In the crowded field of documentary shorts this awards season, the Oscar nominated The Devil Is Busy stands out not through spectacle, but through access and immediacy. Executive produced by award-winning journalists Soledad O’Brien and veteran producer Rose Arce, the film directed by Geeta Gandbhir and Christalyn Hampton offers a clear-eyed portrait of reproductive healthcare in America after the 2022 reversal of Roe v. Wade. directed by 

The result is one of the most quietly powerful entries in this year’s Oscar race—and a reminder that the debate over reproductive rights is no longer theoretical, but unfolding daily at clinic doors across the country.

When the U.S. Supreme Court overturned Roe v. Wade in 2022, it didn’t just change the law—it erased half a century of protections that women in the United States had fought to secure.

“It was really back at the end of 2022 that we started thinking.  If this happens, if in fact Roe v. Wade is no longer the lay of the land, what could we do”, explained O’Brien on the urgency to “do something” immediately after the law was overturned. 

“There is actually a very strong Latina connection to all of this”, Arce points out. “During the Supreme Court oral arguments Supreme Court Justice Sonia Sotomayor asked the question of the Court, “Will this institution survive the stench this creates?”  Aware of the challenge ahead, O’Brien and Arce understood the mission and went to work producing the documentary. They approached the Ford Foundation and it was a Latina, Sonia Enriquez and Darren Walker who both said, yes to the funding.  “Once we had the film, a Latina executive at HBO was the one that said ‘OK…I am gong to run this’.” The Devil Is Busy has been streaming on HBO Max since September 23, 2025.

Powerfully, the film arrives guided by Latina leadership behind the scenes, bringing journalistic rigor and emotional clarity to a subject that too often gets reduced to political slogans. 

Filmed in cinéma vérité style, the 30 minute documentary short unfolds over the course of a single day, inside a women’s healthcare clinic in Atlanta.  Tracii, the facility’s head of security, navigates the daily reality of protecting patients and staff amid ongoing protests and heightened threats – from security sweeps of the premises to escorting patients inside while safeguarding their anonymity. 

For more than five decades, American women lived with the protections established under Roe v. Wade. The Devil Is Busy starkly contrasts that era with the new reality many patients face navigating restrictive state laws and an increasingly hostile climate surrounding reproductive care. 

Rather than relying on political commentary, the filmmakers keep the camera trained on the human infrastructure holding the system together. Tracii emerges as the film’s emotional anchor—part protector, part counselor. The documentary avoids polemics in favor of observation, allowing viewers to witness the emotional and operational toll on the staff tasked with ensuring women can still access basic healthcare.

The film’s power lies in this juxtaposition: routine healthcare operating under extraordinary pressure.

At a brisk half hour, The Devil Is Busy is compact but potent filmmaking. In an awards season often dominated by sweeping global stories, this short opts for a focused lens on a single clinic, a single day, and a single gatekeeper standing between patients and the chaos outside.

The post REVIEW: Oscar Nominated Short ‘The Devil Is Busy’: Powered by Latina Vision And Urgency first appeared on .

Brands like McDonalds have known for years that U.S. Latinos make up a consumer market too large to ignore. According to the 2023 Latino Donor Collaborative study, U.S. Latinos currently represent the 5th largest economy in the world with a GDP of $3.2 trillion dollars a year, a consumer cohort that are brand loyal. That is one of the reasons McDonald’s USA last year launched the Spotlight Dorado Short Film initiative, a multiyear platform that seeks to showcase and advocate for Latino talent in Hollywood, because representation matters.

In it 2nd annual McDonalds once again dives into the captivating world of the latest Spotlight Dorado lineup, showcasing the talents of emerging Latino and Hispanic filmmakers. Cinephiles across the nation will have until Februaty 11th to cast their vote for their favorite short film to be selected from the latest edition of the three films selected to be part of th this year SpotlightDorado.com

This year’s films include Marissa Díaz‘s adventure-filled Mexican standoff, Fancy Florez’s Summer Staycation, Kryzz Gautier‘s virtual reality romance, Chimera, and Pablo Riesgo‘s satire sci-fi, Cuando Volvimos A La Tierra. Fans can vote for their favorite film until February 11 to help determine the grand prize winner.

The short films are making their debut amid underrepresentation of Latinos in the entertainment and film industry. Recent findings from the USC Annenberg Inclusion Initiative highlight the issue remains ongoing, both behind the scenes and on-screen. Their latest research study, supported by McDonald’s Spotlight Dorado, reveals that less than 5% of directors from major motion pictures between 2007 and 2022 were Hispanic/Latino. Among this group, only five were women.

Latin Heat had the pleasure of interviewing Marissa Diaz about her entry in this competition, with her short Fancy Florez’s Summer Staycation on their show Hollywood Talks.

This disparity goes beyond directors. On-screen, a mere 4.4% of lead or co-lead roles featured Hispanic/Latino actors. This latest research highlights the urgency for a more inclusive film landscape.

By supporting pivotal research and rising storytellers, McDonald’s is helping drive inclusivity while reaffirming its commitment to the diverse communities it serves.

“As part of our commitment to giving back to the diverse communities we call home, we are proud to support opportunities that help drive inclusivity and change,” said Ryan Worthy, Content and Culture Director at McDonald’s USA. “With Spotlight Dorado, McDonald’s has been able to use its scale to amplify pivotal research and create opportunities for Latino and Hispanic storytellers–and the results speak for themselves. We’re so proud of the outstanding talent showcased by this year’s Spotlight Dorado finalists. They have a bright future and we can’t wait to see what else is in store for them.”

Following their selection as the top three finalists last summer, McDonald’s gave the talented filmmakers a combined budget of $225,000 to produce their short films. Each also received personalized mentorship from industry leaders, including Grammy®-winning artist, Golden Globe® and Emmy® nominated actor Anthony Ramos, actress Danay Garcia, comedian, writer, actor, and producer Al Madrigal, director Carlos López Estrada and writer-director Nancy Mejía.

The grand prize winner of this year’s program will be announced in March. For more information on the program, visit www.spotlightdorado.com.

Watch the Spotlight Dorado Short Film Trailers

• Marissa Díaz – Fancy Florez’s Summer Staycation
• Kryzz Gautier – Chimera
• Pablo Riesgo – Cuando Volvimos A La Tierra

The post McDonalds Spotlight Dorado Emerging Latine Filmmakers: Cast Your Vote by Feb. 11th first appeared on .

Get ready to vote for the latest short films from emerging Latino and Hispanic filmmakers in the Spotlight Dorado lineup. Starting today, you can check out three diverse projects from the latest edition of the short film contest at SpotlightDorado.com. The films include Marissa Díaz‘s action-packed “Fancy Florez’s Summer Staycation,” Kryzz Gautier‘s virtual reality romance, “Chimera,” and Pablo Riesgo‘s satire sci-fi, “Cuando Volvimos A La Tierra.” Voting for your favorite film is open until February 11 to help determine the grand prize winner.

The short films are launching at a time when there’s a notable lack of representation for Latinos and Hispanics in the entertainment and film industry. Recent research from the USC Annenberg Inclusion Initiative, supported by McDonald’s Spotlight Dorado, reveals that less than 5% of directors of major motion pictures from 2007 to 2022 were Hispanic/Latino. Among them, only five were women.

This inequality extends beyond directors, with a mere 4.4% of lead or co-lead roles featuring Hispanic/Latino actors. This research underscores the pressing need for a more inclusive film landscape.

McDonald’s is addressing this issue by supporting important research and upcoming storytellers, contributing to inclusivity and demonstrating its commitment to diverse communities.

Ryan Worthy, Content and Culture Director at McDonald’s USA, stated, “As part of our commitment to giving back to the diverse communities we call home, we are proud to support opportunities that help drive inclusivity and change. With Spotlight Dorado, McDonald’s has been able to use its scale to amplify pivotal research and create opportunities for Latino and Hispanic storytellers. We’re proud of the outstanding talent showcased by this year’s Spotlight Dorado finalists, and we look forward to seeing what else is in store for them.”

After being selected as the top three finalists last summer, McDonald’s provided the filmmakers with a combined budget of $225,000 to produce their short films. Each filmmaker also received personalized mentorship from industry leaders, including Grammy®-winning artist, Golden Globe® and Emmy® nominated actor Anthony Ramos, actress Danay Garcia, comedian, writer, actor, and producer Al Madrigal, director Carlos López Estrada, and writer-director Nancy Mejía.

The grand prize winner of this year’s program will be announced in March. For more information on the program, and to cast your vote visit www.spotlightdorado.com.

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When an AI Productivity Monitoring Software deems widow Tita (Laura Patalano) no longer fit for work due to her swelling joints, she reluctantly hires an AI humanoid to fill in for her picking strawberries out in the fields. Yet, as model after model breaks down during the arduous labor, it becomes clear that no AI Humanoid the company provides is capable of executing the same back-breaking work. 

Patalano is endearing and just the right amount of tough in her role as Tita, who navigates both a humorous and heartfelt performance. She is surrounded by an equally engaging cast that convinces us that Caballero’s world in the not-too-distant future could very soon be a reality. 

Written by Luis Antonio Aldana & Miguel Angel Caballero, this film was produced by Helena Sardinha and Rafael Thomaseto, presented at the Tribeca Festival and was made as part of Indeed’s Rising Voices program – an initiative set up to discover, invest in and share stories created by BIPOC filmmakers and storytellers, and has qualified to be considered for a 2024 Academy® Award. Rising Voices was created in collaboration with Emmy® Award-winning writer, creator, and actor Lena Waithe, Hillman Grad Productions, Ventureland and 271 Films.

Miguel Angel Caballero (co-writer/director) is the son of Mexican immigrant farm workers and an award-winning Queer Mexican-American/Chicano writer, director, and producer. His short film, ACUITZERAMO, premiered at the Morelia International Film Festival, won 20 awards internationally, and is screening on MAX. Miguel Angel is an Outfest Screenwriting Lab Fellow, Film Independent Project Involve fellow, and the Warner Bros. Discovery 150 Artist Grant recipient. Miguel Angel was one of ten directors selected to participate in the 2022 inaugural Academy of Motion Picture Arts & Sciences Accelerator Program and won the Humanitas New Voices Fellowship. 

STARRING

Laura Patalano

Luis Antonio Aldana

Nico Greetham 

Cheryll Umaña

Rocío Lopez

Geoffrey Rivas

Rafael Cobos Delgado

Juan Alfonso

Elia Saldana

Joan Almedilla

Arlene Santana

Christain Jaime Garcia

Kiara Bletran

David Rodriguez Estrada

PRODUCTION: Indeed, Hillman Grad Productions, 271 Flms

DIRECTOR:  Miguel Angel Caballero

WRITERS: Luis Antonio Aldana, Miguel Angel Caballero

EXECUTIVE PRODUCERS: Lena Waite, Rishi Rajani, Doménica Castro, Constanza Castro

PRODUCERS: Helena Sardinha, Rafael Thomaseto

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Selected by the Academy of Motion Picture Arts & Sciences as an Oscar-qualified film, The Kill Floor is an emotional story full of tension, grief, and injustice. Yet, like our collective time in lockdown during the COVID-19 epidemic, the audience is left with the comfort of the most enduring of all human emotions: love. Love for a son, a career, a community, and eventually, self love. 

The film was inspired by the COVID-19 pandemic and the impact on the meatpacking industry and its workers, particularly in the Latino community. Through the character of Gill, Avila focused on the different stories of the workers. He interviewed meatpacking workers, union representatives, activists, and journalists who covered the stories in real time and created a fictionalized version of events capturing the worker experience while exploring important themes of community and father-son relationships.

“In the meatpacking plant workers I spoke with, I recognized people like my family and friends and their dedication to work. I felt that this story of Latino essential workers was important and necessary to tell. Often, these stories are forgotten. I wanted to call attention to what happened.” – Carlos Avila

Latin Heat was able to catch up with director Carlos Avila to talk about his process in writing/producing and directing his short film and why he felt he needed to tell this story.

Latin Heat: Tell us about some of the stories and experiences of the workers in the meatpacking plants. 

Carlos Avila: Although The Kill Floor is a fictional story, it uses as its backdrop the very real crisis in the meatpacking industry during the early days of the pandemic. COVID-19 spread like wildfire through numerous meatpacking plants. It impacted many workers because that industry was either unprepared to deal with the crisis or uninterested in mitigating the risks posed by the virus if it was to slow down production. We were committed to telling this story with humor, emotion, and vivid characterizations. 

LH: Why focus on the Latino community?

Because Latinos are such a big part of the workforce in these plants, the Latino community was heavily impacted by COVID-19. In the research that I did prior to writing, I interviewed meatpacking plant workers and read many accounts of their experiences. The workers that I interviewed in Vernon, California told me about a worker at the plant who went to extremes to hide his symptoms from his co-workers because he was desperate to work so that he could continue to provide for his family. That gentleman eventually died because by the time he got medical attention he couldn’t be saved. Another story I read was about Saul Sanchez, a meatpacking plant worker in Greeley, Colorado. Mr. Sanchez was in his 70s, and he had worked at a plant there for over 30 years. He was one of the first workers to get COVID-19 at the plant. He was admitted to the ICU and put on a ventilator, and eventually he died. A few days before he passed, he told his family to tell the plant management not to be concerned because he would soon be back to work. There’s some of Mr. Sanchez in the The Kill Floor character, Agustin. Working in the meatpacking industry is challenging on any given day, but during COVID-19, it was particularly perilous. 

LH: What was the writing process like for this film?

CA: As I was writing The Kill Floor, it was very clear to me that there was a tremendous responsibility in telling a story like this. I wanted to dramatize and not sensationalize. I steeped myself heavily in the world of the meatpacking plants through interviews, firsthand observation, and research prior to writing the script. I’m a good listener, and I got so much out of the conversations I had with the meatpacking plant workers and union representatives in Vernon, California, the activists in Crete, Nebraska, and the journalists on both the East and West Coasts who covered the story. I integrated details, events, and perspectives with my storytelling instincts to develop a narrative that reflects a true version of what occurred.

LH: Why did you choose to tell the story through both present day scenes and flashbacks? 

CA:The Kill Floor uses flashbacks in order to provide an emotional dimension to our characters. Because [the film] has a short running time of 27 minutes, I knew I had to be economical in providing a context for the relationships.

The flashbacks made sense in terms of storytelling and being able to convey some understanding of the Gil/Agustin relationship. I wanted the flashbacks to resonate when we finally got to the present-day Gil/Agustin scenes.

Some of the settings for the present-day scenes are the same as in the flashbacks, and yet so much has changed in the characters’ lives and in terms of their relationship. I was less interested in using flashbacks for exposition but more in providing emotional depth. 

LH: What did you learn about the Latino spirit and work ethic throughout the making of this film?

CA: One of the stories that impacted me as I read the newspapers and watched the news was the crisis that was unfolding in the meatpacking plants. Given the nature of meat processing industry — people standing in close proximity to each other — COVID-19 spread quickly through those facilities. I knew that many Latinos were working in the poultry plants in the American South, but as I read and researched more, I was impressed to see how many Latinos worked in meatpacking plants throughout the United States. I was moved by these stories that I was reading. 

It seemed like there was a clash between big business and the dedicated Latino work ethic. These corporations wanted to keep operating regardless of the human cost. They even successfully lobbied the former President and his administration to pass an Executive Order so that they would be declared ‘essential businesses.’ This gave these corporations liability protections if workers got sick. In the plant workers I spoke with, I recognized people like my family and friends and their dedication to work. I felt that this story of Latino essential workers was important and necessary to tell. Often, these stories are forgotten. I wanted to call attention to what happened. My goal was to make a film that would resonate with audiences. I also wanted the film to be a ‘witness’ to what happened. 

LH: Where did this story come from?

CA: In the early days of the pandemic, as with so many other people, I was glued to the news. I was wondering whether we were facing the apocalypse or whether the world would make it through the crisis. I started reading about the COVID-19 crisis happening in the meatpacking plants. When I found out how many Latinos worked in these plants and how Latino communities were so heavily impacted, I knew that I needed to tell this story. Now and then, as a filmmaker, you encounter a story that needs to be told. For me, The Kill Floor was one of those stories.

LH: Why is being Oscar Qualifying important for this and other short films? 

CA: Qualifying for the Academy Awards tells me that our film is of significant merit and worthy of playing alongside the other short films that have also qualified this year. It is a wonderful achievement to be in a category that includes important films from all over the world. The hope, of course, is that this additional visibility for The Kill Floor gives much-needed attention to the subject matter of our film and the role of Latino essential workers during the pandemic. 

The post REVIEW: Director Carlos Avila’s Oscar-Qualified Film ‘The Kill Floor’ Is A Love Letter To The Latino Work Ethic first appeared on .

 Oscar season is upon us as Latin Heat Entertainment launches “For Your Consideration” screenings conceived to highlight Oscar-qualified Latino films, filmmakers, and entertainment professionals.  The series launches with the Oscar-qualified, Shura, the documentary short film directed by David Damian Figueroa and Kayvon Derek Shanian, and executive produced by Pepe Serna. 

The documentary short film Shura is about an eighty-four-year-old black belt in karate who leads by example and her unwavering commitment inspire hundreds of other humanitarians to provide life-saving aid to stranded migrants crossing the harsh Sonoran U.S./Mexico border near Nogales. 

The screening will take place on Saturday, December 9, 2023 at the Los Angeles Theater Center in DTLA located at 514 South Spring Street, Los Angeles, CA 90013.  Arrivals will be at 4:30 pm followed by opening remarks and introduction of the trailers. 

 “Latino filmmakers can easily get lost in the campaign process with limited Hollywood connections. Most lack the financial and networking resources to run a competitive Oscar campaign, including coveted reviews”, said Latin Heat Media CEO Bel Hernandez. “The screenings are intended to bring awareness to deserving films and talent and to level the playing field for Latino filmmakers”. 

A recent study conducted by the USC Annenberg Inclusion Initiative found that Latino representation in the film behind and front of the camera remains stagnant with no improvement in the last 16 years. Even when movies did feature Hispanic or Latino characters, the study found Latino characters were represented on-screen with depictions that were often rampant with stereotypes. 

“It is so important for filmmakers to get the visibility needed to be competitive”, Dr. Jose Luis Ruiz, President and founder of the Mexican-American Film & Television Festival and the sponsor of the FYC Screenings.  “The talent is there, the projects and films just need a chance to be seen.”

Congressman Joaquin Castro penned a recent open letter titled, “Dear Hollywood,” in Variety to film studios: “This year, stands as a testament to the vibrancy of Latino stories, showcasing a range of artistic excellence. In the face of profound barriers to entry, Latinos have shown up and taken center stage, leading or supporting beautiful storytelling that transcends cultural boundaries.”

A short Q&A will follow the screening with the subject of the documentary Shura Wallin, David Damian Figueroa and Kayvon Derek Shanian, and executive produced by Pepe Serna and moderated by Bel Hernandez.

SHURA – Film Trailer

SHURA is an eighty-four-year-old black belt in karate, who leads by example. Her infectious emphatic spirit and her unwavering commitment inspire hundreds of other humanitarians to provide life-saving aid to stranded migrants crossing the harsh Sonoran U.S./Mexico border near Nogales. 

Since 1992 Latin Heat Media, a multimedia company, has been providing media content focused on Latinos in film, television theater, publishing, and all other aspects of the entertainment industry.

SCREENING TIME:

ARRIVALS: 4:30PM REMARKS & TRALIERS: 5:30PM SCREENING OF SHURA: 6:00 pm

LOCATION:

Los Angeles Theater Center, 514 S. Spring Street, Los Angeles, CA 90013

PARKING:

Los Angeles Garage Associate Parking Structure at 545 S. Main St., LA, CA 90013, positioned between 5th and 6th Street, just behind the theater.

RSVP: INFO@latinheat.com

The post Latin Heat Entertainment Launches “For Your Consideration” Screenings With Documentary Film Short  ‘Shura’  first appeared on .

Shura is a compelling short documentary film that transcends its brief runtime to deliver a poignant and inspiring narrative. Co-written, directed and produced by Kayvon Derak Shanian and David Damian Figueroa, this Oscar qualifying film delves into the life of a remarkable woman whose resilience, determination and love for her fellow man can, and does make a difference in the lives of the undocumented, showcasing the profound impact one individual can have on their community and beyond.

The film’s subject, Shura Wallin, who is the co-founder of the humanitarian group The Green Valley/Sahuarita Samaritans, has spent the majority of her life with a handful of volunteers to save lives on the Arizona border. Living about a mile from the Sonoran desert, Shura travels to the border to fill water tanks and patrol migrant trails on both sides of the I-19 corridor offering help to anyone that may cross her path.

Across the Mexican border in Nogales, she works out of the faith-based El Comedor center, serving meals, distributing supplies to people deported from the U.S. and others contemplating the trek north.

The film stays close to its protagonist, offering a glimpse of a day in the life of an advocate who has dedicated the last years of her life to being of service to others. A black belt in Karate, one can see how her years of training have lent a hand in not only the mental fortitude Wallin possesses, but the physical fortitude it takes to trek over hills and valleys to bring supplies to the many migrants crossing the border.

The cinematography is a standout feature, capturing the essence of Shura’s story with visually striking compositions captured, quite refreshingly, on an iPhone 13 . Co-directors’ Figueroa and Shanian’s keen eye for detail and the thoughtful use of imagery, contribute to the emotional impact of the film, enhancing the audience’s connection to the narrative. Furthermore, the pacing of the documentary is expertly handled, ensuring that each moment serves a purpose in advancing Shura’s story. The concise runtime and unorthodox camera choice does not compromise the depth of the narrative but rather enhances its accessibility, making it an ideal candidate for the short documentary category at the Oscars.

At its core, Shura serves as a testament to the power of one person’s dedication to making a difference. Shura’s unwavering commitment to her cause becomes a beacon of hope, illustrating how a single individual can catalyze change and inspire others to join the fight for justice, equality, or whatever cause they hold dear.

CAST and CREW:

Participating as themselves: Shura Wallin, Pastor Randy Mayer , Rita Henninger Danks, Jaime Brusstar, Steve Feldman and Richard Ramirez

Directors / Writers / Producers Kayvon Derak Shanian, David Damian Figueroa

Executive Producer: Pepe Serna

Running Time: 22 Minutes

The post REVIEW: ‘Shura’ Is Small But Mighty, In More Ways Than One first appeared on .

Inspired by a true immigration story, Bienvenidos a Los Angeles tells the story of Imani, a 24-year-old Nigerian single mother living and working in Los Angeles who gets the devastating news that the Muslim ban has jeopardized her green card application and she must leave the country. On her shared-ride home, she meets Elizabeth, an undocumented Mexican woman on her way to LAX to reunite with her 6-year-old son whom she hasn’t seen since she left him behind five years ago in search of a better future for her family. Reeling from the total loss of control in her own life, Imani offers to help Elizabeth, not realizing that this simple act of kindness carries immense risk.

“I believe everyone has a story and deserves to be seen. But, when society is driven by fear, people are often relegated to stereotypes. When one takes the time to see beyond labels, complex human beings come into focus and a kinder world emerges,” said Cole.

Lisa Cole is a creative activist, writer, producer and director, who amplifies diverse underrepresented voices and exposes social injustices. Having lived with 201 host families across 12 countries in just three years, Cole’s diverse background fuels her storytelling. She has several feature films in development including working with producers Laura Bickford and Nathan Ross. In addition, Cole has directed and produced documentaries for The Gates Foundation, Sundance Institute, Viacom, BET, and A&E, focusing on women’s health and safety in the Democratic Republic of Congo and Kenya.

Among the many accolades Bienvenidos a Los Ángeles has received, the film recently won the 2023 Diversity in Cannes Short Film Showcase, the independent film movement promoting inclusion at the Festival de Cannes. Presented by Diversity in Cannes founder, Yolonda Brinkley, with support from Julius Tennon and Academy Award Winner Viola Davis’ JuVee Productions, the showcase featured uniquely themed films from America, Asia, New Zealand, Nigeria and points in between.

As part of the film’s community-centered immigrant rights impact initiative, Bienvenidos a Los Ángeles has partnered with the Refugee Children Center, a Los Angeles-based non-profit supporting unaccompanied minors seeking asylum in the United States. The film is raising awareness and financial support for the organization by hosting community screenings and Q&A’s to spark dialogue about complicated issues surrounding immigration and vulnerable populations. The Center was recently recognized as an organization by the Recognition and Accreditation Program (R&A) from the United States Department of Justice.

“I see the story of Bienvenidos a Los Angeles reflected in each mother and caregiver at the Center,” said Mayra Medina-Nuñez, Executive Director at the Refugee Children Center. “Bienvenidos a Los Angeles highlights the humanity and the solidarity amongst human beings regardless of their legal or socio-economic status. It touches on the complexity of immigration laws in the United States while focusing on the strong love of a mother for their children.”

VIEW TRAILER HERE:  http://bienvenidosalosangeles.com/trailer.html

For more information about Bienvenidos a Los Angeles, please visit: www.balafilm.com

Follow Bienvenidos a Los Angeles on social media:
Facebook: @bienvenidosfilm
Instagram: @bienvenidosfilm

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The Latino Lens: Narrative Short Film Incubator for Women of Color will offer Latina and other women of color filmmakers the opportunity to create original short films in four months. It will provide production grants, training and other support from preproduction to completion of projects. Sponsored by Netflix, the program will select four U.S.-based directors and writers. Applications are now being accepted.

“We are thrilled to collaborate with Netflix for our new program Latino Lens: Narrative Short Story Film Incubator for Women of Color to promote historically underrepresented voices,” says NALIP Projects Director Liliana Espinoza. “With both NALIP and Netflix being supporters of inclusive representation in the industry, we are grateful for the opportunity to collaborate and amplify intersectional narratives”.

Few women of color are among the top feature films and television projects in Hollywood, according to recent surveys. There were just 13 women of color among the directors of the 1,300 top movies from 2007 to 2019 reported the 2019 USC Annenberg Inclusion Initiative. “This is less than 1% of all directing jobs,” says the study, which notes that women of color account for more than 20 percent of the U.S. population. The vast majority of directors are white men. “The ratio of white male directors to underrepresented female directors was 92 to 1,” states the USC report.

Television also suffers from glaring disparity despite some recent progress. “While the shares of episodes directed by women and African Americans reached new highs, Latinos and women of color continued to be severely underrepresented despite their sizable and growing presence in the population,” stated the Directors Guild of America based on its latest Episodic Television Director Inclusion Report published in February. The study surveyed 4,300 episodes produced in the 2019-20 season.

The NALIP short film incubator for women of color aims at helping to reduce that gender and women disparity in Hollywood. It will also offer mentorship. The incubator will produce and feature four short narrative scripts, according to the nonprofit association.

The completed shorts will be showcased at NALIP’s Latino Media fest in October of this year during Latino Heritage Month. The incubator’s participants will also participate in other events of the producers’ group, including its annual Median Summit and Diverse Women in Media Forum.

“NALIP has long advocated for Latinx creators, and we’re excited to support their latest effort to identify and uplift stories told by Latinx women and women of color,” said Pete Corona, Netflix director of drama development. NALIP’s latest program is supported by the Netflix Fund for Creative Equity, which reportedly plans to invest $100 million over the next five years in organizations working to improve the representation of minorities and women in the TV and film industries, as well as Netflix programs for up-and-coming talent worldwide. NALIP and Netflix have not disclosed the total funding amount for the new Narrative Short Film Incubator for Women of Color.

The deadline to submit applications for the new program is May 23. To get more information and apply, click here.

Featured Photo: Donald Tong from Pexels

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