Mighty Aphrodite Pictures Sets October Shoot

Oscar-nominated actor Eric Roberts and emerging performer Ben King are set to star in filmmaker Jorge Xolalpa’s new comedy-drama Hello, My Name Is Richard!, with production slated to begin October 19 in Los Angeles, Latin Heat can exclusively reveal.

The film is being produced under Xolalpa’s Mighty Aphrodite Pictures, the Los Angeles-based banner behind the filmmaker’s growing slate of independently produced features.

King will star as Richard Brown, a young autistic man who decides to run for city council, while Roberts is set to play Albert.

Written and directed by Xolalpa, Hello, My Name Is Richard! is built around an unconventional political candidate whose determination to make a difference in his community becomes the catalyst for a story that balances comedy and drama with themes of inclusion, ambition, family and human connection.

Rather than treating Richard’s political aspirations simply as a campaign story, the film centers on the man behind the candidacy—and the personal drive that compels him to step into a world where his voice has not traditionally been heard.

The project represents another collaboration between Xolalpa and NYTA Films, which is financing the production. The companies have developed an established working relationship, with NYTA Films having financed Xolalpa’s previous five feature films.

That continued partnership underscores a production model Xolalpa has increasingly embraced: developing character-driven stories and moving them from script to screen through a combination of independent financing and a consistent creative team.

For King, the role marks a significant leading-man opportunity opposite a veteran performer whose filmography spans decades of film and television. Roberts, an Oscar nominee for Runaway Train, has built one of the industry’s most prolific careers, with hundreds of screen credits across features, television and independent productions.

Xolalpa’s Expanding Slate

Hello, My Name Is Richard! arrives as Xolalpa continues to expand his slate beyond his existing body of independent features.

The filmmaker recently secured an exclusive option agreement to develop the authorized feature film based on the life and legacy of U.S. Army Specialist Vanessa Guillén, partnering with producer Jolene Rodriguez on the project.

The Vanessa Guillén film will explore the life of the late Army soldier and the circumstances surrounding her death, a case that generated national attention and contributed to a larger conversation about accountability and protections for service members.

Taken together, the projects illustrate the breadth of Xolalpa’s current development strategy. While the Vanessa Guillén project tackles a real-life story with significant cultural and social implications, Hello, My Name Is Richard! takes a more intimate and comedic route, focusing on an individual pursuing a place in his community and the people surrounding him.

Both, however, share a central component of Xolalpa’s filmmaking: placing characters and perspectives that have historically received limited representation at the center of the story.

For Hello, My Name Is Richard!, that perspective belongs to Richard Brown, whose decision to seek public office becomes both a source of humor and a vehicle for exploring what it means to be seen, heard and taken seriously.

With principal photography now set for October, Xolalpa is moving quickly on what is shaping up to be another independently mounted feature from the filmmaker and Mighty Aphrodite Pictures.

Principal photography on Hello, My Name Is Richard! is scheduled to begin October 19 in Los Angeles.

The post EXCLUSIVE: Eric Roberts, Ben King Set to Lead Jorge Xolalpa’s ‘Hello, My Name Is Richard!’ first appeared on .

Mighty Aphrodite Pictures Taps Jolene Rodriguez to Produce

BREAKING NEWS

LATINOWood — Award-winning director, producer and bestselling author Jorge Xolalpa is taking on one of the most significant projects of his career. Xolalpa has secured the exclusive option agreement to develop the authorized feature film based on the life and legacy of U.S. Army Specialist Vanessa Guillén, whose 2020 disappearance and murder at Fort Hood ignited a national movement for justice, military accountability and systemic reform.

The option, signed with Vanessa’s sister Mayra Guillén, gives Xolalpa and his company, Mighty Aphrodite Pictures, the exclusive right to develop, package, pitch, negotiate and market the authorized film. The project will be developed in cooperation with the Guillén family, with their participation and support intended to help ensure that Vanessa’s story is told with authenticity and respect.

The deal comes after interest from multiple entertainment-industry players, with the Guillén family ultimately entrusting Xolalpa with the project. For the filmmaker, the significance goes well beyond adding another title to an increasingly ambitious independent film slate.

“This is far more than an opportunity to make a film. It’s a responsibility,” said Xolalpa, who heads Mighty Aphrodite Pictures. “From the very beginning, our commitment has been to honor Vanessa’s life with honesty, compassion, and authenticity. We are deeply grateful to Mayra and the Guillén family for placing their trust in us. Our promise is to tell Vanessa’s story in a way that preserves her legacy and inspires audiences for generations to come.”

A Story That Changed the Conversation

Vanessa Guillén was a 20-year-old U.S. Army Specialist stationed at Fort Hood, Texas, when she disappeared in April 2020. Her murder and the subsequent investigation thrust the experiences of military families into the national spotlight and prompted widespread questions about sexual harassment, reporting procedures and accountability within the military.

The Guillén family’s campaign for justice ultimately helped drive legislative change, including provisions addressing sexual harassment and assault within the armed forces.

The forthcoming film is expected to chronicle not only Vanessa’s life and death, but also the extraordinary advocacy of her family and the movement that grew around her name. That distinction is important to Xolalpa.

Rather than approaching the story solely as a tragedy, the filmmaker and the Guillén family are positioning the project as a story about Vanessa the person, her aspirations and her legacy — and the determination of a family that refused to let her disappearance be forgotten.

For Xolalpa, whose body of work has centered on underrepresented voices and culturally specific stories, the project represents a natural extension of his filmmaking mission.

His films have screened at more than 50 film festivals worldwide and earned dozens of awards and accolades. His work has consistently explored identity, immigration, resilience, belonging and the experiences of communities historically underrepresented on screen. Now, that approach is being applied to a story with national resonance.

Jolene Rodriguez Comes Aboard

Joining Xolalpa is producer Jolene Rodriguez (7th & Union) of Broken English Productions. Rodriguez brings significant industry credentials to the project and was previously named by Variety as one of its “10 Producers to Watch.”

Her involvement also marks the beginning of a broader creative partnership with Xolalpa.

The two filmmakers have entered into a three-film producing agreement, establishing a partnership that will see them collaborate on three feature films, with additional projects expected to be announced.

For Xolalpa and Rodriguez, the Vanessa Guillén film therefore represents both a major standalone project and the first chapter of a larger producing relationship. Mayra Guillén and Alejandra Palomera will serve as executive producers.

The option agreement was facilitated by Palomera Group and Levy Law PLLC, Mayra Guillén’s team.

Building a Latino Indie Film Powerhouse

The deal further positions Xolalpa’s Mighty Aphrodite Pictures as a company focused on commercially viable films with culturally specific stories and strong social relevance.

Xolalpa has spent more than a decade establishing himself as an independent filmmaker while expanding his work beyond directing. He is also the bestselling author of “Ni De Aquí, Ni De Allá: A Soul Suspended Between Two Worlds“, a memoir exploring identity, immigration and belonging.

Following the book’s release, Xolalpa embarked on a 25-city national tour, appearing at universities, cultural institutions, bookstores and community organizations across the country. His expanding literary slate includes the upcoming children’s book The Boy Who Reached the Stars and his debut novel, The Woman in My Mirror.

But it is the Vanessa Guillén project that could represent his most consequential cinematic opportunity to date.

For an independent filmmaker who has built his career around stories that challenge the industry’s traditional center of gravity, being selected by the Guillén family carries a significance that cannot be measured simply by budget or box office potential. It is a vote of confidence in the idea that who tells a story — and how that story is told — matters.

The post Jorge Xolalpa Lands Exclusive Option Deal to Develop Authorized Vanessa Guillén Bio Pic first appeared on .

By Bel Hernandez Castillo & Andrea Nuñez

To understand what Chicano Hollywood “wants”, you first need to understand what a “Chicano” is.  

In 1970 award-winning journalist Ruben Salazar wrote the definitive article defining the word Chicano in his Los Angeles Times article titled:  “Who is a Chicano and What is it that Chicanos Want?

In his article Salazar wrote, “A Chicano is a Mexican-American with a non-Anglo image of himself. He resents being told Columbus “discovered” America when the Chicano’s ancestors, the Mayans and the Aztecs, founded highly sophisticated civilizations centuries before Spain financed the Italian explorer’s trip to the “New World.”

The passage captures why the term became associated by many Mexican-Americans  with cultural pride and self-determination.

However over the past five decades, the meaning of “Chicano” has evolved. Once embraced as a political identity rooted in the Chicano Movement, it later fell out of favor among some Mexican Americans, while others continued to wear it as a badge of cultural pride. Today, a new generation, and not just Mexican- Americans, are reclaiming the term in ways that emphasize identity, history, and empowerment.  

So what is Chicano Hollywood?

Johnny Murillo, founder of Chicano Hollywood, defines it as a platform “a community built to elevate, empower, and showcase Chicanos and Latino storytellers”. But the vision extends far beyond that simple definition.

That vision might be rooted in past efforts by several Latino organization, who throughout the years were founded for the same purpose.  Chicano Hollywood is part of a broader Latino entertainment ecosystem that has been nurtured over past decades by these organization.  Most notably Nosotros (Founded in 1970 by Ricardo Montalban), Hispanic Organization of Latin Actors (HOLA) (Founded in 1975);  LatinHeat LEMI Conference (Founded 1995); and NALIP (Founded in 1999) – among them.

What distinguishes Chicano Hollywood is its early focus on Mexican-American independent filmmakers—many who existed outside the Hollywood’s traditional power structure. However, Murillo’s vision went beyond its core base, growing to include all Latinos and making alliances with non-Latino entities and filmmakers. Chicano Hollywood created an infostructure from production to distribution.

“For too long, our stories have been underrepresented or misrepresented in mainstream media,” Murillo explains. adding, “Chicano Hollywood was created to change that — to build our own lane, our own economy, and our own global stage.”  

Murillo, who has been working in Hollywood for more than 15 years as an actor/line producer and screenwriter, began building Chicano Hollywood in 2021.  According to Murillo, the impetus for the Chicano Hollywood brand came from his lived experiences, as well of those of his peers in the Mexican-American community, attempting to pitch stories to the studios.

It is no secret that Chicanos/Latinos represent one of the largest minority groups in the United States. Their economic influence, is noted in the Latino Donor Collaborative studies — increasingly their economic, cultural and creative impact—is undeniable.

For decades, Chicano culture has been portrayed stereotypically in major Hollywood films (Walk Proud (1979), Spanglish (2004), without a balance of characters. It took Latino filmmakers like the following to make independent films that portrayed another side of the Latino experience.

Robert Rodriguez

• El Mariachi (1992)
• Desperado (1995)
• From Dusk Till Dawn (1996)
• Spy Kids (2001)

Gregory Nava

• El Norte (1983)
• Selena (1997)
• My Family (1995)

Luis Valdez

• Cisco Kid (1994)
• La Bamba (1987)

Eva Longoria

• La Guerra Civil (2022)
• Flamin’ Hot (2023)

Despite the box office success of these films, Latino-led films have generally received fewer large-scale studio investments than comparable projects centered on Black film projects, as the 2026 UCLA’s latest Hollywood Diversity Report notes.

So what does Chicano Hollywood want?

Murillo quickly understood that success in entertainment requires more than talent alone. It demands infrastructure, education, access, and ownership. In other words, it requires an ecosystem.

At its core, Chicano Hollywood focuses on three major pillars.

1. Building a Creative Ecosystem for Chicano and Latino Talent

One of the organization’s primary goals is to provide career development and professional education for emerging storytellers, filmmakers, and creatives. Access to industry knowledge has historically been inequitable, and many talented voices simply never receive the tools or mentorship needed to navigate the entertainment industry.

Through the Chicano Hollywood Academy, aspiring creators can access courses such as How to Produce a Micro-Budget Film, How to Write a Contained Script, and the academy’s latest offering, How to Write a Vertical Series.

The company’s vision is ambitious—to establish creative hubs in 15 to 20 major cities and build a pipeline of in-house talent capable of becoming the next generation of writers, producers, directors, and entertainment professionals. The goal is not simply participation in the industry but ownership within it.

2. Creating Independent Media and Distribution Platforms

Another key aspect of Chicano Hollywood’s mission is the creation of multimedia platforms that allow creators to independently produce, distribute, and promote their work.

For many filmmakers and storytellers, gaining access to traditional media channels, distribution deals, or large promotional platforms remains a significant challenge. Chicano Hollywood understands that representation is not only about creating content; it is also about controlling where, how, and by whom those stories are shared.

In response, the organization launched ChicanoHollywood.tv, a streaming and media platform featuring original in-house productions ranging from drama to documentary. Some of its titles include The Calipso Show (2024), Dirt City (2021), and Ruben Gutierrez: My Story (2025), among others.

In publishing, Chicano Hollywood Magazine serves as an additional platform dedicated to showcasing original productions while highlighting influential Chicano and Latino voices across entertainment, business, and technology. The magazine has featured notable figures, such as Eva Longoria, Edward James Olmos, Emilio Rivera, and Oscar-nominated makeup artist Ken Diaz.

The organization’s long-term vision includes developing original content, building subscriber-based revenue, securing advertising partnerships, expanding merchandising opportunities, and increasing distribution channels. In many ways, Chicano Hollywood is working toward creating a self-sustaining entertainment network rooted in cultural ownership, creative independence, and community visibility.

3. Developing an Economic Engine for Latino Creatives and Entrepreneurs

Chicano Hollywood also recognizes that the entertainment industry is deeply driven by relationships, networking, and economic collaboration. For that reason, the organization seeks to create opportunities not only for artists but also for entrepreneurs, vendors, producers, and creative professionals working across the entertainment landscape.

Its first public initiatives was their Elevate Conference, where Chicano Hollywood brought together keynote speakers, industry panels, and entertainment-focused businesses to foster spaces for inspiration, collaboration, and professional growth. Over the past three years, the conference has featured notable voices such as Xolo Maridueña (Blue Beetle, Cobra Kai), producer and actress Lisa Vidal (The Division, Being Mary Jane), actress Maria Canals-Barrera (Wizards of Waverly Place, Camp Rock), actors Edward James Olmos (Blade Runner, Miami Vice, Zoot Suit), Luis Guzmán (Wednesday, Narcos), Enrique Castillo (Deja Vu, Blood In Blood Out, The Waltons) and others, helping establish the Chicano Hollywood as an important space for dialogue, visibility, and industry exchange. 

Last year, the organization also launched its first Chicano Hollywood Film Festival, showcasing films, documentaries, short films, and series that were created by Chicano and Latino filmmakers from across the country.

The momentum continues to grow. The next edition, the 2026 Chicano Hollywood Film Festival, is scheduled to take place from July 29 through August 2, 2026 at the The Union On Garey, further expanding the organization’s vision of creating a national platform for Chicano and Latino storytelling, collaboration, and cultural ownership.

This year over 100 features and short film will screened, workshops that include How To Self-Distribute Your Indie Film with Selina Ringal; Stuntman Fighting with Geo Perez and Joe Chacon and even a marketing activations — a Chess Match: Keanu Reeves vs Bianca Mitchell followed by a panel with Reeves and the filmmaking team, followed by a screening of their Mad Woman’s Game feature documentary. The five day festival will culminate on Augut 2nd with the awards ceremony. Tickets can be purchased HERE

This is only the beginning 

Organizations willing to articulate a long-term vision often inspire broader participation. By defining its ambitions publicly, Chicano Hollywood invites filmmakers, entrepreneurs, educators, and audiences to imagine themselves as part of a larger movement.

Ambition invites collaboration, and movements grow when communities see themselves reflected in them. Chicano Hollywood possesses many of the elements necessary to become one of the leading independent Chicano and Latino entertainment networks in the United States, namely education, infrastructure, distribution, community, and perhaps most importantly, a commitment to telling stories authentically.

Earlier generations relied almost exclusively on access to Hollywood’s gatekeepers, today’s creators are increasingly building their own educational institutions, media platforms, festivals, distribution channels, and business networks.

Representation is not just about being seen. It is about people having the power to tell their own stories, in their own voice, with their own faces.

Andrea Nuñez-Gamboa Co-wrote this article

The post What is Chicano Hollywood and What Does Chicano Hollywood want? first appeared on .

By Bel Hernandez Castillo

Christopher Nolan’s The Odyssey has become one of the year’s biggest box office successes, earning $264.1 million and demonstrating once again that audiences will show up for epic storytelling. But beyond the impressive numbers is another story worth celebrating—one that has often been overlooked in Hollywood.

This time, Latinos weren’t simply part of the background. They were cast in meaningful, high-profile roles throughout one of the year’s biggest studio films.

Among the star studded cast lead by Matt Damon, Zendaya, and Anne Hathaway, are Academy Award winner Lupita Nyong’o as Helen of Troy and John Leguizamo as Eumaeus. Other Latinos cast are Jimmy Gonzales as Cepheus, Jesse Garcia as Menetus and Maurice Compte as the Steward of Menelaus, and Shiloh Fernandez, as First Trojan. Their presence signals a noticeable shift in how major studio tentpole films are beginning to reflect the audiences that have long supported them.

For decades, Latino advocacy organizations, community leaders, and entertainment journalists have argued that inclusion isn’t just the right thing to do—it’s smart business. U.S. Latinos have consistently ranked among the nation’s most frequent moviegoers, yet they have rarely seen themselves represented in proportion to their economic and cultural impact.

The Odyssey offers a compelling example of what happens when that equation begins to change.

No actor has championed Latino representation more consistently than Leguizamo. Throughout his career, he has used his platform—and his production and media ventures—to create opportunities for Latino talent and to connect directly with Latino audiences. Seeing him in a prominent role in one of Hollywood’s biggest releases carries significance beyond the screen. It reinforces the message that Latino actors belong in major studio films, not as token additions, but as integral parts of the story.

The film’s outreach also extends beyond casting. Star Matt Damon, (Odysseus), whose wife is Argentine, has embraced Spanish-language interviews while promoting the film, connecting with Latino audiences in a way that feels authentic rather than performative. Those moments matter. They acknowledge a moviegoing audience that has too often been treated as an afterthought despite its enormous influence at the box office.

Hollywood has spent years discussing diversity. The Odyssey demonstrates what inclusion can look like when it moves beyond conversation and into action.

Christopher Nolan deserves credit for assembling a cast that reflects a broader range of talent without making diversity the headline. Instead, it simply becomes part of telling a richer story. That’s exactly what audiences have been asking for.

The lesson is clear. Casting a wide net that includes Latino and other actors of color in leading and featured roles doesn’t diminish a blockbuster—it strengthens it. It broadens its appeal, expands its reach, and acknowledges the audiences who have long helped make Hollywood successful.

The success of The Odyssey won’t end the conversation about representation, but it provides another data point supporting what many have said for years: when Hollywood intentionally includes Latinos on screen and in its marketing, audiences respond.

Representation isn’t charity.

It’s good storytelling.

And as The Odyssey is proving at the global box office, it’s also good business.

For marketing & box office analysis read our 1st ? The Latino Box Office Effect™ HERE

The post Christopher Nolan’s The Odyssey Rakes in $264.1 Million Opening Weekend — With Epic Latino Talent Inclusion first appeared on .

By Bel Hernandez Castillo

There is an interesting story unfolding behind Christopher Nolan’s The Odyssey—and it has less to do with mythology than with marketing.

For years, Latino actors cast in major studio films have often found themselves promoted almost exclusively through Spanish-language media, unless you are in the very rare of having reached heights of a Jennifer Lopez, participation in the broader publicity campaign has frequently been limited, creating the perception that Latino audiences are a niche market rather than a core part of a film’s success.

With The Odyssey, that appears to be changing.

John Leguizamo, who portrays Odysseus’s loyal swineherd Eumaeus, and Lupita Nyong’o who was born to Kenyan parents in Mexico and claims citizenship in both Mexico and Kenya, have been highly engaged throughout the film’s mainstream marketing campaign. Nyong’o was also on the mainstream talk shows Jimmy Fallon and the Jimmy Kimmel Show promoting the film.

Leguizamo has appeared alongside stars Matt Damon, Anne Hathaway, Zendaya and the rest of the cast at the New York premiere, participated in national press interviews, and joined promotional events that reach audiences far beyond traditional Latino media.

That visibility matters.

It signals that a Latino actor in a significant supporting role can be an integral part of a blockbuster’s overall marketing strategy—not only the face of its outreach to Spanish-language outlets.  They marketing power in both languages – the whole breath of the U.S. Latino audience, who according to the Latino Donor Collaborative “The U.S. Latino audience is one of the most powerful and significant economic and cultural demographics worldwide”.

Leguizamo was also involved with the promotion of this film through MiTu (NGLmitu) , a digital media company he co-founded and is a key creative force.

The collaboration between Universal Pictures and mitú was a targeted promotional campaign to build buzz for The Odyssey.

The “mitú partnership” utilized several specific creative elements to engage Latino audiences before the film’s July 17, 2026, theatrical release.

Iconic Lines in Spanish: The marketing campaign featured the stars of the movie reciting iconic or dramatic lines from the film in Spanish.

Cultural Creators & Influencers: The campaign utilized in-house mitú creators (such as Claudia Pineda) to highlight the epic themes of the film and connect them to the Latin experience

By discussing The Odyssey through a culturally relevant lens, this connects the film to an audience that has long demonstrated its value at the box office.

John Leguizamo reflect on his own odyssey in Hollywood –  fighting for Latino representation:

The numbers support paying attention. 

U.S. Latinos account for roughly 24% of all domestic movie ticket sales while representing about 19% of the U.S. population. They are America’s most frequent moviegoers, yet Hollywood has often struggled to market major films to them in authentic ways—or to include them meaningfully on screen.

Leguizamo’s involvement in the marketing campaign is particularly significant because it reflects the work of someone who has spent more than three decades pushing Hollywood toward greater inclusion. Since his groundbreaking one-man show Mambo Mouth premiered in 1991, he has consistently challenged stereotypes, explored Latino identity, advocating for broader representation across film, television, and theater. His involvement in initiatives such as NGL (New Generation Latino) and MiTu further demonstrates that his commitment extends well beyond acting.

Christopher Nolan deserves major props. At a time when many corporations have retreated from diversity initiatives, Nolan assembled an international cast that includes people of color in meaningful roles without making diversity the film’s defining message – rather being inclusive. The casting of Lupita Nyong’o has generated public pushback from conservatives, but Nolan has demonstrated the confidence to cast based on his creative vision rather than outside pressure.

Whether The Odyssey ultimately can encourage the big studio adopting the nuanced marketing of films to people of color and including them in their marketing remains to be seen. But it does present an opportunity to test a question Hollywood has been asking for years: When Latino audiences see themselves represented on screen and are intentionally included in a film’s mainstream marketing campaign, do they respond at the box office?  There have been studies by the Latino Donor Collaborative to prove that this is in fact true.  Their 2026 study foud that marketing to and representing U.S. Latinos is not a moral appeal, but a major growth strategy that unlocks significant revenue. Their 2026 data reveals that engaging this demographic is a direct path to company-level financial performance and growth.

That is precisely the question this new Latin Heat column, The Latino Box Office Effect, will explore.

Because representation is only part of the story.

The other part is investigating whether inclusion translates into audience engagement—and ultimately, into box office success.  The Odyssey is the perfect film for the case study.

The post ‘The Odyssey’ May Become Hollywood’s Next Representation Case Study first appeared on .

Watch it now on OnTheHiway

Bel Hernandez Castillo

After five years in the making, the award-winning documentary Ugly Little Monkeys is entering its next chapter—on its own terms.

Directed by David E. Valdez and Enrique Castillo, the documentary has enjoyed a successful film festival run, earning multiple honors including Best Directors and Best Documentary. Now, rather than following a traditional distribution path, the filmmakers have chosen a strategy that reflects a growing movement among independent creators: owning their distribution and maintaining direct control over their audience.

Ugly Little Monkeys, the documentary that chronicles the birth of the youth mariachi movement in the United States, begins its distribution journey today.

Maintaining control of their documentary’s distribution was important to Valdez and Castillo, so they chose OnTheHiway, a global streaming platform that allows filmmakers to manage their own releases while retaining ownership of audience data and revenue streams.

OnTheHiway does indeed provide the tools for filmmakers to control their distribution, audience data, pricing, and revenue streams –  however it does not automatically provide the audience, marketing, or discoverability that traditional distributors sometimes bring.

Unless you are a big studio film, the marketing and distribution usually falls on the filmmakers. No streaming platform, distributor, or VOD service can provide the one thing every film needs most: audience awareness. Distribution makes a film available. Marketing makes it discoverable.  

According to Jon Reiss, distribution strategist and author of Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era, “50% of your time and resources should go into connecting that film to an audience. In today’s crowded content landscape, discoverability has become one of the greatest challenges facing independent filmmakers. A film cannot succeed if audiences don’t know it exists.”

He argues that filmmakers must stop viewing distribution as a post-production task and instead build audience engagement into the filmmaking process from the beginning.

Castillo and Valdez understood early in the production process that audience-building begins long before a film reaches distribution. One of their most strategic decisions was inviting Academy Award-nominated actor, director, and producer Edward James Olmos to join the project as Executive Producer. Having worked together with Olmos on several film and television projects, Castillo knew that Olmos not only shared a passion for preserving Latino cultural heritage but also brought immediate credibility and visibility to the documentary.

Olmos’ involvement became a valuable marketing asset throughout the film’s journey. His name help attract attention to the project from its earliest stages, while his continued support has helped raise the documentary’s profile among both industry professionals and general audiences. Today, Olmos introduces the film on its streaming platform release, lending his voice and endorsement to the project. He has also participated in key screenings, including a high-profile presentation at the Directors Guild of America in Los Angeles, helping generate awareness and audience engagement.

For independent filmmakers, the lesson is clear: marketing is not something that begins when a film is finished. By intentionally building relationships, securing influential advocates, and creating promotional opportunities throughout production, filmmakers can lay the foundation for a successful release long before distribution begins.

Highlighting other choices that added to the storytelling of the documentary included reaching out to artists and talents who could speak to the context of the documentary or in some cases, first hand to the storyline of an Irish Catholic priest who gathers a handful of small town kids and forms the first youth mariachi group in the United States. Those interviews are some of the key elements that now serve to market the film among not just in the U.S. but worldwide.  

• Within the first five minutes of the documentary, mariachi music is established as a worldwide phenomenon through a montage of mariachi ensembles performing the classic “La Negra” in Japan, Italy, Poland, the United Kingdom, Croatia, Portugal, China, and New Zealand. Their participation later helped generate screenings of the documentary through Mexico’s Consulates in their respective countries.

• The interview with Grammy Award-winning singer-songwriter Linda Ronstadt provides one of the documentary’s most insightful perspectives, having grown up in Tucson and knowing about the Changuitos Feos/The Ugly Little Monkeys. Ronstadt helped introduce mariachi music to mainstream American audiences through her landmark album Canciones de Mi Padre, which became one of the best-selling non-English-language albums in U.S. history.

• The interview of Grammy Award winning Ruben Fuentes, a legend in Mariachi music and musical director of the world famous Mariachi Vargas the Tecalitlán.  He also was a producer of Ronstadt ‘s Canciones de Mi Padre.  He was interviewed at his home in Mexico City before his passing.  He credited Los Changuitos Feos—The Ugly Little Monkeys—with helping popularize and elevate mariachi music throughout the United States while introducing generations of audiences to the artistry of Mariachi Vargas.

• Adding to all this, Co-director Enrique Castillo who is also an actor, narrated the documentary. Castillo’s recognizable voice and decades-long acting career, most notable as Montana in Taylor Hackford’s Blood in Blood Out, have also become valuable promotional assets, drawing audiences to screenings where he regularly participates in post-film discussions and Q&A sessions.

• A special screening in Tlalpan, Mexico, hosted by the Mexican Consulate, demonstrated the film’s international appeal. Audiences enthusiastically embraced the story of a youth organization that helped preserve and expand Mexican culture in the United States and beyond. The reception has already opened doors for additional screenings throughout Mexico.

At every the screenings what resonates with audiences is the storytelling.  Ugly Little Monkey tells the story of a group of young boys from Tucson, Arizona, some who didn’t even know Spanish or how to play an instrument, who then went on and became world class musicians and singers in spite of the obstacles.

Several of the members of the group grew up to lead world class Mariachi groups of their own, one of those groups is the renown Mariachi Cobre that has been playing at Epcot Center in Orlando, Florida for over 30 years.  Several other members went on to teach Mariachi music at schools and universities.

We experience the story through the eyes of the one-time innocent kids, now grown men, who share their unforgettable journey about an Irish Catholic priest who gathers a handful of small town kids, some as young as nine years old and forms the first youth mariachi group in the United States. A priest who brought much joy and pain to their journey.  Through all the music, the magic, the pain and the triumph, it is the music that triumphs. 

More than simply documenting a musical ensemble, Ugly Little Monkeys explores how mariachi became a bridge between cultures, communities, and countries. Through performances and interviews, the film demonstrates how youth mariachi programs have flourished across the United States and beyond, inspiring young musicians while preserving an important cultural tradition.

For Valdez and Castillo, the journey of Ugly Little Monkeys is far from over. Through a combination of direct-to-consumer streaming, community screenings, and international cultural partnerships, the filmmakers are demonstrating that independent documentaries can find audiences while retaining ownership of their story.

The marketing of the film continues, even after its streaming premiere, through screenings.  One of the most significant upcoming public screenings will take place at LéaLA, the largest Spanish-language book fair and literary festival in the United States. Open to the public, this special community screening will take place on September 24 at LA Plaza de Cultura y Artes in Downtown Los Angeles as part of the festival’s programming. Adding to the celebration will be a performance by the members of the current Changuitos Feos/Ugly Little Monkeys mariachi group. The group will be flown in from Tucson to perform live for attendees.  

This screening represents precisely the kind of strategic audience development that independent filmmakers increasingly rely upon—bringing the film directly to communities already invested in its subject matter. 

In many ways, the path chosen by Ugly Little Monkeys mirrors the message at the heart of the film itself: preserving cultural traditions while creating new opportunities for future generations. By embracing innovative distribution models and continuing to engage audiences in person, the filmmakers are ensuring that the legacy of the Original Changuitos Feos/Ugly Little Monkeys—and the enduring power of mariachi music—will continue to resonate for years to come.

While many filmmakers wait until a film is completed to think about distribution, Ugly Little Monkeys demonstrates the value of building audiences throughout the production process. Every interview, festival appearance, community partnership, and cultural connections became part of a long-term marketing strategy that is now helping the film reach audiences around the world.

The post Owning Their Distribution: ‘Ugly Little Monkeys’ In Control With OnTheHiway first appeared on .

From Colombian Telenovelas to the Biggest TV Ranch in America

For more than two decades, Juan Pablo Raba has built a career that few Latino actors have successfully navigated. From becoming a household name in Latin America’s telenovela world to earning respect in Hollywood dramas such as Narcos, Agents of S.H.I.E.L.D., Six, and The Marksman, the Colombian actor has steadily expanded his reach across languages, genres, and continents. Today, he finds himself at the center of one of television’s most talked-about franchises, portraying Joaquin Jackson in Paramount+’s hit series Dutton Ranch.

For longtime fans of Raba, the journey feels both remarkable and fitting.

Long before stepping onto the sprawling Texas landscapes of Dutton Ranch, Raba captivated audiences throughout Latin America in popular Colombian and Venezuelan telenovelas. His breakthrough came during the golden era of serialized Latin television, starring in productions such as Mi Gorda Bella, which became one of the most successful telenovelas of its generation and established him as a leading man throughout the Spanish-speaking world.

Like many Latino actors who dream of crossing into the U.S. market, Raba faced the challenge of reinventing himself. Rather than relying on his telenovela fame, he studied acting in New York and gradually built an English-language résumé that showcased his dramatic range. The result was a career marked by versatility—playing soldiers, law enforcement officers, political figures, and complex antiheroes.

Now, in what many are calling television’s modern-day Western “telenovela,” Raba has found a role tailor-made for his strengths.

The Jackson Family’s Steady Hand

In Dutton Ranch, Joaquin Jackson serves as the eldest son and presumed heir to the powerful Jackson family empire led by ranch matriarch Beulah Jackson, portrayed by Academy Award nominee Annette Bening. Joaquin is the responsible sibling—the man constantly cleaning up family crises while protecting the legacy of the famed 10 Petal Ranch.

Unlike his volatile younger brother Rob-Will, Joaquin is disciplined, strategic, and deeply committed to the family business. Much of the show’s family tension revolves around Joaquin’s efforts to preserve stability while navigating the chaos created by those around him.

As the series unfolds, viewers quickly discover that Joaquin is far more than a ranch executive. He is Beulah’s confidant, fixer, and, in many ways, the emotional glue holding together a fractured family.

Beulah and Her Children: A Family Built on Loyalty and Conflict

At the center of Dutton Ranch stands Beulah Jackson, the formidable Texas ranching queen whose influence extends far beyond the boundaries of her land. Her relationships with her children form one of the show’s most compelling storylines.

Joaquin occupies a unique position within the family dynamic. He is often portrayed as the loyal son who bears the weight of responsibility while managing the fallout created by his younger brother Rob-Will. Their relationship reflects the classic sibling rivalry that has become a hallmark of the Yellowstone universe.

Adding another layer to the family drama is Oreana, Beulah’s granddaughter, whose rebellious spirit frequently clashes with the expectations placed upon her by the family legacy. Together, Joaquin, Rob-Will, and Oreana represent different visions of the future of the Jackson dynasty.

For Beulah, preserving the ranch is everything. Yet the question looming over the series is whether her children and heirs share that same commitment—or whether the family’s internal divisions will ultimately threaten the very legacy she has spent a lifetime building. Recent episodes have intensified that conflict, particularly as Beulah contemplates succession and the future leadership of the ranch.

The Vaquero (The Cowboy)

What makes Raba’s casting especially significant is that Joaquin Jackson is not written as a stereotype. He is sophisticated, powerful, flawed, and central to the narrative. 

In a genre historically lacking Latino representation, Raba’s presence reflects the reality that the “vaqueros” (the Cowboy) were part of the Southwest long before Americans traveled West.  Mexico’s native vaqueros where the blueprint for the “American cowboy”. Raba’s presence comes full circle to reflecting a reality not fully known.  Mexicans were the originators to the ranching culture across Texas and the American Southwest.

The role also allows Raba to bring decades of experience in serialized storytelling to a franchise that thrives on family conflict, loyalty, betrayal, and power struggles—the same ingredients that make telenovelas a global phenomena.

In many ways, Dutton Ranch is today’s version of a telenovela: larger-than-life families, generational battles, forbidden loyalties, and dramatic twists that keep audiences coming back week after week. The only difference is that the setting is a cattle ranch instead of an hacienda.. 

From Bogotá soundstages to the dusty roads of Texas, Raba’s career has come full circle—proving that great storytelling and acting transcends language, genre, and borders.

Seeing Juan Pablo Raba ride at the center of the Dutton Ranch universe is more than another career milestone. It is a reminder that Latino talent continues to shape the biggest stories on television, one ranch at a time.

Dutton Ranch, the Yellowstone spin-off series, airs Episode 7 (“Den of Sin”) on Fridaym June 19. New episodes premiere at 12 a.m. PT / 3 a.m. ET on Paramount+ and air on Paramount Network at 8 p.m. ET/PT. The nine-episode first season follows Beth and Rip’s new life in Texas.

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At the Jenni Rivera Performing Arts Center From May 21 – 24th

By Bel Hernandez Castillo

The beloved comedy ’57 Chevy is getting a fresh new ride. An all-new ensemble adaptation of the hit play will make its debut at Long Beach City College’s Jenni Rivera Performing Arts Center beginning May 21, 2026, bringing to life a heartfelt and hilarious immigrant story that has already captivated audiences across Southern California and the Southwest.

This is a hilarious story of a daydreaming immigrant boy, his stern Mexican father, and their family’s beloved ’57 Chevy.  

Originally performed as a one-man show starring Ric Salinas (of the acclaimed comedy ensemble Culture Clash), ’57 Chevy became a theatrical favorite during its acclaimed run at the Los Angeles Theatre Center before touring throughout the region. Critics praised the production as “a hilarious trek” (Los Angeles Times), “profoundly satisfying” (L.A. Weekly), and “an evocative coming-of-age masterpiece” (Su Teatro News). During the 2020 pandemic shutdown, San Diego Repertory Theatre even adapted the production into a filmed streaming presentation for audiences at home.

Now, playwright and four-time SoCal Emmy Award-winning writer Cris Franco is reimagining the production in a bold new way. Expanding from a solo monologue into a full ensemble piece, the new version features 17 actors portraying more than 30 colorful characters drawn from Franco’s bicultural childhood growing up between Mexico City, South Central Los Angeles, and the San Fernando Valley.

The transformation from solo performance to ensemble production was sparked by Franco’s longtime collaborator and friend, Valerie Dunlap. Believing the story could become even richer through a larger cast, Dunlap encouraged Franco to expand the script so that more performers—and more audiences—could connect with its humor, heart, and cultural authenticity.

“As a boy, the only thing larger than my big familia was my fantasy life fueled by endless hours of watching American television,” Franco shared. “It’s going to be a blast seeing a full cast step into my imagination and tell the crazy-but-true stories about our Chevy that brought our family from Mexico City to our first home in South Central L.A., and later to the San Fernando Valley.”

Shortly after completing the new script, Dunlap shared it with Rick Greaver at Long Beach City College, who introduced the work to Senior Faculty and Professor of Theater Arts Anthony Carreiro. After viewing the filmed version and reading the expanded adaptation, Carreiro immediately recognized the production’s significance for LBCC’s diverse student body.

“One hoped the ensemble version would attract theater groups, high schools, and colleges,” Dunlap explained. “And that’s exactly what happened.”

With nearly 60 percent of LBCC students identifying as Latino, the play offered student actors the rare opportunity to portray culturally authentic Latino characters spanning generations—from Mexican immigrants newly arrived in the U.S. to Chicanos fully immersed in American culture.

“I have directed many productions at the college, and every time I’ve found a play that speaks directly to our community, I’ve seen the joy in students who recognize themselves in the story,” Carreiro said. “That is exactly what is happening with this wonderful play.”

The production will be staged in the Little Theater at LBCC’s new Jenni Rivera Performing Arts Center and directed by acclaimed actor, choreographer, and director Jessica Berón. For Berón, the rehearsal process has been both emotionally resonant and wildly entertaining.

“We’ve had fascinating conversations about how memories feel and even how they sound,” Berón said. “That exploration led us into choreography, physical comedy, stunts, and so much playfulness. There are moments in rehearsal where we laugh so hard it takes time to recover and continue working.”

At its core, ’57 Chevy is a loving portrait of a bilingual, bicultural Mexican-American family navigating the promise and contradictions of the American Dream during the 1950s through the 1970s. Franco fills the play with vivid details from his childhood: plastic-covered living room furniture, strict immigrant parents, inventive Spanglish phrases, crowded family homes, and the unforgettable image of “Gringo Stalker Jesus”—the blue-eyed portrait of Jesus seemingly watching every move inside Latino households.

But beneath the comedy lies a timely and deeply human message.

“What makes America great is its culture of opportunity,” Franco explained. “It allowed immigrants like my father—and so many others—to pursue their dreams through hard work, sacrifice, and hope.”

Berón believes the play’s themes feel especially urgent today. Although the story takes place decades ago, the backdrop includes the Civil Rights Movement, anti-war protests, and ongoing debates surrounding immigration and identity.

“These students recognize the parallels between that era and the world we’re living in now,” Berón noted. “The play highlights the challenges immigrants face while also celebrating what connects us across cultures.”

Excitement around the production has continued building across campus, with students and faculty alike praising the energy surrounding rehearsals. The ensemble cast is led by Abraham Figueroa as Junior, Danny Rangel as Dad, Frania Dueñas as Mom, and Juliana Medina as Young Junior, alongside Alexis Frisch, Alyssa Hilton, Elizabeth Aoshi, Catherine Fuentes, Celvin Reyes, Miguel Yozov, Nicholas Paddit, Nichole Mendez, Noah Cisneros, Olin Archuleta, Paola Ovalle, Quinn Hicks, and Travis Johnson.

As opening night approaches, Franco says the production captures the youthful wonder and optimism that shaped his memories growing up in America.

“Because the story is told through the eyes of a wildly imaginative nine-year-old boy, the play sparkles with innocence, joy, and humor rarely seen onstage today,” Franco said. “I’m proud families can experience together what it was like to be an immigrant at a time when the American Dream still felt possible for hardworking newcomers.” For tickets and show information, visitLBCC ’57 Chevy Show Information

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Pure Flix Familia Launches the Partnership

In a strategic move that underscores the accelerating demand for short-form storytelling, Great American Media has partnered with Minivela to develop, distribute and monetize a slate of premium micro-dramas aimed at U.S. Latinos and Latin American audiences.

The alliance—announced April 8 in New York during ANA GrowthFronts—will anchor the launch of Pure Flix Familia, a new Spanish-language and bilingual destination focused on faith- and family-driven content, set to debut later this year.

The partnership is notable within the evolving vertical video ecosystem: it represents one of the first Latino-centric ventures creating culturally specific content in English and bilingual formats, positioning both companies at the intersection of mobile-first consumption and underserved Hispanic audiences.

Minivela is the first bilingual vertical shorts platform serving the U.S. Latinos and Latin American markets, Brilla Media co-founder and former Hispanicize CEO Manny Ruiz is its Chief Executive Officer.

A Mobile-First Bet on Cultural Relevance

The collaboration combines Pure Flix’s established base in values-driven entertainment with Minivela’s creator-led, mobile-first production model. The result is a pipeline of vertical-format micro-dramas tailored for audiences increasingly consuming content on smartphones.

As part of a multi-project agreement, Minivela will produce original IP as well as adaptations from Pure Flix’s existing library—reimagined specifically for short-form vertical viewing. Content will be produced across key production hubs including Miami, Los Angeles, New York and locations throughout Latin America.

“We’re excited to build Pure Flix Familia with a highly creative partner that shares our commitment to meaningful storytelling for Latino audiences,” said Bill Abbott, President and CEO of Great American Media, about the strategic alignment.

Data-Driven Development Meets Creator Economy

A key component of the partnership is the use of Pure Flix’s proprietary audience data to inform development decisions—an increasingly critical advantage in the fragmented streaming landscape. The companies will also collaborate on distribution opportunities and content acquisition strategies aimed at scaling reach among Latino viewers.

Beyond content, the alliance opens the door to integrated brand partnerships, giving advertisers new ways to engage audiences through culturally resonant storytelling rather than traditional ad formats.

Expanding Latino Creative Opportunities

For Minivela, the deal represents both scale and mission alignment as Co-founder Carlos Ponce highlighted the creative upside: “This creates opportunities for Latino writers, directors and creators to bring their voices into purpose-driven storytelling.” Ponce is also set to star in upcoming projects under the Pure Flix Familia banner.

“We’re focused on delivering stories that truly entertain, inspire and connect,” said Co-founder Manny Ruiz, added that the partnership stands apart in a crowded micro-drama space often driven by volume.

The micro-drama format—short, serialized content optimized for mobile viewing—has seen rapid growth globally, but remains relatively underdeveloped for U.S. Larino audiences, particularly in the faith and family segment.

With this move, Great American Media continues to build a multiplatform ecosystem targeting audiences seeking values-based entertainment, while Minivela strengthens its position as a leading creative and production partner in the vertical content space.

The launch of Pure Flix Familia later this year will test the viability of this hybrid model—combining bilingual storytelling, culturally specific narratives and mobile-first distribution—at a time when Latino audiences remain both one of the fastest-growing and most underserved segments in streaming.

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Written by Bel Hernandez Castillo

Thirty years ago, Latino representation at the Academy Awards was almost invisible. In the mid-1990s, nominations for Latino artists were almost non existent and often limited to a single acting nod or a film from Latin America competing in the international category. Hollywood’s biggest night rarely reflected the depth of talent emerging from Latino communities in the United States and across Latin America.

The 98th Academy Awards, set for March 15, 2026 at the Dolby Theatre in Hollywood, feature 13 Latino creatives recognized across acting, producing, writing, and animation categories. The nominations highlight the continued global influence of Latinos talent in both studio and independent filmmaking.

Fast-forward to the 98th Academy Awards, and the picture—while still imperfect—shows meaningful progress. This year’s nominees include 12 creatives, from actors to casting Directors

What we can say is that there has been some progress.

Throughout the 1990s there were only three Latinos who garnered an Academy Award nomination in the actor category. That is three actors in ten years: Andy Garcia (Best Supporting Actor, The Godfather Part III, 1990), Rosie Perez (Best Supporting Actress, Fearless, 1994), and Brazilian actress Fernanda Montenegro (Best Actress, Central Station, 1998), who was the first Latina nominated in that category.

Fast-forward to the 98th Academy Awards, and the picture—while still imperfect—shows meaningful progress. This year’s nominees include a historic Best Actor nomination for Wagner Moura, and a secont Oscar nomination for Oscar winner Benicio del Toro (for Traffic). However this year there is a strong showing behind the lens beginning with multiple nominations for visionary Mexican filmmaker Guillermo del Toro. It is behind the scenes that Latino creatives are ceating and shaping major studio projects and independent film, including producer Yvett Merino and filmmaker Adrian Molina in the animated feature category — and more.

Compared with three decades ago—when Latino nominees could often be counted on one hand—the 2026 slate reflects a broader presence across acting, producing, writing, and directing. It’s a that there is more projects employing Latinos, or they themselves are creating the projects. There is definitely a stronger presence of Latino actors and behind the scenes creative, with an increasing move from the margins into the creative center of global filmmaking.

Yet the progress tells only part of the story. One glaring absence remains: Latinas. Despite a year rich with powerful performances and acclaimed films by Latina creatives, women of Latin American descent are largely missing from the nomination roster.

As Hollywood celebrates this year’s nominees, the conversation inevitably turns to the question that continues to echo through awards season: whose work is still being overlooked? But that is for another article.

For now we celebrate all the the Oscar nominees and draw your attention to the 2026 Latino Oscar nominees, from on-screen talent, to behind the camera. And the nominees are…

2026 Actor Oscar Nominees

ACTORS

Benicio del Toro

Nomination: Best Supporting Actor — One Battle After Another

Academy Award winner Benicio del Toro received his third career nomination for his role in Paul Thomas Anderson’s ensemble drama One Battle After Another. One of the most respected Latino actors in Hollywood, del Toro first gained global attention with films such as The Usual Suspects and Traffic, the latter earning him an Oscar. His career has spanned major franchises (Sicario, Star Wars: The Last Jedi) and auteur-driven cinema.

Oscar history:

• Nominations: 3
• Wins: 1 — Best Supporting Actor for Traffic (2001)

Wagner Moura

Nomination: Best Actor — The Secret Agent

Brazilian actor Wagner Moura earned a historic nomination for his performance as a political dissident navigating Brazil’s military dictatorship in The Secret Agent. Moura first gained international recognition starring as Pablo Escobar in the Netflix series Narcos, after becoming one of Brazil’s most acclaimed actors through films such as Elite Squad and Elite Squad: The Enemy Within. Known for his politically charged roles and directing work, Moura continues to bridge Brazilian cinema with Hollywood productions.

Oscar history:

• Nominations: 1
• Wins: 0

Notably, Moura becomes the first Brazilian man ever nominated for Best Actor.

Producing, Writing & Directing

Juan Arredondo

Nominations:

• Best Documentary — Armed Only with a Camera: The Life and Dath of Brent Renaud

Colombian photojournalist and professor Juan Arredondo earned a 2026 Oscar nomination for Best Documentary Short Film Armed Only with a Camera: The Life and Death of Brent Renaud. Arredondo, who was severely wounded in the 2022 Ukraine attack that killed his colleague, produced and edited the film to honor Brent Renaud’s legacy.

Oscar history:

• Nominations: 1
• Wins: 0

Guillermo del Toro

Nominations:

• Best Picture — Frankenstein
• Best Adapted Screenplay — Frankenstein

Mexican visionary Guillermo del Toro continues his remarkable awards legacy with multiple nominations for his gothic reimagining of Frankenstein. Del Toro is widely celebrated for blending dark fantasy with emotional storytelling in films such as Pan’s Labyrinth, The Shape of Water, and Guillermo del Toro’s Pinocchio. His work has made him one of the most influential filmmakers to emerge from Mexico’s modern cinematic wave.

Oscar history:

• Nominations: 8+ (across producing, directing, and writing)
• Wins: 3
  • Best Director — The Shape of Water (2018)
  • Best Picture — The Shape of Water (2018)
  • Best Animated Feature — Guillermo del Toro’s Pinocchio (2023)

Yvett Merino

Nomination: Best Animated Feature — Zootopia 2 (Producer)

Producer Yvett Merino has become one of the most prominent Latina executives in animation. As a producer at Walt Disney Animation Studios, she previously won the Oscar for Encanto, the globally celebrated musical inspired by Colombian culture. With Zootopia 2, Merino continues her work shepherding large-scale animated storytelling within the Disney system.

Oscar history:

• Nominations: 2
• Wins: 1 — Best Animated Feature for Encanto (2022)

Nidia Santiago 

Nomination: Little Amélie or the Character of Rain (Producer)

Multiple award- winning producer for the animated short Little Amélie or the Character of Rain including an Oscar. In her productions we find the titles Chulyen, histoire de corbeau by Cerise Lopez and Agnès Patron (nominated for the Emile Awards 2017); Negative Space by Ru Kuwahata and Max Porter (FIPRESCI Award at the Annecy Festival, Grand Prix at Animamundi (Brazil), nominated for the Oscars in 2018.

Oscar history:

• Nominations: 2 – Negative Space (Produer)
• Wins: 1 — Best Animated Feature for Negative Space (2018)

Adrian Molina

Nomination: Best Animated Feature — Elio (Co-Director)

Adrian Molina is best known as the co-director and co-writer of Pixar’s Coco, which celebrated Mexican culture and became a global box office success. Molina returned to Pixar’s director’s chair with Elio, a sci-fi adventure about a boy mistakenly identified as Earth’s ambassador to an intergalactic council.

Oscar history:

• Nominations: 3 (including writing and animated feature categories)
• Wins: 2
  • Best Animated Feature — Coco (2018)
  • Best Original Song — “Remember Me,” Coco (2018)

Beyond the acting and directing categories, Latino talent continues to make a significant impact behind the camera, shaping the visual, technical, and sonic elements of some of the year’s most talked-about films.

Ken Diaz

Oscar Nomination: Best Makeup and Hairstyling — Sinners

Veteran makeup artist Ken Diaz earned an Academy Award nomination for his work on the genre-bending supernatural drama Sinners. Diaz, known in Hollywood for his expertise in character transformation and special makeup effects, helped create the film’s striking visual aesthetic alongside collaborators Mike Fontaine and Shunika Terry. The nomination places Diaz among the few Latino artists recognized in the Academy’s makeup branch in recent years. He has three Primetime Emmys for his work as a make-up artist in television and an overall of six nominations. With the Sinners nomination that makes him a three time Oscar nominee My Family/Mi Familia (1996) and Dad (1990). The chances of a “third time is the charm” just might work out.

Oscar history:

• Nominations: 3
  • Best Make-up – Mi Family/My Family (1996)
  • Best Make-up – Dad (1990)
• Wins: 0

Jose Antonio Garcia

Oscar Nomination: Best Achievement in Sound Mixing, One Battle After Another

 José Antonio García a renowned Oscar-nominated and awarded sound engineer Mexican known for his work on major films like Argo (2012), Roma (2018), and the 2025 film One Battle After Another. He has received multiple Acadmey Award nominations for Best Sound Mixing throughout his career.

Oscar history:

• Nominations: 3
  • Best Achievement in Sound Mixing, Roma (2019)
  • Best Achievement in Sound Mixing, Argo (2013)
• Wins: 0

Felipe Pacheco

• Nominations: 3
  • Best Make-up – Mi Family/My Family (1996)
  • Best Make-up – Dad (1990)
• Wins: 0

Nomination: Best Sound — Sinners

Costa Rican–born sound editor Felipe Pacheco received an Oscar nomination as part of the sound team for Sinners. A Berklee College of Music graduate, Pacheco has built a reputation in Hollywood for his work on large-scale productions and streaming series, including the acclaimed Apple TV+ series Severance. His nomination reflects the increasingly global nature of sound design teams in modern filmmaking.

Oscar history:

• Nominations: 1
• Wins: 0

Juan Peralta

Oscar Nomination: Best Achievement in Sound Mixing, One Battle After Another

Juan Peralta is an American sound engineer.^[2] He was nominated for an Academy Award in the category Best Sound for the film F1.^[3]. Hia other credits include  Avengers: Endgame (2019) and Doctor Strange (2016).

Adolpho Veloso

Nomination: Best Cinematography — Train Dreams

Brazilian cinematographer Adolpho Veloso earned a historic nomination for his atmospheric photography on Train Dreams. Known for his painterly visual style and ability to capture expansive natural landscapes, Veloso became one of the few Brazilian cinematographers ever nominated in the category, bringing international attention to his work.

Oscar history:

• Nominations: 1
• Wins: 0

Gabriel Domingues

Nomination: Best Casting — The Secret Agent

Brazilian casting director Gabriel Domingues received an Oscar nomination for assembling the ensemble of The Secret Agent. His work recreating the political and social landscape of 1970s Brazil through casting was widely praised and marks recognition in the Academy’s newly introduced casting category.

Oscar history:

• Nominations: 1
• Wins: 0

Additional, although not an Oscar nominee Danya Jimenez is a Mexican American screenwriter and LMU alumna who, alongside writing partner Hannah McMechan, co-wrote the 2025 hit animated film KPop Demon Hunters which is a two time Oscar nominee. Released on Netflix, the musical action-comedy became a global phenomenon, ranking as the platform’s #1 most-watched movie. The duo was named to Variety’s 2025 screenwriters to watch list. 

The progress from three decades ago is undeniable. Latino artists today are directing Oscar-winning films, leading global franchises, and shaping Hollywood’s creative future. Yet the absence of Latina nominees in 2026 is a reminder that the industry’s evolution remains incomplete. Until the Academy’s ballot consistently reflects the full spectrum of Latino talent—women included—the celebration will always carry a note of unfinished business.

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