PART 2: More Is More. 8000+ Attendees, Make New Friends & Learn

The New Global Screen Economy Summit — Opening day, Nov 10

Whether you are seeking financing, representation, creative or business partners, production locations and incentives, AI and technology partners, or are ready to pitch your next film, the in-person meetings and connections that happen organically each year at AFM have been career-changing.

Remember those previous AFM Finance Seminars? This is the 6.0 version. There is MORE. 

The expanded AFM Innovation Hub, in partnership with Marché du Film’s Cannes Next, and the North American debut of The Cinemas Club, will explore the future of theatrical exhibition and moviegoing. Over four days, Wednesday, November 11 through Saturday, November 14, 2026, AFM House.  All of this added newness demands a smart schedule. Download the AFM26 app on your iOS or Android device.

The Summit will explore-and aim to decode the proposed Federal Production Incentive. It will unpack layers of jargony stuff: Creator and Audience-driven studios, emerging IP, fresh ways to find your audience and how to monetize what you’re developing and protect what you already have. It will assess current scenarios transforming our industry. 

Separately ticketed. Standalone Attendee Price or AFM Attendee Rate.  

Presenters include; Jackie Brenneman President & CEO, Independent Film & Television Alliance, Josh Rogin, SVP, Federal Government Affairs, Motion Picture Association (MPA) Tyler Chou, Founder & CEO, Tyler Chou Law for Creators, CreatorArq M&A Advisory, Jordan Lonner, Agent & Co-Head, Motion Picture Literary Department, UTA, Jon Leland Co-Founder and CEO, Popular Demand, Steven Paul, Chairman & CEO, SP Media Group SP Media Group,  Jared Geesey, EVP of International, Angel Studios, Katie Pryor Co-Founder, Film USA & Executive Director, Baton Rouge Film Commission, Samantha Masunaga, Staff Writer, Los Angeles Times, Josh Rogin.  Brett Rosen, Manager, TFC Management & Productions, Joel Savitt, Founder & CEO, Bamboo Bridge, Wesley Wang, Director/Founder, Wesley Wang Media.

Building on the triumphant 2025 return to Los Angeles a responsive AFM offers attendees much more. The upgrades include additional space to network; the crowded bar and expanded new indoor areas to wheel and deal. 

At the Innovation Hub there will be expanded: demos, ‘fireside chats’ and newly designated arena for AFM attendees to delve into new technologies, live demos, and meet tech innovators developing screen entertainment. 

The post New Global Screen Economy Summit At AFM26 first appeared on .

There are few operas as instantly recognizable as Georges Bizet’s Carmen. Its seductive melodies, defiant heroine and tragic ending have traveled far beyond the opera house, becoming part of the world’s collective musical imagination. But at LA Opera, the familiar story takes on a darker dimension, examining the dangerous intersection of freedom, obsession, tradition and control.

Dorothy Chandler Pavilion, new production, which opened October 17, 2026, marks LA Opera’s first new staging of Bizet’s masterpiece since 1998. It also inaugurates the music directorship of Domingo Hindoyan, whose arrival signals a new chapter for the Los Angeles company.

Directed and designed by Thaddeus Strassberger, the production trades the picturesque imagery often associated with Spain for a haunting visual world inspired by Spanish photographer Cristina García Rodero’s España Oculta (Hidden Spain). Towering Gothic architecture, religious imagery, candlelit processions and the tension between public devotion and private desire shape a production that places the opera’s central conflict within a society governed by tradition.

The result is a Carmen that asks audiences to look beyond the familiar melodies and consider the human cost of a woman’s refusal to surrender her freedom.

The Story: A Woman Who Refuses to Be Possessed

First performed in Paris in 1875, Carmen tells the story of a fiercely independent woman whose attraction to a soldier sets off a chain of increasingly destructive events.

Carmen, a cigarette-factory worker in Seville, captivates Don José, a soldier who abandons his obligations and eventually his former life to pursue her. What begins as desire becomes an all-consuming attachment. When Carmen turns her attention to Escamillo, a celebrated bullfighter, Don José’s jealousy intensifies, exposing the difference between loving someone and believing you have a right to possess them.

Beneath the drama lies a story that remains painfully contemporary: a woman insists on making her own choices, while a man unable to accept her independence turns rejection into violence.

LA Opera’s own introduction to the production emphasizes the central tension: Carmen belongs to herself, even as the people around her seek to define, desire or possess her.

Rihab Chaieb Brings Carmen to Life

At the center of the production is Tunisian-Canadian mezzo-soprano Rihab Chaieb, whose portrayal has emerged as one of its most celebrated elements.

Chaieb brings both vocal richness and physical authority to the title role, portraying Carmen as a woman whose sensuality is inseparable from her intelligence and determination. Rather than reducing her to the traditional femme fatale, the performance gives her agency and emotional complexity. Critics have praised her stage presence and musicality. 

Opposite Chaieb, tenor Joshua Guerrero plays Don José, the soldier whose attraction becomes destructive obsession. Guerrero, a Grammy-winning Mexican-American tenor and former member of LA Opera’s Domingo-Colburn-Stein Young Artist Program, brings emotional vulnerability and vocal power to the role.

Together, the principal cast grounds the production’s grand visual world in the emotional triangle that drives the tragedy.

This production is not simply a revival of a familiar favorite. It is an ambitious reinterpretation, and its artistic choices have prompted debate about how much visual spectacle a classic opera needs.

Choreographer Antonio Najarro, a leading figure in Spanish dance and flamenco, contributes movement that connects the production’s physical energy to its cultural setting.

The staging draws on the visual language of Holy Week processions, religious devotion and Spain’s darker folkloric traditions. In Act III, the smugglers’ camp becomes a cemetery, a place where the living and the dead seem to occupy the same territory. In the final act, the crowds gather for the bullfight as religious processions move through the city.

According to LA Opera, strong ticket demand led the company to add a seventh performance to the original six-performance run. That range of responses is part of what makes the production worth discussing. The response to LA Opera’s Carmen has extended beyond the critical conversation.

Why ‘Carmen’ Still Matters

The enduring power of Carmen lies in its refusal to offer a comfortable resolution. Carmen is neither rewarded for her independence nor transformed into a figure who regrets it. She remains committed to her freedom until the end.

That makes the opera more than a showcase for Bizet’s celebrated score. It is a tragedy about control, gender, jealousy and the violence that can follow when a person refuses to accept another’s autonomy.

LA Opera’s new production brings those questions into sharp relief through its Spanish Gothic setting, its religious imagery and its emphasis on the collision between individual desire and social convention.

The post L.A Opera’s Carmen: A Woman Who Refuses to Be Possessed first appeared on .

 LATIN HEAT AT AFM 2026: November 11 – November 14, 2026

By Judi Jordan | LATIN HEAT

This year Latin Heat welcomes back AFM 2026 with a focus on What’s New. What’s Improved. What is More. What To See. And With More To Learn. So Plan Your Best AFM Ever. Building on the triumphant 2025 return to Los Angeles a responsive AFM offers attendees much more.

PART 1: AFM House

As a challenging year in local production winds down, a reboot at AFM 2026 offers an adrenaline shot. From November 10^th to November 14^th the 47^th year of the film market, and the 2^nd year at the location, the Fairmont Century Plaza Hotel on the Avenue of the Stars.

Independent and creator filmmakers will meet buyers and encounter partners building slates across the new global screen economy: theatrical, television, streaming, mobile-first, and vertical platforms.

Building on the triumphant 2025 return to Los Angeles a responsive AFM offers attendees much more. The upgrades include additional space to network; the crowded bar and expanded new indoor areas to wheel and deal. 

Across the street CAA’s campus the new AFM House is home to the Innovation Hub expanded with more: demos, ‘fireside chats’ and newly designated arena for AFM attendees to delve into new technologies, live demos, and meet tech innovators developing screen entertainment. 

The expanded AFM Innovation Hub, in partnership with Marché du Film’s Cannes Next, and the North American debut of The Cinemas Club, will explore the future of theatrical exhibition and moviegoing. Over four days, Wednesday, November 11 through Saturday, November 14, 2026, AFM House. 

All of this added newness demands a smart schedule. Download the AFM26 app on your iOS or Android device. https://3301.applinks.guidebook.com/g/#/guides/afm26/?mobile_redirect=1

Pack an umbrella. Practice your pitch. Plan your most amazing AFM — And stay tuned for more coverage of one of the most important film market in the world, brought to you by Judi Jordan and our videographer Christian Rodrigo.

The post American Film Market Offers More In 2026 first appeared on .

Actress celebrates the legacy of Fright Night Part Two with a newly restored 4K screening at Milagros Cinemas in Norwalk, CA, as retrospectives spotlight a career spanning cult horror, acclaimed cinema and independent film.

Long before the Scream franchise introduced a new generation of horror heroines, Latina actress Julie Carmen was carving out her own place in the genre, proving that women could be more than victims in a story designed to frighten them. With a career that moves fluidly between horror, drama, comedy and independent cinema, Carmen helped establish a legacy that deserves renewed recognition.

Now, as retrospectives of her work bring several of her films back to theaters in the United States and Europe, Carmen is experiencing a well-deserved moment of rediscovery. Her cinematic journey includes such diverse titles as Robert Butler’s Night of the Juggler, John Cassavetes’ Gloria, Robert Redford’s The Milagro Beanfield War and John Carpenter’s In the Mouth of Madness. This week, the spotlight turns to Fright Night Part Two, the 1988 cult horror sequel in which Carmen portrayed the unforgettable vampire Regine Dandridge.

On Wednesday, October 14, Carmen will appear alongside director Tommy Lee Wallace at Milagro Cinema in Norwalk, California, for the Los Angeles premiere of a newly restored 4K version of Fright Night Part Two, sourced from an original 35mm print. The screening begins at 7:30 p.m. and offers audiences an opportunity to revisit a film whose devoted following has grown over the decades.

Event: Fright Night Part Two — Los Angeles Premiere in restored 4K
When: Wed., Oct. 14, 2026, at 7:30 p.m.
Where: Milagro Cinema, Norwalk, CA
In person: Actress Julie Carmen and director Tommy Lee Wallace
Tickets: milagrocinemas.com

For Carmen, the appearance is about more than revisiting a role. It is also an opportunity to celebrate independent art-house cinemas, connect with longtime fans and help bring overlooked films back into public view.

Before the Modern Scream Queens, There Was Regine Dandridge

Carmen’s portrayal of Regine Dandridge occupies a distinctive place in horror history. In Fright Night Part Two, she plays a powerful vampire whose elegance, intelligence and menace make her far more than a conventional antagonist. Regine commands the screen, turning the traditional horror dynamic on its head and giving the film a formidable female presence.

The character offers a compelling point of comparison with the women who have since become synonymous with contemporary horror, including Jenna Ortega and Melissa Barrera, whose work in the Scream franchise helped bring a new generation of audiences to the genre.

To add a little perspective, the Los Angeles Times, noted recently that “Latinos represent a major driving force in the horror film audience, accounting for roughly 29% of theatrical horror ticket buyers“. Julie Carmen’s role in Fright Night Part Two should have been a clue way back then that Latinos love horror flicks. But then again Hollywood has never been known to get it right when it comes Latino leads, even when the boxoffice tells a different story.

Carmen’s place in that lineage merits a closer look. As a Latina actress working in Hollywood in the 1980s up to the present, she brought a commanding presence to a genre that has not always offered Latina performers complex, central roles. Regine Dandridge was not simply someone to fear or rescue. She was a force driving the story.

Calling Carmen a trailblazing Latina scream queen is therefore more than a catchy description. It is an invitation to reconsider who helped shape horror’s evolution and whose contributions deserve to be remembered alongside the genre’s better-known icons.

A Cult Classic Finds Its Way Back to the Big Screen

The renewed attention surrounding Fright Night Part Two is itself a remarkable story.

Released in 1988 as a continuation of the hit 1985 original, the sequel developed a devoted cult following over the years, with fans keeping its reputation alive through online communities and YouTube. Yet, despite its popularity, the film became remarkably difficult to find.

That changed when distributor Michael Felsher of Red Shirt Pictures undertook the complicated task of untangling the film’s rights, reportedly involving 18 different rights holders. The search also led to an original 35mm print that had been misfiled at the Academy Film Archive.

The discovery made possible the restoration that is now touring the country through Synapse Films, bringing the film back to theaters in 4K and allowing audiences to experience it on the big screen again.

Carmen has been participating in screenings and premieres along the way, lending her presence to the revival and supporting the independent cinemas making these events possible.

The Norwalk engagement brings together Carmen and Wallace for a special Los Angeles-area screening that celebrates not only the film’s return, but also the enduring relationship between filmmakers, performers and the audiences who refuse to let cult cinema disappear.

Tickets and screening information are available at Milagro Cinema.

A Career That Defies One Genre

While Regine Dandridge remains a memorable entry in Carmen’s filmography, her career cannot be contained within horror.

Her work spans films with markedly different sensibilities, including Night of the Juggler, Gloria, The Milagro Beanfield War and In the Mouth of Madness. Together, these titles reflect the range of a performer who has moved between mainstream productions, independent cinema and films that have gained renewed appreciation through retrospectives.

Carmen’s upcoming appearance at the Academy Museum underscores that continuing relationship with film history. On October 19, she is scheduled to participate in a Q&A following a screening of John Carpenter’s In the Mouth of Madness, in which she starred opposite Sam Neill.

She also serves on the Academy of Motion Picture Arts and Sciences’ Marquis Committee, spearheaded by Sean Baker and Samantha Quan, whose film Anora earned major recognition in the awards world.

These activities reflect an artist engaged not only in her own body of work, but also in the broader effort to preserve, present and celebrate cinema.

Taking Regine Dandridge on the Road

The renewed life of Fright Night Part Two extends well beyond Southern California.

Carmen is scheduled to participate in additional events, including a Detroit premiere at the Redford Theatre, where she is being flown in for a screening and Fright Night Part Two costume ball. The film’s revival also includes a New Orleans premiere at the Prytania Theatre, accompanied by a three-day celebration of Regine Dandridge and the film’s legacy, with special effects makeup artist Bart Mixon among the participants.

The itinerary reflects the enthusiasm of a fan community that has kept the film alive and the value of giving audiences opportunities to encounter classic and cult films in a theatrical setting.

For independent cinemas, these events offer more than a screening. They create a shared experience around films that might otherwise remain difficult to access, connecting generations of moviegoers through the stories and characters that have endured.

Giving a Trailblazer Her Due

Hollywood has become more attentive to the contributions of women in horror, and the success of performers such as Ortega and Barrera has helped renew conversations about representation in the genre. But the history did not begin with the latest franchise installment.

Carmen’s Regine Dandridge belongs in that larger conversation. Her performance arrived at a time when opportunities for Latina actresses were more limited, yet she created a character whose power and presence have continued to resonate with audiences.

The retrospectives celebrating her work offer a chance to look beyond a single cult role and appreciate the breadth of a career that crosses genres, generations and national borders. They also raise a larger question about film history: How many pioneering performances have remained outside the spotlight simply because the industry has been slow to recognize the artists behind them?

For Julie Carmen, the answer is unfolding on theater screens once again.

The October 14 screening at Milagro Cinema is an opportunity to celebrate Fright Night Part Two, meet the actress who brought Regine Dandridge to life and recognize a Latina performer whose place in horror history deserves a more prominent chapter.

Carmen’s filmography and upcoming appearances can also be explored through her Substack and Regine Dandridge website.

The post Julie Carmen: Latina Scream Queen Who Helped Blaze a Trail for Women in Horror first appeared on .

World premiere explores faith, family, immigration and Chicano life in California’s San Joaquin Valley

Los Angeles – The Latino Theater Company will present the world premiere of Speaking in Tongues, a new play by MacArthur “Genius Grant” recipient Luis Alfaro that turns its focus to the people, faith and tensions of a small Mexican-American agricultural community in California’s San Joaquin Valley.

Commissioned by Latino Theater Company and developed through its Circle of Imaginistas playwriting group, Speaking in Tongues will run October 17 through November 15 at the Los Angeles Theatre Center in Downtown Los Angeles, with previews October 15 and 16. José Luis Valenzuela directs.

Alfaro draws heavily on the geography and culture of the San Joaquin Valley, incorporating references to real communities, local businesses and regional traditions—from nearby McFarland and Tipton to Taqueria El Sol De Jalisco, La Barca Bakery and the Visalia Mall. Even the region’s distinctive “Tule fog” becomes part of the play’s sense of place.

The setting is particularly personal for Alfaro, a Chicano playwright born and raised in Los Angeles and the son of farmworkers from California’s San Joaquin Valley. His work has frequently explored the intersections of identity, labor, immigration, family and the relationship between people and the land.

Alfaro received a fellowship from the John D. and Catherine T. MacArthur Foundation, commonly known as the “genius grant,” recognizing exceptional creativity in his field. His extensive body of work includes Electricidad, Oedipus El Rey, Mojada, Delano, The Travelers, Body of Faith, Aztlan, Bruja and Straight as a Line. His plays have been produced by theaters throughout the United States, Latin America, Canada and Europe.

He previously served as associate artistic director of Center Theatre Group at the Music Center of Los Angeles County and is currently an associate professor at the University of Southern California.

Speaking in Tongues continues Alfaro’s ongoing exploration of communities often underrepresented on the American stage, placing a distinctly Chicano experience at the center of a story about faith, power, family and resilience.

Set inside a Pentecostal church on the edge of a cornfield in Earlimart, California, the play follows a congregation navigating faith, family, gender, immigration and a rapidly changing community.

At the center is Hermana Romie, played by Evelina Fernández, whose husband—the church’s pastor—has mysteriously disappeared. For years, Romie has secretly written his sermons while suppressing her own voice and talents to preserve the church’s patriarchal traditions.

As immigration raids threaten the community and Romie’s daughter, played by Esperanza América, prepares to leave for a secular life in Los Angeles, Romie begins to claim her own authority. Alongside Lucy Rodríguez as Hermana Cubby, Sal López as Hermano Mando and Geoffrey Rivas as Hermano Tico, the congregation confronts questions of faith, belonging and collective survival.

The production features scenic design by Prairie T. Trivuth, lighting design by “Lee” Xinyuan Li, sound design by Robert J. Revell, projections by Yee Eun Nam, costumes by Samantha Jo Joffray and choreography by Urbanie Lucero.

Speaking in Tongues opens Saturday, October 17 at 8 p.m. and runs Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through November 15. Preview performances are October 15 and 16 at 8 p.m.

The Los Angeles Theatre Center is located at 514 S. Spring St., Los Angeles, CA 90013.

The Latino Theater Company, which operates the City of Los Angeles-owned Los Angeles Theatre Center, has produced hundreds of plays and created thousands of jobs since taking over operations of the Downtown venue in 2006. The City recently extended the company’s lease for an additional 30 years, through 2056.

For tickets and additional information, call (213) 489-0994 or visit Latino Theater Company.

The post Luis Alfaro’s ‘Speaking in Tongues’ Sets World Premiere at LATC in DTLA first appeared on .

Free Opening Night screening brings film, literature, music and Mexican-American history together at LA Plaza de Cultura y Artes and the performance of Los Changuitos Feos de Tucson Youth Mariachi

LéaLA Spanish Language Book Fair & Literary Festival will open its 11th edition with a free screening of the award-winning documentary Ugly Little Monkeys – A True American Story on Sept. 24 at LA Plaza de Cultura y Artes in downtown Los Angeles.

Organized by the University of Guadalajara Foundation USA, LéaLA has built its reputation as a leading celebration of Spanish-language books, authors, arts and culture in Los Angeles. This year’s opening-night program expands that mission by demonstrating how stories can move across artistic disciplines — from the page to the screen and ultimately to the stage.

Admission to the three day festival is absolutely free with an added benefit to school children who are bused to participate in the book festival workshops, author readings and performances. Speaking with Marisol Schulz — Director, LéaLA, she expressed, “The greatest joy for me is to see the faces of the children and to know that they can say ‘I saw great authors speaking in my language’.

Directed by David E. Valdez and veteran actor and filmmaker Enrique Castillo, Ugly Little Monkeys chronicles the remarkable rise of Los Changuitos Feos de Tucson, the youth mariachi group that emerged from Tucson’s Mexican-American community in the 1960s and went on to international acclaim.

But the documentary is about far more than mariachi.

It explores identity, cultural pride, community, ambition and the Mexican-American experience through the story of young musicians who challenged stereotypes and opened doors for generations that followed.

The film features Edward James Olmos, Linda Ronstadt and Rubén Fuentes, as well as Ernesto Portillo Sr. and 19 original Changuitos. Wilfred Arvizu, author of Bless Me Father for You Have Sinned, which is the source material for the documentary, will also be in attendance at the opening-night event.

LéaLA’s decision to open its 2026 festival with the documentary gives that history a new platform — connecting the written word, filmmaking and live music in a single evening.

Following the screening, members of Los Changuitos Feos de Tucson will perform live, bringing the music that helped define their extraordinary journey to a new generation.

Opening Night LéaLA Schedule

4:00 PM — Welcome and opening remarks by LéaLA representatives
4:30 PM — Ugly Little Monkeys directors introduce the film
4:40 PM — Screening of Ugly Little Monkeys – A True American Story
6:30 PM — Live performance by Los Changuitos Feos de Tucson
7:00 PM — Cocktail reception

“I’m proud of this film and very grateful that this documentary was made,” said Olmos who also served as Executive Producer of the documentary.

The opening-night program brings together film, literature, music and Mexican-American history, reflecting LéaLA’s mission to amplify Spanish-language storytelling and Latino cultural voices.

The screening is free and open to the public. INFO HERE: https://lea-la.com/programa/

LéaLA 2026 runs Sept. 24–27 at LA Plaza de Cultura y Artes.

The post LéaLA 2026 Opens with Free Screening of Award-Winning Documentary ‘Ugly Little Monkeys’ Sept. 24th first appeared on .

By Bel Hernandez Castillo & Andrea Nuñez

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

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

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

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

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

So what is Chicano Hollywood?

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

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

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

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

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

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

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

Robert Rodriguez

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

Gregory Nava

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

Luis Valdez

• Cisco Kid (1994)
• La Bamba (1987)

Eva Longoria

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

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

So what does Chicano Hollywood want?

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

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

1. Building a Creative Ecosystem for Chicano and Latino Talent

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

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

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

2. Creating Independent Media and Distribution Platforms

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

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

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

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

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

3. Developing an Economic Engine for Latino Creatives and Entrepreneurs

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

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

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

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

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

This is only the beginning 

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

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

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

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

Andrea Nuñez-Gamboa Co-wrote this article

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

In a city where Spanish is woven into everyday life, LéaLA (loosely translated into “read it”) has become more than a literary festival—it is a celebration of the language, stories, and cultural heritage that aims to bridge generations of U.S. Latinos and their ancestors south of the border.

LéaLA – The Spanish Language Book Fair & Literary Festival, organized by the University of Guadalajara Foundation USA, LéaLA will once again transform LA Plaza de Cultura y Artes into a vibrant gathering place for readers, authors, educators, filmmakers, poets, and families who share a love of literature and the Spanish language.

Now recognized as one of the country’s premier literary and cultural events, LéaLA continues its mission of fostering dialogue through books, critical thought, film, poetry, educational programming, and the exchange of ideas that connect communities across generations and borders.

This year’s theme, “The Stories That Unite Us Speak Spanish,” reflects the festival’s belief that language is more than a means of communication—it is a powerful connection to identity, family, and cultural heritage.

Held in the historic Olvera Street district, the festival brings together voices from the United States, Mexico, and Latin America, offering attendees the opportunity to discover new authors, participate in literary conversations, attend cultural presentations, and enjoy family-friendly programming—all free of charge.

Honoring the Stories We Inherit

One of the most meaningful additions to this year’s festival is “The Voice of Memory,” a community writing contest that invites participants to celebrate the people whose stories helped shape their lives.

Rather than focusing solely on published works, the initiative encourages writers of all ages to share the anecdotes, traditions, life lessons, and cherished memories passed down by grandparents, parents, mentors, and other influential figures.

The contest underscores one of LéaLA’s central messages: some of our most powerful stories are first told at home.

A Cultural Bridge Through Literature

Organized by the University of Guadalajara Foundation USA, with support from the philanthropic legacy of Phyrrha Gladys Grodman, LéaLA has become an important cultural bridge connecting Spanish-speaking communities throughout the Americas.

“Spanish is the language that carries our memories, traditions, and stories,” organizers note. “Through literature and storytelling, we preserve our past while inspiring future generations.”

The festival is also supported by the University of Guadalajara Alumni Association in Los Angeles and numerous public and private institutions committed to promoting literacy, education, and cross-cultural understanding.

Event Information

LéaLA – The Spanish Language Book Fair & Literary Festival

Dates: September 24–27, 2026

Hours: 9:00 a.m. – 7:00 p.m.

Location: LA Plaza de Cultura y Artes
501 N. Main Street
Los Angeles, CA 90012

Admission: Free and open to the public.

For more information, visit www.lea-la.com.

The post Four Days of Books, Culture and Community: LéaLA Returns to Los Angeles Sept. 24-27th first appeared on .

Get ready for a summer evening where stand-up comedy meets the soundtrack of your life as comedian Aida Rodriguez takes the stage at The Ford with her original live experience, The Remix, on Friday, July 17, 2026, at 8 p.m.

Presented by the LA Phil in partnership with Aida Rodriguez and Marissa Herrera De Mi Alma Productions, The Remix promises far more than a traditional comedy show. Hosted by Rodriguez—fresh off the success of her new HBO Max comedy special Fighting Words—the event blends stand-up comedy, iconic music, celebrity storytelling, and audience interaction into an immersive live experience under the stars.

Rodriguez has long been recognized for her fearless comedy, honest storytelling, and ability to connect deeply with audiences by addressing life, family, culture, and social issues with humor and authenticity. The Remix reflects that same spirit by bringing together diverse voices through comedy and music in an atmosphere designed to celebrate community and shared experiences.

Joining Rodriguez is one of today’s most distinctive comedic voices, Frankie Quiñones, whose unforgettable characters and culturally inspired humor have made him a fan favorite. Setting the musical vibe throughout the evening is acclaimed DJ D-Nice, whose signature ability to unite audiences through music transforms the event into a celebration that feels part comedy show, part concert, and part party.

Adding another exciting layer to the evening is a celebrity open mic featuring an impressive lineup of entertainers including Justina Machado (One Day at a Time, and the Broadway play Real Women Have Curves), Ana Ortiz (Imperfect Women), Judy Reyes (ABC’s High Potential & Scrubs), Marlyn Ortiz (Puerto Rican-born dancer, aerialist, choreographer), Sarah Jones (Playwright & Broadway actress), and Grammy Award-winning singer Macy Gray. Their unscripted appearances promise spontaneous moments, personal stories, and plenty of laughs, making every performance unique.

The Ford makes for a magical night under the stars. Nestled in the Hollywood Hills, The Ford has become one of Southern California’s premier outdoor entertainment venues. The historic open-air amphitheater offers an intimate setting with fewer than 1,200 seats, ensuring every audience member enjoys an exceptional view of the stage.  Audiences are welcome to bring their own food an drinks.

The performance is supported in part by the Los Angeles County Department of Arts and Culture, reinforcing a commitment to making high-quality arts programming accessible to audiences throughout Los Angeles County.

Event Information

What: Aida Rodriguez’s The Remix

When: Friday, July 17, 2026

Time: Gates open at 6:30 p.m.; Show begins at 8:00 p.m.

Where: The Ford, Los Angeles

Tickets are available at TheFord.com or by calling 323-850-2000.

Whether you’re a fan of stand-up comedy, live music, or simply looking for an unforgettable summer night under the stars, The Remix promises an evening filled with laughter, music, surprise celebrity appearances, and the kind of shared energy that only live entertainment can deliver.

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

By Bel Hernandez Castillo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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