built. It is one of threeAmerican Latino films in competition at next week’s Los Angeles Film Festival I wrote about earlier. From a script by Joe Vasquez (Hanging with the Homeboys), directed by Henry Barrial and produced by No-Budget Film School guru, Mark Stolaroff. Starring the dually charming and tough guy EJ Bonilla. I previously wrote about it here. Check out the trailer, you can just feel the raw passion pulse. Get your tickets here.
The National Association of Latino Independent Producers (NALIP) is ramping up for its 14th Annual Conference this weekend and to my great gusto, the discourse promises to be more specific, relevant and fresh than last year on how to empower Latino independent storytellers. Judging by the practical and forward-thinking panel discussions, NALIP’s Official Selection YouTube channel showcasing a curated selection of current film trailers, and the hip, savvy talent invited to represent, NALIP is setting the tone for discovery and healthy debate. Chief among the themes will be a contextualized creative response to the much-propagated Latino trillion dollar purchasing power statistic, and how to strategically seize territorial claim to the wild wild west expansion of online distribution platforms.
Bebeto Matthews/AP
Among the established and rising American Latino actors and filmmakers on tap are Richard Montoya, Cristina Ibarra, Aurora Guerrero, Gina Rodriguez, Danny Trejo, Jeremy Ray Valdez, and Jesse Garcia. The keynote speech on Friday will be given by none other than Richard Peña, one of the most influential film curators in the world who headed the prestigious Film Society of Lincoln Center for twenty-five years. It will be an insightful and thoughtful conversation moderated by the sensitive, masterly formal documentarian and MacArthur Genius Grant fellow, Natalia Almada. As this year’s NALIP Conference Co-Chair, Almada helped inform the direction of the conference and scored Peña’s participation. When talking about how each year’s conference organically takes shape with the feedback of board members, staff and hosting committee, Beni Matias, Acting Executive Director of NALIP, referenced Natalia’s concern of prominently featuring the voice of the independent filmmaker over the commercial as a guiding pursuit.
Natalia’s involvement with NALIP goes back to 2003 when she became the recipient of the Estela Award, given in recognition to an emerging filmmaker who has ‘arrived’. Her revelatory documentaries include El Velador, El General and Al Otro Lado – all which have been critically acclaimed worldwide and have been featured in museums and screened at film festivals including Sundance and Director’s Fortnight at the Cannes Film Festival. I asked her to share a few words about NALIP’s import and she replied over email, “I think that more than anything else the conference is a place where we can really exchange ideas, address shared concerns in our community and collectively fuel to keep going”.
Natalia is part of the sub-cine filmmaking crew who came of age through NALIP like Cristina Ibarra, Alex Rivera and Bernardo Ruiz. In fourteen years the organization has managed to be one of the few consistent Latino forums which has nurtured a family of artists/active organizers. Along with Beni Mathias, Maria Agui Carter who is a filmmaker and the Chair of the Board of Directors, has been actively with NALIP since the beginning. Other members who have continued to be involved with the organization since the beginning include Louis Perego Moreno who use to spearhead chapter leadership meetings, Jimmy Mendiola filmmaker and Director of CineFestival in San Antonio, Frank Gonzalez from Disney/ABC, Kim Meyers and Terri Lopez at WGA, Alex Nogales, to name just a few. NALIP has also enjoyed a sustained relationship with Time Warner and HBO who have taken turns at being the presenting partners of the conference since 2000.
Part of the reason I’m so eager to engage with and synthesize this year’s theme is this following text written by Maria Agui Carter to describe the Opening Plenary:
“Forbes magazine has called the Latino Market the “New Media Jackpot.” What is at stake? Why is every network and cable outlet now chasing the Latino market and how are Latino voices participating in this explosion not just as consumers but as creators?
There it is: “But as creators”. Amid all the hoopla over the rising Latino market data that makes corporate brands salivate over how to exploit us as consumers, I have yet to hear any of us fashion a reckoning of a counter creative force. We should be imagining how to harness, demand and unleash our creative power with that kind of purchasing power. Instead, the data is being used to make us a target of a non-stop branding attack in which the depletion of our capital power and identity is at stake.
Aimed to provide a more significant showcase for Latino filmmakers, NALIP is spotlighting recent films on their NALIP YouTube channel. They’ve done away with the NALIPsters On View programming where members could openly screen their work during the conference. Those screening rooms tended to be lightly attended since there was little visibility and competition from the panel programming. Instead, this year NALIP will be uploading trailers of current and upcoming films starting Thursday, June 6. The plan is to build buzz and promote the curated selection of 15 documentaries, narrative features and shorts.
Without a doubt, the most anticipated happening of this year’s conference will be the NALIP and Sundance Institute screening of Richard Montoya’s debut feature film, Water & Power at the AMC CityWalk. The impact and influence of this Chicano icon will be evident by the droves of fans, familia and homies, a wide range of community activists, artists and politicians who will be in attendance – La raza who reflect the young and old blood of the characters he writes. I listed W&P as number one in my top five movies to watch out for in 2013 so I’m thrilled to see it screen this way. Richard Peña will moderate a Q&A with Montoya after the screening. I couldn’t think of a better filmmaker and moderator pairing.
On Saturday at the Awards Gala, Machete Kills star Danny Trejo, the menacing but actually sweet hood actor will be presented with a Lifetime Achievement Award. Aurora Guerrero, filmmaker of Mosquita y Mari will be honored with the Estela Award that comes with a $7500 grant from McDonalds. And in what will surely be an emotionally inspiring moment, the first ever La Lupe Award will be bestowed to Gina Rodriguez. Her effervescence completely evokes the spitfire tenacity of the late great Lupe Ontiveros. I couldn’t think of a more perfect homage and passing of the torch.
While I found last year’s panel topics all over the place, this year it feels more targeted and practical. Panels like Beyond The Latino Market: Getting Your Film Out To A Wider Audience with Gabriel Reyes, Writing on American Latino films moderated by Carlos Gutierrez of Cinema Tropical, the leading cross platform company promoting Latin and Latino Cinema (and yours truly will be participating!), Whatever It Takes: DIY Technology and the Democratization of Content Creation, Major writing programs and initiatives at networks and studios for writers.
On Sunday the Closing Plenary will be Latinos and Media Stereotypes in which Natalia Almada, Richard Montoya, Maria Agui Carter, Yancey Arias will participate and moderated by Mandalit del Barco of NPR. These are all highly experienced, opinionated individuals with distinct tastes and critical contribution to content so I expect this to be one of the more livelier talks.
Overall, this year’s NALIP conference is about to go off!
NALIP 2013 Spotlight on the Trillion Dollar Latino Market will take place June 7-9 at the Universal Sheraton Hotel.
In this week’s edition of #HotSec Fridays where I spotlight a short film which reflects the Más American hybrid of bi-cultural life, I’m pleased to share this “Modern Mariachi Family” documentary, Canto de Familia by San Antonio native and current LA based, Lindsey Villarreal. Watchale!
Much like the feeling I get when watching Mexican Fried Chicken, Fireworks or Mosquita y Mari, I get a pang of nostalgia, deep and significant that has to do with proud kinship and connection to the rare reflection and relation of my unique identity. The Mata family teenage girls, who live in Boyle Heights, are so punk and cool because they are confident and comfortable in their own skin (I wish I would have been so sure of myself during H.S). My favorite part is Angie’s straight up way of calling out the “machista” attitude she encountered – typically found when females play mariachi since historically they have not been included. Through the family’s Mariachi Conservatory program they run after school it is clear the Mata’s are a tight knit unit, which is transmitted so well in the doc and makes it so unexpectedly moving!. Lindsey is currently finishing up her MFA in Producing at USC. Her creative storytelling skills across platforms and genres, not to mention her make-it happen-enthusiasm definitely makes her a Filmmaker to Watch. Here’s my quickie interview with her:
How did you get close to the family and how long did you shoot them for? Is there anyone family member you were most close to/bonded with?
The film was done for credit towards my MFA at USC’s School of Cinematic Arts. I developed the idea over a spring semester in 2011 and shot the film in a fall semester that same year. I was looking into Mariachi programs in Los Angeles and they were one of the first that came up. I love the girls. I love them all but I love the girls! They remind me of my sister and I.
What did making this doc short leave you with? Nostalgia, fondness for tightknit family, the beautiful hybrid american latino culture? How invested did you become with their story?
Oh I was totally invested in it! It was rise and shine till late at night thinking about making that film. I think it left me with nostalgia for my own culture more than anything. I’m not a fluent spanish speaker but I understand and connecting with my language has always been on my ‘to do” list. I’m getting closer to that I think. I also just felt validation that Los Angeles is the right place for me to live at this point in my life. My dad was in town recently and we found that we spent most one of our days off together on Olvera street. Familiar sights and sounds just kind of permeate your heartstrings when you live so far away from your family. I spent some time interviewing and filming the Band “Mariachi El Bronx” which I’m sad we never used in the film. I thought their music and the idea of their band as a whole really embodied the spirit of my original concept for the film. I wanted to talk about culture being malleable and intertwined with having a life in a big urban city like Los Angeles. Look them up and you’ll see what I mean. In the end it was a short film and there was just so much to say about the family.
I can’t wait to see all your future work! What you got going on next?
Right now Im working on a short film called “Vimana” that’s about two Indian Astronauts en route to a new planet who must deal with the death of their captain during the journey. It’s partially in Hindi so Im very interested to watch our actors work on set. I work full time as a Producer’s Assistant/ PA on a show called Eagleheart (starring the gross(ly) funny Chris Elliott watch clips here) that airs in the Adult Swim time slot on Cartoon Network. In the fall I’ll go back to being a Producer’s Assistant on Season 7 of Mad Men. …I love being on the Mad Men set. I’m so lucky to be able to start my career on a show that inspired me to go back for my MFA in film in the first place. It’s such a great place to learn.
About working in both documentaries and narratives:
There’s something about directing documentaries that allows you to explore in a different way than making what’s on a script come alive. With documentaries I feel like the idea is always changing even while I’m in the middle of a scene, [but] with scripted I feel like it’s more of a controlled chaos. I come into scripted more prepared for all possible combinations of what could change on set. I’ve thought it through beforehand. With documentaries, I start the day hoping something will come my way I’m not expecting and then get ready to chase that idea. Both are equally fulfilling.
Find out more about Lindsey’s short film for which she successfully raised 16k on Kickstarter here.
First the Machete Kills trailer (teaser) drops. It doesn’t come out for another few months -three days before Mexican Independence day to be exact, September 13. Which reminds me, I must re-watch Machete. As I recall, way underneath the action and sex titilliation, there was some subversive commentary on US/Mexico relations. This trailer right here is the one I found en Espanol.
Then, Indiewire reports that Robert Rodriguez and los Charrolastras (Diego & Gael) are teaming up with Fantastic Fest and Tim League for a fantastico mercado. A co-production market for “Latin films”. I’m really digging this menage a tres collaboration. They each bring cred, scope and connects to provide a viable channel and avenue for the growing number of American Latino filmmakers working in genre today. I see the raw talent out there through festival submissions all the time. Hopefully the Americans don’t get dissed next to the international (Ibero-American fare). There’s no doubt genre films, whether horror, supernatural, crime, action, comedy (read: anything but coming of ager dramas) are accessible, audience driven and more importantly COMMERCIAL which is what Canana wants as it expands its distribution tentacles.
It really does feel like RR is eager to give back and nurture the ‘underserved’ Latino community. Makes me almost forgive him for saying he wouldn’t want to limit himself by identifying as Mexican American at last year’s NALIP. That comment aside, I gotta hand it to him, he’s been a big influence in shaping our modern American cultural zeitgeist towards mainstream acceptance of Latinos. Whereas once having the last name, Rodriguez in pop culture, it was discriminated and dismissed (see Sixto Rodriguez’s story in Searching for Sugarman) now its seen as BADASS and SO COOL to be Latino. Even Charlie Sheen, who has seen his cool mojo factor slip in middle age, recognizes, as evident by his decision to use his birth name, Carlos Estevez in Machete Kills.
Unveiling at the Brooklyn Film Festival this weekend is the world premiere of SLEEPING WITH THE FISHES, the directorial debut of former stand up comic and actor, Nicole Gomez Fisher. Gina Rodriguez plays the hilariously real and spirited star of the movie, Alexis Fish, a role she booked right as Filly Brown started making waves at film festivals last year. A great cast of women join her including Tony Award winning stage and film actor, Priscilla Lopez who plays her mother, and Ana Ortiz (Ugly Betty) who is enjoyably pert, as Gina’s sister. Sleeping with the Fishes is also the first feature produced independently by Courtney Andrialis, a rising producer with many more exciting projects in development (she started her career as assistant to Bingham Ray in 2003). I gotta say, I just love the female power of this film! Check out the just- released trailer of the film, and read the interview I did where I check in with Nicole, a week before she releases her first baby (film) into the world.
How did your Latino/Jewish background and childhood inform your creative expression as you started conceiving of your first feature?
I was born and raised in Brooklyn…a true Brooklynite at heart. My mother is Puerto Rican and my father is of Jewish descent, an interesting mix that has clearly influenced my life and my writing. I don’t necessarily identify with one over the other…both sides make up who I am. I knew when starting SLEEPING WITH THE FISHES that my background and my point of view wasn’t a filmmaker’s voice heard too often. I wanted to express myself and tell a story about a young woman trying to find herself in a world that she felt excluded from…not only from the outside world, but from her immediate as well.
What’s your connection with Gina? How was it to work with her in comedy? She’s got great timing and tons of energy.
I did not know Gina Rodriguez before making SLEEPING WITH THE FISHES. We met through our casting directors Sig DeMiguel and Steve Vincent. Her agent read the script and loved it, passed it on to her and BOOM! A meeting was set. We actually met in the bathroom of Rosa Mexicana and it was love at first sight! Gina was incredibly energetic, bright, enthusiastic and funny! I was excited to work with someone “fresh”. I knew before we even ordered that we would work well together. She was just coming off the Sundance premiere for “Filly Brown”. It was an exciting time for her and it showed. She’s a natural when it comes to comedy, so she made directing incredibly easy. Gina’s choices were spot on and she just understood the timing of comedy. It takes a real pro to know when to “go there” and when to pull back and she did. I would say try this and within seconds she would make a slight adjustment and go. If she thought something didn’t work or wanted to try another shot, we went with it. Collaborating with her was such fun. She made directing my first feature a pleasure.
The tale of a 30something whose life has not gone as expected and must deal with the pressure of returning to a childhood like dynamic at home with the parents, is so relatable and universal, but it can also be quite personal and individual, how personal is this screen variation to you? What did you want to convey that you had not typically seen in this popular canon?
It’s personal. The story itself is loosely based on my family, but there are many aspects to it that are a mix of truth and fiction. For my lead, Alexis Fish (played by Gina Rodriguez), her coming back home after years of living a lie all in the name of “saving face” is paralyzing for her. As you mentioned, her resilience to stay true to herself has been an exhausting journey. Having to deal with the loss of a loved one while trying to pick up the pieces of your life only makes it that much harder to overcome. I wanted to take a classic story and make it new. Yes, she is returning home to the pressures of family, but in Alexis’ case, returning home to her mother is what is so daunting. You have two strong women who don’t see eye-to-eye: one whose pride identifies her, the other whose pride is crushed as she struggles to find her identity.
I love that you chose to do your first film a comedy. There doesn’t seem to be as many first films as comedies tackled in the indie world, and even less from a female written and directed perspective. What are your influences in this vein? Also, what is it about our passionate Latino culture in particular you think that makes family dysfunction so melodramatic and ripe for comedy?
I was a stand up comic for years and I love writing comedy. I’m a huge fan of films that blend comedy and drama. It’s what life is made of—the ying and the yang. Some of the funniest moments in life are also the saddest. When you can stop and laugh at a time when hope seems dim, that is life changing. Laughter has pulled me through some really hard times. …Where there is passion, there is drama. From my experience, Latinos are very strong-minded, very passionate and very vocal about what we believe. The combination makes for some terrific melodrama. It’s who we are—they go hand in hand.
Who were some key collaborators and mentors for you during the launching of your first feature? Tells us about Courtney as producer – she’s from HD net films, how did you two bond about the making of this film?
Some of the key collaborators were my husband Joe, my friend and fellow screenwriter A.J. Meyers, my casting directors, my father and of course, my producer Courtney Andrialis. Courtney and I have built a solid relationship around SLEEPING WITH THE FISHES. I met her via our casting directors. She’s young, eager and has a ton of knowledge. She was an integral part of the making the film. She brought on an amazing team that held me up throughout the entire process, which for a first time director is so integral. There were a lot of learning curves for me. Courtney did a great job of keeping me together and supporting me throughout the entire process.
As you navigate the wild west of distribution, how are you feeling and where are your expectations with getting the film out there? Are you going to be exploring the newly paved roads of direct distribution models or pursuing the traditional theatrical and window route?
It’s great that now filmmakers have so many ways to reach their audience. We are excited for our world premiere at the Brooklyn Film Festival on June 1st. After that, we’ll keep our fingers crossed and see!
Best of luck with the film and have a blast at your premiere, Nik!
Now here’s a fun sexy dance film to get the three day weekend party started. Jeanine Mason (winner of Season 5, So you Think You can Dance) stars in this 20 min short as a dance performer and understudy to the lead on an upcoming dance show at the Pantages. A friend videotapes her giddy excitement going through rehearsals leading up to the big show. Although nervous, her talent is unmistakeable as we watch her shimmy and twist through the choreography in a cool dance sequence shot on Melrose. But when a distraction threatens her focus, and then the scenario every understudy dreams and dreads appears, will she be ready to ‘Step Up’?
This was Cristina’s thesis short film at USC. I love how buoyant this feels. A loose, fluid camera follows the sizzling choreography, and Jeanine Mason is totally engaging as Clara. Cristina was convinced that Jeanine was the only actor for the role so after a few failed attempts of making contact, her mentor sent the script to Mason’s manager. She agreed to the project just one week before rehearsals. Cristina says, ‘I think what she liked about the project was her opportunity to both dance and act.” Since the short, Mason went on to land a recurring guest star turn in the ABC Family ballet comedy-drama series, Bunheads, and has a number of film and TV projects in the works. Something tells me we will be seeing a lot more of her talent and dance skills.
Cristina writes, directs and edits fiction, non-fiction, animation and motion graphic films. As an editor, Cristina’s work includes Woman Rebel (Oscar Shortlist 2010, HBO), Thunder Chance (Student Emmy Awards 2010, Comic-Con 2010), and Our Neck of the Woods (Sundance 2009). As a director, Cristina’s influential documentary film, No Kill in 2009 won Best Short Documentary and People’s Choice Awards at various festivals around the country, and aired on the KCET Fine Cut Series in May 2010. She is currently working on three scripts. One is a feature length science fiction horror film. The second puts a spin on reality content, and the third is a mockumentary for television. She works full time at SpiritClips from Hallmark, an instant streaming company that generates short content. Website: www.spiritclips.com
Check out her website to see her reels and get her contact info.
If you are as big a fan as I am of these two young ferocious talents you will be as thrilled as I was to learn of this awesome short film collaboration revolving around Dia de los Muertos based on Chicana queer artist Adelina Anthony (thanks to Juliana’s comment for letting me know about the original story by).
First, the amazing multi-media artist, Wu Tsang, who directed the magic realist documentary about the Silver Platter on Alvarado called The Wildness, is behind the camera again with her co-hort cinematographer, Michelle Lawlor. Then there is the lovely, magnetic Hamony Santana who wowed and impressed as the young lead opposite Esai Morales as the father who won’t accept her gender variant identity in the film Gun Hill Road by Rashaad Ernesto Green.
The story is after mi own corazon, about an abuela who is visited by a muerto on the sacred Dia de los Muertos. This sacred holiday in Mexico is the hallmark of its hallowed dead culture. Growing up, I never felt sad or at a loss when I heard people died it was so ingrained in me that they simply had become liberated of their physical vessels and were now free to roam about the world like ghosts. When mi querida spitfire abuelita Cruz died, I kept her content (and therefore assured myself the peace that she wouldn’t come lurking at night to pull my feet from bed) by building her an altar and keeping it full of her favorite stuff like pulp fiction novellas, cigarillos, domino and her favorite pair of knitting needles.
YOUR DEAD TO ME All only needs $1,500 to finish up and get ready for its closeup at the LA Film Festival screening on June 14. The project was made in partnership with Film Independent’s Project Involve diversity fellowship. Go make donations here.
Latino Film Festivals have always lumped together international films and American films under the same Latino category. As if the Latin prefix used to classify the totally different identities of South & Central America, Cuba, Puerto Rico and Spain was not already broad enough. The few indie US narratives selected inside these programs look scrappy compared to the Spanish-language, art-house films which boast a higher production value due to their country’s government film subsidies. It’s like forcibly pressing two pieces of a puzzle together, when they clearly don’t fit. These two kind of films do not lend themselves to the same audience. Which is why I’ve always sensed the US Latino film in this platform is treated like an adopted stray. Up until now, I had not heard of any sustaining film festival devoted entirely to American Latino (I’d love to be corrected. If you know of any, give me a shout!). Enter the Reel Rasquache Art and Film Festival in East LA. Leave it to the activist Chicano studies curriculum track at Cal State to oppose such a disparity of their representation and say, oh Hell no, by way of their actions. They galvanized the community and wrestled a space for a showcase, led by the efforts of Dr. Richard T. Rodriguez and Dr. John Ramirez, who in 2004 christened the festival with the name Rasquache, derived from the Native American Nahuat people.
The one of a kind Award trophies sculpted by Yolanda Gonzalez. click to go to her website
Sadly, I was not able to attend the entire jam-packed weekend festival that took place May 17-19, but I did manage to make it to the closing night and awards ceremony on Sunday. I arrived to see Counterpunch, a film dramatizing the real life story of an undiagnosed, bi-polar boxer – the latest film by Kenneth Castillo who was bestowed with a Trailblazer Award. Other Awardees of the evening; the Lifetime Achievement Award went to Carmen Zapata who was not able to attend but were assured by her friends accepting on her behalf she was fine and dandy in her 80 years young age. The Pioneer Award was bestowed on a colorful and lively Pepe Serna.
In the crowded, over-awarded Hollywood landscape, I’ve usually found awards, arbitrary or unwarranted, and just an excuse for a gala event driven by money and press. And within the ‘Hispanic Hollywood’ circle, the awards tend to be given to the same artists over and over, celebrated BECAUSE they have (already) been recognized by the mainstream. I’m not saying the breaking of barriers is not a triumph worth celebrating, but the days of Rita Moreno and Ricardo Montalban is long past (40 years). In this day and age, we are bigger and stronger in numbers and we should be using our ‘purchasing power’, to demand our content and taking back our history. It’s much more constructive to empower those who the mainstream forgets, dismisses and generally fails to acknowledge. Those, who despite the lack of mainstream recognition, persistently continue to craft their art and who do not shy away from identifying as Chicano, Puerto Rican, whatever their bi-cultural origin may be. Although I’m embarrassed to admit, I share as proof to my argument: Until Sunday night, I was not familiar with Kenneth Castillo – a genuinely independent working director who is about to shoot his seventh feature this summer. And worse yet if someone were to have mentioned to me Pepe Serna or Carmen Zapata –I would not have been able to place the two veteran American actors – both of whom have forged incredible careers that span over six decades within both mainstream and indie theater and film. Thanks to Reel Rasquache’s recognition of their talent I am now turned on to their work. It allows me to connect the dots of the history of American Latino entertainers, who have been and continue to be so harshly forgotten and suppressed from mainstream history and therefore our collective psyche.
It was my first time at the new location of Casa 0101, the cultural center founded by writer Josefina Lopez. A comfortable 99 capacity seat theater is located at the end of a a long hall on which walls hangs an arresting series of artwork. On Sunday it was the paintings of Juan Solis whose palette provided the signature theme of the festival this year. Kiki Melendez, a saucy comedienne and 96.3 Latino radio personality emceed the festivities. Kiki straight up asked what I had wanted to ask but was too embarrassed to; Just what the hell does Rasquache mean? (“Is it like scratching your ass?” she uncouthly asked). The academic maestro Dr. John took the podium to illuminate us on how the word references the festival – it’s made of whatever scraps you can pool together to make the most out of the least.
Kenneth Castillo, the Trailblazer
In his acceptance speech, Kenneth Castillo commented on the urban crime drama genre of his filmography (including such titles like Chronicles of a Drive by). His earnest thoughts challenged me to re-think my resistance to American Latino writer/directors pouring out the same cholo gang hood films. Clearly, there is a population heavily influenced by the gang crime genre (I’m no exception, I’m the biggest Goodfellas fan). It makes sense that the young filmmakers who are fans of the genre, evoke it in their work. If they are conscious about flipping the script and attacking the stereotype by developing deeper dimensions to the characters, then that IS a game changer. Because what I’ve heard frequently is that these filmmakers KNOW these people. They grew up around them. Kenneth reminds me, they are real people. That the stories and characters continue to be stuck in the barrio is evidence of the lower socioeconomic class that still plagues black and brown communities.
Maestro, Don, El Senor: Pepe Serna
I kept noticing an older man with rascal eyes wearing a loud green jacket and white pants in another row. Turns out this was The Pepe Serna. Serna has over 100 movie and television credits including Scarface, American Me, Caddyshack. For years he has been performing his one-man show, Ruco Chuco, Cholo, Pachuco in which he punctuates Mother Goose a la barrio rhymes like, “In order to beat the gringo. At bingo. You gotta learn the lingo.” Like a wise and sprightly elder (he’s a Cancer survivor) his vaudeville comedy sense of show and his Texas hospitality twanged voice utterly endeared me to him. He charmed the audience some more when he treated us to an impromptu performance right then and there. With exaggerated cholo swagger he first transforms into a young gangbanger who thinks he’s all that, only to then transform and be schooled by the Cholo’s older self, now called Ruco who espouses words of wisdom about the path he’s going down. Serna also paints; his wild kaleidoscope Mona Risa series will be showing in Untitled Projects gallery on Beverly Blvd June 15th . His next role is in the upcoming high comedy, A-GuroPhobia co-written and starring the gifted and pretty comic multi-hypenate, Jade Puga ( Kristen Wig watch out!). It looks like an enjoyably, hilarious campy riot given the trailer they showed at the festival.
artwork by Juan Solis
Continuing its winning streak of racking up Best Film Awards, Mission Park written and directed by Bryan Ramirez won, once again proving its connection with filmgoers. It will next screen at the Las Vegas Film Festival. A theatrical release September 6 is scheduled (self-financed by producer, Flip This House star and Real Estate magnate Armando Montelongo), and Lionsgate will put it out on VOD. Producer Douglas Spain was on hand to accept the award and later we both marveled at the gorgeous copy of the Juan Solis print on the Best Film certificate. He confided it was one most beautiful awards ever to be bestowed to the film.
Afterwards I got a chance to hang with the filmmaker of Delusions of Grandeur, my new homegirl Iris Almaraz and I did a sort of follow up to the interview I did with her a couple weeks ago. Check it here. Not only is she working the latest draft of her next film, La Puta, but she is already swirling around a concept for the next one which although unplanned might form a a novel trilogy about the contemporary female odyssey going through womanhood, motherhood, and a post motherhood sexual discovery.
At Reel Rasquache I discovered such a refreshing confidence and tuned-in conscious of identity, unfettered by what the mainstream is NOT doing for them. Instead, the spiritually resilient and tireless efforts are focused on making art for ourselves. I noticed in Dr. John’s Closing remarks he included the term ‘self-identifying Latinos’ when talking about who Rasquache is geared towards. It was in stark contrast to what I usually run into; a desperate want to assimilate into the mainstream, or the commendable, yet generic and trite aim of telling ‘universal’ stories that transcend ethnicity, or the irksome thought that we should not ‘limit’ ourselves by identifying as Mexican American or Chicano (thanks Robert Rodriguez). But don’t we all perform and write what we know? In that sense sharing it with the people who will relate to it the most feels the most unifying and mutually satisfying. We crave an audience to share our art with, that’s what keeps us going. Who better to show it to than someone who gets it.
Within the kingdom of Americans who have a widely mixed variance of Latino descent, there exists a fierce genus called La Raza. Unapologetic, raw, fiercely conscious of their people’s history, embracing of multi-cultural solidarity, they ain’t waiting around for opportunities but seizing them for themselves. I admire this incredible sense of identity and believe that is what is worth celebrating and awarding. This confidence is the missing key to taking charge and writing our own narratives. Not to mention, confidence is just más sexy.
I remember five years ago hearing something about a Mexican Film Festival in LA called Hola Mexico. I was intrigued to hear it was part of an ambitious tour in which a different selection of contemporary Mexican films would be brought to Chicago, New York, San Francisco and LA. But more than intrigued, I was astounded to realize, is it possible that this was the first time a film festival devoted entirely to Mexican films was taking root in LA? The city with the largest population of Mexicans only second to Mexico City? Surely there have been several attempts over the years, some diplomatic consulate affair type of mini-events. I myself was courted by a well meaning producer to program a weekend festival in collaboration with the US-Mexico Chamber of Commerce which quickly turned into some kind of high brow gallery and A-star event at a trendy Hollywood bar. Like that noble effort, I imagine others similarly weren’t able to bridge mission and execution and therefore failed to make an imprint. For fifteen years LALIFF has been (was?) our uncontested Los Angeles Latino Film Festival to reign on such grand scale and visibility. Edward James Olmos’s festival always showed more than a couple films from Mexico within its all-encompassing “Latino” label. Even so, Mexico was but one country represented within the wide and far-reaching program of films from all over the Spanish language countries. Although Hola Mexico has done away with its NY/SF/Chicago branches, today I am especially pleased and give big props to Samuel Douek the founder, for valiantly plowing through the much treaded Los Angeles terrain to plant the seed of which we can now see its nopalitos bud and flower. Demonstrating his foresight for acknowledging the renaissance of Mexican cinema and that there was a void to fill, not to mention for showing off his bold taste and pulse on the diverse content of the festival’s programming, I congratulate him and his team’s herculean efforts for dedicating a platform specific to this underserved majority community hungry to experience the rich mestizo jewels from our Lindo y Querido motherland.
I’m excited to celebrate the festival’s continued success at tonight’s Opening Night Fiesta at the lovely Los Angeles Theater inaugurating the fifth edition of the Hola Mexico Film Festival which will run from the 15-22. As proof of its growing stability, it’s awesome to see that it has a new venue. Many of the films will screen at the state of the art projection houses of the Regal Live Downtown Theater. Last year’s Montalban theater venue, while meaningful in name and spirit, left a lot to be desired with the picture and sound.
Go: Mandoki is a damn fine filmmaker in his element herephoto by Jose Luis Castillo
The festivities will commence by bestowing a Career Achievement Award to the prolific actor, Joaquin Cosio, whose wickedly empathetic portrayal in Luis Estrada’s El Infierno has endeared us to calling him by his wild, everyman narco role, El Cochiloco. Along with Damian Alcazar (who will also be present!) these two are Mexico’s most esteemed and exceptional actors who have embodied an impressive number of indelible character and leading roles throughout the course of their careers. Nominated for the Ariel Award (Mexico’s Oscar) three times, Cosio’s talent will be seen in the upcoming, A Night in Old Mexico with Robert Duvall, Disney’s The Lone Ranger and can be seen in the festival’s selections, The Brief and Precocious Life of Sabina Rivas by Luis Mandoki as well as tonight’s Opening Night film, Ciudadano Buelna. Directed by established director, Felipe Vazals whose first feature screened at the 1968 Cannes Film Festival and who in recent years has filmed a series of films about the Mexican Revolution, Ciudadano Buelna is a handsome period piece about an idealist revolutionary whose closely held integrity clashes when caught in the quagmire of the nascent political factions of the Mexican Revolution era. A somewhat prescient and relevant theme mirroring the crossfire in which today’s political activist youth find themselves. After the screening, la fiesta will get underway with the groovy sounds of Chicano Batman and of course cerveza and mezcal will be had (Obvio).
For you foodies out there, as part of the food festival, five renowned chefs will be sharing their gastronomical delights at the Viva Mezcal event in which expert mescaleros will be unveiling the art of the Mezcal (I’ll let the experts educate us on its distinct distillation compared to Tequila but basically it’s a smoother and smokier spirit derived from an Agave plant called Maguey) at LA’s Oaxacan cuisine landmark, La Guelaguetza on May 16, and La Gran Parillada at La Plaza de Culturas y Artes complete with a wine tasting will take place May 19. The music showcase will feature artists like the prodigal sons of the venerable Los Tigres del Norte, Raul y Mexia, La Misa Negra, an electro cumbia band and the Closing Night film, a documentary about Celso Pina will be followed by a performance by the extraordinary and ‘rebel’ accordionist.
Among the Festival’s 13 narrative and 6 documentary features there is a diverse range of seminal moments in Mexico’s history record, personal stories grappling and reacting to the various facets of the social ills affecting Mexico (kidnapping, immigration), narratives reflecting the amalgamated identity in crisis of a country reacting. There is also ‘lighter’ fare with dark twists; The black comedy Fecha de Caducidad, Mexican revolutionary satire La Cebra. Easily the two most celebrated films this year, heralded for their masterful aesthetics at last year’s Cannes, Carlos Reygadas lyrical puzzle Post Tenebras Lux, and Despues Lucia the staggeringly heartbreaking adolescent bullying film by Michel Franco will also be screening. Other picks I recommend; the cool, existential zombie film, Halley by Sebastian Hoffman, a personal favorite from Sundance which has captivated audiences worldwide at numerous international film festivals since its world premiere in Morelia last fall. There is La Demora by Rodrigo Pla, a subtle yet powerful film about a moment of doubt in a woman’s life concerning her aging father (See my interview with the filmmaker here). There is the startling Errol Morris like documentary, El Alcalde, about an effusive and dangerously candid mayor in the richest and safest municipal in Monterrey, which is subversively brilliant in unleashing the outlaw mayor who credits himself with reigning control over the narco threat, ultimately a revealing psyche portrait. For you punk rock en Espanol fans, Molotov music doc, Gimme the Power gives us background to the formation and suppressed climate and era in which they came up, along with some behind the scenes inspiration of certain classic songs like Frijolero. But if you only get one film to get your Mexican rocks off, you must see the documentary Hecho en Mexico produced by the renowned film music supervisor Lynn Fainchtein (currently working on Diego Luna’s Chavez biopic). More than a ‘what its like to be Mexican’ audiovisual soundtrack, it is an infectious, hyper-energetic cinematic cultural musical in which artists evoke and connect with the indigenous history of the country and what that identity means today and in the future. Fierce musical talents like Amandititita, Carla Morrison, original rebels Café Tacuba, la loca de Gloria Trevi, and many many more rap, sing in folk, hip hop, regional, corridos and a fusion of rock all completely original as part of this grossly enriching example of the modern Mexican identity and sacred mestizo spirit. Here’s the trailer:
Tickets are a cool $10 per screening. It’s not to late to come on down tonight for the Opening Night Fiesta, or make plans now for next week’s Closing Awards – either night is just $30 for screening and after party. Tickets here.
Not bad for movie, mezcal, music and a chance to shake hands and hips with some sexy brown people. Nos vemos alli!
Continuing my Friday short film series on underrepresented American bi-cultural walks of life, I’m so happy to share this documentary short film, Mexican Fried Chicken by Ivete Lucas and Otis Ike. It’s a glimpse into the laborious life and overloaded pressures of Moises, a 14 year old teenager who in between his job at Popeyes, working at his father’s shop, and as the oldest having to babysit his siblings and other endless house chores, struggles to find time to enjoy being a teen in the United States. Like Moises, genuine and transparent, the film captures what is culturally specific of the sacrifices and work ethic of first generation Mexican Americans. The unquestioned acceptance that we have to work harder and longer hours than anyone else in order to carve out a spot for our families. In just 13 minutes we get a real sense of Moises and his disarming good-nature, ambition and his radically unique hybrid brand of American culture is charming. Overhearing the family’s shouting and playing throughout the house sliding back and forth from English to Spanish, all of this makes me cringe with empathy and I get a pang of childhood nostalgia even. I never see this experience reflected save for in my own memories. Back in Chicago, when my dad got the pink slip from Boeing after 15 years of work, my parents decided to open up a restaurant with the savings. Naturally it was a family affair and so I had no choice in the matter but to help. I vividly remember a creeping resentment and alienation knowing that my friends were hanging at the mall, carefree while I had to work right after school, and on weekends full 12 hour days. Yet I wouldn’t exchange that experience for the world. Making the homemade salsas and preparing the chile rellenos as the Nortena music blasted on the radio, we cultivated a loyal clientele with an appetite and appreciation for our authentic food, which in turn gave me a special feeling and bi-cultural pride.
I reached out to filmmaker Ivete Lucas who was born in Brazil, grew up in Monterrey, Mexico and moved to Austin to attend the University of Texas. She made this short as part of her MFA in Film studies. First watch the short and read on for a quickie Q&A I did with her over email.
How did you find and get to know and gain this family’s trust?
My producer, and now husband, Otis Ike initially met the Macedos through his aunt in Austin, TX. They live next to her and partied every weekend, blasting Mexican music. He made friends with the kids a few years before, and introduced me to them in 2009. Since I am Mexican, I could speak with them in Spanish. And although the kids speak perfect English, their parents don’t, so I helped them communicate with the neighbors. Moises was 13 at the time and he was about to start High School. He is an intelligent young man and was accepted into a very good school. His mom explained to me that he got good grades while working two jobs. I was very impressed by Moises, so hard working at such a young age, and I was extremely sad when he told me that he didn’t know if he could go to college because he didn’t have the right papers. So I asked them if I could make a movie about them. From that day on, I spent many afternoons at their house with a camera in my hands. They eventually got used to the camera and my presence. They knew they could talk to me in English or Spanish, that they could ignore me or engage me if they wanted to. I did everything I could to make them feel comfortable. They allowed me to be part of their world, and Moises made me his confidant.
How much footage did you shoot and over how long a period of time?
It was about two months of hanging out with Moises’ family two or three times a week. It must have been about 30 hours of footage.
Was there anything that surprised you during the shoot of the film? Some revelation or insight you had from meeting this family and bringing this story to light?
I edited this film in a way that allows audience to experience the same surprises I had. Latinos have this will of gold. Life can hit us hard, but we are tough and we usually make it through. Sometimes it really hurts, but we always find the way to laugh and enjoy what we have. I’ve seen a lot of films made about Latinos facing hardships and they are usually bleak or angry. As a Latina, I wanted to make a film that reflected how we really deal with pain. Yes, we cry and get angry, but then we invite our friends over for carne asada and we dance, knowing that we’ll have to put up a fight tomorrow.
Ivette says that Moises is currently exploring college and is interested in applying to Texas State. Best of luck to Moises, and thanks Ivete for the q&a. Looking forward to seeing more of your work! Ivete is currently finishing up a documentary about Vietnam war reenactors, and just completed a new short shot in Mexico and with the collaboration of the Huichol tribe. It’s called Ex-Votos. Check it out here:
Chicana from Chicago 