By Andrea Nunez-Gamboa

In a rare occurrence, two Latino-themed films—Clika and The Dreamer Cinderella—competed at the box office this past January 23. The films simultaneous release offers a revealing look at how marketing strategies that address similar markets operate at opposite ends of the industry spectrum, namely studio-backed campaigns with substantial resources versus the limited marketing budget of independent films.

It is well documented that U.S. Latinos are the most avid moviegoers in the U.S. This matters not only because the film industry is experiencing sustained declines in movie attendance—limiting the discovery of new films and talent—but also because Latino audiences represent untapped economic potential.

A 2023 McKinsey’s research study found that the US film industry might generate an additional $12 to $18 billion annually if Latino cultural representation in films increased,. 

Latinos account for roughly 30% of the U.S. economy with a collective GDP that would rank as the fifth largest in the world, according to The Latino Donor Collaborative, a think tank that produces yearly studies on the filmgoing habits of U.S.Latinos  The disconnect between economic power and the industry’s representation of Latinos raises a persistent question: Why does Latino visibility in U.S. films remain so limited?

It is a complicated answer that includes the lack of studio greenlighting for Latino projects, smaller budgets, and limited marketing support. As a result, many Latino filmmakers turn to the independent route, where little to no funding is allocated to marketing. By the numbers, the disparity is striking: The ratio between a studio film’s marketing budget and an independent film’s is approximately 87 to 1.   

Sol Trujillo, co-founder of the Latino Donor Collaborative (LDC) and former Fortune 200 CEO, argues that Hollywood studios are leaving billions of dollars on the table by failing to produce and properly market content for U.S. Latinos. Based on the 2024 LDC U.S. Latinos in Media Report, Latinos  purchase 24% to 29% of all box office tickets, yet remain one of the most underrepresented groups on screen.

Same Opening Week, Different Budgets

The simultaneous release of the two Latino themed independent films Clika and The Dreamer Cinderella, represented a strong moment for Latino representation in cinema this past January. Led by Mexican American directors, producers, and actors, both projects reflected contemporary cultural themes. However, their markedly different production and marketing resources set the stage for contrasting box office trajectories.

Clika, a music drama directed by Michael Greene and produced by Jimmy Humilde, follows Chito (Jay Dee), a small-town musician whose viral success propels him into the world of corridos tumbados, a subgenre of regional Mexican rap music. Distributed in 522 theaters, the film benefited from the backing of Columbia Pictures, a Sony subsidiary with a robust marketing infrastructure. Given Sony’s existing ties to Humilde’s Latin record label Rancho Humilde, the project aligned seamlessly with the company’s brand ecosystem.

The Dreamer Cinderella tells the story of Xochitl, a fruit vendor whose life changes when a filmmaker casts her as the subject of a daring bet, revealing her as a hidden star. Directed and produced independently Dr. Ruiz Productions with first time director Dr. Jose Luis Ruiz, this independent film was distriubted in only 16 theaters by Atlas Distribution. The difference in marketing visibility between these two films is stark, but as the performance data will show, scale is not the only strategy at producers’ disposal to drive attendance.

Measuring Momentum, Not Scale

Trying to evaluate each film’s marketing effectiveness by comparing their total box office gross ticket sales would be unfair. Between January 23 and January 27, Clika earned $1,520,455 while The Dreamer Cinderella earned $8,880—a differential that reflects their vastly different scales of distribution. Instead, it is more equitable to compare the percentage changes in daily gross ticket sales respective to each film. This approach highlights momentum rather than reach, an especially useful lens for independent films whose full box office data is often underreported. While these limitations make a fully precise picture difficult, the figures still offer a meaningful basis for interpretation.

Takeaway: Clika

Clika’s performance data shows relatively moderate fluctuations, meaning the film experienced smaller declines following opening day and steadier rebounds throughout the opening week. This suggests consistent brand recognition and predictable audience reach. Even when attendance dips, the film’s structural visibility helps cushion the decline later in the week, allowing it to recover audience attendance by the following weekend.

This performance can be attributed to an ongoing baseline marketing presence supported by a studio-led campaign and a distributor such as Columbia Pictures/Sony. The strategy included a strong digital footprint, paid social media exposure, radio and podcast interviews, and billboard placements, which are elements that align with the comprehensive distribution and promotional approach typically associated with major studio releases.

Takeaway: The Dreamer Cinderella

The Dreamer Cinderella’s performance during opening week, by contrast, is characterized by sharp declines followed by a dramatic rebound, with its highest upward growth occurring on January 27 the last day of the theatrical run. This trajectory suggests a performance closely tied to marketing pushes, particularly those driven by community-based promotion, with targeted theaters, universities, film festivals, paid social media and community partners.

“…when the audience is targeted correctly, they respond.”

As an independent film, the key insight here is clear: When marketing aligns with audience outreach, the response is powerful. The spike in performance shows that when the audience is targeted correctly, they respond. Independent films can perform well, as audience interest often exists, but tailored marketing is required to make a meaningful difference during opening week.

In the case of The Dreamer Cinderella, there was an intentional effort to invest independent dollars into marketing, almost as a case study to test the idea that even modest marketing spending can influence performance and drive attendance.

Dr. Ruiz Productions joined forces with Entertainment Media Specialist to launch a groundbreaking case study of with The Dreamer Cinderella, and Latino independent film marketing. Modeled after major studio marketing strategies—but without the luxury of nine-figure budgets.  The Independent Latino Film Marketing Campaign (ILFMC) study harnessed the power of grassroots community outreach, mobilizing Latino organizations nationwide and reaching out to independent thaters to screen the film through a film distributor and community engagement. Together all helped build a smart, targeted, community-driven release strategy. 

FINAL THOUGHTS

“Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.”

The opening-week data makes one point clear, namely that marketing determines whether Latino audiences show up, not whether they exist. Clika’s steadier performance reflects sustained visibility, whereas The Dreamer Cinderella’s volatility reveals untapped demand that can be activated when outreach is strategic.

For Latino films, especially independent films, success is not a question of scale but marketing precision. When marketing investment is culturally informed and strategically deployed, independent projects can compete with large-scale commercial releases. In a market as powerful as the Latino audience, marketing is not optional. It is the difference between invisibility and impact, something that Latino movies should consider to gain a foothold in the film industry.

Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.

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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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AFM 2025 Lourdes Diaz AGC Partner/CCO spills on why every indie film needs its own playbook—and how flexibility beats formula

Lourdes Diaz doesn’t do cookie-cutter. As Partner and Chief Creative Officer at AGC Studios, the former Univision Entertainment President has built a reputation for one thing: trusting filmmakers enough to break her own rules. From expanding Latino narratives across broadcast and streaming to backing auteur-driven indies like The Tinder Swindler and Hit Man, Diaz has proven that betting on vision—not templates—wins.

At AFM 2025’s “Crafting the Narrative” panel, on November 13, Diaz opened up about AGC’s unconventional approach to financing, nurturing talent, and why the best decisions often come from throwing out the playbook entirely.

All In, All the Time

Forget passive oversight. At AGC, Diaz and her team are embedded in every frame. “We’re intimately involved in every aspect of every title on this slate,” she said. “I have three kids, and you love your children equally but differently. Some need more hand-holding, others need more space, others need nothing, just a credit card.”

That parent-producer analogy is operational philosophy. “When you’re on the phone with someone from a particular project, you’re in that moment. You’ve got to be present. You can’t bring baggage from the call before or after.”

Why the intensity? “They’re trusting us with their work and they’re trusting that we’re going to help them get it to screens.”

Stay Flexible

Ask Diaz about AGC’s financing model and she’ll give you the most honest answer in Hollywood: there isn’t one. “Every script that comes through has a different set of realities—the non-negotiables, and the things that are fungible,” she revealed. “We work in that place where we’re creatively figuring out what’s the best way to get this to screens and to audiences.”

What AGC does have? Speed and candor. “One of our superpowers is that we are quick to get back to you on whether we love something or we don’t,” Diaz said. Even passes come with intel: the studio tracks projects with potential, keeping doors open as scripts develop and elements attach.

When Netflix Said No, AGC Said Yes

Nothing illustrates Diaz’s flexibility better than Hit Man. The Richard Linklater comedy came to AGC in turnaround—studio-speak for “rejected.”

“We financed it independently,” Diaz recalled. “Glenn [Powell] and Rick [Linklater] put their heart and soul into it. Adria [Arjona] was fantastic. Then it went to a different platform.”

The pivot paid off. By staying nimble, AGC found Hit Man a theatrical release and streaming home. “We remained flexible and did what was right for the movie to get to the widest number of eyeballs yet still protect Glenn and Rick’s vision.”

Actors to Auteurs: Building Careers

For Diaz, the ultimate win isn’t opening weekend—it’s career trajectories. “To move someone from one category to the next—from a writer to director, from an actor to director, from a director to getting a passion project off the ground? You’re part of their history.”

With budgets ranging from $1 million to $150 million, every AGC project shares common DNA: director-led vision. “Every single one of those people put their trust in that director and went on a mission to make the best possible thing.”

Art-Commerce Tightrope

But for Diaz, success defies spreadsheets. “People will forget the plot of a movie, but they won’t forget how they felt after watching it. That’s truly rewarding.”

As AGC continues its expansion—from Univision alum Diaz’s Latino roots to global mainstream dominance—the studio’s secret weapon remains refreshingly simple: stay present, stay flexible, and never, ever use a template.

Because in indie film, the moment you think you’ve found the formula is the moment you’ve lost the plot.

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There is power in numbers, and if that is so, with the new partnership between novela and film star Carlos Ponce, Brilla Media, Numatec, and Chicano Hollywood, who are launching Minivela, it is a power move in the right direction. Minvela is their digital shorts joint venture launching in January 2025 aimed to set in motion a bold new era for American Latino filmmakers, creators, and advertisers. The announcement was made at the 26th annual ANA Multicultural Marketing & Diversity Conference in Las Vegas earlier this week.

Minivela is an American Latino-owned and operated company dedicated to producing advertiser-supported digital shorts created by Latino filmmakers and creators with a target audience of primarily American Latinos ages 18-34. Initially the streaming content verticals will range from 10 to 90 minutes. A key pillar of Minivela’s approach is to catapult select narratives into independent features or series utilizing the innovative, adtech-powered approach.

“This is a groundbreaking journey that we believe will empower Latino storytellers and drive U.S. Hispanic digital advertising for years to come,” said Manny Ruiz, who serve as the Chief Creative Officer and Executive Producer of the joint venture alongside Ponce, who will also write and direct select Minivelas. ““Our focus is on consistently producing universally appealing stories with a vision that extends beyond Minivelas.  A key pillar of our innovative approach is to catapult select narratives into independent features or series.”

“When the Hollywood system is undergoing a much-needed reboot, Minivela represents a beacon of hope, experimentation, and opportunities for Latino creatives at a time” said Ponce.  Adding that the Latino-owned venture will address the representation gap for our community organically, and that our operations are driven by pioneers in Latino social media, digital media, and adtech.

The family-friendly digital films will be accessible free on Minivela’s YouTube, and social media channels, as well as thru adtech conglomerate, Numatec’s distribution partnerships.  Combined with Brilla Media’s Nuestro Media network, brand sponsors will be able to secure USH audiences effectively across digital, CTV, and other platforms.

 The West Coast production arm of the company and a cornerstone of Minivela is Chicano Hollywood, the influential L.A.-based production, media, and magazine company that produces the annual Elevate conference for Latino filmmakers.

Chicano Hollywood is already producing one of the platform’s early bets, a feel good romcom called “Cholita Takes L.A.” that is being directed by a rising Chicana director. Cholitas, Cholos, and Cholas shine in this story about a young Bolivian luchadora and aspiring fashion designer who journeys to L.A. to care for her ailing grandmother—only to discover she must also overcome culture clashes and personal challenges on her path to unexpected love.

“Minivela is putting deeds before words, and that’s something the Latino film community will root hard for, and why we’re a proud partner,” said Johnny Murrillo, founder and CEO of Chicano Hollywood.  “It’s also critical to note that for Minivela, the projects must be Latino-produced but the stories must appeal to audiences universally even outside our core Hispanic community.  We have some fun ones lined up!”

Angela Sustaita-Ruiz, chairwoman of Brilla Media, the parent company of Minivela, expands on the mission of the venture, “We’re going to push boundaries and prove that you can be creative and positively provocative without leaning on the usual violent drug dealers, and other tired tropes that diminish our community.”

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The Mexican-American Cultural Education Foundation (MACEF) has opened the submission period for their Master Class Workshop Series: From Film To Career. This interactive series is designed for those developing short dramas or feature-length narrative film projects, aiming to produce high-quality ork and build a sustainable career in the film industry.

The Master Workshop Series: From Film To Career will bring together a distinguished faculty of legendary filmmakers, including renowned producer Moctesuma Esparza (Selena, Mi Family, Milagro Beanfield War) and Director/Producer Jesus Trevino (Resurrection Blvd., Chicano! Documentary Series), with guest faculty such as director Luis Valdez (La Bamba, Zoot Suit) and producer Elias Auxume (MR-9: Do or Die) , among others. This isn’t just about making films—it’s about making successful, profitable films and forging a lasting career.

The Master Workshop series is of interactive sessions that delve into: Story & Screenplay, Building the Film Team, Casting, and Financing & Distribution. Ten selected filmmakers who are developing a short drama or feature length narrative film project and who wish to receive mentorship and guidance by master filmmakers, to produce higher level projects and develop a sustainable career in the film industry.

The workshop series, held annually, consists of four evening sessions spaced approximately a month apart, starting in the Fall of 2024.

Concurrently, MACEF will be accepting submissions for two $5K MACEF Filmmaker Production Grant. To qualify for this grant, the applicant must submit the script of the short film, film or TV pilot and be in the advanced stages of pre-production or production. Qualifying films will be assessed by the quality of the story (culturally positive and non-stereotypical stories are required) as well as production organization and viability of the project.

The Master Workshop and the grants are open to individuals of any background residing in the United States. Applicants should demonstrate a commitment to reshaping the stereotypical Mexican-American narrative into a fairer, more positive, and realistic portrayal while educating communities about the valuable contributions of Mexican-American culture and people to America.

The submission period for both: June 15th – July 30th, 2024. SUBMIT HERE: https://www.mexamcef.org/the-masters-workshop

Use the same application for both the MACEF Master Class Workshop Series: From Film To Career and the Filmmaker Production Grant.

#MACEF #MastersWorkshop #FilmmakerOpportunity #CareerDevelopment

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¡Tú Cuentas! Cine Youth Fest, presented by HITN, is now accepting entries for its fourth annual event,spotlighting the talent, innovative narratives, and artistic vision of up-and-coming Latino/a filmmakers. Entries will be accepted via CineYouthFest.org through August 6, 2024, with an early bird discount available until June 4, 2024. The festival will occur from October 9 to October 16, 2024, closing Hispanic Heritage Month.

Since 2021,HITN’s annual film festival has amplified the voices ofup-and-coming Latino/a storytellers,artists, and filmmakers. Despite Latinos accounting for 24 percent of film ticket sales and 29 percent of daily mobile TV viewers, they hold less than5 percent of leading on-screen, off-screen, and executive leadership roles in US media. 

This festival aims to unlock avenues for young creatives to gain exposure and acknowledgment.

“Each year, we eagerly anticipate the wide range of films submitted to our festival. From animated and documentary to narrative short films, the works submitted by this next generation of filmmakers is a breath of fresh air, delivering diverse perspectives and innovative narratives that captivate and inspire audiences,” said Cynthia Rivera, ¡Tú Cuentas! Cine Youth Fest Co-Director. “Our dedication to fostering representation within the entertainment industry is the driving force behind the work that we do. This is borne out by the fact that 60% of the finalists last year were talented young Latina filmmakers.

For four years, the festival’s “Cafecito” chats have evolved as invaluable educational and networking platforms for our social media followers. The sessions will feature industry experts and professionals who generously share their stories and insights, offering invaluable guidance to emerging filmmakers in the industry. 

for more infor: CineYouthFest.org and the festival’s Instagram page @hitntv.

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LATV and the Latino Media Collaborative (LMC) have embarked on a groundbreaking partnership with CALÓ News, aligning forces to spearhead the “Stop the Dis(information)” campaign centered around the 2024 U.S. elections. This collaborative effort, announced on February 7, 2024, brings together LATV (Latino Alternative Television), CALÓ News from LMC, and the expertise of Comedian/Actor Al Madrigal.

As part of this multifaceted media and event collaboration, the campaign will feature a range of multimedia segments, events, and specials with a specific focus on the 2024 election narrative. The objective is to engage and address the critical demographic of 18+ Gen Z and Millennials that LATV caters to. Al Madrigal will take on the role of Executive Producer for the specials, set to air on LATV.

CALÓ News and LATV will jointly produce events in partnership with community change organizations. The inaugural event is slated to be a Town Hall featuring Senatorial Candidate and U.S. Congressman Adam Schiff, scheduled to air on LATV on February 14 at 6 p.m. ET/3 p.m. PT. The Town Hall will also be accessible on digital platforms such as CALONews.com and the LATV app on February 15.

During the one-hour Town Hall, Schiff tackled various topics, including a renter’s credit, DACA, LGBTQ+ rights, equality in education and healthcare, and internet reform and regulation. Immigration reform took center stage, resonating with the diverse in-person Town Hall audience.

The Schiff Town Hall serves as the inaugural event in the broader “Stop the Dis(information)” campaign, a collaborative initiative between Hispanic-owned media entities LATV and LMC’s CALÓ News. This media partnership aims to deliver high-quality Latino journalism in English across LATV’s multiple platforms. It will encompass engaging news and editorial video content distributed across both companies’ media networks.

Al Madrigal expressed his pride in joining the “Stop the Dis” campaign, highlighting the urgency of addressing disinformation within the Latino community. The campaign seeks to unify voices against intentional efforts to sow confusion among Latino voters.

Andres Palencia, CEO of LATV, emphasized the significance of Latino-owned media as a platform for candidates to connect with the Latino audience. LATV, in collaboration with CALÓ News, is committed to providing this platform to present crucial issues in a language and style that resonates with its audience, the change-maker generation.

Martin Albornoz, General Manager of CALÓ News, detailed the commitment to researching and documenting cases of disinformation affecting Latino communities. The collaboration with USC/Annenberg journalists aims to equip the audience with tools to identify and combat this evolving form of propaganda.

Arturo Carmona, President of LMC, expressed excitement about leveraging the strong partnership to amplify anti-disinformation reporting and messaging throughout California and the Southwest.

The executive producers of the “Stop the Dis” Town Hall include Al Madrigal, Jason Ross, Flavio Morales, Martin Albornoz for CALÓ News, and Andres Palencia and Bruno Seros-Ulloa for LATV. This collaboration marks a significant step in fostering informative and impactful media content, addressing critical issues within the Latino community.

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The National Association of Latino Independent Producers (NALIP), the nonprofit offering programming and resources for Latino content creators and filmmakers, will hold its End of Year Celebration at the Sunset Room in Hollywood on Friday, Dec. 15.

Hosted by the Lopez Vs. Lopez actor and alum of The Daily Show, Al Madrigal the celebration which will be attended by Annie Gonzalez and Jesse Garcia (Flamin’ Hot), Chelsea Rendon (Vida), Vadhir Derbez (De Viaje Con Los Derbez), Clayton Cardenas (The Mayans), Harvey Guillen (What We Do in the Shadows), Marco Pigossi (Gen V), Omar Chaparro (No Manches Frida) among others.

As NALIP prepares for its 25th Anniversary in 2024, this event will pay tribute to trailblazers actively shaping the narrative for the Latino community. The event will recognize not only individual Latino milestones but also acknowledge the impact of diversity and inclusion on the entertainment industry.

“For the past 25 years, NALIP has established itself as a beacon of empowerment and advocacy for Latino creatives in the film and media industry. This year, amidst challenges like strikes that temporarily dimmed our jubilation, we recognize not just the hurdles but also the triumphs that emerged in their wake,” said Diana Luna, Executive Director of NALIP. “This End of Year Celebration aims to honor the remarkable progress and resilience of our talented community, a narrative shaped by overcoming adversity and embracing the enduring spirit of achievement.”

“It’s a privilege to celebrate the remarkable achievements of Latino content creators and industry professionals who continue to inspire and shape our cultural landscape,” said Craig Robinson, Executive Vice President and Chief Diversity Officer at NBCUniversal. “We also take pride in supporting NALIP’s mission to empower and provide opportunities for talented individuals, ensuring a thriving community of diverse voices in the film industry for years to come.”

For more information in attendence visit NALIP.ORG

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In a historic move, Cris Abrego, former co-founder and chief executive of Endemol Shine-owned studio 51 Minds Entertainment and current Chairman of the Americas, Banijay, has signed on to another high profile position as the Chairman of the Television Academy.  Abrego, a trailblazer in the television industry, brings a wealth of experience and a groundbreaking vision to his latest role. 

As one of the highest-ranking Latinos in television, Abrego has made inclusion a top priority for his team and within the entertainment industry. Under his leadership, Endemol Shine North America launched the global company’s first all-encompassing Diversity and Inclusion resource group in 2019. As a producer and executive, he spearheaded the development of groundbreaking reality shows The Surreal Life and Flavor of Love, which not only captured audiences but also became cultural phenomena.

Abrego’s innovative approach to storytelling and his commitment to diversity and inclusion set him apart in an industry that has recently undergone significant transformations due to a pandemic and the recent strikes by the entertainment guilds and unions.. 

Born and raised in the predominantly Latino neighborhood of El Monte, California, Abrejo began his career working on reality shows for television right after high school at Bunim-Murray.  Some of those shows included The Real World and Road Rules television shows freelancing as a coordinating producer for Fear and Making the Band. 

He rose quickly through the ranks and soon became known for his keen eye for compelling content and an innate understanding of the evolving television landscape, he co-founded 51 Minds Entertainment, a production company that played a pivotal role in reshaping reality television.

Renowned as a creative entrepreneur, entertainment executive, award-winning producer and philanthropist, Abrego is the CEO of the recently launched Hyphenate Media Group, a media holding company and premium-content studio he co-founded with his longtime collaborator, Eva Longoria. He has served on the Academy’s executive committee and as chairman of the Television Academy Foundation since 2021.

As the first Latino chairman in the Television Academy’s history, Abrego brings a fresh perspective and an unwavering commitment to fostering inclusivity. His extensive experience in producing diverse content aligns seamlessly with the Academy’s mission to recognize and celebrate the richness of television storytelling.

“I am honored to step into this role and feel the significant weight of responsibility in leading the Television Academy into the future, especially in this transformative moment in our business,” said Abrego. “Our members represent one of the most powerful and exciting industries in the world — our content drives local and global economies and has a formative impact on our culture. As the entertainment ecosystem continues to undergo seismic shifts, I look forward to linking arms with our new officers and governors to lead our Academy and support our membership as we forge the path ahead together.” 

 Abrego’s future as the head of a major entertainment organization, like the Television Academy, we hope comes with a promises to shape a landscape that is reflective of the diverse stories and voices that make up our global community. Abrego’s leadership can usher in a new era for the Television Academy, emphasizing the importance of representation, equity, and innovation. His unique vantage point, shaped by years of industry experience and a dedication to pushing boundaries, positions him as a catalyst for positive change within the organization.

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Tifre will oversee the commercial strategy for Latino Media Network and be responsible for positioning it as a leading multi-channel platform. She will focus on growing its revenue both locally and nationally and building and leading a high-performing sales team.

“We welcome Rosie to the LMN familia. As an esteemed and accomplished sales leader with audio and digital platforms, Rosie will be able to position Latino Media Network with advertisers who want to reach the fastest growing part of the US population,” said Valencia and Rocketto.

Tifre’s career in advertising sales and marketing management experience spans more than 25 years. Over the course of her career, she has overseen over $350 million in ad revenue and grown incremental revenue as a leader in both total market and multicultural sales in audio and digital channels such as streaming, podcasts, and satellite. Additionally, her vertical sales experience spans several categories including auto (luxury and domestic), CPG, beauty, retail, healthcare, telecom, home, and entertainment.

Tifre is a proud Hondureña, Afro-Latina of Garifuna heritage. The Garifuna people are descendants of indigenous tribes mixed with Africans that can trace their roots back to West Africa. 

Tifre was the recipient of the “Distinguished Publisher Award” by the NYC Hispanic Chamber of Commerce. She was also part of the leadership team recognized on Adweek/Brandweek’s Hot List for 2 consecutive years during her tenure at Selecciones. Tifre is a graduate of New York University and lived in Madrid, Spain to complete a B.A. degree in Journalism, Spanish, and History.

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