Christopher Nolan’s The Odyssey has become one of the year’s biggest box office successes, earning $264.1 million and demonstrating once again that audiences will show up for epic storytelling. But beyond the impressive numbers is another story worth celebrating—one that has often been overlooked in Hollywood.

This time, Latinos weren’t simply part of the background. They were cast in meaningful, high-profile roles throughout one of the year’s biggest studio films.

Among the star studded cast lead by Matt Damon, Zendaya, and Anne Hathaway, are Academy Award winner Lupita Nyong’o as Helen of Troy and John Leguizamo as Eumaeus. Other Latinos cast are Jimmy Gonzales as Cepheus, Jesse Garcia as Menetus and Maurice Compte as the Steward of Menelaus, and Shiloh Fernandez, as First Trojan. Their presence signals a noticeable shift in how major studio tentpole films are beginning to reflect the audiences that have long supported them.

For decades, Latino advocacy organizations, community leaders, and entertainment journalists have argued that inclusion isn’t just the right thing to do—it’s smart business. U.S. Latinos have consistently ranked among the nation’s most frequent moviegoers, yet they have rarely seen themselves represented in proportion to their economic and cultural impact.

The Odyssey offers a compelling example of what happens when that equation begins to change.

No actor has championed Latino representation more consistently than Leguizamo. Throughout his career, he has used his platform—and his production and media ventures—to create opportunities for Latino talent and to connect directly with Latino audiences. Seeing him in a prominent role in one of Hollywood’s biggest releases carries significance beyond the screen. It reinforces the message that Latino actors belong in major studio films, not as token additions, but as integral parts of the story.

The film’s outreach also extends beyond casting. Star Matt Damon, (Odysseus), whose wife is Argentine, has embraced Spanish-language interviews while promoting the film, connecting with Latino audiences in a way that feels authentic rather than performative. Those moments matter. They acknowledge a moviegoing audience that has too often been treated as an afterthought despite its enormous influence at the box office.

Hollywood has spent years discussing diversity. The Odyssey demonstrates what inclusion can look like when it moves beyond conversation and into action.

Christopher Nolan deserves credit for assembling a cast that reflects a broader range of talent without making diversity the headline. Instead, it simply becomes part of telling a richer story. That’s exactly what audiences have been asking for.

The lesson is clear. Casting a wide net that includes Latino and other actors of color in leading and featured roles doesn’t diminish a blockbuster—it strengthens it. It broadens its appeal, expands its reach, and acknowledges the audiences who have long helped make Hollywood successful.

The success of The Odyssey won’t end the conversation about representation, but it provides another data point supporting what many have said for years: when Hollywood intentionally includes Latinos on screen and in its marketing, audiences respond.

Representation isn’t charity.

It’s good storytelling.

And as The Odyssey is proving at the global box office, it’s also good business.

For marketing & box office analysis read our 1st ? The Latino Box Office Effect™ HERE

The post Christopher Nolan’s The Odyssey Rakes in $264.1 Million Opening Weekend — With Epic Latino Talent Inclusion first appeared on .

There is an interesting story unfolding behind Christopher Nolan’s The Odyssey—and it has less to do with mythology than with marketing.

For years, Latino actors cast in major studio films have often found themselves promoted almost exclusively through Spanish-language media, unless you are in the very rare of having reached heights of a Jennifer Lopez, participation in the broader publicity campaign has frequently been limited, creating the perception that Latino audiences are a niche market rather than a core part of a film’s success.

With The Odyssey, that appears to be changing.

John Leguizamo, who portrays Odysseus’s loyal swineherd Eumaeus, and Lupita Nyong’o who was born to Kenyan parents in Mexico and claims citizenship in both Mexico and Kenya, have been highly engaged throughout the film’s mainstream marketing campaign. Nyong’o was also on the mainstream talk shows Jimmy Fallon and the Jimmy Kimmel Show promoting the film.

Leguizamo has appeared alongside stars Matt Damon, Anne Hathaway, Zendaya and the rest of the cast at the New York premiere, participated in national press interviews, and joined promotional events that reach audiences far beyond traditional Latino media.

That visibility matters.

It signals that a Latino actor in a significant supporting role can be an integral part of a blockbuster’s overall marketing strategy—not only the face of its outreach to Spanish-language outlets.  They marketing power in both languages – the whole breath of the U.S. Latino audience, who according to the Latino Donor Collaborative “The U.S. Latino audience is one of the most powerful and significant economic and cultural demographics worldwide”.

Leguizamo was also involved with the promotion of this film through MiTu (NGLmitu) , a digital media company he co-founded and is a key creative force.

The collaboration between Universal Pictures and mitú was a targeted promotional campaign to build buzz for The Odyssey.

The “mitú partnership” utilized several specific creative elements to engage Latino audiences before the film’s July 17, 2026, theatrical release.

Iconic Lines in Spanish: The marketing campaign featured the stars of the movie reciting iconic or dramatic lines from the film in Spanish.

Cultural Creators & Influencers: The campaign utilized in-house mitú creators (such as Claudia Pineda) to highlight the epic themes of the film and connect them to the Latin experience

By discussing The Odyssey through a culturally relevant lens, this connects the film to an audience that has long demonstrated its value at the box office.

John Leguizamo reflect on his own odyssey in Hollywood –  fighting for Latino representation:

The numbers support paying attention. 

U.S. Latinos account for roughly 24% of all domestic movie ticket sales while representing about 19% of the U.S. population. They are America’s most frequent moviegoers, yet Hollywood has often struggled to market major films to them in authentic ways—or to include them meaningfully on screen.

Leguizamo’s involvement in the marketing campaign is particularly significant because it reflects the work of someone who has spent more than three decades pushing Hollywood toward greater inclusion. Since his groundbreaking one-man show Mambo Mouth premiered in 1991, he has consistently challenged stereotypes, explored Latino identity, advocating for broader representation across film, television, and theater. His involvement in initiatives such as NGL (New Generation Latino) and MiTu further demonstrates that his commitment extends well beyond acting.

Christopher Nolan deserves major props. At a time when many corporations have retreated from diversity initiatives, Nolan assembled an international cast that includes people of color in meaningful roles without making diversity the film’s defining message – rather being inclusive. The casting of Lupita Nyong’o has generated public pushback from conservatives, but Nolan has demonstrated the confidence to cast based on his creative vision rather than outside pressure.

Whether The Odyssey ultimately can encourage the big studio adopting the nuanced marketing of films to people of color and including them in their marketing remains to be seen. But it does present an opportunity to test a question Hollywood has been asking for years: When Latino audiences see themselves represented on screen and are intentionally included in a film’s mainstream marketing campaign, do they respond at the box office?  There have been studies by the Latino Donor Collaborative to prove that this is in fact true.  Their 2026 study foud that marketing to and representing U.S. Latinos is not a moral appeal, but a major growth strategy that unlocks significant revenue. Their 2026 data reveals that engaging this demographic is a direct path to company-level financial performance and growth.

That is precisely the question this new Latin Heat column, The Latino Box Office Effect, will explore.

Because representation is only part of the story.

The other part is investigating whether inclusion translates into audience engagement—and ultimately, into box office success.  The Odyssey is the perfect film for the case study.

The post ‘The Odyssey’ May Become Hollywood’s Next Representation Case Study first appeared on .

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

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

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

All In, All the Time

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

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

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

Stay Flexible

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

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

When Netflix Said No, AGC Said Yes

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

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

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

Actors to Auteurs: Building Careers

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

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

Art-Commerce Tightrope

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

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

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

The post Movie Miracles? No Problem: Lourdes Diaz Greenlit “Hit Man” and Broke AGC’s Own Rules first appeared on .

Ah, the American Film Market — AFM is back in California—and the industry breathes a collective sigh of relief. From November 11–16, 2025, the iconic Fairmont Century Plaza takes center stage as the new home of the American Film Market, marking a fresh chapter after two years of post-pandemic wandering in search of the perfect “sweet spot.” The move follows the extensive renovations and rebranding of the longtime Santa Monica Loews Hotel into the Regent Hotel, which left the market without its beloved base.

For 32 [!] years—1991 through 2023, with a brief COVID hiatus in 2020–2021—the Loews was AFM’s heart and soul. Its ocean breezes, walkable Promenade, and industry nostalgia made it more than a venue; it was a ritual. But in recent years, AFM found itself on the move, forced into back-to-back relocations: first to the cramped, dimly lit Meridien Delfina in Santa Monica, then to the Palms Casino Resort in Las Vegas. The return to Los Angeles, then, feels like a long-overdue homecoming. Let’s be honest—many international buyers and sellers had come to count on that “winter break” by the California coast as much as the deals themselves.

The Fairmont may lack beachfront suites, but what it offers in sophistication and scale more than compensates. With expansive indoor and outdoor meeting spaces designed to host over 260 exhibitors from 70 countries, the venue brings a sense of polish and professionalism back to the proceedings. Its enviable location—steps from the Westfield Century City mall and a short hop from Beverly Hills—will no doubt fuel the kind of serendipitous encounters and offsite meetings that helped make AFM legendary.

To ensure attendees stay focused amid the lure of LA, AFM 2025 promises a thoughtfully curated lineup. This year marks a dynamic collaboration between the American Film Market® (AFM®) and Marché du Film, spotlighting the Innovation Hub and new AI-driven programming designed to spark dialogue and discovery. Add to that a slate of AFM’s signature, information-rich conferences, and the message is clear: the market is not just back—it’s reinventing itself for the next era of global film commerce.

Here are just a few examples, for full attendance details:   https://americanfilmmarket.com/ 

Finance I – From Packaging to Payback: Investment, Incentives & International Markets

Wednesday, Nov 12 | 9:30AM – 10:30AM 

Fright Club: The Power Players Behind Modern Horror

Thursday, Nov 13 | 4:30PM – 5:30PM 
Speakers include Jake Carter, Agent, UTA, Jacob Jaffke, SVP, Oddball Entertainment (MaXXXine, Pearl); 

J.D. Lifshitz, Founder, BoulderLight Pictures (Weapons, Barbarian); Raphael Margules, Founder, BoulderLight Pictures (Weapons, Barbarian). 

AI in Action: The Platforms Transforming Filmmaking – From Creation to Distribution

Friday, Nov 14 | 9:30 AM – 10:30 AM

Latinos Navigating Hollywood: Challenges and Opportunities

Friday Nov 14 | 3:30PM – 4:30PM 

Speakers include Rafael Agustin, Writer (Jane the Virgin); Yolanda Macias, Chief Motion Pictures Officer, Cineverse

Robert Munoz, President, Mucho Mas Media; Anthony Nardolillo, Director (7^th & Union, Chicago Med); Patricia Riggen, Director (G20, Dopesick)

For more info: https://americanfilmmarket.com/

The post Welcome Home: The American Film Market Rebounds to Industry Relief first appeared on .

By Bel Hernandez Castillo

As Superman opens in theaters today, audiences will see the arrival of a new generation of DC heroes—and among them, Isabela Merced is stepping into the spotlight. The 23-year-old actress makes her debut as Kendra Saunders, a.k.a. Hawkgirl, in the latest installment of the franchise, marking her first foray into the superhero genre.

Born Isabela Yolanda Moner in Cleveland, Ohio, to a Peruvian mother and American father, Merced grew up speaking Spanish as her first language and often spent summers in Peru. Her stage name, Merced, honors her late grandmother and her family’s heritage—a gesture that reflects how deeply her culture influences her identity. She made her Broadway debut at 10 in Evita, performing alongside Ricky Martin. Shortly after, she found success on Nickelodeon, starring in 100 Things to Do Before High School.

She transitioned to feature films with roles in Transformers: The Last Knight (2017), Sicario: Day of the Soldado (2018), and Instant Family (2018). Her breakout role came in 2019 when she played the title character in Dora and the Lost City of Gold. Since then Merced has been quite busy.  In the past two years, Merced has expanded her portfolio, appearing in projects such as Madame Web, Turtles All the Way Down, and Alien: Romulus (all released in 2024).

The casting of Merced is a significant moment for representation in comic book adaptations. She becomes one of only a handful of Latina actresses to take on a major superhero role in a live-action film, joining names like Zoe Saldaña (Guardians of the Galaxy), Salma Hayek (Eternals), and Xochitl Gomez (Doctor Strange in the Multiverse of Madness).

Hawkgirl is part of director James Gunn’s new “Gods and Monsters” slate for the DC Universe, with Merced set to reprise the role in future projects. The character Hawkgirl is part of the Justice Gang, a group of corporate-sponsored heroes that don’t exactly share Superman’s morals. Hawkgirl makes the first major big-screen appearance and the buzz is that there will be more of Hawkgirl in future sequels.

Earlier this year, she joined HBO’s hit series The Last of Us as Dina, a key character introduced in Season 2. Her performance has been widely praised and is expected to continue in future seasons.

Taking Flight as Hawkgirl

In Superman, Merced’s Hawkgirl is a winged warrior and archaeologist, reimagined with organic, feathered wings and a strong physical presence. The actress underwent extensive stunt and wire work to bring the character to life and has hinted at Hawkgirl’s larger role in the DC Universe moving forward.

Merced has expressed joy about exploring the character further, including potential storylines involving Green Lantern, with whom Hawkgirl has had romantic ties in the comics.

Merced’s trajectory is poised to become a fixture in both blockbuster franchises and prestige television. In addition to her ongoing work in The Last of Us, she is expected to appear in upcoming DC films as part of Gunn’s connected universe. With a growing list of credits across genres and platforms, Merced’s transition from child star to leading actress marks her as one of Hollywood’s rising talents.

DC Studios’ Superman is a A James Gunn Film.  A Troll Court Entertainment/The Safran Company Production, which will be in theaters and IMAX® nationwide on July 11, 2025, and internationally beginning 9 July 2025, distributed by Warner Bros. Pictures.

The post Isabela Merced: Superhero Status As Hawkgirl In DC’s ‘Superman’ first appeared on .

The 2024 cohort includes five fiction film producers and five nonfiction film producers. Fellows in the Documentary Film Program include Alan Domínguez with Commerce City, Eurie Chung with Finding Má, Brenda Ávila-Hanna with How to Clean a House in Ten Easy Steps, Mars Verrone with Untitled Solidarity Project, and Jillian Schlesinger with We Are Volcanoes. Fellows in the Feature Film Program include Ivan MacDonald with Buffalo Stone, Yona Strauss with The Glob, Tara Sheffer with Rubber Hut, Mireia Vilanova with Silence Sometimes, and Carolyn Mao with Sprout.

“Amid the dynamic shifts within the film and media landscape that demand interrogation and entrepreneurial ingenuity, we’re inspired by the bold imagination in this year’s projects and by the determination and collaborative spirit of the producers behind them,” said Documentary Film Program Interim Director Kristin Feeley and Feature Film Program Producing and Artist Support Director Shira Rockowitz. “We are also grateful for the community of generous producer advisors supporting their work and careers.”

The annual Producers Lab, brings emerging fiction and nonfiction independent film producers together for networking and professional development opportunities.  The Producers Lab assists emerging independent film producers with project-specific support through one-on-one meetings and intimate group sessions with veteran producer advisors. The lab helps fellows work on their creative instincts and problem-solving skills and to develop strategies for pitching, financing, production, navigating the marketplace, and sustainability. Fellows also receive year-round mentorship from experienced advisors. 

The 2024 advisors for the  Documentary Producers include Daniela Alatorre (Igualada), Jess Devaney (Power), Lauren Domino (American Symphony), Andrea Meditch (Fathom), and Tracy Rector (PILI KA MO’O). The 2024 Feature Film Producers Lab advisors are David Hinojosa (Past Lives), Julie Lynn (Mother and Child), Dan Janvey (Nomadland), Laura Kim (Marketing Executive), and Christopher Tricarico (Tricarico Chavez LLP).

Projects and Fellows selected For the 2024 Sundance Intitute Producers Lab:

DOCUMENTARY FILM PROGRAM

Alan Domínguez, a Chicanx border crosser since birth, is Denver-based with Nuevo Mexicano roots. His films gravitate toward the unique cultural fabric and social landscapes of the Southwestern United States. He recently co-directed and produced for American Masters’ In the Making series. The project, Commerce City (U.S.A.): A visually striking portrait of the daily life and resilience of the Latinx residents of Commerce City, Colorado — one of the most polluted zip codes in the United States.

Eurie Chung is a Peabody Award–winning documentary producer focused on elevating Asian American stories. Leading Flash Cuts with Walt Louie, she has supported filmmakers for over 15 years. Her work includes Asian Americans, a five-part PBS docuseries, and she is currently in post-production on Third Act. The project, Finding Má (U.S.A.): After 20 years apart, a Vietnamese American family shattered by the foster care and prison systems reunites to heal old wounds and rebuild their family, starting with finding their unhoused mother in the streets of Sacramento.

Brenda Ávila-Hanna is a Mexican filmmaker and educator whose work connects to the complexities within transnational identities and communities. She is a recent JustFilms fellow and a DOC NYC “Documentary New Leader.” She is a board member of the Watsonville Film Festival and a professor at UC Santa Cruz. The project, How to Clean a House in Ten Easy Steps (U.S.A.): A domestic worker and her filmmaker daughter co-create the fictional character of a writer to uncover the slippage between truth and fantasy in a hybrid documentary that tells a story about immigration, labor, dreams, and the power of fiction to spark emancipation.

Mars Verrone is a filmmaker based in Brooklyn, New York. Verrone produced the feature documentary Union, which premiered at the 2024 Sundance Film Festival and won a Special Jury Award. They are an NBC Original Voices fellow, a PGA Create fellow, and a BGDM Sustainable Artist fellow.  The project, Untitled Solidarity Project (U.S.A.): A mosaic portrait of the Teamster labor union’s massive campaign to organize 350,000 UPS workers across the United States in a collective fight for dignity and safety on the job. 

Jillian Schlesinger is an independent creative producer whose work accompanies emerging visionaries on collaborative filmmaking adventures. Past projects include Hummingbirds (2023 Berlinale Generation Grand Prix, POV) and Maidentrip (2013 SXSW Audience Award, Indiewire’s “Best Documentaries of 2014”). The project, We Are Volcanoes (Hong Kong)

FEATURE FILM PROGRAM

Ivan MacDonald, 2024 Mark Silverman Honoree, is an Emmy Award–winning filmmaker and an enrolled member of the Blackfeet tribe. His work has been supported by Sundance Institute, The Redford Center, and the International Documentary Association. The project, Buffalo Stone (U.S.A.): Two estranged Blackfeet sisters reunite after their mother’s death to return buffalo to their reservation, a bold effort that forces them to confront their shared history and inspire healing.

Yona Strauss is an independent film producer who works with emerging directors and champions bold, original stories. Her debut feature, Haya Waseem’s Quickening, premiered at TIFF 2021. She is currently in post-production on Dead Lover, the sophomore feature from Grace Glowicki. The project, The Glob (U.S.A./Canada): Three childhood best friends reunite on vacation at a luxurious villa to relax and reconnect, but the property’s owner, Isabella, and a mysterious celestial object, The Glob, have other plans for them.

Tara Sheffer is a filmmaker from Arkansas with an MFA from NYU Tisch. She has produced 25+ short films that have played in competition at SXSW, Clermont-Ferrand, Palm Springs Shorts Fest, Champs-Élysées, New Orleans, and others. She is a 2024 Gotham/Rotterdam Producing fellow. The project, Rubber Hut (U.S.A.): Rhode Island, 1992. An entrepreneurial ex–Pan Am stewardess opens a drive-thru condom shop in her Italian Catholic town. Overnight, Emanuella DelVecchio becomes the local lightning rod, a radical hero to the neighborhood teens and an unlikely threat to her tight-knit community.

Mireia Vilanova is a producer from Barcelona based in Los Angeles. Her work has been featured in festivals including Tribeca, Santa Barbara, and Outfest. A graduate of USC’s Peter Stark Producing Program, she is a Berlinale Talent, a PGA Create fellow, a Film Independent Project Involve fellow, and BAFTA Connect member. The project, Silence Sometimes (U.S.A./Spain): In this animated feature, Silvia, a flower shop owner, leads a lonely life to protect people from her mysterious condition: Everything she touches becomes unable to produce sound. But her world changes once she meets Marco, a talented musician.

Carolyn Mao is a filmmaker who produced writer-director Kate Tsang’s debut feature, Marvelous And The Black Hole (2021 Sundance Film Festival), funded through AT&T/Tribeca Films Untold Stories. She is an alum of Sundance Institute’s Catalyst program, the Cannes Producer Network, Film Independent Producing Lab, and Project Involve. The project, Sprout (U.S.A.): A fantastical tragicomedy about a workaholic auctioneer who, on the verge of the biggest opportunity of her career, receives an alarming diagnosis: she’s turning into a tree. And, the only hope for a cure lies with the estranged adult children she abandoned years ago.

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The nine minutes standing ovation of French director Jacques Audiard’s latest film Emilia Perez at the Cannes Film Festival is a tribute to the Audiard’s vision and the three leads Karla Sofia Gascòn, Zoe Saldaña, and Selena Gomez who not only act in Spanish, but also dance and sing – it is a musical after all.

Emilia Perez is a film about cartel drug kingpin Juan “Manitas” del Monte’s  gender transformation into an elegant Spanish lady. It deals with heady topics like drugs, violence and psychology issues and at the end of the day, what money can, or cannot buy.  Saldaña plays Rita Moro Castro, a lawyer who is tasked with handling the legal matters of Manitas’ big shift from cartel kingpin to the women he has always been.  Selena Gomez plays Manitas’ wife Jessi, who after all is said and done, rekindles a relationship with a shady character, Gustavo (Édgar Ramirez) which just might unravel Emilia’s carefully laid family arrangements.

Gascòn, like her character in the film, is Spanish and also a trans woman in real life. This is the first film she has starred in as an actress after announcing her transition in 2018. Before that, she had a long career as a male actor.

Jacques Audiard was inspired for the idea of the musical from a chapter in a novel he read during the pandemic about a drug trafficker who yearns to change his identity.

Saldaña in the role of the lawyer gets to go back to one of her first artistic art forms of expression, dance. She has several dance numbers she performs in Emilia Perez as well as singing a couple of songs.  As for acting in Spanish, she is she is fluent. Although born in Passaic, New Jersey, when she was 10 years old her family moved back to the Dominican Republic for seven years.

Gomez, on the other hand told Vanity Fair in a recent interview, that the “Scariest thing was speaking in Spanish, for sure,” but what she ended up realizing, while singing in Spanish in the film, is that she sings better in Spanish than speaking it.

Audiard (winner of the Palme d’Or with Dheepan in 2015) started writing the film during the pandemic, after being inspired from a chapter in a novel about a drug trafficker who yearns to change his identity. The film has emerged as one of Cannes 2024’s biggest hits among critics and audiences alike.

Emilia Perez takes place in Mexico but was filmed mostly in France with a few location shoots in Mexico.  The film is set to release August 28, 2024

The post Zoe Saldaña, Selena Gomez and Karla Sofia Gascòn in ‘Emilia Perez’ Take Cannes by Storm first appeared on .

The Mexican-American Cultural Education Foundation (MACEF), a 501c3 organization, proudly announces the upcoming 3rd edition of the Mexican-American Film & Television Festival (MAFTF) slated for April 20 – 21, 2024, at the prestigious Harmony Gold Theater in Hollywood. Marking 2024 as the “Year of the Mexican-American/Chicana Filmmaker,” MAFTF will honor accomplished individuals whose groundbreaking contributions have significantly impacted the entertainment industry.

In a dedicated effort to celebrate diversity and inclusivity within the cinematic landscape, MAFTF will pay tribute to four remarkable women during this year’s festival:

• Ivett Merino: Renowned producer, and Oscar Winner for the Academy Award winning film Encanto. Will received the Prestigious MACEf’s President Award.
• Eva Longoria: Her feature film directorial debut of Flamin’ Hot became the highest streaming movie from Searchlight ever and she made the Hollywood Reporter’s Forces for Change Power List for 2023.
• Patricia Riggen: Esteemed director, will be honored with the Trailblazer in Directing Award, known for her work on “Miracles From Heaven.”
• Josefina Lopez: Celebrated playwright and screenwriter, will be honored with the Excellence in Writing Award.
• Bel Hernandez Castillo: Noteworthy journalist and publisher, recognized for documenting the Latino Hollywood success in her publication, Latin Heat.

While embracing the evolving landscape of the entertainment industry, MAFTF seeks to acknowledge the vital role that Chicanas have played in shaping cinematic narratives. Despite Mexican-Americans constituting nearly 70% of all Latinos in the U.S., their contributions have often gone untold and unrecognized.

The festival’s mission is to provide a platform for Mexican-American/Chicano filmmakers to showcase, promote, and celebrate their creative talents. By fostering an environment of networking and support, MAFTF aims to bridge the gap between filmmakers and Hollywood executives, fostering opportunities beyond stereotypes.

The demand for the festival is evident, with over 150 submissions, including feature films, shorts, documentaries, and TV projects, reflecting a diverse range of themes. These stories address identity, high school angst, love, animation, relationships, immigration, marriage, and more, contributing to a vibrant showcase either in-person or virtually over the two-day event.

Statistics from the 2022 Latino Donor Collaborative Media Report emphasize the underrepresentation of Latinos on screen, despite their significant contribution as avid TV consumers and high movie ticket purchases. MAFTF provides a platform for Mexican-American/Chicano filmmakers to share stories that resonate with their communities.

With only 6% of speaking characters on screen being Latino, as reported by USC’s 2023 Annenberg Inclusion Initiative study, MAFTF stands as a crucial initiative in amplifying diverse voices in the film industry.

MACEF President and Founder, Dr. Jose Luis Ruiz, emphasizes the importance of representation, stating, “Our goal is to turn this trend around. This will not change unless we create the change.”

The festival will honor its distinguished recipients, Patricia Riggen, Josefina Lopez, with retrospective screenings of their impactful projects, Under The Same Moon and Real Women Have Curves respectively. As in previous years  MAFTF prestigious panels of judges lead by Festival Awards Director Jerry Velasco and award-winning film and television director, Jesus Trevino will choose among the 150 submission the best in 10 competition categories, including Best Film, Best Director, Best Short Film, Best TV Series, Best Male Actor, Best Female Actress, Best Screenplay for Film, Best Musical, and Best Screenplay for TV.

The two day festival will culminate with the star studded, red-carpet and Oscar styled  “Illustrious Award”, where winners and honorees will receive their awards in front of 350 colleagues and movie lovers, taking place on April 21st at 6 PM, capping the festivities.

Film submissions are still being accepted, with a deadline of January 31, 2024. For more information about the 2024 MAFTF, and to purchase tickets, visit www.MexAmCEF.org.

Mexican American Cultural Education Foundation’s mission is to change the negative narrative of Americans of Mexican descent by highlighting their stories and their positive contribution to the U.S. For more information about the 2023 MACEF Film Festival, www.MexAmCEF.org.

The post The Mexican-American Film & Television Festival Honors Mexican-American/Chicana Filmmakers in its 3rd Edition first appeared on .

Joining the exclusive ranks of Rita Moreno, a Puerto Rican trailblazer, and Lupita Nyong’o, today Oscar nomination of America Ferrera makes a notable dent in the lack of diversity for Latinos in Hollywood.

Ferrera’s nomination not only celebrates her exceptional talent but also symbolizes a positive shift in the industry’s recognition of Latinx performers. Known for her impactful roles in projects like Real Women Have Curves and Ugly Betty, Ferrera has consistently broken barriers and challenged stereotypes.

Ferrera’s journey reflects the increasing acknowledgment of diverse voices in the entertainment world. Her presence in the Oscar nomination list is a testament to the importance of representation and the ongoing efforts to promote inclusivity in the film industry.

In a landscape where Latinx representation remains a crucial topic, America Ferrera’s Oscar nomination stands as a beacon of inspiration, paving the way for more Latinx talent to be recognized and celebrated on the grand stage of the Academy Awards.

This year Latinos were also nominated in various categories either for individual statues, or as part of a team.

ACTOR IN A LEADING ROLE

Colman Domingo
Rustin

ACTRESS IN A SUPPORTING ROLE

America Ferrera
Barbie

AIMATED FEATURE FILM

Robot Dreams
Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz

CINEMATOGRAPHY

Killers of the Flower Moon
Rodrigo Prieto

MUSIC (Original Song)

“The Fire Inside” from Flamin’ Hot
Music and Lyric by Diane Warren – Performed by Becky G

MAKEUP AND HAIRSTYLING

Society of the Snow
Ana López-Puigcerver, David Martí and Montse Ribé

The 96th Oscars will be broadcast on Sunday, March 10, 2024 on ABC. Those without access to ABC can still watch the Oscars live with streaming services that offer live television, including Hulu + Live TV, Sling TV and FuboTV

The post Latino Oscar Nominees 2024 first appeared on .

Thirty years ago, Hollywood Pictures quietly released the film Blood In Blood Out, directed by Academy Award-winning director Taylor Hackford, as an ode to the Chicano barrio in 1993. The making of this cult film, loved by fans worldwide, is the topic of a new book by the same name, Blood In Blood Out, commemorating the film’s 30th anniversary with a book launch at Cal State LA University in Los Angeles. The all-day event will culminate with a screening of the film, and Enrique Castillo’s character, Montana, often described as the conscience of the film, will live to see another day on screen.
 

 
Carlos Aguilar wrote in an LA Times article earlier this year, “Akin to ‘The Godfather’ in its scope and themes, Blood In Blood Out, which turned 30 this year, stumbled at the box office but was saved from obscurity by fervent Latino audiences, who reclaimed it as a cornerstone of their representation in cinema.”
 
In the ensuing thirty years since its release, the film has only grown in popularity, amassing millions of fans nationally and internationally. The fans, who have grown up watching it on DVD or online, and passing on the tradition to their kids, have kept the film very much alive for thirty years. Blood In Blood Out has become a cult film akin to The Rocky Horror Show in that fans memorize the words to the film and recite their favorite character’s lines.
 
“The enduring legacy of Blood In Blood Out is a tribute to everyone involved in making it happen,” said Castillo.  “I consider myself fortunate to have been a part of it.”
 
Members of the all-star cast will be in attendance to celebrate the book launch and attend the screening, which will be the first time since the film’s release it has been shown on a big screen. Over 15 original cast members, including Benjamin Bratt, Jesse Borrego, Danny Trejo, and Castillo, will be in attendance at the festivities.  Tickets for the screening sold out within 24 hours.
 
Castillo’s role in Blood In Blood Out has not only etched a permanent mark in the realm of classic L.A. cinema but also garnered him a devoted following both in the US and as far as Holland and Nigeria. His portrayal of Montana is often likened to iconic characters in cinematic history, showcasing the depths and nuances of the Chicano experience. In Vincent Canby’s review of the film in The New York Times, he exalts some of the characters in the film, particularly Castillo’s performance of Montana.
 
The release of this book will now serve as a testament to the film’s lasting legacy. The screening will serve as the film’s premiere which it never had due to Hollywood Pictures scaling back on the release in 1993 due the climate of civic unrest at the time. 
 
The limited-edition book is published by Hat & Beard Press and co-authored by Academy Award-winning director Taylor Hackford (Ray, The Devil’s Advocate), screenwriter Jimmy Santiago Baca, on-set photographer Merrick Morton, and the late Chicano artist Adan Hernandez.  It chronicles their deeply personal journey to bring Blood In Blood Out to the screen. It features a foreword by groundbreaking Chicano writer/director Luis Valdez (La Bamba, Zoot Suit) and includes insights from Hackford, Baca’s powerful new poems inspired by the film, and a wealth of behind-the-scenes content. The presence of Castillo at the event adds a layer of authenticity and connection to the film’s legacy, especially for those inspired by his portrayal of Montana.
 
This anniversary event, alongside the book release, serves not only as a celebration of a film that resonated strongly with Latino audiences but also as a homage to actors like Enrique Castillo, whose performances have left an indelible impact on viewers and the cinematic landscape. The overwhelming response to the event, with 2,000 tickets claimed within 24 hours, reflects the enduring influence of Blood In Blood Out and the actors who brought its story to life.
 

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