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

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If I Could Stay, a documentary film by the producing and directing team of Theo Rigby and Florencia Krochik tells the complicated deportation struggles of two women, one from Peru, Ingrid, and one from Mexico, Jeanette, who found safety, moral support, and above all, sanctuary in the Unitarian church community in Colorado. It was encouraging and heartening to see a Christian church play such a significant role in the complicated lives of these two women. But not surprising. 

The Unitarian Universalist Church was in the vanguard in the anti-slavery, abolition movement before and during the Civil War. They are an enlightened and progressive church that embraces not only Christianity but all faiths.

Their symbol is the flaming chalice that represents communion, sacrifice, and service.

Both filmmakers, Rigby and Krochik, have produced many films on the subject of immigration, deportation, and the emotional perils of living under the uncertain, racist, anti-immigrant Sword of Damocles, that hangs over the heads of people like Ingrid, Jeanette, and their families. 

The story of the two women in sanctuary is a compelling and important one, often filled with genuine moments of life-affirming love and local community support for the two women.

But paradoxically, If I Could Stay, is also a grim reminder of the over-arching cruelty, and madness we find ourselves in now, which dominates our daily national headlines.

After watching If I Could Stay, I kept asking myself: “How did we arrive at this dark point in our history where we are on the verge of becoming a Third World, fascist, dystopian nightmare of a country?”

It all started when Donald descended that Golden Escalator in 2015. and described Mexicans coming to America as drug dealers, rapists, and murderers.

But to truly reflect the real symbolism of that moment, he should have been seen ascending from the Basement of Hell engulfed in a stinking fog of sulfur. 

Is this our Apocalypse Now? We have masked ICE Men thugs terrorizing innocent Hispanics in their so-called search for “the worst of the worst”. 

We have for-profit detention centers (concentration camps) springing up all over the country, and shamefully, one of “the worst of the worst” is right here in Dilly, Texas, not too far from my homebase of San Antonio

Have we forgotten:

• The Palmer Raids of 1919
• The Asian Exclusion Act of 1924
• The Internment of Japanese-Americans in 1942
• Operation Wetback in 1954

Have we forgotten those other “rhyming” racist, anti-immigrant, anti-foreigner, White supremacist legislation  

Aimed at oppressing, excluding, and, suppressing the rights of “The Other”?

The stories of Ingrid and Jeanette ended basically unresolved, because If I Could Stay ends with the beginning of the  Trump Second Reich in 2024, and his mass deportation “pogrom” engineered by that odious, skinhead, jackal trying to pass for a human being, Stephen Miller.

However, the worm is beginning to turn. Recent reported and documented atrocities, executions, abductions, illegal deportations, acts of torture in detention centers, and the forced separation of children from their mothers by Trump’s ICE goons has caused Americans to protest these Gestapo tactics by the ICE Men in growing numbers and intensity.

If I Could Stay, a hopeful film gifted to us by the filmmakers, Theo Rigby, and Florencia Krochik, is an intimate portrait into the sanctuary oasis provided to Ingrid and Jeannette by the Unitarian Universalist Church, whose clergy and members are guided by what Abraham Lincoln called “the better angels of our nature”. It demonstrates that even if history often rhymes in misguided ways, sometimes it can rhyme with the pure poetry of compassion and justice.

If I Could Stay Premiered on PBS Stations,PBS.org and the PBS App on June 1, 2026

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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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Now in its 13th year, the annual celebration of Latina-directed cinema will present Merino with the Lupe Ontiveros Award on Opening Night, while Riggen will receive the Maverick Award. Both honors spotlight Latina leaders whose work has reshaped representation, storytelling, and opportunity across the entertainment industry.

Yvette Merino to Receive Lupe Ontiveros Award

Merino, producer at Walt Disney Animation Studios, will be honored for a career defined by artistic excellence and trailblazing achievement. The Lupe Ontiveros Award—named after the late actress who paved the way for generations of Latina performers—recognizes women whose careers demonstrate courage and a sustained commitment to expanding representation in film.

Merino made history as the first Latina to receive the Academy Award for Animated Feature for producing Disney’s Encanto. Over her 25-plus years at Disney Animation, she has served in key production roles on blockbuster titles including Tangled, Wreck-It Ralph, the Oscar-winning Big Hero 6, and Oscar-nominated Moana.

Following Encanto, Merino earned an Emmy Award for producing the short film Once Upon a Studio and served as producer on Moana 2. She is currently producing Zootopia 2. Beyond the screen, Merino was also instrumental in launching Voces@Disney, the studio’s first Latino employee resource group, serving as co-president for two years.

Patricia Riggen to Receive Maverick Award

Riggen will be presented with the Maverick Award, honoring a filmmaker whose body of work has challenged dominant narratives while bringing underrepresented stories to global audiences with authenticity and emotional depth.

Widely regarded as one of America’s leading female directors, Riggen’s feature credits span genres and scale. Her recent action thriller G20 stars Viola Davis, while earlier work includes Sundance breakout feature Under The Same Moon/La Misma Luna and Sony Pictures’ box-office hit Miracles from Heaven starring Jennifer Garner.

Her television directing credits include multiple episodes of the Emmy-winning limited series Dopesick starring Michael Keaton, as well as season one of Tom Clancy’s Jack Ryan.

A graduate of Columbia University School of the Arts, Riggen’s early short film work earned a Student Academy Award, Student Emmy, and Mexican Academy Award. She later directed Lemonade Mouth, which received a Directors Guild of America nomination, and the Chilean mining drama The 33 starring Antonio Banderas and Juliette Binoche—a production that required 30 days of filming underground in active mines.

Originally from Mexico, Riggen remains one of the few women of color to have directed top-grossing studio features in the past decade and continues to mentor emerging Latino filmmakers.

Festival Leadership and Mission

LIFE is led by Festival Directors Iris Almaraz and Cristina Nava, whose shared focus on community engagement, equity, and independent film continues to define the festival’s growth. Nava, a veteran independent producer and cultural organizer, brings decades of experience championing socially conscious storytelling and grassroots arts advocacy. Together, Almaraz and Nava position LIFE as both a platform for exhibition and a space for mentorship, networking, and long-term career development.

Founded thirteen years ago by screenwriter and playwright Josefina López (known for writing the groundbreaking film and Broadway play Real Women Have Curves), the festival was built on the belief that representation matters and that diverse voices strengthen the cinematic landscape.

In addition to screenings, the 2026 edition will feature panels, workshops, and networking sessions connecting emerging Latina directors with industry leaders and resources. LIFE is a fiscally sponsored project of the National Association of Latino Independent Producers (NALIP).

Tickets and full programming details are available at www.LIFEFilmFestLA.com.

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Nosotros and NBCUniversal are signaling a decisive shift in how Latino talent is developed and presented for the industry. With Season 5 of Ya Tú Sabes, the long-running incubator has fully transitioned from a traditional showcase model into a cinematic short-form pipeline—culminating in the crowning of The Comedian as this year’s top winner and positioning the program as a serious launchpad for writers and actors ready for film and television.

What began in 2020 as a challenge from NBCUniversal Launch to rethink the traditional actor showcase has evolved into a fully realized creative pipeline. Initially launched as the Ya Tú Sabes Monologue Slam, the program emphasized original writing and live performance. Over time, it expanded into fully produced stand-alone scenes selected through a competitive process, under a new name, Ya Tú Sabes Monologue Shorts.

Nosotros and NBCUniversal have marked that evolution and raised the bar once again with the explosive fifth season of Ya Tú Sabes, unveiling a bold new evolution of the long-running Latino talent incubator—one that trades the traditional stage showcase for cinematic pieces designed to reflect the professional readiness of Latino talent when given meaningful resources and production value.

“In a year shaped by a difficult national climate for Latinos, support for arts programs like this was far from guaranteed,” said Joel M. Gonzales, President of Nosotros. “We’re deeply grateful to NBCUniversal and the NBC Launch program for standing with us when sponsorships were tight. What Season 5 represents is how much this program has grown over the past five years—and how Latino artists continue to create opportunity, break through, and tell our own stories on our own terms.”

Emerging as Season 5’s creative breakthrough and top winner with judges and audiences alike, is The Comedian, written by stand-up comic José Maestas and powerfully performed by actor Richard Eick. This piece amplifies the Ya Tú Sabes’ core mission: spotlighting Latino writers and actors through original work rooted in universal themes—while steadily expanding the scale and seriousness of the platform.

A sharply observed and emotionally layered piece, The Comedian draws directly from Maestas’ personal experience to explore the duality of life on and off the stage—the persona versus the person. Its resonance was immediate, quickly becoming one of the most talked-about monologue shorts of the season for its depth, honesty, and cinematic execution.

“Across a lineup of powerful shorts, one of the strongest examples was the winner, The Comedian,” said Gonazlez, adding “The writing and performance stood out immediately and reflect the level of depth and readiness that exists in our community when the opportunity is real.”

The Ya Tu Sabes Monolouge Shorts premiered live at the Ricardo Montalbán Theatre this past December, streaming simultaneously on the Nosotros YouTube channel, with Audience Choice voting closing on December 31 declaring writer Cristal González Ávila and actor Mariana Belén as the  Audience Choice winners for Ropa Sucia.

Industry-Level Execution

Season 5’s six monologue shorts were led creatively by Hector Felix, who served as director, editor, and cinematographer, establishing a cohesive visual language across the entire showcase. The project was produced by Gonzales and co-produced by Nosotros Creative Director Juan Munevar, with creative collaboration from Joaquin F. Palma, writer/director of the program’s first three seasons—bridging the initiative’s roots with its cinematic future.

This year’s highly noted celebrity ambassador judges underscored the program’s industry credibility, include Julian Works (The Long Game, Jimmy), actor/producer Nicholas Gonzalez (La Brea, The Good Doctor), producer/director Ben DeJesus (Leguizamo Does America), actor/director Jon Huertas (This Is Us), and Larry Laboe, Executive Director of NewFilmmakers LA. They were joined by NBCUniversal executives and a broad cross-section of casting directors, agents, managers, publicists, and industry professionals.

What’s Next?

Looking ahead, the Season 5 monologue shorts—led by The Comedian and Ropa Sucia—will be submitted as stand-alone short films to film festivals, extending their life well beyond the showcase and expanding visibility for the participating writers and actors across the festival and industry landscape.

Winners will receive cash prizes and sponsored access to key industry leaders, including NBCUniversal executives, casting directors, agencies, and senior writers and producers—solidifying Ya Tú Sabes not just as a showcase, but as a tangible bridge to career advancement.

With Season 5, Nosotros and NBCUniversal have made a clear statement: when Latino artists are given space, resources, and respect, the results are not just promising—they’re cinematic.

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In an industry where independent films are too often sidelined by limited marketing muscle and one-size-fits-all distribution strategies, The Dreamer Cinderella is doing something bold—and long overdue. Ahead of its January 23 nationwide theatrical release, the romance drama has mounted a studio-scale rollout without a studio, proving that vision, strategy, and cultural clarity can rival traditional Hollywood machinery.

Rather than waiting for a distributor to define its audience or dilute its message, the filmmakers behind The Dreamer Cinderella took control of their own narrative. The result: a grassroots-meets-glamour campaign that blends red-carpet prestige, celebrity visibility, and authentic community engagement, successfully activating audiences across Los Angeles and Texas through a series of high-profile advance screenings.

This is not indie film marketing as we’ve come to expect it, this is indie filmmaking on its own terms. At the helm of the film’s production is writer/director & producer Jose Luis Ruiz (The First Cowboy, Holy Cash), who has wholeheartedly embraced this unique Indie Film Marketing Campaign, collaborating with Entertainment Media Specialists to see it through.

“Small Independent Latino films are very misunderstood in Hollywood, and traditional publicity and marketing avenues are expensive and oftentimes ineffective for the indie filmmaker,” said Ruiz. “I want to find a new path with people who understand our stories and community.”

A New Model for Latino-Led Storytelling

At the heart of the film’s rollout is a quiet but powerful rebellion against outdated marketing approaches that frequently miss—or misunderstand—Latino audiences. Instead of relying on distributor-led strategies that often overlook cultural nuance, the Dreamer Cinderella team embraced a self-directed, creator-first model, aligning promotion with purpose.

It’s a strategy increasingly embraced by Latino filmmakers who recognize that ownership equals power—power over how stories are positioned, who they reach, and how long they resonate. By designing a campaign that mirrors a major studio release—albeit on a leaner budget—the film demonstrates that scale is not solely about dollars, but about intention.

Studio Ambition, Indie Heart

Written/ produced/ and directed by Jose Luis Ruiz for Dr. Ruiz Productions, The Dreamer Cinderella offers a modern reimagining of a classic fairytale, grounded in themes of resilience, identity, and emotional connection. It’s a romance that reflects lived experience, cultural specificity, and universal longing—elements too often absent from mainstream love stories.

The film boasts a diverse and notable ensemble cast, including Tara Reid (American Pie), Anakaren Chablé (Troop Dragonfly), , Paul Johansson (One Tree Hill, Van Helsing), Paul Rodriguez (Holy Cash, Blood Work, Ali), Anthony W. Preston (Billionaire’s Borrowed Bride), Abigail Stanton (Ex-Convict Nanny & Billionaire Single Dad), Selena Ringel (You, Me & Her, Single Mother by Choice), and Victoria del Rosal (Lolita, Strange Love, #sorrynotsorry). The film brings together talent from across film and television in support of a story that refuses to be marginalized.

Press Access and National Visibility

Further underscoring its studio-level ambitions, the film’s campaign includes targeted national press outreach, cross-country screenings, and a virtual press junket on January 15, 2026, offering media direct access to the cast and creative team—an opportunity rarely afforded to independent releases at this scale.

The message is clear: independent films don’t have to wait for permission to be seen.

More Than a Release—A Statement

By taking ownership of its marketing and distribution, The Dreamer Cinderella isn’t just opening in theaters—it’s opening a conversation about equity, access, and the future of independent cinema, particularly for Latino creators.

As awards season conversations and box office narratives continue to exclude diverse voices, this film stands as a reminder that visibility is a strategy, not a stroke of luck.

The Dreamer Cinderella is being distributed by Atlas Distribution and opens theatrically nationwide on January 23—and with it, a new blueprint for how independent films can rise, connect, and endure.

Title: The Dreamer Cinderella Genre: Romance Drama. Runtime: 1 hour 34 minutes. Language: English

Production Company: Dr. Ruiz Productions. Distributor: Atlas Distribution Company

SOCIAL MEDIA:INSTAGRAM:  @dreamercinderellafilm

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In addition to the live ceremony, YouTube will offer expansive Oscars coverage, including red carpet arrivals, behind-the-scenes moments, Governors Ball access, and more. The platform will also enhance accessibility for the Academy’s growing global audience through features such as closed captioning and multilingual audio tracks. Beyond Oscar night, the partnership includes exclusive worldwide access to major Academy events and programs via the Oscars YouTube channel, including the Governors Awards, nominations announcements, Student Academy Awards, Scientific and Technical Awards, filmmaker interviews, podcasts, and film education initiatives.

The collaboration extends into film preservation and education through Google Arts & Culture, which will help digitize and provide global access to select Academy Museum exhibitions and portions of the Academy Collection—the world’s largest film-related archive, comprising more than 52 million items. Academy CEO Bill Kramer and President Lynette Howell Taylor called the deal “the future home of the Oscars,” emphasizing its potential to expand global access, celebrate cinema, and inspire new generations of filmmakers. YouTube CEO Neal Mohan echoed that sentiment, describing the Oscars as a vital cultural institution poised to reach and inspire audiences worldwide.

The Academy’s current domestic broadcast partnership with Disney’s ABC will remain in place through the 100th Oscars in 2028, as will its international arrangement with Disney’s Buena Vista International.

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The new year launches at full speed as Tron: Ares, the epic sci-fi action-adventure from Disney, begins streaming January 7 exclusively on Disney+. Directed by Joachim Rønning, the latest chapter in the iconic TRON franchise invites audiences back into the Grid with a bold new vision—one packed with cutting-edge visuals, pulse-pounding action, and a powerful story centered on the collision between artificial intelligence and humanity. And a most pleasant welcome to actor Arturo Castro who plays Seth Flores and turning heads on the national and international stage.

Castro’s path to Tron: Ares came through an unexpected but very Hollywood chain of events. A standout moment in the trailer for the Jake Gyllenhaal–led Road House reboot showcased Castro as Moe, a candid biker gang member whose sharp comic timing left a strong impression. His performance caught the attention of Gyllenhaal’s WME agent, Brent Morley, who promptly recommended Castro to another of his clients—Jared Leto.

Leto, who both stars in and produces Tron: Ares, quickly took notice. Impressed by Castro’s presence, Leto championed him for the role of Seth, personally advocating on his behalf. With Leto’s support, Castro’s name gained traction within the production, ultimately leading director Joachim Rønning and the creative team behind the third Tron installment to officially cast him in the film.

Castro, best known for his roles as Jef in the Comedy Central series Broad City and as David Rodríguez in the Netflix crime drama Narcos. Castro hosted his own show, Conexion, on Guatemala’s national network, a year before moving to New York City. In New York, where attended the American Academy of Dramatic Arts, and where he met Abbi Jacobson and Ilana Glazer and landed the role of Jaimé in Broad City.

“Its been really recently that we have been allowed to be three dimensional characters in movies.” Castro commented on the Nerds of Color YouTube Channel.

Authentic Representation Amplifies Engagement

A McKinsey study revealed a powerful correlation between authentic Latino representation and audience engagement. McKinsey findings found that Latino viewership doubles when Latinos are represented on- or off-screen, underscoring the importance of authentic portrayals and inclusive storytelling (McKinsey).

And representation matters to Latino Audience. Known for their strong connection to action-driven, visually immersive storytelling, U.S. Latino audiences and worldwide have long embraced high-energy sci-fi and franchise films—genres that blend spectacle with themes of identity, survival, and technology’s impact on everyday life. Tron: Ares taps directly into that appeal, delivering relentless momentum and a futuristic world that feels both thrilling and culturally relevant.

Although not for everyone, Tron: Ares has been praised by critics as “a fast-paced, thrilling movie that launches at full throttle and never slows down” (Jonathan Sim, Coming Soon). The film’s bold aesthetic also stands out, with reviewers highlighting how “Rønning and cinematographer Jeff Cronenweth’s canvas pops with color, contrast and motion, while Nine Inch Nails’ techno-forward score literally rattles your seat” (Joseph Morona, Cleveland.com).

Adding to the excitement, Tron: Ares will stream in IMAX Enhanced on Disney+, featuring IMAX’s expanded aspect ratio that preserves the filmmakers’ creative intent for a more immersive at-home experience. Viewers with compatible TVs and AV receivers can also enjoy IMAX Enhanced sound powered by DTS, delivering the full dynamic range of the original theatrical mix.

Before diving into this bold new future, fans can revisit the origins of the franchise. Both Tron and Tron: Legacy are currently streaming on Disney+, offering the perfect lead-in to the newest evolution of the Grid.

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Award-winning filmmaker and storyteller Jorge Xolalpa has signed a groundbreaking distribution agreement with Lumexx Media, paving the way for his complete eight-film canon to premiere on Apple TV+ in 2026. The multi-picture deal marks a career-defining milestone for one of independent cinema’s most daring and emotionally resonant voices, offering Xolalpa’s decade of work its first unified global streaming home.

Xolalpa is a Mexican-born, Los Angeles–based filmmaker, writer, and producer whose films explore identity, resilience, and the immigrant experience. Known for his emotionally charged narratives and minimalist visual approach, his work has screened internationally and earned accolades for authenticity and heart.

The partnership represents not only a major win for the filmmaker, but also a significant moment for contemporary Latino cinema, bringing long-overdue visibility to a body of work that blends profound humanism with gripping narrative artistry.

The collection of short and feature films spans Xolalpa’s evolution as a writer-director: a filmmaker who has consistently infused his stories with emotional realism, social consciousness, and an unmistakable minimalist visual style. Although Jorge did not attend film school, his writing and directing method have been critically acclaimed in the industry. His thematic is constantly very dark and dramatic. Jorge’s has publicly admitted that he is heavily inspired by the works of Woody Allen, David Fincher, and Darren Aronofsky.

The list of his films that are part of the distribution deal include:

Blue Line Station (2016) — A high-school couple embarks on an unexpected journey to Planned Parenthood as they face the realities of an unwanted pregnancy.

Valentina (2017) –When her daughter is kidnapped, Valentina must outsmart the system to raise the ransom money and save her child.

Sweet Caroline (2018) — A once-happy couple is thrust into psychological darkness after a devastating tragedy shatters their world.

Your Iron Lady (2020) — Inspired by true resilience, the film follows Teresa, an immigrant mother of four, who makes the brave decision to leave her abusive husband upon arriving in the U.S.

Melancolia (2021) — A hospice nurse haunted by grief struggles to care for the dying while navigating the trauma of losing her daughter in a school shooting.

Union Station (2023) — Two strangers stranded in Los Angeles confront one transformative night that forces them to reclaim their lives and face their fears.

Lolita (2025) — After serving nine years in prison, Jesús fights to reintegrate into society and regain custody of his daughter, Lolita.

Huehxolotl (2027) — Currently in pre-production for an early 2026 shoot, the epic expands Xolalpa’s cinematic universe, tapping into myth, heritage, and identity.

For Xolalpa his has been a long-awaited and well earned moment. For years, Jorge Xolalpa stayed patient. Despite doubts surrounding his work, he continued to create, refine, and believe.

His  perseverance forms the emotional spine of the announcement. Now, Xolapa feels the world will finally discover his work through this new partnership.  For Xolalpa, the moment is nothing short of a transformative.

“Partnering with Lumexx Media and Apple TV+ feels like the beginning of a new chapter,” said Xolalpa. “Every one of these films was made with heart, faith, and defiance. To see them finally brought together on a global platform is nothing short of a dream realized.”

Lumexx Media is a global entertainment company specializing in premium independent film distribution and strategic streaming partnerships. Under the new agreement, Lumexx Media and Apple TV+ will execute a coordinated international marketing campaign ahead of the 2026 premiere. The partnership cements Xolalpa’s rising prominence among contemporary Latino filmmakers whose work is reshaping independent cinema and expanding representation across global streaming platforms. 

“Jorge Xolalpa represents the fearless new wave of independent auteurs,”  echoed Lumexx Media CEO Marco Medina. “His films are deeply human and profoundly cinematic—exactly the kind of storytelling that transcends borders. We’re honored to introduce his vision to a worldwide audience.”

Xolalpa is also an author who is currently embarking on a book tour promoting his first book Ni De Aquí, Ni De Allá: A Soul Suspended Between Two Worlds a raw, intimate memoir about identity, resilience, and the healing power of storytelling.

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A Luchador’s Resurrection—and His Reckoning

Matadero centers on Rafael “Matadero” Muzquiz, a devout luchador whose life is shattered by a cartel boss’s brutal betrayal. But death is only the beginning: resurrected by La Santa Muerte and armed with a glowing green scythe, the fallen hero is granted superhuman strength and a chilling ultimatum—collect seven evil souls before sunrise or lose his murdered family forever.

What follows is a relentless quest for redemption as Matadero battles cartel narcos and a cybernetic mercenary through the unforgiving streets of Marin, Nuevo Leon. The film promises a visceral blend of heart-pounding action, cultural mysticism, and the emotional stakes of a man fighting for the souls of those he loves.

A Creative Partnership Fueled by Cultural Authenticity

“Matadero is a love letter to lucha libre and Latino culture, infused with a dark, cinematic edge,” said Pablo Bobadilla, founder of Bobadilla Productions. “Partnering with Masked Republic—who are unmatched in their expertise and passion for lucha libre—allows us to craft a story that’s authentic, thrilling, and universally resonant. Hector Rodriguez’s script is a game-changer, and we’re excited to bring his vision to life.”

Rodriguez, best known as the mind behind the long-running comic series El Peso Hero and founder of Texas Latino Comic Con, brings a deep reverence for lucha libre and grassroots Latino storytelling. His work, which often centers on heroism, community, and identity, makes him an inspired choice to helm the world of Matadero.

“Hector’s ability to weave cultural authenticity with gripping storytelling makes Matadero a standout,” added Kevin Kleinrock, President and COO of Masked Republic. “This collaboration with Bobadilla Productions is a perfect synergy. Their experience creating horror that reaches beyond the genre’s traditional audience, combined with our mission to tell stories of luchadores and lucha culture that extend far beyond the ring, makes this a tag-team ready to take on the world.”

A Cinematic Universe Rooted in Culture

The film promises eye-popping visuals, gripping hand-to-hand combat, and supernatural intrigue—all against the rich tapestry of Mexican culture. From stylized lucha libre choreography to eerie mystic sequences powered by La Santa Muerte, Matadero is designed to captivate a broad spectrum of audiences: action aficionados, horror enthusiasts, comic book fans, and lovers of Mexican folklore.

Both companies emphasize that authenticity is not just an aspiration—it’s a mandate. The production, slated for late 2026, intends to cast Latino actors and real-life luchadores to ensure fidelity to the traditions and communities that inspire the story.

A New Era for Latino Genre Filmmaking

With Hollywood finally recognizing the hunger for culturally rich genre stories, Matadero arrives at a pivotal moment. The partnership between Bobadilla Productions and Masked Republic signals a new kind of Latino-fronted storytelling—one that merges mythology, action, and representation without compromise.As audiences worldwide continue to crave fresh perspectives and bold narratives, Matadero is shaping up to be a cinematic force ready to carve its own path—scythe in hand.

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