LOS ANGELES — Independent bilingual comedy Comedia Del Adri has won Best TV Pilot and Best International Film at the Comedy Film Festival, as well as the Audience Award at FilmGate Miami, ahead of its Hollywood premiere at the TCL Chinese Theatre.

The Spanish-English series, written by and starring Adrian Manzano and directed by Chase Bradburn, will screen September 12 as part of the inaugural Indiewood Film Festival.

The 30-minute pilot is designed as the first episode of a nine-episode series following Adri, a middle-aged Mexican-Colombian comedian rebuilding his life and career in Mexico City. His relationship with Bella, a younger German woman, brings questions of family, identity and cultural differences into the story.

Manzano stars as Adri alongside Dilara Foscht as Bella, Alejandra Herrera as Maria, Byungsun Kim as Ramon and Mabel de la Luz. Manzano and Samira Mekibes Meza serve as producers.

The TCL Chinese Theatre screening takes place three days before the start of Latino Heritage Month on September 15 and is part of the inaugural Indiewood Film Festival’s independent film and television program.

Manzano said the project’s bilingual format and focus on Latino characters were central to its development.

“We’re making this show while ICE raids are tearing through our neighborhoods and Latinx families are living in fear of being separated,” Manzano said. “Getting to tell our own stories, in our own languages, and to laugh at ourselves instead of being laughed at, matters more right now than it ever has.”

Manzano, a Queens, New York native, is a writer, actor and filmmaker whose previous credits include the feature Sex, Love & Salsa, which received awards at international festivals including the Montreal Latino Film Festival and Stattkino Festival in Zurich. The film is currently in development as a television series.

His other credits include writing and directing The Gradua and writing Ilegítimo, which was sold to Panama’s Jacobo Silvera Productions. In 2026, he appears in Hard Redemption with Lou Ferrigno and Dustslickers.

The Hollywood screening gives Comedia Del Adri a showcase at one of the city’s best-known theatrical venues following its recent festival recognition.

‘COMEDIA DEL ADRI’
Indiewood Film Festival
September 12, 2026
TCL Chinese Theatre — Hollywood

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LOS ANGELES — Filmmaker Joaquim Adrià Pujol is bringing his acclaimed documentary Màquina to Hollywood, with the 90-minute film set for its Los Angeles premiere Sunday, September 13 at 9:45 p.m. during the Indiewood Film Festival.

The Spanish- and English-language documentary takes an unflinching look at addiction, alcoholism and generational trauma through an unusually personal lens: Pujol documents his own father and brother as they travel across the American West in an aging Winnebago en route to Colorado for ibogaine-assisted addiction treatment.

What could have been framed as a conventional addiction-recovery documentary instead becomes an intimate family drama — one that asks difficult questions about responsibility, codependency and the emotional toll of trying to save someone you love.

Pujol directs, produces and shoots the film, placing himself directly inside the story alongside his father, Xavi Pujol Berlanga, and brother, Marcel Enric Pujol. The result is a portrait of a family confronting its history in real time, with the filmmaker capturing the arguments, awkward silences, humor and tenderness that accompany their journey.

Even the vehicle becomes part of the narrative.

As the aging Winnebago repeatedly breaks down along the route, it emerges as a visual metaphor for a family struggling to keep itself moving forward.

Màquina also avoids presenting psychedelic-assisted treatment as a simplistic answer to addiction. Instead, the film examines what happens before, during and after the decision to seek help — and the complicated emotional terrain occupied by the people surrounding an addict.

That approach has already drawn critical attention. Film Threat gave the documentary a 9/10, calling it “a parade of stunning visual metaphors for the struggle with addiction.” The film has also received positive reviews from DMovies and High on Films.

At its heart, however, Màquina is a father-and-son story.

Pujol’s decision to make himself part of the film allows the documentary to move beyond the traditional observer role, confronting the inherited wounds, family dynamics and blurred boundaries that can accompany addiction. The film explores the difficult distinction between supporting someone and becoming consumed by their struggle.

The Los Angeles premiere comes as the documentary continues to build attention for its raw, observational approach and its refusal to package recovery into an easy Hollywood narrative.

The film features Xavi Pujol Berlanga, Marcel Enric Pujol, Joaquim Adrià Pujol, Charles B. Shaw, John Dias, John Anthony Dias, Hana Farky, Dennis Bouverie, Gerardo Ortiz, Bryan Davis and Shawn Johnson.

Vesta Tu?kut? produces alongside Pujol, with Silvija Vilkait?-Ramanausk? editing and acclaimed composer Jozef van Wissem providing the score. Pujol also serves as cinematographer.

Màquina is a 2025 U.S. documentary, presented in English and Spanish, with a runtime of 90 minutes.

Maquina — LOS ANGELES PREMIERE

Indiewood Film Festival
Sunday, September 13, 2026
9:45 p.m.
Hollywood, California

For Pujol, the journey at the center of Màquina is ultimately about more than addiction treatment. It is about the machinery of family itself — how it breaks down, how people carry one another, and whether something damaged can still be repaired.

The post Joaquim Adrià Pujol’s Addiction Doc ‘Màquina’ Set for LA Premiere at Indiewood Film Festival first appeared on .

By Bel Hernandez Castillo

LOS ANGELES — The 2026 Indiewood Film Festival is bringing two distinctly bicultural stories to Hollywood this September, with Del Zamora’s Chicano drama The Last Brown Beret and Varahi Pooja Mallipamula’s provocative dramedy IMPURE set to screen at the iconic TCL Chinese Theatres.

The films arrive at the festival following notable festival recognition and represent two generations and cultures grappling with identity, tradition, activism and the pressures of societal expectations.

‘The Last Brown Beret’

Written and directed by Del Zamora, The Last Brown Beret will make its Los Angeles premiere September 14 following its Grand Prize – Best Feature win at the 2026 Golden State Film Festival.

Inspired by Alfredo Ramos’ stage play The Last Angry Brown Hat, the film revisits the legacy of the Chicano civil rights movement through a group of former Brown Beret activists who reunite decades after their days of organizing and activism.

Following the funeral of a former member, the men gather in the garage where they once planned protests and debated how to change the world. Their reunion forces them to reckon with the movement they helped build, the sacrifices they made and the battles that remain unresolved.

Starring Daniel E. Mora, Randy Vasquez, Vance Valencia, Linda Lopez, David Castro, Karen E. Wright and Zamora, the film blends political history with an intimate exploration of friendship, aging, identity and the complicated legacy of activism.

The Last Brown Beret is presented by Nestorita Limited in association with Con Safos Production.

‘IMPURE’

Three days later, on September 17, IMPURE will make its Los Angeles premiere, bringing a very different—but equally personal—bicultural story to the festival.

Written and produced by Varahi Pooja Mallipamula and directed by Nishanti Evani, the dramedy centers on Sandhya, a 25-year-old woman from a traditional Telugu family whose wedding is called off after her ex-boyfriend publicly reveals that she is not a virgin.

The incident sparks a viral social-media controversy when Sandhya’s American cousin, Veera, speaks out against the double standard surrounding female sexuality. With Indian-American artist Raja Kumari amplifying the video, Sandhya becomes the target of public scrutiny and cultural judgment.

Set in Visakhapatnam, IMPURE uses comedy, romance and friendship to tackle female sexuality, patriarchy, marriage, reputation, family expectations and the complicated process of defining oneself between cultures.

The film stars Yashna Muthuluri, Mallipamula, Sai Krishna and Abhijith Sreenath, with Raja Kumari serving as music director and appearing in a cameo.

At the heart of IMPURE is a provocative redefinition of its title: “IMPURE” becomes “I’M PURE.”

Two Films, Two Generations, One Cultural Conversation

While The Last Brown Beret looks backward at a generation that fought to change society, IMPURE examines the cultural expectations confronting a younger generation determined to define itself.

Together, the films underscore the breadth of independent cinema—and the power of filmmakers to bring stories of identity, heritage and social change to the Hollywood screen.

Both films will screen as part of the 2026 Indiewood Film Festival at the TCL Chinese Theatres in Hollywood.

The Last Brown Beret
Los Angeles Premiere — September 14, 2026

IMPURE
Los Angeles Premiere — September 17, 2026

Indiewood Film Festival
TCL Chinese Theatres — Hollywood, California

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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.

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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 .

REVIEW: If I Could Stay – Documentry

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

The post A Ray of Sunshine in a Land of Darkness first appeared on .

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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The Latina Independent Film Extravaganza (LIFE) Film Festival has unveiled its 2026 honorees, announcing that Oscar-winning producer Yvette Merino and acclaimed film and television director Patricia Riggen will be recognized at this year’s event, set for March 5–8, 2026 in Boyle Heights and Pico Rivera.

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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By Bel Hernandez Castillo

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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