WTF is Latino at the 2017 Sundance Film Festival

The 2017 Sundance Film Festival is officially underway, and its a special one for me because it marks my 10th year with the not for profit.  I started working for the institute in 2007 and ever since, every year from from August to November, I screen submissions as a Programming Associate, primarily Latin American and Latino films.  More than ever, I feel priviledged to watch such a volume and diverse array of perspectives.
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As for my personal mission on this blog,  I choose to talk about Latino representation in a laser focused way:  highlighting the writers and directors who are out there telling the stories they want to tell the way they want to tell it, and emphasizing the U.S. context.  As much as I love to talk about international films, the real void in the U.S. media and therefore urgent need to support, are stories created by first, second, third, multicultural generation Americans.

Overview:  Boricuas dominating. Puerto Rico most definitely repping.  Also, we got a healthy presence in Digital and Virtual Reality which makes sense beause it (WE) are the future.   Without further ado, a rundown of WTF is Latino at the 2017 Sundance Film Festival.
In the U.S. Documentary Competition

DOLORES AKA Woman in Motion directed by Peter Bratt

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Executive produced by none other than Carlos Santana and supported by the San Francisco Film Society’s Documentary Fund, this long overdue celebration of Dolores Huerta’s achievements over the course of her 60something years in civil rights is reverent, timely and galvanizing. Peter Bratt is an alumni of the festival.  He wrote and directed the San Francisco set, gay coming of age La Mission which played in the 2009 festival. Armed with a rich archive of footage, banging soundtrack and one-on-ones with Dolores herself, the film chronicles one woman’s boldness in tackling the obstacles she faced on the sociopolitical battlefield along with the personal challenges of being an absentee mother.  It encourages all women to seize claim to their often overlooked contributions to society.

Also in the U.S. Documentary Competition

DINA directed by Antonio Santini and Dan Sickles

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screen-shot-2017-01-19-at-1-08-25-pmNew to the festival, Puerto Rican Antonio Santini’s first documentary feature co-directed with Dan Sickles, MALA MALA about the trans sex worker community in Puerto Rico, premiered at the 2014 Tribeca Film Festival.  Like the intimate access of that film, Dina also has a striking sense of intimacy, unpresumptiousness and ultimately delivers an unexpected and very honest connection to someone as authentically unique as Dina.
In the high profile out of competition Premieres section

BEATRIZ AT DINNER directed by Miguel Arteta

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31343311256_1f1f040a94_zThe Sundance Film Festival showed Arteta’s very first film, Star Maps back in 1997. Ever since he’s made a career of crafting indelible characters across film and television.  He reteams with Mike White (Chuck and Buck, GoodGirl) on this deliciously wicked tale of a fateful dinner encounter between a humble holistic healer and a mega brazen successful business developer.  The two opposing forces are embodied by the superb Salma Hayek and immense John Lithgow.  Thought provoking, unpredictable and utterly engrossing, the dark comedy is produced by Killer Films. Watch an exclusive clip here.

In the bold Next section

LEMON written and directed by Janicza Bravo

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Co-written with her star and partner in crime, Brett Gelman, Janicza’s striking  feature length debut boasts an insanely big and comedically gifted cast including Michael Cera, Judy Greer, Gillian Jacobs, Martin Starr.  Along with a background in design, Bravo has a knack for capturing characters lost in flight with a tragic humor and heart. An alumni of the festival, Gregory Go Boom with Michael Cera and last year’s Woman in Deep with Alison Pill, Bravo is a busy woman.  Last May she debuted a Virtual Reality experience at Tribeca Film Festival, called A Hard World for Small Things about a day in the life of South Central, and also directed an episode of the Golden Globe winning show, Atlanta.

In the Shorts Competition

KAIJU BUNRAKU directed by Jillian Mayer and Lucas Leyva

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Marking their 12th project (features and shorts) at the festival in 7 years, multimedia mischievous artists, Jillian and Lucas bring a japanese inspired marionette short this year which like all of their work is eye-grabbing, provocative and is about more than meets the eye.  The Miami full time Borsht Corp is a nonprofit which supports Miami filmmakers, they recently supported 28 filmmakers with cold hard cash all of which are poised to premiere at their festival which has been listed on Moviemakers 25 Coolest Festivals in the world.  For more info on this February’s event click here.

GOOD CRAZY written and directed by Rosa Salazar

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Making her directorial debut, actor Rosa Salazar stars in this short shot around the hipster rising area in LA named Frogtown. The logline: A complex chick deals with a vanilla beau, a shitty brunch, and a dead coyote all in a Los Angeles day. Heart.  Excited to see more of her writing and directing.

In the newly minted, Short Form Episodic

GENTIFIED written and directed by Marvin Lemus

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Marvin Lemus who made a short film with Project Involve called Vamonos which I loved (you can watch it on PBS online) will be premiering 3 episodes of this series that takes place in Boyle Heights.  Each episode features a resident trying to pursue their living/art. Lemus hits a chord/funny bone here as most of the tension and strife is intergenerational; old school mexican generation clashing with millenials.  The series is backed by Mr. Charles King and his company Macro.  Lemus is in good company.  Macro also produced Denzel Washington’s Fences, and at the festival Dee Ree’s WW2 period Mudbound.
In the animation spotlight

VICTOR Y ISOLINA by William Caballero

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screen-shot-2017-01-19-at-11-43-57-amIts only three years ago that William popped up on the radar with his animated series Gran’pa Knows Best, a really funny and sweet series in which he used 3-D printed miniatures of his Puerto Rican grandfather over real voicemails that his grandfather from would leave for him. Initially an independent short, it was quickly snapped up with HBO.  Victor y Isolina introduces his grandma to the mix, who is the perfect foil to his unapologetic grandpa.  Produced by Elaine Del Valle who produced her own webseries, Reasons y I’m Single.  Check out his website for more info.

In the New Frontier (the future) section

NEUROSPECULATIVE AFROFEMINISM

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screen-shot-2017-01-20-at-9-47-55-amI don’t know much about this one but the description sounds super fascinating; a beauty salon of the future’. Fingers crossed I get an opportunity to experience it while I’m here.   Also I’m dying to meet one of the artist/engineers, Carmen Aguilar y Wedge who founded Hypen-Lab, an international team of women of color working at the intersection of tech, art, science and narrative.

IF NOT LOVE by Rose Troche

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I been crushing hard on Rose Troche for as far back as I can remember.  Go Fish changed my life.  No joke.  She was a producer on Concussion, and has since come back to the festival in the New Frontier program with a series called Perspectives, which puts you in the shoes of a person caught in a situation a result which shatters any idea of black and white and makes you swim in the gray.  Per the description:  IF NOT LOVE challenges the viewer to contemplate another difficult subject—a mass shooting at a nightclub, but this time with the question posited: is another outcome possible?

OUT OF EXILE: DANIEL’S STORY by Nonny de la Peña

I mean, she’s been called the Godmother of Virtual Reality.  Nonny de la Peña also returns to New Frontier with this piece that recreates Daniel Ashley Pierce’s coming out video that went viral.  If you don’t know the heartbreaking and inspirational story read here This experience puts your body into the middle of the action around audio that Daniel recording during that encounter.

For deeper coverage on Latino and Latin American talent at the festival check out REMEZCLA.  For a closer look at all documentaries at the festival head over to What (not) to Doc.   Livestream the festival’s panels and watch select shorts from home. And follow my BTS on Twitter @IndieFindsLA and insta ChicanafromChicago.

WTF is Latino at SXSW FILM?

3026402-inline-i-17-an-oral-history-of-sxsw-interactiveI’m getting all psyched up just thinking about this weekend when I’ll finally be seated at the Alamo Ritz on 6th street, ordering my refreshing Paloma cocktail, and sitting back to watch some wildness that SXSW Film selected. Yep, its the 2016 SXSW rodeo.

Of course I’m talking about the mega mega South by Southwest Interactive/Film/Music Festival and Conference kicking off this Thursday from March 11-20 in Austin, Texas.

So what’s the Latino presence?  Lets go wide for this one. For the past two years SXSW has tagged its Ibero and Latin American programming across film, interactive and music, under the umbrella SXAméricas. This year, Brazil and Spain have the biggest presence in the film program (3 features for Brazil, 5 films/filmakers from Spain).  For the first time in the festival’s history there is a film from Ecuador, UIO: Take Me for a Ride (although back in 2014 Austin based Ecuadorian-American filmmaker Alex R. Johnson had his film Two Step in the fest) which is notable for its rarity.  Major KEY alert, Uruguayan filmmaker  Fede Alvarez will be dropping his mysteriously under wraps untitled Ghosthouse Thriller.

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bad cop, bad cop

Personally I cannot wait to see WAR ON EVERYONE by the wicked Irish hooligan John Michael McDonagh (The Guard, Cavalry, also his brother wrote/directed the savagely entertaining IN BRUGES).  War on Everyone which premiered in the fancy Berlinale last month is a black, pulpy buddy cop flick filmed in ‘Burque’ New Mexico. The film stars Michael Peña, Alexander Skarsgard, Tessa Thompson and Miss Bala/Bond girl Stephanie Sigman.

 

 

I usually try to focus on only U.S. Latino writers/directors, but I’ll expand and be global for this edition as there is just too much cool filmmaking and stories coming from South America and Spain.  Also, this is by no means a definitive list of WTF is Latino but a pre-curtain look. More once I’m on the ground!

PET directed by Carles Torrens

One of five directors Vice says is going to save Spanish Cinema, Carles Torrens’ second feature film, Pet is premiering in the Midnight section. From Barcelona, Torrens graduated from Chapman University. A psychological thriller in which Dominic Monaghan plays a man who runs into an old high school classmate he use to have the hots for. His creepy attempts to romance is met with rejection. Naturally, he takes her prisoner at the dogpound he works at to teach her a lesson, only to find that she is not who she seems. Torrens’ first directing feature was Apartment 143 written by Rodrigo Cortes (Buried with Ryan Reynolds). Previously Torrens directed shorts like the twisted thriller Sequence, which has played over a hundred festivals. Pet teaser below.

12828500_1070131749697280_3048930164827168970_oOVARIAN PSYCOS directed by Joanna Sokolows and Kate Trumbull-LaValle

The OVA’S ARE COMING!  It’s so rad to see this documentary about the badass cycling brigade, Ovarian Psycos get its world premiere at South By. I have been talking about this one on here since its first Kickstarter, and last year’s Top Docs to Watch Out for list.  The filmmakers managed to successfully crowd-fund a second time on Kickstarter in order to fly and put up members of the collective from the Eastside  EL-Lay in Austin and represent at the world premiere.  Don’t be surprised to see the sisterhood ride through the street raising awareness for social issues that affect all women. In fact I’d follow them on Twitter so you can join in. Austin has a great rental bike program.

 

Screen Shot 2016-03-07 at 7.54.00 PMUNTITLED GHOST HOUSE THRILLER written and directed by Fede Alvarez

With no confirmed title yet nor film stills out there, this second original film from Alvarez is about “a group of teens break into a blind man’s home thinking they’ll get away with the perfect crime. They’re wrong.”  This is the guy who six years ago caught fire when his 5 minute short film Panic Attack made the rounds and ultimately got him the gig to helm the 2013 Evil Dead reboot which is bananas.  Only info that is clear on this one is that Jane Levy stars, its from Sony Pictures and Sam Raimi produces. It’s been referred to and on IMDB its listed as A Man in the Dark.  Fede has also been rumored to be director of Warner Bros’  Dark Universe. Fede has also directed episodes of Robert Rodriguez’s From Dusk Til Dawn TV series.

TRANSPECOS co-written and directed by Greg Kwedar

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“The border is a shifting line.”

A thriller set in the dry outposts of Texas in which border patrol men, two of who are played by Latinos, Clifton Gonzalez and Gabriel Luna, stumble onto evidence that may lead to a plot between the cartel and one of their own. I read the script a while ago and remember vividly visualizing the filmmakers’ cinematic western noir intent. Given the score is co-written by The Revenant composer, Bryce Dessner, and it the film shot by Jeffrey Waldron, a versatile commercial, documentary and indie film D.P, it will surely deliver on that front.  Kwedar, who previously produced the documentary Rising From Ashes, about Rwanda’s first ever cyling team, teamed up with Texan filmmaker, Clint Bentley to write his feature directorial debut. I’m eager to report back on this one.  Last border fiction tale I saw that flexed its thriller genre (unfortunately over story) was El Desierto from Mexican Jonas Cuaron which ultimately suffered from oversimplistic storytelling.

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From-Nowhere-Photo-1FROM NOWHERE co-written and directed by Matthew Newton

In Narrative Spotlight, From Nowhere is the film adaptation of the play, No One Asked Me written by Kate Ballen, whose 10 year experience as a counselor at a Bronx high school where she helped undocumented students navigate the college admission process became the basis and inspiration to tell this story.  Australian director/actor Newton directed No One Asked Me as part of Fringe NYC festival last fall.  Newton previously directed Three Blind Mice which premiered at the Toronto International Film Festival.  Julianne Nicholson ostensibly plays Kate as the teacher and the students are played by J. Mallory McCree (Quantico, We Need to Talk about Kevin), and newcomer Octavia Chavez-Richmond.

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INSATIABLE directed by Brett A. Schwartz

Homaro Cantu was a goddamned trail blazer.  Legend has it that he came to Chicago with $300 in his pocket and camped out at famed master chef Charlie Trotter’s until he gave him a job.  He shortly thereafter became his sous chef. In 2003 he opened up his avant garde restaurant Moto which became a prized Michelin star rated restaurant and blew up Chicago on the culinary map. He was a beloved figure in the chef community so the news of his death last spring at age 38 rocked everyone’s world.  My sister, Diana Davila who is a chef in Chicago idolized Cantu so much that she had her engagement dinner there.  Apparently filmmaker Brett A. Schwartz was granted a fair amount of access for the three years he followed him. The aptly titled film focuses on Cantu’s game-changing culinary practices, mad passion for the intersection of science, art and health, and deep imprint he left as a molecular gastronomy pioneer.

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SHORTS

THE SEND-OFF by Ivette Lucas and Patrick Bresnan

I previously wrote about Ivette’s film Mexican Fried Chicken. Her new documentary short with filmmaking partner Patrick Bresnan premiered at Sundance earlier this year.  The film is a fly on the wall look at a group of seniors from a Central Florida high school as they they prep and dress for the big prom affair which includes their local block party show where the royally dressed young couples pose for snaps.

PHIL’S CAMINO directed by Jessica Lewis and Annie Oneil

A first film, and a really moving half hour doc short about Phil who has stage four cancer and decides that to ‘heal’ himself he is going to trek the 500 mile Camino de Santiago pilgrimage in Spain.

International films

EAT MY SHIT written and directed by Eduardo Casanova

You know you want to watch.  Here is the full 3 minute shit.

The 23 year old filmmaker’s bio: Cinema is what I truly believe. Cinema is the cause and solution for every trouble I have. Cinema to me is like morphine to Bela Lugosi, like Richard Burton to Liz Taylor, like red lights to Dario Argento, like big boobs to Russ Meyer, like Lynch and the dwarfs.

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VICTOR XX written and directed by Ian Garrido Lopez.

Trailer above for the 20 something min short from Spain which was incubated and premiered at the Cannes Film Festival.   The film’s synopsis: “Victor likes to experiment with his gender. He doesn’t know if he feels like a boy or a girl.”  The actor who plays Victor, Alba Martinez is magnetic. Bravo to Ian, a 27 year old transgender filmmaker from the south east Mediteranean coast of Spain for directing the performance and bringing this story to the fore.

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Screen Shot 2016-03-07 at 11.18.32 PMSEMANA SANTA written and directed by Alejandra Marquez

I previously wrote about this first feature in my last Mexican film roundup post. Making its U.S. premiere after playing Toronto up north and Los Cabos down South, the film is a keenly felt and compelling story set in a run down Acapulco during Easter holiday.  You might recognize Tenoch Huerta from Dias de Gracia, Gueros, Mozart & The Jungle.

56babbf32109cUIO: TAKE ME FOR A RIDE co-written and directed by Micaela Rueda

LGBT film from Ecuador, a co-production with Mexico and Colombia. Michaela has spent the last five years working on her first fiction feature debut, working from a script by Juan José Valle.  You can see the trailer on the film sales agent site M-Appeal

Screen Shot 2016-03-07 at 11.30.55 PMKILL ME PLEASE written and directed by Anita Rocha da Silveira

First premiering at the Venice Film Festival this impressive next level teen angst tale is a first feature from Brazil/Argentina. Set in a newly developed city in Rio de Janeiro the story’s backdrop is a wave of murders which calls 15  year old Bia’s attention. The filmmaker says, “Bia is someone who wants to kill herself yet wants to carry on living, experiencing everything to the edge – she wants to be killed but also wants to kill, wake up the next day, and do it all over again.”  Sounds dope.

DEAD SLOW AHEAD co-written and directed by Mauro Herce

The hums, deep waves and barge ship motor noises makes for a really hypnotizing minimal film from Spain. Check out the trailer here. Born in Barcelona in 1976, Mauro Herce graduated in engineering and fine arts before enrolling in top film school Cuba’s San Antonio de los Baños.

JULES AND DOLORES cowritten and directed by Caito Ortiz

Selected in the Visions section, the more ‘audacious’ filmmaking section, this 1983 set Brazilian caper about stealing the world cup trophy looks like pure boogie down fun.  You can see trailer here.  Caito Ortiz is on the director roster of slick advertising and entertainment company Prodigo Films.

THE SPACE IN BETWEEN – Marina Abramovic and Brazil

Directed by the Sao Paulo cinematography artist, Marco Del Fiol.  All you need to know is that this is Marina’s trip and we are along for the ‘hardcore and spiritual’ ride.

 

COMING SOON: 10 EXCITING INDIE FILMS BY AMERICAN LATINOS

No better time than Oscar week to post my annual list of new films made by Latinos. I hope reading about these cool flicks inspires you to seek and consume the stories you value outside the super exclusive corporate media. Before we get to the list, my 3.63 pesos on the #HollywoodSoWhite convo.

I appreciated Dennis Romero’s recent LA Weekly article called “Hollywood’s Diversity Emergency is not Black” in which he gives big ups to the Black community for doing the ‘heavy lifting’ in making the diversity conversation trend. Romero essentially calls on the Asian and Latino community to take part in the dialogue because we stand the most to gain in moving the dial considering the wider gap that exists between Asian and Latinos’ population and their respective media representation compared to African Americans’ numbers.

Using the framework of proportion, USC’s Comprehensive Annenberg Report on Diversity reveals that across the 309 episodes and 109 films they covered, 15% were directed by women (50% population), and 13% were directed by underrepresented racial/ethnic groups (38% non-white).

It makes sense that the percentage of on screen underrepresented characters increases (17.5%) when an underrepresented director is at the helm of a scripted episode or film.
I’m not sure what to make then of a recent phenomenon I have seen within the Latino community; an overwhelming desire/shift to tell stories UNRELATED to their Latino identity. Don’t get it twisted,  I respect the artist’s prerogative and agree that just because you are from a certain ethnicity, you shouldn’t feel obligated to tell that ‘ethnic film’. But if the rationale is that in order to tell a universal story you can’t be ethnic specific, I totally take issue with that, and would argue on the contrary, we just haven’t done it enough to prove it’s not true.  Along these puzzling but no less real lines, I was startled to read in the report, “As (female) power increases, female presence decreases. In film, television, and streaming executive ranks, 46.7% of Senior Vice President-level executives are female.”  What’s up ladies?

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Part of me gets it though, both artist and gatekeeper is faced with the obligation, pressure and responsibility to succeed in a business of mediated platforms.  Unfortunately that usually means don’t stick your neck out, less risk.  But what if we made it our goal to seize and create as many chances to allow ourselves to FAIL, at least as much as the rest get to, because that is how we get to the next level.

Okay enough rant!  Here is my curated list of brand spanking new feature length fiction films written and directed by filmmakers in the US of A who have Mexican/Caribbean/Central/South American roots. Many of these films are in post-production but might be making their world premiere at a film festival or VOD later this year.  As you can tell, some filmmakers clearly chose to tell a story from a specific Latino character/experience, while others drew from their culture in a more abstract, no less personal route.  One thing is for sure though, each of these artists have been hustling their craft for years outside the studio system which is why you can see a distinct genre and aesthetic in their work.  Make sure to check out the links to their previous work.  It is one thing to say there we be underrepresented and quite another thing to be overlooked.

BETWEEN US written and directed by Rafael Palacio Illingworth

From Caviar Content, a multi media company that financed last year’s Diary of a Teenage Girl by Marielle Heller, comes this intense romance drama made by Mexico/Colombia raised AFI grad Rafael Palacio Illingworth.  The film features two incredibly talented actors Olivia Thirlby (Juno) and Ben Feldman (Ginsberg in Mad Men!) as a couple navigating a tempestuous “post-honeymoon phase” while trying to hang on to the chemistry that first made them gravitate towards each other. Rafael starred in his own first film MACHO ( see here,) which like The Force, also tracked a relationship through the initial meet-cute high.  Macho landed with IFC after premiering at the Raindance Film Festival in London in 2010. The film just announced its world premiere at the Tribeca Film Festival.

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antibirthANTIBIRTH written and directed by Danny Perez

Danny is two for two, his first and second films have premiered at the Sundance Film Festival. Raised in Virginia in a Cuban Catholic family, Danny cut his visual teeth while collaborating with avant garde music group, Animal Collective for years.  His first film, Oddsac is in many ways a sensory album for the band. It screened in Sundance’s experimental New Frontier section in 2010. Taking his skills for phantasmagoric imagery and folding hyperreal narrative and social commentary Perez shot the wasteland USA set Antibirth which stars none other than the coolest indie queens, Natasha Lyonne and Chle Sevigny.  The film got rave reviews, having premiered in the much talked about Midnight section at this year’s Sundance Film Festival.  A film that’s been called “a debauched progeny of Cronenberg’s classic, The Brood, it has without a doubt the wildest, most bat-shit crazy ending I have ever seen. Must-watch. Stay tuned to hear where it lands more fests and distribution.

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HEARTS OF PALM written and directed by  Monica Peña

Following her first feature, the experimental street docu-fiction film, Ectotherms, which drew comparisons to Harmony Korine’s work, Monica Peña is back with her second feature, Hearts of Palm. The fable like film follows a romance en route to decay between two sentient beings. Peña brings to life her distinct vision with her previous collaborators Brad Lovett aka Dim Past who stars and is behind the sonic pulse of the film, and Jorge Rubiera, cinematographer who beams an otherworldly yet unmistakable Miami vibe. The Cuban American filmmaker is a Sundance Institute/Knight Fellow.   Watch Ectotherms here.  Hearts of Palm is world premiering at the upcoming Miami International Film Festival.

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Lupe21LUPE UNDER THE SUN written and directed by Rodrigo Reyes

Since the debut of his 2012 highly acclaimed and visual border documentary, Purgatorio, Rodrigo Reyes has been developing a number of projects, including this evocative tale called Lupe Under the Sun. Originally planned to be a documentary set in Merced, his hometown, Northern California, Reyes let the story evolve into a hybrid  film about an old Mexican man who has spent his entire life working in the California fields.  When he attempts to get back in touch with the family and life he left behind, he finds out that his absence did not stop them from moving on.  Shot by Justin Chin, his D.P. on Purgatorio, the film casts a neorealist, tinge of black humor aided by the real world surroundings of the agricultural desert suburb.  Lupe Under the Sun was selected to participate in IFP Narrative Lab last year and is expected to finish the film in 2016.

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MARIGOLD THE MATADOR, written and directed by Kenneth Castillo

The prolific independent LA born and raised Chicano filmmaker, Kenny Castillo is currently finishing his 7th feature.  Known for his popular short form series, The Misadventures of Cholo Chaplin which he is currently developing into animation, Castillo has since successfully specialized in urban films led by multi dimensional characters. Marigold the Matador focuses on a single mother from the perspective of an 11 year old girl who deals with her feelings of loneliness and isolation by imagining herself as a Matador in the world of the Day of the Dead. Most of the story  was shot unscripted and the result is a very authentic and emotionally engaging film.  He is currently raising funds to finish the film. The true blue indie filmmaker entrepreneur he is, you can head over to his website and buy a cool Cholo Chaplin shirt, check out his complete body of work, and donate to his film.

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FUGUE written and directed by Jorge Torres-Torres

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I know, not FUGUE, but no film still avail yet
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Artist known as Torres

I only recently discovered the work of this enigmatic filmmaker who’s been lurking along the coolest fringes of art genre.  Among his previous films, 2014’s moody verite, Shadow Zombie won a prize for best “documentary-sh” film at the renowned Chicago Underground Film Festival. Sisters of the Plague starring Josephine Deckker screened at last year’s  New Orleans Film Festival and Outfest.  Back in 2011 Jorge was the cinematographer on Jonathan Caouette’s Cannes documentary, Walk Away Renee.   Yes , he also directs music videos, including this neat Modest Mouse Strangers to Ourselves track.  The Puerto Rican born filmmaker has also produced and shot a number of random videos you can find on his Tumblr.  Upcoming films include a documentary about the Slacker esque Athens, Georgia music scene called A Peculiar Noise, premiering at this year’s Atlanta Film Festival, and Fugue, which follows a woman (Sophie Traub) who wanders around an island lost and out of place.  Having binged on his work recently I can safely say that he casts spells of mad intrigue and strange  dream-state feels.  Definitely an indie auteur you should know.

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greenghostposter_twitchTHE GREEN GHOST directed by Michael Olmos 

Michael Olmos goes family superhero action film in The Green Ghost, his 4th feature film.  It is not surprising that Olmos is collaborating with Marco Zaror; back in 2006 Marko made noise in the Chilean street action thriller, Kiltro which premiered at LALIFF, the Los Angeles Latino International Film Festival headed by Michael’s father, Eddie Olmos.  Michael’s underrated first film, Splinter in 2006 was shot on the streets of LA and displayed his stylish and gritty directing chops. Olmos went on to co-direct and produce the 2012 Sundance Film Festival U.S. Dramatic Competition film  Filly Brown which catapulted Gina Rodriguez pre-Jane the Virgin.  Zaror has many fans around the world having carved out for himself a string of martial arts action flicks, many of which have played Fantastic Fest where incidentally he and Michael sneaked some footage of the Green Ghost last year.  The film is about a man having to overcome his insecurities to transform into a superhero and defeat the dangerous bruja Lechusa who plans to bring back the wrath of Moctezuma.   Currently in post.

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DADDY’S BOY written and directed by Daniel Armando

Daniel’s first feature What it Was made the Latino/LGBT film festival run.  The story about an actor coming to terms with a recent family loss and her marriage breakup returns to her home in Brooklyn where she runs into an old college girlfriend. The film has raw verite scenes interlaced with poetic close up cinematic imagery.  He has not one but two films premiering at this year’s Cinequest Film Festival next month.  He directed a film called When I’m With You, and wrote and directed an erotic swoon and slow dance film, Daddy’s Boy which indulges in its queer cinema throwback and music interludes as it follows four young men behind the closed doors of a burlesque studio, shedding more than just their clothes and inhibitions.  Daniel has said that he likes films that wander throughout space.   He’s been quoted as saying, “A lot of my favorite films don’t feature characters like this, and I feel I have a responsibility as an artist of color to tell everyday stories from a perspective rarely seen.”

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DON’T KILL IT directed by Mike Mendez

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Dolph, demon hunter

From the director of Big Ass Spider which played at the 2013 SXSW Film Festival, comes this supernatural action thriller, starring none other than 80s movies action icon, Dolph Lundgren.  Mike Mendez, born to Salvadorean and Mexican family parents, born and raised in LA has been busy.  After Big Ass Spider he did Lavalantula about giant lava spewing tarantulas. Last year he put together an anthology of scary shorts, Tales of Halloween directed by various filmmakers including Lucky McKee (2002’s May is one of my long time cult faves).  Mendez doesn’t show any signs of slowing his roll which is a good thing for his loyal fans.  His love for genre is evident in his filmmaking, and his action/horror genre is mixed with a  pure sense of humor.

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 FROZEN PEAS written and directed by Alonso Mayo

A real bi-cultural American who spent his formative years in between Lima, Peru and Lawrence, Kansas, Alonso Mayo first moved to LA to attend AFI where he made his thesis short film, Wednesday Afternoon.  In 2013, Gravitas Ventures picked up his first feature, The Story of Luke starring Lou Taylor Pucci, Seth Green, Cary Elwes and Kristin Bauer.  His sophomore effort, Frozen Peas is a funny and honest film about a husband and father to three kids finds himself in the throes of a masculinity panic attack when pressured by his wife to consider vasectomy.

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First Features Alert

To round up the list here are three special mentions of directorial debuts to watch coming soon; Bruising for Besos written and directed by Adelina Anthony, the queer chicana poet who wrote the story for one of my favorite short films, You’re Dead To Me.  A critically acclaimed and beloved solo artist performer, she stars herself in Brusing as Yoli, a smooth talker whose game is put to the test in pursuit of romance. Varsity Punks written and directed by Anthony Solorzano is a high school comedy following a tight knit rambunctious cross country team shot in El Monte starring Efren Ramirez as the coach.   H.O.M.E by Daniel Maldonado which is premiering a the Queens World Film Festival stars Jeremy Ray Valdez as a young man with Aspergers. See trailer for H.O.M.E. below.

WTF is Latino at Sundance 2015? – A closer look

We are only a week away from the avalanche of discovery that will unfurl at the 2015 Sundance Film Festival, so let me give you a heads up on everything Latino.

First, a slew of qualifications, caveats and disclaimers; I like to differentiate between U.S. born artists of Latino heritage and international artists. Second, keep in mind “Latino sounding last names” does not indicate who is Latino behind a film (and a Latino sounding last name does not necessarily indicate that person identifies as Latino and or tells Latino stories). I mention this to emphasize Latino identity is often subjective and always complex.  Lastly, these are not reviews or spoilers but a quick reference for those interested in tracking emerging Latino talent and topics.

Left Tony Revolri is of Guatemalan descent
Left Tony Revolori is of Guatemalan descent

Perhaps more ubiquitous to spot are the Latinos in front of the camera; J-Lo plays Lila opposite queen bee Viola Davis in Lila and Eve. John Leguizamo has a role in The Experimenter, the late Elizabeth Peña has a wicked cameo in Grandma opposite Lily Tomlin. Tony Revolori (Grand Budapest Hotel) plays the Latino kid in Dope. Scott Mescudi is Christopher Abbot’s friend in James White.

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Robert “Beef” Lorie

Exciting acting debuts to watch out for include Kitana Kiki Rodriguez in Sean Baker’s pulsing Tangerine and Robert Lorrie in The Strongest Man by Kenny Riches, both in the indie gem Next section.

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Cartel land

There are eight films that have Latino subjects. Two films in U.S. Documentary Competition are about the U.S./Mexico border, which makes me very happy (not the anguishing realities portrayed in the films but the fact that Sundance recognizes the urgency of the conversation and supports these filmmakers novel perspectives in tackling the complexities of the ongoing drugwar.

U.S. WRITERS/DIRECTORS

Alfonso Gomez-Rejon in the U.S. Dramatic Competition with Me, Earl and the Dying Girl. This successful television writer has been quoted  about his bordertown childhood; “Laredo is in my DNA, as much as Nuevo Laredo (Mexican state across the border) is in my DNA”.

Kyle Alvarez who has Cuban roots, is at the festival with his third feature, The Stanford Prison Experiment.

Daniel Garcia who recently was named “Filmmaker to Watch” at the Independent Spirit Awards co-directed the enigmatic film, H. in Next. He is from Texas and has family from Mexico.  Check out the trailer:

10891650_10153504452223761_1003665519324158567_nIn the shorts program we got Reinaldo Green with the powerful Stop, Ryan Gillis with animated short film Palm Rot and Ronnie Rivera and Bernardo Britto are the co-directors of The Sun Like a Big Dark Animal.

If we are including writers/directors born and raised in another country but based in the U.S. let’s add:

Rodrigo Garcia – The Colombian born Mexican long time LA resident is back in Premieres with Last Days in the Desert shot by Mexican Oscar winner DP Emmanuel Lubezki (Gravity).

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Kristen Wiig and Sebastian Silva

Sebastian Silva from Chile based in NY returns with Nasty Baby featuring another juicy dramatic performance from Kristen Wiig following last year’s Skeleton Twins.

And two international filmmakers who are making their English language debuts:

Claudia Llosa from Peru wrote and directed Aloft starring Jennifer Connelly and Cillian Murphy which premiered at last year’s Berlin Film Festival.

J.M Cravioto makes his English language and fiction narrative debut with horror midnight movie, Reversal.

It’s worth noting not one of these films feature Latino actors with the exception of Silva who stars in his film, and Reinaldo Green’s Stop. And I will take a step further to comment those films do not have a storyline that reflects a Latino experience (I know, we can debate what qualifies as a Latino experience).

PRODUCERS AND MORE

Mimi Valdes – the former editor of Latina and Vibe Magazine and now creative director of Pharell Williams’ multi-media company is a co-producer on Dope with Nina Yang and Forest Whitaker (Fruitvale).

Felipe Marino of Occupant Entertainment produced creature feature, The Hallow. Named “Producer to Watch’ by Variety, the U.S. born of Colombia descent producer previously brought The Wackness to the 2008 Sundance Film Festival.

The Borscht Corp powerhouse are behind shorts Papa Machete shot in Haiti and the previously mentioned, The Sun Like a Big Dark Animal.

Nicolas Lopez (Aftershock) co-wrote Eli Roth’s Knock Knock starring Keanu Reeves showing in Midnight.

Mexican cinematographer Lorenzo Hagerman shot Rick Alverson’s Entertainment.

SUBJECT/THEMES

Cartel Land by Matthew Heineman. Senior Programmer David Courier’s description is on point; “Brilliant, dangerous, and provocative, Cartel Land is a chilling meditation on the breakdown of order and the borderline where life trumps law.” Here’s an interview with the filmmaker that includes clips of the movie:

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Western

Western by Alex and Turner Ross. If you saw their previous film, Tchoupitoulas you are familiar with their beautiful, observational and visceral style.  Motivated by finding the real iconic cowboys of the dusty old frontier, these two consider this part of their American trilogy.

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The Angulo Brothers of The Wolfpack

The Wolfpack by Crystal Moselle – Its best if you know nothing going in and I will wager that this one will be one of the most talked about films at the festival. I will only mention the pack are the children of a Peruvian man.

The Strongest Man –The lead character’s thoughts and voiceover is uttered in Spanish throughout the film.

Royal Road by Jenni Olson talks about the Mexican land before it became the United States.

Fresh Dressed by Sacha Jenkins– documents the shift from when cats started settling beefs on the dance floor and on the mike instead of violence. Fashion and hip hop style created by urban (read: blacks and Latinos)

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Venus Extravaganza in Paris is Burning

Paris is Burning by Jennie Livingston –celebrating its 15th anniversary a special Collection screening of the film will take place on January 26 at 3pm at the Egyptian. Love love love this film. The House of Extravaganza was one of the first Latino/a Harlem balls. RIP Angie and Venus.

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Making it in America

Making it in America by Joris Debeij is a short film about a Salvadoran immigrant in Los Angeles.

And now for straight up INTERNATIONAL FILMS:

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Paulina Davila in LiveForever

From Mexico/Colombia in New Frontier is Live Forever or QUE VIVA LA MUSICA! by Sundance alum Carlos Moreno (Dog Eat Dog, All Your Dead Ones), a sexy, music driven film starring a magnetic new Colombian actress Paulina Davila

Short film, Spring from Mexico which played at the Morelia Film Festival by Tania Claudia Castillo.

Wild Tales from Argentina/Spain by Damián Szifrón

The Second Mother by well-known Brazilian filmmaker Anna Muylaert

The Games Maker by Juan Pablo Buscarini in the Sundance Kids section is from Argentina.

And a MUST-EXPERIENCE at the New Frontier is virtual reality film Assent by Oscar Raby a Chilean who lives in Australia. Description: In 1973 my father witnessed the execution of a group of prisoners captured by the military regime in Chile, the same Army that he was part of. Assent puts the user in my father’s boots as we walk to the place where that happened.

And lastly, presenting short films in the Sundance Institute Short Film Challenge for the Bill and Melinda Gates foundation are alumni Marialy Rivas, the hip director from Chile of Young and Wild, and actor/filmmaker Diego Luna.

To check out the entire lineup of films, screening times and descriptions go here.  To meet the directors, check out Sundance YouTube Meet The Filmmakers series here.  And lastly follow all the haps as it haps @sundancefestnow

That’s FANTASTICO! – Submit your genre projects to the 2014 Fantastic Market


El Mercado Fantastico
 is back.  The international co-production market for genre films is putting out a wide alert to find projects made by Latino filmmakers currently in development, pre-production or post.  Finalists will go to Austin during this year’s Fantastic Fest (September 18-25) and be hooked up with potential production partners, sales agents, and distributors.  The market is co-produced with CANANA and El Rey so you know the platform will attract heavyweight investors and partners.

Seize this unique opportunity to fast track your film, and who knows, your film could be distinguished in a future Fantastic Fest program with as many uncouth visual reference icons that fit your crazy film’s themes i.e. Fishhook Violence, Puppet Sex, Pedophilia, Decapitation, Lactation….  You have until May 31’st to submit.Screen Shot 2014-05-04 at 10.42.21 PM

Along with accepting classic genre staples like horror, action and fantasy, projects can run the genre gamut and include animation, westerns, dark comedies, sci-fi, basically anything other than your run of the mill drama.  In its second year, the market will select 12-14 projects and new this year, will select four films in post to screen as works in progress.

Machete Kills Fantastic FestSince 2005, Fantastic Fest has nailed its epic niche of being the ultimate festival for a ravenous movie geek audience who embraces the rigorously curated fantastic program. And the international film marketplace has taken note, snapping up rights to several film titles that have screened in the Fantastic Fest program. El Mercado Fantastico feels like a natural step for them to incubate their specialty and sustain their grip on all films fantastic.

Director of Programming Rodney Perkins, along with Festival Director Kristin Bell are and heavily scouting for submissions. They received around 100 submissions last year and Rodney told me that overall, the quality was very high.   Out of the 16 participating projects, a majority were by directors and producers who have had previous films in the festival.   Rodney says they are looking to mix it up with bringing new talent to the surface, but also choosing projects by filmmakers with proven track records in making good movies and the quality of their new projects.

Fantastic Fest Here Comes The Devil
The crew from Mexican film, Here Comes The Devil, winning Best everything in the Horror section in 2012

Rodney commented, “Some of the most interesting genre directors in the world are based out of countries like Mexico, Argentina, Spain, Brazil and Uruguay. Fantastic Fest has featured numerous films from these and other countries. A lot of these talented people don’t get recognized globally, particularly in the U.S. We want to do what we can to help them make films and expose their work to a broader international audience.”

Juan Of The Dead
Cuban Alejandro Brugues, dir. of  Juan of The Dead, whose project, The Wrong Place, won last year’s inaugural market.

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Like Rodney says, since its inception, Fantastic Fest has supported and premiered films from Spanish filmmakers like Nacho Vigalondo (Time Crimes, Open Windows), Eugenio Mira (Agnosia, Grand Piano),  Chileans like Ernesto Diaz Espinosa (Kiltro, Mandrill), Nicolas Lopez (Santos, Aftershock) and Mexicans Adrian Garcia Bogliano (Here Comes The Devil), and Jorge Michel Grau (Somos Lo Que Hay), among other filmmakers from all over South America and the Caribbean. 

A number of projects that were in pre-production when they participated in the inaugural market last September are already coming to fruition.  Notably Isaac Ezban’s feature debut El Incidente, produced by Andrea Quiroz (Here Comes the Devil), is completed and will screen at Ventana Sur’s Blood Window showcase at Cannes Marche du Film.  Edgar Nito’s project Tatewari is steadily advancing and recently announced a new associate producer. The team from Uruguayan project Small Town found the producing partners for their film, Dios Local from the market last year. Dios Local is almost complete and is represented for international sales by the French company Elle Driver.

Narco_006
Narco Cultura. Now on Netflix and iTunes

So what are you waiting for?  I know there has got to be more than 100 Latino made genre projects out there.  They aren’t just looking for international Latinos but U.S. native Latinos to represent. At least one of the filmmakers/producers should be some kind of Latino. Get your application together to submit asap.  I was on the documentary jury last year which awarded Best Documentary to Jodorowsky’s Dune and Best Director to Shaul Shwarz for Narco Cultura (Now on Netflix and iTunes) so I know firsthand this festival is a vital film festival.  Plus, there’s really nowhere else you’ll find such sanctioned festival shenanigans like Helicopter Hog Hunting, Filmmaker Shotgun outings, the Schlitz chuggin Award Ceremony rite, Nerd rap, Karaoke and Debates that are settled with a good ol boxing fight.

@FantasticFest

 

Meet Edgar Muñiz: The Most Prolific Filmmaker You Don’t-but-should-definitely Know

Bio_Pic_photo_2“I’m a compulsive filmmaker,” admits Eddie Muñiz the 33 year old California native who has 12 films under his belt.
One of them is The Never Daunted, his 10th film. Not too long ago I saw it as a festival screener dvd and I vividly and immediately felt that rare exhilarating rush of discovery amid the dvd stacks of derivative story lines.   The film is about a  man who, unable to cope with his infertility and the monotony of a dead-end job, becomes withdrawn from his relationship and grows obsessed with a strange Western that comes on television late at night – which only he can see.   The film’s captivating sincerity and epic  male psyche exploration makes Muñiz not only a writer/director to follow, but one to actively support.  He’s one of those creative manic types who are actively pursuing their art of storytelling without frills, on the fly and for the love.  On the weekends and perhaps limited by budget but never held back by its raw, transcendent humanity.  In talking to him you can tell he is completely immersed in and relishes the craft.  So much he hasn’t had the bandwith to fully explore the mine of distribution outlets.  Thanks to our brave new world of Direct to Fan online distribution, we can finally check out some of his films, in particular the singular The Never Daunted.  Now available to stream on Seed & Spark.  Once you get hooked you’ll want to see more of his work, some of which is available on his website.   Read on, get to know this cool cat and get a  taste of his sensibility and work ethic and tell me if he’s not inspiring.
The_Never_Daunted-2Adjusted1. Putting together one film no matter how modest the budget requires a lot of collaboration, an insane amount of tenacity and organization.  What is it about your creative process and style that has allowed you to be so prolific?
 
You’re right.  Making a film does require a lot of collaboration, and I think there are either filmmakers who embrace this aspect of filmmaking or they don’t. I completely rely on it, but that’s also because I work with a lot of like-minded people and really talented, smart people. I think that the only real trick I have is that I won’t start with a script. The only reason I’m able to complete so many projects and get them done so quickly is because I’ll take care of the scheduling first, which I think is the hardest part, and then force myself to write something under pressure before the day I have to shoot. I never really start with an idea or theme in mind; I’ll start with a person I think is interesting or that I love being around. I know that sounds weird, but so many of the films I’ve done started from just hanging out with a friend or with new people. After hanging out and getting a sense of their personalities and of their views, I always think it’s interesting to take a version of that person and place him or her in different scenarios that I later come up with. This approach not only opens up several narrative possibilities for me, but it also makes it so that I can make the film and keep discovering new things as I’m going along. The part that I play in this is almost nonexistent. I just have to make sure to listen very carefully, work within my means, prepare for any setbacks or last-minute changes and finally remain objective enough to shape a film out of all of it. It is a compulsion in that filmmaking is a priority for me, and I’m constantly thinking about it. I never stop and it drives a lot of my friends and family crazy. I would always rather film than go to bars or to parties or to lunch or to dinner…unless I can film when I’m there!
 
2.  The dialogue feels so natural in your films.
There’ve only been a few times that I’ll have specific lines I want my actors to hit.  Sometimes I’ll be married to these lines because I overheard someone say it a certain way, but all of the credit here should really go to my actors. I’ll know the emotion I want from the scene, I’ll know the tone, and specific expository points, but that’s it, and that’s only the structure or the blueprint. They’ll improvise off my sides, and sometimes this will be a page with four or five lines on it – between two or three people – and what would’ve been a 1-minute scene on the page, they’ll turn into a 3 to 4 min. scene full of twists and turns, with sharp, understated, and insightful subtext, sometimes strange, sometimes bizarre, sometimes hilarious. But always unexpected, and that’s the point. 
_DSC22313.  In The Never Daunted, there is such a genuine vulnerability not often found in male driven films.  You said you were raised by your mom and aunts, do you think this helped you get in touch with this modern masculinity side?  You show such a profound and illuminating notion of the pitfalls of having to live up to a macho masculine, cowboy, protector and provider role, it really expands my perception and elicits my empathy for the male perspective.
That’s really cool of you to say!  Because my mom was always working, I’d spend a lot of my days with my aunts and my grandmother…. I have two uncles that I admire very much, but I don’t think I ever measured up to that Mexican macho male thing, nor did I ever really care to. For what it’s worth, I grew up with more of a feminine perspective – because of my aunts and my mothers – and this kind of allowed me to see how proud men can be, how delusional, overbearing, fearful, and how selfish we can be as well. And I do love to look at this in my films, and I’m often guilty of all of this male posturing too. Although I understand the culture of cool cinema and even appreciate some of those films – the cowboys, the gangsters, the hitmen movies- I can’t help but see that same macho bullshit from my childhood being perpetuated over and over again in our culture. It’s also a constant reminder that I’m none of those things and that maybe I should be feeling like I ought to be. I think men are much more interesting than that though, much more complex and multidimensional. But a variation in movies is great – don’t get me wrong. Nevertheless, if there’s a story about a bank robber being chased by the cops, and he’s forced to pull a man and his little boy out of their car, and speeds off, I’d rather see the story about the man having to explain to his boy what just happened.
 
The Never Daunted STILLS 384. You mentioned you’ve gotten feedback from Guy Maddin and Monte Hellman, have they inspired your approach and aesthetic?  Who else contemporary filmmakers do you draw from and connect?
Guy Maddin and Monte Hellman were the only two that took the time to respond, and they were also the two that I was desperately hoping would respond, so I did make more of an effort with them. I do love movies that are very postmodern and abstract and these two guys are still making very interesting and provocative work. Guy Maddin continues to find new ways to tell stories and I can’t passively watch any of his movies. They require my complete attention and that’s what cinema should be, I think. With Monte Hellman’s Road to Nowhere, I had the experience where I had to keep watching the movie over and over again so I can decide whether or not I liked it.  And Road to Nowhere was a movie about movies, which is something that still interests me, as indulgent as it might sound, and this meta-fictional element comes up in not only The Never Daunted, but in other movies I’ve completed since then. And I love all types of films and filmmakers, but as far as the ones that make me excited about not only watching their movies but going out and making more of my own, I’d say Hong Sang Soo, Carlos Reygadas, Lynne Ramsay, Agnes Varda, Gus Van Sant, Miranda July, Alfonso Cuaron, Bela Tarr, Tsai Ming-Liang, and Mary Harron are maybe my favorites right now. And obviously, this list is always changing .
 
IMG_7983
5.  Does is it get easier with each film you make?
Working with actors and non-actors has gotten easier for me. It’s a different language I use with both, but I’ve learned to appreciate this aspect of filmmaking more than any other. It’s the part where I get to work with them as people, but the discussions aren’t always about choices or behavior or the psychology of a character. A lot of times it’s them telling me personal stories and me sharing personal stories with them as well, which is why I feel that the friendships I’ve made through filmmaking have been so rewarding and amazing to me. There’s no chit-chat or formalities; there’s no time for that. So a person will go from being an acquaintance to a deep personal friend you feel you’ve known for a long time, and this will happen simply because they’re willing to bring their personal experiences and specific views to the table. As cheesy as it sounds, it can feel like the purest expression of the self and art. Learning that a lot of them are willing to do this, or maybe because they trust me, has given me much more confidence when directing a scene, so it feels much easier. All the other technical stuff is a pain in the ass, but I learn it because I have to and because I didn’t go to film school.
 
_DSC16696.  What do you personally get out of making a film from the creation and observation of the human condition? 
I guess it’s the same thing that I get out of teaching, but to be honest, teaching is much more rewarding. Both require a lot of self-reflection and discipline, but in teaching, the results are right there and you can actually see the light bulbs go on in front of you. With filmmaking, it can be very painful and I can think that I’m addressing several questions that are important to me, but once the film is done, I’m sometimes left with even more questions and concerns than before. The greatest pleasure that I derive from making a film is having connected with people in the process. At the end of a film or at the end of a screening, I often feel like a fraud and like I didn’t complete what I set out to do. I start wondering what I even want to gain from all of it, and I’ll just watch other people’s films and wonder, “Who the hell do I think I am, making my own movies, or assuming that people even care?”. But the one constant pleasure is my relationships with my friends. The fact that I built friendships in the process and that they trusted me and that we completed something together. Then, inevitably, I’ll get excited about another project and I’ll bury myself in another opportunity to work with them.
 
Haley_Project_STILL_137.  In your words, what is Haley, your latest film about?
The Haley Project has a couple of stories running parallel throughout, but at the center is the story about a girl named Haley, who we only see in the beginning of the film and in a flashback at the end. It’s loosely based on my friend Laura Benson, who actually plays Haley, but it’s also about other people in my life who I’m always in awe of. I have a few friends who are always telling me stories about these exotic places that they’ve visited and these crazy adventures that they’ve had.  My friend Nick Null, who plays Murray in The Never Daunted, has a lot of stories like this too. But I thought it would be interesting to look at this kind of person, but from the perspective of all the supporting characters in each of their stories. How are these supporting characters, who don’t get to float on from place to place, affected by having met someone with a seemingly more interesting life? So I had two guys, played by Seth Johansson and Brian Randles, become competitive and mean with each other over their love for Haley, without Haley even there anymore. And in the same movie I have a romantic Frenchman who arrives in LA, in hopes of finding love. And I love this idea because it’s usually the other way around: the starry-eyed, American Francophile visits Paris in search of love.
Check out the trailer for The Never Daunted below and click here to watch the film on Seed & Spark.
 

#Outfest doc shorts – The LA Latino Gay

I really enjoyed finding out about this local community organization, Payasos LA through the documentary shorts film block, Queerer Than Fiction at yesterday’s Outfest screening. This is the first episode of a series called RAD QUEERS by bright-eyed and charming Graham Kolbeins. The doc short form is a kind of an underrated, underplayed piece of film, so this selection of portraits, personal journeys and confrontations was a special and touching treat. I loved that each film reflected a super specific identity yet their plight couldn’t be more universal, and exploratory of the human condition. It’s especially neat to meet the people you just met on film, in real life right after the screening. The block is playing again tonight at 9:30pm so come on down to the DGA on Sunset & Fairfax to get your tickets and party with the most diverse, real and hip people in LA.

“Smashing taboos and redefining philanthropy, Payasos L.A. is an organization of gay Latino men who wear clown make-up, go-go dance, and try to make the world a better place for future generations. Rad Queers: Payasos L.A. takes a look at the Payasos’ optimistic philosophy as well as their sexy fund-raising parties. “Mr. Los Angeles Leather” 2011 title-holder and Payasos founder Leo Iriarte walks us through the wild world of his happy band of clowns, providing a uniquely personal perspective on this extraordinary group.”

Find out more about their work here