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 .

EXCLUSIVE: Adrian Grenier’s Faith, KJ Apa’s turn as James Stewart, Renée Zellweger’s directing debut and Michael Keaton’s Sweetwater lead a five-day Central Texas celebration, with Revolution’s Daughter closing the festival.

Latin Heat can exclusively reveal that central Texas is getting a new film festival with some formidable names on the marquee. Adrian Grenier, KJ Apa, James Hong, Martin Freeman, Renée Zellweger and Michael Keaton are among the talents represented in the inaugural Leander Film Festival, launching November 11–15, 2026, with a lineup bringing Hollywood icons, Texas premieres, international filmmaking and emerging voices together for five days of cinema.

From the life of screen legend James Stewart to the extraordinary journey of Alina Fernández, Fidel Castro’s daughter, the program spans biographical drama, science fiction, animation, martial arts comedy and documentary. Screenings at venues including Alamo Drafthouse, Film Alley and AMC will anchor a festival experience that also includes filmmaker conversations, industry programming and opportunities to discover the next generation of storytellers.

For Latino audiences, the inaugural edition offers several compelling connections: Puerto Rican actress Paola Andino in the thriller You Can’t Leave; Entourage star Adrian Grenier, whose maternal grandfather is Mexican, in Faith; Julian Works in JIMMY; and the closing-night documentary Revolution’s Daughter, featuring Cuban cultural powerhouses including Gloria Estefan and Pulitzer Prize-winning playwright Nilo Cruz.

Those connections run through a broader slate packed with recognizable talent and Texas ties. Two-time Academy Award winner Zellweger’s first film as a director comes home to her native state. Keaton steps behind the camera while sharing the screen with Kyra Sedgwick. And KJ Apa takes on one of American cinema’s most beloved figures in JIMMY.

KJ Apa and Julian Works Revisit a Screen Legend’s Wartime Story

With JIMMY, the festival turns its attention to James Stewart, an enduring icon of American cinema whose work includes It’s a Wonderful Life, Rear Window and Vertigo. KJ Apa, best known for starring in Riverdale, portrays Stewart in the biographical drama directed by Aaron Burns.

The cast also includes Julian Works, known for 9-1-1: Lone Star and The Long Game, as Second Lieutenant Martinez, a Mexican American pilot who flies alongside Stewart during World War II. As the film follows Stewart’s twenty combat missions and his return to Hollywood, their bond brings a Latino presence into this pivotal chapter of the screen legend’s life.

Works’ connection to The Long Game also extends to the festival’s industry programming. The Texas-shot drama will be among the productions discussed during the festival’s SB22 panel on Texas film incentives, with local producers including Christian Sosa, an executive producer of The Long Game, attending.

Texas-based writer Justin Strawhand is confirmed to attend the screening and red carpet, while co-star Kara Killmer will attend the closing ceremony. Their participation adds a local connection to a film centered on a performer whose legacy reaches across generations.

Adrian Grenier Brings Faith to Its First Public Screening

The festival will host the first public screening of Faith, featuring Adrian Grenier. The locally shot comedy follows an optimistic teacher who takes over as pastor of a small-town Texas church after his father unexpectedly retires amid tragedy. Grenier plays Tyler, a rival pastor.

Grenier, best known for Entourage and The Devil Wears Prada, also brings a Mexican American connection to the lineup through his maternal grandfather. His family’s history was explored on PBS’s Finding Your Roots with Henry Louis Gates Jr.

Shot locally, Faith brings the actor known to television audiences as Vincent Chase in Entourage into a distinctly Texas setting. Its first public showing gives Leander audiences an early opportunity to discover the project, accompanied by exclusive, previously unpublished images.

Paola Andino Joins an Adventurous Genre Lineup

Paola Andino joins the inaugural lineup in You Can’t Leave, directed by Scott Windhauser and also starring Spencer Boldman. The thriller follows a search for a missing sister into a forest with a sinister hold on those who enter.

Born in Puerto Rico and raised in Texas, Andino brings a particularly fitting connection to the festival. Audiences first came to know her as the lead of Nickelodeon’s Every Witch Way, with later credits including Queen of the South and Lisa Frankenstein. Shot in Dallas and produced by Robert Paschall Jr., You Can’t Leave also brings a distinctive screening opportunity: according to festival organizers, Leander is the only festival in the country showing the film during its active theatrical run.

The wider program has plenty for genre fans to explore. James Hong, whose extraordinary career includes Big Trouble in Little China, Kung Fu Panda and Everything Everywhere All at Once, stars in the martial arts comedy Gimme My Money.

Martin Freeman, the Emmy-winning star of Sherlock, Bilbo Baggins in The Hobbit trilogy and Everett Ross in Marvel’s Black Panther films, brings further international star power to the lineup with Little Bug. Owen Teale, known to Game of Thrones audiences as Alliser Thorne, stars in Something Pointless, while beloved Texas screen veteran Barry Corbin, whose credits include Urban Cowboy and Northern Exposure, appears in Heaven and Hell.

Together, these selections offer the pleasure of seeing performers associated with major franchises, acclaimed television and landmark films working across an adventurous independent program.

Revolution’s Daughter Brings a Powerful Cuban Story to Closing Night

The festival will close on November 15 at AMC with Revolution’s Daughter, Peabody and Emmy-winning director Thaddeus D. Matula’s documentary about Alina Fernández, her escape from Cuba and the life she built beyond the shadow of her father, Fidel Castro.

The film brings a deeply personal perspective to a story shaped by power, exile, family and identity. Its participants include Gloria Estefan, Nilo Cruz, artist José Bedia and poet and art critic Ricardo Pau-Llosa, placing Fernández’s experience alongside voices with profound connections to Cuban culture.

Local Leander producer John Martinez O’Felan’s involvement connects the closing-night selection to a mission he articulated in his 2022 Latin Heat interview: creating more Latino stories and greater opportunities for Latino talent. Having discussed bringing Fernández’s life to the screen through Alina of Cuba, he now helps bring her own voice to the forefront in Revolution’s Daughter, placing a Cuban woman’s account of family, power and exile at the center of Leander’s closing night.

John Martinez O’Felan will attend alongside fellow producers Austin-based Allen Gilmer, Riki Rushing and Joe Lamy adding further Central Texas connections to the closing-night event.

For Leander’s inaugural closing night, the selection brings an internationally resonant story into a festival that is also celebrating the creative life of its own region.

Zellweger and Keaton Bring Star Power Behind the Camera

Few names carry the combination of critical acclaim and audience affection associated with Renée Zellweger. The star of Bridget Jones’s Diary, Chicago, Cold Mountain and Judy enters a new chapter with They, her directorial debut, which will make its Texas premiere at Leander.

The retro-styled animated short gives audiences a different view of an artist whose performances have helped define some of the most memorable films of the past three decades. For the Texas-born actress, its place in the inaugural lineup adds a home-state connection to a significant creative milestone.

Michael Keaton, whose screen career stretches from Batman and Beetlejuice to Birdman and Spotlight, also brings his work as a director to the festival. He directs and stars opposite Kyra Sedgwick in Sweetwater, a 21-minute science-fiction drama making its Texas premiere.

The film uses a futuristic premise to explore intimate emotional territory. Screenwriter Sean Douglas, Keaton’s son, is confirmed to attend, giving festivalgoers a direct connection to the creative team behind one of the lineup’s most prominent selections.

Hollywood Experience, Texas Ambition

Helping drive the inaugural festival is co-founder Sasha Yelaun, a producer whose credits include The Old Way, starring Nicolas Cage; Nandor Fodor and the Talking Mongoose, featuring Simon Pegg, Minnie Driver and Christopher Lloyd; The Vanished, with Thomas Jane and Anne Heche; and Hellfire, starring Stephen Lang. His experience bringing established screen talent and independent productions together lends Hollywood industry experience to Leander’s ambitious debut.

Yelaun co-founded the festival alongside Mike Herrera, a Leander City Council member and community arts advocate; Laura Davis, founder of Davis Consulting AI; and Diane Herrera, founder and CEO of CSSI Solutions. The founding team brings together film production, civic leadership, communications and business expertise to help establish a new destination for cinema in Central Texas.

The festival operates under the nonprofit Leander Arts & Film Alliance, which supports film, arts, cultural programming and creative education. Its setting has a cinematic history of its own: Leander is a Film Friendly Texas community, and the city’s Bagdad Cemetery appears in the opening of The Texas Chain Saw Massacre.

Five Days of Discovery

The festival begins on Veterans Day, November 11, with a special out-of-competition screening of the animated Sgt. Stubby: An American Hero at the Leander VFW. Across the following days, the program moves between established talent and new discoveries, with Texas filmmaking, student work, international shorts and experimental storytelling sharing the spotlight.

Additional selections include Our House Is on Fire, directed by Ukrainian filmmaker Alice Biletska, alongside Texas-connected work such as Tough Enough, Missing Socks and Let Fall the Rain. Alex Hanno’s psychological thriller Bravado will make its Texas premiere, with star Luca Malacrino confirmed to attend. Academy Award-nominated director Jonathan Heap will also attend with Ghosts of ’45, adding another filmmaker conversation to the inaugural program.

Filmmaker Q&As, workshops, panels, networking events and awards extend the experience beyond the screenings. The festival’s Feature Screenplay & Co-Production Pitch Market will offer cash prizes and development packages to selected finalists, creating another avenue for emerging writers.

For its first edition, Leander is bringing together the appeal of cinema’s celebrated names and the excitement of finding something new. Audiences can encounter Zellweger’s first work behind the camera, Keaton’s latest directing effort, Apa’s portrayal of James Stewart, Grenier’s new comedy and a Cuban documentary with a remarkable cultural ensemble, all within the same five-day program.

The inaugural Leander Film Festival runs November 11–15, 2026, in Central Texas. For passes, screening details and festival updates, visit leanderfilmfestival.com.

The post Hollywood Icons and Latino Talent Take Center Stage at the Inaugural Leander Film Festival first appeared on .

By Judi Jordan | LATIN HEAT

Unless you’ve been vacationing on a desert island since May, you couldn’t have missed the roar of acclaim surrounding La Bola Negra. A 20-minute standing ovation at Cannes? Seriously? Cannes is a tough crowd. 

The film subsequently shared Cannes’ Best Director award and crossed the Atlantic to win Toronto’s coveted People’s Choice Award, a recognized gateway to Oscar recognition.

I was curious. Very.

Then came the Netflix screening invitation. I watched. Astonished. Moved. I got it.

A tour de force. 1000% Spanish. The rhythm, the colors, the old soul of this extraordinary land. Both real and surreal, La Bola Negra takes the most basic of places and renders them magical. It shocks. Charms. Intrigues. Stuns. Hurts. Angers. Astounds.

And satisfies.

The icing on the torta is the mysterious true-life thread of Spain’s martyred literary giant Federico Garcia Lorca, a ‘detail’ delicately revealed like Lorca’s phrases, never overplayed.

The Q&A was another revelation.

Two helmers are better than one.

Javier Calvo and Javier Ambrossi, collectively known as Los Javis, have created a visually sumptuous, emotionally fearless epic for approximately €15 million. It looks and feels three times the budget.

These are calculated risk-takers committed to authenticity, including casting gay actors to portray gay men. To the observant film aficionado, the comfort between the actors feels natural, not stilted or novel. They wrote a leading role specifically for alternative pop star Guitarricadelafuente, hoping he would accept.

He did.

Playing Sebastián, the singer makes an arresting screen debut opposite Miguel Bernardeau, star of Zorro, whose Rafael is a noble athlete, now soldier—and prisoner. Their romantic connection, wounded souls, beautifully understated, becomes the beating heart of this extraordinary story.

Penélope Cruz delivers her own delicious moments, while Glenn Close contributes another intriguing dimension to a film rich with surprises.

The resulting collaboration between the Javis is especially interesting thanks to their contrasting creative temperaments. It makes for a great Q&A, a character study.

Calvo, the thoughtful, understated, disciplined planner, and Ambrossi, the playful, emotionally instinctive adventurer, are two chefs cooking a feast. They have the ingredients; together they balance tenacity, taste, timing, fluidity and surprise. Waiting for snow or actors it’s paid off.

Ambrossi calls their directing process “catharsis.” Very big on running a happy set, and not ‘dictating’ has rendered astounding results. 

They remain flexible, embracing an actor’s emotional state rather than rigidly adhering to a predetermined schedule. When Guitarricadelafuente first arrived to set, late from a delayed flight, visibly anxious, the directors pivoted, adapting to his emotional state as an opportunity: abandoning a quiet scene for the explosive opening sequence of wartime violence.

Catharsis totalmente.

Cinematographer Gris Jordana’s painterly compositions breathe art into the film’s violence and beauty. Using paintings to shape the heart-stopping visual canvas, the film moves fluidly among Spain’s turbulent early 20th century, the Spanish Civil War and modern life, binding the scars of history on subsequent generations.

The male gaze is unapologetically bold. Los Javis refuse to retreat from the bodies, souls, desire, courage and suffering of men—gay and heterosexual—or from the terrible cost of suspicion, repression and lives lived in shadows.

This is not a movie to watch on a small screen. The lyrical, unflinching cinematography, stunning production design and intimate performances transport us into those shadows.

We become voyeurs. And conspirators.

Netflix wisely gave La Bola Negra a 46-day exclusive theatrical run—the longest in the streamer’s history. Opening in U.S. cinemas October 16, La Bola Negra only hits the streaming platform on December 2. This is a film to be savored, experienced, discussed, pondered. Not merely viewed.

On its first U.S. premiere weekend, La Bola Negra debuted to $277.5k on four screens 2 in LA and 2 in NYC– numbers direct from Netflix Sunday in the first ever official box office grosses shared. It goes wider on 11/6. 

At home in Spain, La Bola Negra has become a must-see for Spaniards of all adult generations. It’s much more than a “gay” film. It’s a look in the rearview mirror—at what we all may have missed.

The ultimate genius of La Bola Negra: beneath its visual extravagance, sensual courage and historical ambition lies a painfully universal truth.

It’s about everything we lose when we deny ourselves the freedom to love—regardless of gender.

The post Catharsis and Crazy Genius: Spain’s Los Javis and the Triumph of ‘La Bola Negra’ 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 .

The Oscar-nominated Spanish actor takes on one of history’s most controversial figures in a new film directed by Paul Mignot, with a screenplay by Oscar nominee Nicholas Kazan. Production is underway in Paris.

Antonio Banderas is stepping into one of history’s most complex and controversial roles of the journey of a man that changed the course of the existing lands.

The Spanish-born, Academy Award-nominated actor will portray Spanish conquistador Hernán Cortés in Cortés, an ambitious historical epic to be produced by Utopai Studios and Ex Machina Studios. French filmmaker Paul Mignot will direct the feature from a screenplay by Oscar-nominated writer Nicholas Kazan, with producer Marco Weber overseeing the production.

Announced today in Paris, the film brings together an internationally acclaimed creative team to revisit a defining and deeply consequential chapter in the history of Mexico and the Americas.

The project has been more than 35 years in the making, with Kazan’s screenplay offering a deeply human exploration of one of history’s most consequential encounters. Now, with Banderas at its center, the long-anticipated epic is moving forward through a production model that combines traditional filmmaking with next-generation production technologies.

A Conquistador, an Indigenous Woman and a Turning Point in History

Set in 1519, Cortés follows a restless Spanish soldier whose hunger for glory drives him to seize command of an expedition to the Yucatán and sail without authorization from Cuba.

After reaching the coast of what is now Mexico, Cortés encounters Marina (patterned after the real life indigenous woman Malinche Cortes actually encountered), an enslaved Indigenous woman whose extraordinary linguistic abilities make her indispensable to his campaign. As he builds alliances and uses faith and fear to advance his conquest, Marina witnesses his transformation from an ambitious outlaw into a man who sees himself as a messianic figure.

The story places Marina at the center of a historical collision shaped by power, ambition, cultural conflict and conquest—an encounter whose consequences continue to resonate throughout Mexican and Latin American history.

For audiences, the film offers an opportunity to revisit this pivotal period through a character-driven narrative that explores not only the man who led the expedition, but also the Indigenous woman whose linguistic skills and position made her a crucial figure in his advance.

Antonio Banderas Brings a Powerful Screen Legacy to the Role

Banderas has built an international career portraying characters defined by intensity, complexity and charisma. His casting as Cortés reunites his commanding screen presence with a historical figure whose legacy remains the subject of debate.

The actor earned an Academy Award nomination and won Best Actor at the Cannes Film Festival for his acclaimed performance in Pedro Almodóvar’s Pain and Glory. His extensive filmography includes The Mask of Zorro, Desperado, Evita, Philadelphia, The Skin I Live In and the beloved Puss in Boots franchise.

He also earned Primetime Emmy Award nominations for portraying artist Pablo Picasso in Genius: Picasso and Mexican revolutionary Pancho Villa in And Starring Pancho Villa as Himself.

His experience portraying historical figures, combined with his ability to bring humanity to larger-than-life characters, makes this latest role a significant addition to his career.

Banderas will perform the role under Mignot’s direction, with production already underway in Paris and additional filming scheduled in Spain.

An Ambitious Vision for a Historical Epic

“Cortés is exactly why we built Utopai Studios,” said Cecilia Shen, co-founder and CEO of Utopai Studios. She described the project as an opportunity to bring together Kazan’s screenplay, Mignot’s cinematic vision and Banderas’ ability to bring humanity to the film’s central character.

Marco Weber, producer of Cortés and CEO and co-founder of Ex Machina Studios, emphasized the importance of believable, complex characters in historical storytelling.

Weber said Banderas brings a commanding yet deeply human dimension to Cortés, while Mignot’s vision will help translate Kazan’s screenplay into a film that seeks to bring the breathtaking world-building with an intimate human story.

The partnership also reflects the studios’ commitment to combining filmmaker-led creative work with evolving production technologies.

Mignot’s directing credits include the historical feature Vaincre ou Mourir and the award-winning short All Blood Runs Red. His experience also extends to international campaigns for major brands, including BMW, Porsche, Audi, Lexus, Jeep, L’Oréal, Louis Vuitton and Emporio Armani.

Kazan brings a distinguished screenwriting résumé to the project. He received Academy Award and Golden Globe nominations for his adapted screenplay for Reversal of Fortune. His other writing credits include Frances, Patty Hearst, Matilda, Fallen and Bicentennial Man.

Together, the director, screenwriter and lead actor will tackle a historical narrative that demands both cinematic scale and a nuanced examination of human ambition and its consequences.

Global Distribution Plans Announced

Utopai Studios and Ex Machina Studios will co-produce and co-finance the film, with each company taking responsibility for sales and distribution in designated international territories.

Utopai Studios will oversee sales and distribution in the United States, Canada, Asia, the Middle East and Africa. Ex Machina Studios will handle most of Europe, Latin America, Australia and New Zealand.

For Latin American audiences in particular, the film’s subject matter carries significant historical and cultural weight, making its eventual release and interpretation a point of interest for the region.

Additional casting announcements and production details are expected at a later date.

As Cortés moves from a screenplay decades in the making to a major international production, one of Spain’s most recognizable actors is preparing to embody a figure whose actions helped reshape the history of Mexico—and whose legacy remains anything but simple.

Latin Heat will continue to follow developments on Cortés as production progresses.

The post BREAKING NEWS: Antonio Banderas To Star as Hernàn Cortés In Historical Epic Drama first appeared on .

The Dominican multi-hyphenate producer discusses representation, humanitarian work and the mentors like Forest Whitaker who shaped her Hollywood journey.

Jessica Medina has spent years on Hollywood’s big productions. She has worked on Marvel and DC projects and films with Forest Whitaker, John Travolta, John Cena, and Liam Neeson. Now, the Dominican actress is taking on some of the biggest opportunities of her career while increasingly using her platform to create opportunities for others.

Medina stars in the film Divided, her first leading film role, while also stepping behind the camera as a producer. Through her production company, JM Films, she is developing a television series dealing in part with human trafficking and says she wants to create more opportunities for Latinos and people who aren’t often represented on screen.

Away from entertainment, Medina serves as U.S. Director for Heaven’s Kitchen, helping the humanitarian organization provide food, clothing and other resources to communities around the world, including in her native Dominican Republic.

Jessica Medina Takes the Lead in Divided

For Medina, Divided represents an opportunity she had spent years working toward: the chance to show what she could do with a character who remains central to a story from beginning to end.

Asked how the opportunities she’s receiving today compare with earlier in her career, Medina said:

“Oh my God, it’s so different now because people really are able to see what I really can do. And I’m able to do more work and show my skill set. For Divided, I got a whole script, from the beginning all the way to the end, 98 pages. And to me, that was amazing, like a big deal, because I usually used to get a couple of lines, you know. But with Divided, I was from the beginning of the movie all the way to the finish. And as an actor that’s been doing this for a while, that was a big deal, for real.”

Medina plays Isabella, a deeply religious woman whose devotion to her family ultimately reveals a much darker side of the character.

The role also arrived at an extraordinary moment in Medina’s life. She says she was in the hospital when Brely Evans called her about the project.

“I was actually in the hospital when I booked this job, literally almost dying. And it was like 12 o’clock at night and Brely called me. She’s like, ‘Hey, I’m thinking about you. Do you want to play this role?’ She sent me the script. Isabella was so interesting because she was a woman of God, but at the same time, she was somebody that would do anything for her family, especially her husband.”

That duality allowed Medina to explore emotional territory she hadn’t previously been given the opportunity to show.

“You see the rage, the different beats as a woman of God, but at the same time, if you see the movie, you can see the other dark side of Isabella, which, me personally, I think every human definitely has that side of them. We have our good side, but also we have our dark side. I think for me to show that was interesting because, you know, you have to go to places from your past. I’m glad I did it because it pushed me as an actress to do something that I never did before.”

Divided also gave Medina her first opportunity to serve as a producer, something she credits Evans with making possible.

“Brely gave me my first opportunity of being a producer, and I’m so grateful for her because she’s an amazing person. It was very interesting to play so many parts and just to see the end product. It’s like a baby, you’re so proud of it. We did it, and it was so quick, everything. It was just interesting to see the final product and so many details that people don’t understand about what it is to be a producer.”

JM Films, Latino Representation and Human Trafficking

Producing is becoming much more than another credit for Medina.

Through JM Films, she says she wants to create opportunities for Latino performers and others who have traditionally struggled to find space on screen.

“I opened my production company, JM Films, with the idea of creating opportunities for Latinos and people that you don’t usually see on the screen, and for everybody, literally. For the outcasts and people that you will never see. So I’m proud of that.”

Medina is already developing a television series through the company that she wrote and plans to produce and star in. She said discussions with potential investors are underway.

“Now I’m creating a TV series. Actually, we’re talking with a few investors. I wrote the whole TV show. I’m producing it, and I’m starring in it too. So we’re working on that.”

The series incorporates human trafficking and cartel activity into a story based in Atlanta. Medina says JM Films is focused on stories inspired by things that happen in the real world.

Human trafficking, in particular, is an issue Medina says has personal significance because of experiences from earlier in her life.

“I think certain things I lived in my personal life when I was younger and the things I’ve been through, I think people need a voice, somebody that can really speak on that issue, especially in Atlanta, that people really don’t talk about. To me, that is really important, you know, because there are so many kids and people out there that have been trafficked.”

As a Latina, Medina says she is particularly interested in drawing attention to trafficking affecting Latino women and children and encouraging others with platforms of their own to become involved.

“I think as a Latina, in our community, we need a strong voice because there are so many Latino kids and women out there getting trafficked. A lot of people don’t know about that. If I can help speak on it, if I can tell the community or the government, ‘Hey, this is what’s happening,’ I think people will pay attention, and other Latinos in Hollywood or politics can really help our community, or any community that is having this issue.”

Medina pointed to Eduardo Verástegui and Sound of Freedom as an example of a Latino filmmaker using entertainment to bring attention to human trafficking.

“Definitely, the movie Sound of Freedom, that was produced by Eduardo Verástegui. Just seeing a Latino, and he’s a Christian too, produce an entire movie about human trafficking in Latin America, but based in the United States. That story is based on a real story because I did my research. I was really impressed with the job he has done and he continues to do. So he’s definitely one of my biggest inspirations, besides my personal reasons for writing these stories.”

Medina’s Humanitarian Work With Heaven’s Kitchen

Medina’s desire to help underserved communities isn’t limited to the stories she wants to put on screen.

As U.S. Director for Heaven’s Kitchen, Medina says she has helped the organization reach families across Venezuela, El Salvador, the Dominican Republic, Costa Rica, Colombia and Pakistan.

“What we’re doing in Heaven’s Kitchen is we are feeding hundreds of thousands of people and families all over the world. We’ve been to Venezuela, El Salvador, Dominican Republic, Costa Rica, Colombia, Pakistan. We go to different countries and we feed them, we give them clothes, and we actually help them become professionals and learn a skill set. For me as a human being, I just want to help a little and just help people in general. That’s the bottom line.”

Medina became involved after she began researching nonprofits and was introduced to Chef Roberto Mendoza. Discovering another Latino who shared many of her values and humanitarian goals immediately resonated with her.

“Somebody introduced me to Chef Roberto, and he’s a Latino as well. So to me, that was like, ‘Oh my God, a Latino that believes in the same concept as I believe.’ I think we can come together and create this beautiful thing. We just kind of united, two powerful people with the same cause and the same beliefs in God and helping families and kids. That’s how it started. And I’m so grateful to be part of this nonprofit.”

The organization’s work has also allowed Medina to give back directly to communities in the Dominican Republic, including her hometown of La Romana.

But Medina says her ambitions for the organization extend well beyond her home country.

“I think the more we can do, open schools, help with health, anything. Not just in my country, Dominican Republic, but we have done a lot there. We are helping La Romana, Puerto Plata. We have helped in different cities in the Dominican Republic, my country. But it’s not just my country. We just want to help the whole planet, if we could. That’s what I want, to continue helping.”

Medina also encouraged people interested in Heaven’s Kitchen to become involved themselves.

“If people want to donate, they can go to the website. If they want to talk to me or have any type of question, or anybody wants me to help out in some type of way, I’m here too.”

Mexicali Shows Audiences a Different Side of Medina

Alongside Divided, Medina recently appeared in Mexicali, reuniting her with director Luke LaFontaine and producer Jesse Johnson, collaborators she says she has worked with on several films.

For Medina, one of the attractions was getting the opportunity to shed the glamorous image audiences may associate with some of her previous roles.

“Oh my God, they’re great friends. They’re amazing, talented individuals. So talented, so kind, so humble. I’ve already done a few movies, like four movies with them. Actually, Luke called me, and this is what I love about this part, because usually people are used to seeing me sexy and running around. In this part, I got no makeup. I was just playing a humble farm girl that gets killed and shot.”

Medina says LaFontaine specifically wanted the role to showcase another dimension of her acting.

“It was so much fun because Luke was like, ‘Well, I want people to see your talent, how talented you are, because you really are. This is not a pretty part. This is more of a real part.’ And I was happy to do it. I think it looks amazing.”

Medina also appears in the first season of Love Don’t Pay the Bills, another recent project she encouraged audiences to seek out.

Forest Whitaker, Ty Walker and the Mentors Who Helped Medina

Medina has worked with major names throughout her career, but when asked which collaborators have left the greatest impression on her, she immediately returned to Forest Whitaker.

The Academy Award winner met Medina early in her career and encouraged her to leave Miami and pursue acting in Los Angeles. Medina previously described Whitaker as someone who continued to inspire her years after that initial encounter.

“First and foremost, Forest Whitaker was my first mentor and somebody that really changed my life and my career, who I still respect. Ty Walker gave me so many opportunities, my first stunt coordinating opportunity, and kind of mentored me into what producing is too. So I’m blessed to know him and to call him a friend. And another amazing big director, Joe Carnahan, who also mentored me and told me a few things, that I’m valuable. I can call them friends, not just colleagues. They’re amazing.”

For Medina, Ty Walker represents a different stage of that journey. By then, she had already established herself as a performer, but Walker gave her opportunities to begin taking on greater responsibility behind the camera, including her first opportunity in stunt coordination.

She also credits Walker with helping introduce her to producing, something that has since become an increasingly important part of her career.

“Ty Walker gave me so many opportunities. He gave me my first stunt coordinating opportunity, and he also really helped mentor me as I started learning about producing and understanding that side of filmmaking. That was important for me because it gave me the opportunity to grow and start doing more than what people were already used to seeing me do. He helped open that door for me and gave me the opportunity to learn. I’m very blessed to know him and to be able to call him a friend.”

That evolution can now be seen in Medina’s own work, as she increasingly balances performing with producing and developing projects of her own.

Joe Carnahan Reminded Medina of Her Value

Medina separately points to Joe Carnahan as another filmmaker who became an important mentor. For Medina, one of the things that stayed with her was Carnahan reminding her of the value she already brought to the industry.

“Joe Carnahan is another amazing director who mentored me. He talked to me about the business and reminded me that I’m valuable and that what I bring to this industry has value. Sometimes you need someone who has that experience to remind you of that and help you see it in yourself. That meant a lot to me. And now I’m fortunate that I can call him a friend, not just a colleague. That’s something I’m very grateful for.”

Jessica Medina’s Advice to the Next Generation of Latino Actors

After years of navigating Hollywood herself, Medina has a simple message for the next generation of Latino performers: don’t allow the industry to erase what makes them different.

“I would say don’t lose yourself. Always be yourself. A lot of the time when you get in the business, you’re going to hear a lot of no’s, and you’re going to hear a lot of, ‘You have to change this, change that.’ But always be yourself, be unique. I think by you being yourself and believing in yourself and what you bring to the table, because everybody is different, what you bring to the table originally is what’s going to make you different from the different actors.”

It’s advice informed by Medina’s own experiences entering the industry with a stronger accent and encountering people who had specific ideas about how a Latina actress was supposed to look and sound.

“I remember when I started, I still have an accent, but my accent was stronger. I didn’t look like Salma Hayek, so a lot of people were like, ‘Well, you need to get rid of the accent. You need to look this way.’ So one thing I think that really worked for me was being authentic and just being yourself. Believe in yourself and what you can do and who you are.”

For Medina, the qualities young performers can sometimes be pressured to change may ultimately be the same qualities that distinguish them.

“I think for the new generation out there, boys and girls, just be you and don’t let it change you. You’re going to see good things happening, because whatever it is that you bring to the table is what’s going to set you apart from the rest.”

From leading Divided to building JM Films and expanding her humanitarian work, Medina is using each new opportunity to create space for stories and voices that have too often been overlooked. And after years of learning from those who opened doors for her, she is increasingly focused on holding those doors open for the next generation.

The post EXCLUSIVE: Jessica Medina on Leading Roles, Producing, Representation, Giving Back & Her Hollywood Mentors first appeared on .

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

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

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

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

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

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

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

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

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

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

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

The post ‘Comedia Del Adri’ Scores Festival Wins Ahead of TCL Chinese Theatre Premiere first appeared on .

By Bel Hernandez Castillo

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

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

‘The Last Brown Beret’

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

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

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

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

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

‘IMPURE’

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

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

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

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

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

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

Two Films, Two Generations, One Cultural Conversation

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

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

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

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

IMPURE
Los Angeles Premiere — September 17, 2026

Indiewood Film Festival
TCL Chinese Theatres — Hollywood, California

The post Indiewood Film Festival Spotlights Bicultural Stories With ‘The Last Brown Beret’ and ‘IMPURE’ first appeared on .

Mighty Aphrodite Pictures Sets October Shoot

Oscar-nominated actor Eric Roberts and emerging performer Ben King are set to star in filmmaker Jorge Xolalpa’s new comedy-drama Hello, My Name Is Richard!, with production slated to begin October 19 in Los Angeles, Latin Heat can exclusively reveal.

The film is being produced under Xolalpa’s Mighty Aphrodite Pictures, the Los Angeles-based banner behind the filmmaker’s growing slate of independently produced features.

King will star as Richard Brown, a young autistic man who decides to run for city council, while Roberts is set to play Albert.

Written and directed by Xolalpa, Hello, My Name Is Richard! is built around an unconventional political candidate whose determination to make a difference in his community becomes the catalyst for a story that balances comedy and drama with themes of inclusion, ambition, family and human connection.

Rather than treating Richard’s political aspirations simply as a campaign story, the film centers on the man behind the candidacy—and the personal drive that compels him to step into a world where his voice has not traditionally been heard.

The project represents another collaboration between Xolalpa and NYTA Films, which is financing the production. The companies have developed an established working relationship, with NYTA Films having financed Xolalpa’s previous five feature films.

That continued partnership underscores a production model Xolalpa has increasingly embraced: developing character-driven stories and moving them from script to screen through a combination of independent financing and a consistent creative team.

For King, the role marks a significant leading-man opportunity opposite a veteran performer whose filmography spans decades of film and television. Roberts, an Oscar nominee for Runaway Train, has built one of the industry’s most prolific careers, with hundreds of screen credits across features, television and independent productions.

Xolalpa’s Expanding Slate

Hello, My Name Is Richard! arrives as Xolalpa continues to expand his slate beyond his existing body of independent features.

The filmmaker recently secured an exclusive option agreement to develop the authorized feature film based on the life and legacy of U.S. Army Specialist Vanessa Guillén, partnering with producer Jolene Rodriguez on the project.

The Vanessa Guillén film will explore the life of the late Army soldier and the circumstances surrounding her death, a case that generated national attention and contributed to a larger conversation about accountability and protections for service members.

Taken together, the projects illustrate the breadth of Xolalpa’s current development strategy. While the Vanessa Guillén project tackles a real-life story with significant cultural and social implications, Hello, My Name Is Richard! takes a more intimate and comedic route, focusing on an individual pursuing a place in his community and the people surrounding him.

Both, however, share a central component of Xolalpa’s filmmaking: placing characters and perspectives that have historically received limited representation at the center of the story.

For Hello, My Name Is Richard!, that perspective belongs to Richard Brown, whose decision to seek public office becomes both a source of humor and a vehicle for exploring what it means to be seen, heard and taken seriously.

With principal photography now set for October, Xolalpa is moving quickly on what is shaping up to be another independently mounted feature from the filmmaker and Mighty Aphrodite Pictures.

Principal photography on Hello, My Name Is Richard! is scheduled to begin October 19 in Los Angeles.

The post EXCLUSIVE: Eric Roberts, Ben King Set to Lead Jorge Xolalpa’s ‘Hello, My Name Is Richard!’ first appeared on .

The Fast & Furious actor brings his famous recurring screen identity into a different position of power in the atmospheric prison mystery, while opening up about its haunted location, Latino representation and the hard lessons he has learned in Hollywood.

Hollywood’s “Hector” Returns

Noel Gugliemi has spent more than three decades becoming one of Hollywood’s most recognizable Latino character actors, often before audiences even knew his name. His face has appeared across studio blockbusters, crime dramas, comedies and television, frequently as a figure who enters a scene already carrying an implied history.

Online, Gugliemi is nearly as famous for repeatedly playing characters named Hector as he is for any individual film. Beginning most famously with the street-race organizer in 2001’s The Fast and the Furious, he has carried the name through numerous unrelated films and television series. Fans have even dubbed his loosely connected body of roles the “Hector Cinematic Universe.”

Gugliemi explained the pattern bluntly during an appearance on Drink Champs: “In Hollywood, they only know two names for Mexican actors, bro. It’s Hector and Carlos.”

After receiving scripts filled with those two names throughout his career, Gugliemi eventually embraced Hector as his signature and began requesting the name himself whenever he had the influence to do so. What began as repeated Latino typecasting became an instantly recognizable personal brand with genuine pop-culture staying power.

After receiving scripts filled with those two names throughout his career, Gugliemi eventually embraced Hector as his signature and began requesting the name himself whenever he had the influence to do so. What began as repeated Latino typecasting became an instantly recognizable personal brand with genuine pop-culture staying power.

Time of Death adds Hector Ramos to that legacy, but with an important reversal. This time, Gugliemi is not being typecast as a prisoner or gang member. He is one of the guards controlling the prison and a key figure in the mystery surrounding a vanished inmate, which is central to the film’s story.

“This time I’m the guard, not the prisoner,” Gugliemi told Latin Heat. “So that worked for me.”

A Mystery Buried Inside a Decaying Prison

Directed by Will Wernick, Time of Death stars Jack Ryan franchise star and HBO Max The Penguin actor Michael Kelly as Detective Frank Morley, who is sent to a decaying prison on the verge of shutdown after a prisoner vanishes without a trace.

What begins with the familiar machinery of a police investigation steadily develops into a more disorienting psychological mystery as Morley’s search for facts destabilizes his grasp on what is real. The story combines the propulsion of a missing-person investigation with the atmosphere of Gothic prison horror. Screenwriter Jason Rosen deserves particular credit for the film’s intelligent, layered writing and for giving Gugliemi a substantial role woven directly into the central mystery.

Legendary Usual Suspects actor Kevin Pollak brings decades of dramatic and thriller experience to Warden Beau LaRue; Meanwhile, known for his work on iconic films like Heat, and more recently Send Help, Dennis Haysbert lends his unmistakable authority to Officer Aarons; and American Pie franchise actress Mena Suvari appears as Dr. Allison Burrell.

For Gugliemi, whose extensive filmography also includes Training Day, Bruce Almighty, S.W.A.T., Crank and The Dark Knight Rises, he easily becomes part of that formidable ensemble star cast of actors, placing one of cinema’s most recognizable street-level character actors alongside performers whose voices and faces carry their own immediate weight.

During an exclusive interview with Latin Heat, Gugliemi spoke about making Time of Death, the puzzle at the center of its story and the camaraderie behind its grim setting. The conversation then widened into an powerfully candid discussion of Latino representation, the difference between visibility and genuine support, and the personal code that has allowed him to survive Hollywood long enough to tell the difference.

Becoming Hector Ramos

For a film built around uncertainty, Gugliemi is an ideal piece of the ensemble. Audiences immediately recognize the toughness and authenticity he brings into the frame, but Hector’s exact position within the mystery is less easily read.

“I like doing different films that are different from things that I’ve done before,” Gugliemi said. “I like the thriller, suspense side of it all. And just me being a prison guard—this time I’m the guard, not the prisoner.”

“I love doing out-of-the-box stuff, so getting to be a part of this film was an awesome experience, especially with the cast that we had and the location we were filming at.”

Hector works closely with the prison’s senior authority figures, played by Pollak and Haysbert.

“My character was the right-hand man of the two main prison guards there—the warden, Kevin Pollak, and Dennis Haysbert,” Gugliemi explained. “I was kind of like the right-hand man of those two.”

“I love that stuff where I’m the go-to guy and the one that’s making a lot of this stuff happen, because I’m the guinea pig in the story.”

Despite Hector’s proximity to those in power, Gugliemi said his character does not have a complete understanding of what is unfolding around him.

“I kind of knew what was going on, but didn’t know what was going on,” he said. “At the same time, I don’t want to spoil it for anyone, but I was part of the reveal later. So it was cool.”

A Puzzle That Demands the Audience’s Attention

Gugliemi sees the film as one that requires active participation from its audience, rewarding viewers who pay attention to details that only become fully legible once its pieces converge.

“It’s kind of like a figure-it-out puzzle as you’re watching the film,” he said. “You’ve got to put your thinking cap on, because you don’t really know what’s up until the end.”

“It’s one of those movies where you really have to keep on your toes, because if you miss a certain part, it’s not going to make sense. It’s one of those puzzles you’ve got to put together.”

Its prison setting turns the investigation into a pressure chamber, tightening the mystery until its late revelations force earlier moments to be reconsidered.

“It definitely has you wondering: Who did this? Who got away with that? What’s going on in the prison? What’s happening here?” Gugliemi said. “You don’t get it until you watch the end—then you get it.”

Filming Where “It All Went Down”

Production took place inside the former West Virginia Penitentiary in Moundsville, a Gothic stone facility that operated for more than a century. The prison witnessed executions by hanging and electric chair before closing, and now operates as a museum and tourist attraction known in part for its reported paranormal activity.

“We were at a real joint where it all went down,” Gugliemi said. “It’s a museum now, so they can walk you through it and tell you, ‘This death happened here, and that happened there.’ We got to hear and see some of that stuff firsthand.”

That physical authenticity gives Time of Death a scale and texture that would be difficult to reproduce on a conventional stage. The heavy stone, aging cells and execution history are not decorative production design; they are part of the environment surrounding the performances. The film’s most unsettling asset was already standing before the cameras arrived.

“They actually say it was a haunted prison,” Gugliemi recalled. “We didn’t have any incidents on set, but just to walk around it, you could feel the presence and how creepy it was.”

The Complicated Legacy of Hollywood’s “Hector”

The ease with which audiences associate Gugliemi with a particular kind of role makes him an especially revealing figure through whom to consider Latino representation.

His performances brought specificity and authenticity to characters that might otherwise have been anonymous stereotypes. At the same time, the repetition exposes the limited imagination with which Latino men have often been cast: criminality becomes not merely one story they can inhabit, but the default language through which the industry recognizes them.

The “Hector Cinematic Universe” joke sits directly inside that contradiction. It celebrates Gugliemi’s extraordinary recognizability and endurance while also revealing how routinely Hollywood recycles the same names, visual codes and assumptions when constructing Latino men.

Gugliemi has been savvy enough to turn that limitation into a career-long signature. The industry’s lack of imagination remains visible underneath the meme.

His own path into acting was anything but conventional. Of Mexican and Italian descent, Gugliemi was abandoned by his parents and experienced homelessness as a teenager before acting redirected the course of his life.

What began unexpectedly grew into a career spanning well over 100 screen credits. His role as Hector in The Fast and the Furious became the decisive acceleration point, making both his face and that character name part of popular culture.

Social Media Has Opened New Doors

“Now with Latino acting, it’s a lot different because of social media,” Gugliemi said. “A lot of people are blooming more than they were in the past because now we have an open gateway to be seen, to be heard, to tell our stories and catch people’s attention.”

“I like that things like that are happening.”

Yet access to an audience does not automatically create access to sustainable opportunity. Nor does the increased public language around representation prove that those who use it have consistently opened doors for others.

Gugliemi draws a sharp distinction between visibility and solidarity, and between appearing supportive in public and taking meaningful action when no one is watching.

“Where Are All of Our Latino Films?”

Speaking candidly, Gugliemi said some of the most important support in his own career came from outside the Latino community.

“Back in the early days, not a lot of Latinos helped Latinos,” he said. “I would be lying to you if I told you different. I got farther in this business because of Black and white people than my own people.”

His criticism shifts part of the conversation away from an exclusively external demand that Hollywood do better. Gugliemi also asks what Latino professionals who have attained influence have done with it.

For him, the scarcity of Latino-led films is not an abstract statistic. It is evidence of opportunities that were not created, careers that were not developed and power that was not passed forward.

“Where’s my proof? Where are all of our Latino films?” he asked. “We don’t have a lot of Latino films out there.”

“Back in the early days, I could name about 50 white movie stars and 50 Black movie stars, but you could only name about 10 or fewer Latino stars.”

Calling Out Performative Advocacy

Gugliemi is particularly skeptical of public advocacy that, in his view, is not matched by a person’s conduct or history when the cameras are off.

“Now that social media has come out and we cannot be ignored, people want to jump on the bandwagon and say, ‘It was always about our people,’” Gugliemi said. “No, it wasn’t—because if it was, where are our Latino films from back then, when you had power?”

In an industry where the language of representation can itself become part of a public image, Gugliemi said he has learned not to accept the right message as automatic evidence of the right behavior.

“When I see people on a podcast, a radio interview or in a magazine, I don’t know if I can get behind you because I don’t know you personally enough to know if you’re really about what you’re saying,” he explained.

“I thank you for saying the right stuff, but I don’t know if you’re really about that off camera the way you talk about it on camera.”

Praising Real Ones & Latino Trailblazers

That distinction allows Gugliemi to identify the people he believes have handled success correctly. Among the Latino performers whom he considers authentic in both their accomplishments and their willingness to support others, he specifically named Emilio Rivera and Danny Trejo.

Both actors built careers from the kinds of roles Hollywood frequently assigns Latino men, yet expanded their presence far beyond any single archetype and remained, in Gugliemi’s estimation, accessible and real.

“My platform is not my platform,” Gugliemi said. “My platform is to give my platform to someone else, pass the baton, help people succeed and let them know that you can do what I’m doing.”

“This is for everyone.”

“Emilio Rivera is one of them. Danny Trejo—that’s another one,” he continued. “These are guys who are men of integrity and have done it correctly. They’re real ones in the game.”

Learning to Protect a Good Heart

Gugliemi’s advice to young Latino actors is grounded in his own experience helping performers through Suspect Entertainment, which worked to place Latino talent in film and television.

He initially gave that time freely, connecting people to rooms they could not have entered alone because he wanted to see others succeed. .

“It’s okay to have a good heart, but you’ve got to know how to protect your heart,” Gugliemi said. “You’ve got to know who you’re helping and why.”

“You might be helping the wrong person achieve some goals and putting someone in a spot who shouldn’t be in that spot.”

His decision to charge for that work was not a rejection of community. It was a boundary: if someone proved disloyal or simply quit, he would no longer be left carrying the full cost of the time he had invested.

“Do a heart check and a personality check first before you help anybody,” he said. “Be careful. Recognize who you’re dealing with, who you’re talking to, who you’re messing with and who you shouldn’t be messing with.”

Integrity as a Path Forward

Gugliemi’s larger lesson is not to stop helping or to treat every relationship with suspicion. It is to move with integrity, evaluate character before extending opportunity and expect the same standard from others.

“Watch out for slime, and don’t be slimy yourself,” he said. “You know how you move forward in any business? Just be a man of integrity. Do what you say. If you say something, do it.”

For Gugliemi, integrity is not merely a private virtue. It is also how lasting professional relationships are built.

“That’s why people want to do favors for you and advance you, because people go, ‘I can trust this guy. He’s a man of integrity. She’s a woman of integrity,’” he said. “People naturally want to do favors.”

“And be nice to everybody. I don’t care if you’re the one washing the windows on the building or you own the building.”

The Film That Changed Everything

The Fast and the Furious remains the film Gugliemi credits with changing the momentum of his career.

“After Fast and the Furious, my phone started ringing a lot more,” he said. “That’s what kicked off the roller-coaster ride.”

The role gave him reach and longevity, but his ambitions now extend beyond waiting for Hollywood to imagine him differently. He is developing projects of his own that deliberately move him outside the criminal and street-oriented roles that made him recognizable.

Creating Roles Hollywood Has Not Offered Him

“I’m writing a film right now,” Gugliemi revealed. “It’s kind of like Pretty Woman. It’s a love story and a fish-out-of-water story.”

“The way I explain it in three sentences or less is: a gangster who works at a five-star restaurant steals Hollywood’s biggest main squeeze.”

He is also developing a faith-centered documentary that would allow audiences to see a different side of him.

“I’m also working on a documentary called What Is a Christian? I’m the host of that,” Gugliemi said. “There are stories I’m writing that are breaking character and putting me in a different limelight.”

“Because I always say that if no one is going to give you the opportunity, give the opportunity to yourself.”

That impulse toward self-determination connects the two sides of Gugliemi’s conversation. His criticism of Latino representation is ultimately about who receives the power to create opportunity, while his career advice is about what a person does once that power arrives.

It is not enough to be visible. Someone must use that visibility to widen the frame for other Latinos.

Hector Holds the Keys in ‘Time of Death’

For now, Time of Death offers audiences a different view of Gugliemi within the kind of dark, high-stakes world he knows how to command.

The film does not attempt to erase the screen identity he spent decades building. It shifts his position within it—from the man seemingly limited by his environment and his role, now in control of it. Something that at this stage of his career, Gugliemi seems adamant to represent behind the camera as well in his real life.

Hector may be another familiar name in Gugliemi’s filmography, but this time he holds the keys.

That combination makes Time of Death a particularly fitting new chapter in his career. It delivers the “Hector” audiences immediately recognize, places him within a polished ensemble mystery led by Kelly, Pollak, Haysbert and Suvari, and surrounds them with a real location whose history intensifies the film’s psychological unease.

For viewers encountering him through the film, Hector Ramos is an entry point into a career—and a larger conversation about representation—that extends far beyond the prison walls of the film, and the walls of Hollywood.

Time of Death is now available to rent or purchase on major digital platforms.

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