Bel Hernandez Castillo

After five years in the making, the award-winning documentary Ugly Little Monkeys is entering its next chapter—on its own terms.

Directed by David E. Valdez and Enrique Castillo, the documentary has enjoyed a successful film festival run, earning multiple honors including Best Directors and Best Documentary. Now, rather than following a traditional distribution path, the filmmakers have chosen a strategy that reflects a growing movement among independent creators: owning their distribution and maintaining direct control over their audience.

Ugly Little Monkeys, the documentary that chronicles the birth of the youth mariachi movement in the United States, begins its distribution journey today.

Maintaining control of their documentary’s distribution was important to Valdez and Castillo, so they chose OnTheHiway, a global streaming platform that allows filmmakers to manage their own releases while retaining ownership of audience data and revenue streams.

OnTheHiway does indeed provide the tools for filmmakers to control their distribution, audience data, pricing, and revenue streams –  however it does not automatically provide the audience, marketing, or discoverability that traditional distributors sometimes bring.

Unless you are a big studio film, the marketing and distribution usually falls on the filmmakers. No streaming platform, distributor, or VOD service can provide the one thing every film needs most: audience awareness. Distribution makes a film available. Marketing makes it discoverable.  

According to Jon Reiss, distribution strategist and author of Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era, “50% of your time and resources should go into connecting that film to an audience. In today’s crowded content landscape, discoverability has become one of the greatest challenges facing independent filmmakers. A film cannot succeed if audiences don’t know it exists.”

He argues that filmmakers must stop viewing distribution as a post-production task and instead build audience engagement into the filmmaking process from the beginning.

Castillo and Valdez understood early in the production process that audience-building begins long before a film reaches distribution. One of their most strategic decisions was inviting Academy Award-nominated actor, director, and producer Edward James Olmos to join the project as Executive Producer. Having worked together with Olmos on several film and television projects, Castillo knew that Olmos not only shared a passion for preserving Latino cultural heritage but also brought immediate credibility and visibility to the documentary.

Olmos’ involvement became a valuable marketing asset throughout the film’s journey. His name help attract attention to the project from its earliest stages, while his continued support has helped raise the documentary’s profile among both industry professionals and general audiences. Today, Olmos introduces the film on its streaming platform release, lending his voice and endorsement to the project. He has also participated in key screenings, including a high-profile presentation at the Directors Guild of America in Los Angeles, helping generate awareness and audience engagement.

For independent filmmakers, the lesson is clear: marketing is not something that begins when a film is finished. By intentionally building relationships, securing influential advocates, and creating promotional opportunities throughout production, filmmakers can lay the foundation for a successful release long before distribution begins.

Highlighting other choices that added to the storytelling of the documentary included reaching out to artists and talents who could speak to the context of the documentary or in some cases, first hand to the storyline of an Irish Catholic priest who gathers a handful of small town kids and forms the first youth mariachi group in the United States. Those interviews are some of the key elements that now serve to market the film among not just in the U.S. but worldwide.  

• Within the first five minutes of the documentary, mariachi music is established as a worldwide phenomenon through a montage of mariachi ensembles performing the classic “La Negra” in Japan, Italy, Poland, the United Kingdom, Croatia, Portugal, China, and New Zealand. Their participation later helped generate screenings of the documentary through Mexico’s Consulates in their respective countries.

• The interview with Grammy Award-winning singer-songwriter Linda Ronstadt provides one of the documentary’s most insightful perspectives, having grown up in Tucson and knowing about the Changuitos Feos/The Ugly Little Monkeys. Ronstadt helped introduce mariachi music to mainstream American audiences through her landmark album Canciones de Mi Padre, which became one of the best-selling non-English-language albums in U.S. history.

• The interview of Grammy Award winning Ruben Fuentes, a legend in Mariachi music and musical director of the world famous Mariachi Vargas the Tecalitlán.  He also was a producer of Ronstadt ‘s Canciones de Mi Padre.  He was interviewed at his home in Mexico City before his passing.  He credited Los Changuitos Feos—The Ugly Little Monkeys—with helping popularize and elevate mariachi music throughout the United States while introducing generations of audiences to the artistry of Mariachi Vargas.

• Adding to all this, Co-director Enrique Castillo who is also an actor, narrated the documentary. Castillo’s recognizable voice and decades-long acting career, most notable as Montana in Taylor Hackford’s Blood in Blood Out, have also become valuable promotional assets, drawing audiences to screenings where he regularly participates in post-film discussions and Q&A sessions.

• A special screening in Tlalpan, Mexico, hosted by the Mexican Consulate, demonstrated the film’s international appeal. Audiences enthusiastically embraced the story of a youth organization that helped preserve and expand Mexican culture in the United States and beyond. The reception has already opened doors for additional screenings throughout Mexico.

At every the screenings what resonates with audiences is the storytelling.  Ugly Little Monkey tells the story of a group of young boys from Tucson, Arizona, some who didn’t even know Spanish or how to play an instrument, who then went on and became world class musicians and singers in spite of the obstacles.

Several of the members of the group grew up to lead world class Mariachi groups of their own, one of those groups is the renown Mariachi Cobre that has been playing at Epcot Center in Orlando, Florida for over 30 years.  Several other members went on to teach Mariachi music at schools and universities.

We experience the story through the eyes of the one-time innocent kids, now grown men, who share their unforgettable journey about an Irish Catholic priest who gathers a handful of small town kids, some as young as nine years old and forms the first youth mariachi group in the United States. A priest who brought much joy and pain to their journey.  Through all the music, the magic, the pain and the triumph, it is the music that triumphs. 

More than simply documenting a musical ensemble, Ugly Little Monkeys explores how mariachi became a bridge between cultures, communities, and countries. Through performances and interviews, the film demonstrates how youth mariachi programs have flourished across the United States and beyond, inspiring young musicians while preserving an important cultural tradition.

For Valdez and Castillo, the journey of Ugly Little Monkeys is far from over. Through a combination of direct-to-consumer streaming, community screenings, and international cultural partnerships, the filmmakers are demonstrating that independent documentaries can find audiences while retaining ownership of their story.

The marketing of the film continues, even after its streaming premiere, through screenings.  One of the most significant upcoming public screenings will take place at LéaLA, the largest Spanish-language book fair and literary festival in the United States. Open to the public, this special community screening will take place on September 24 at LA Plaza de Cultura y Artes in Downtown Los Angeles as part of the festival’s programming. Adding to the celebration will be a performance by the members of the current Changuitos Feos/Ugly Little Monkeys mariachi group. The group will be flown in from Tucson to perform live for attendees.  

This screening represents precisely the kind of strategic audience development that independent filmmakers increasingly rely upon—bringing the film directly to communities already invested in its subject matter. 

In many ways, the path chosen by Ugly Little Monkeys mirrors the message at the heart of the film itself: preserving cultural traditions while creating new opportunities for future generations. By embracing innovative distribution models and continuing to engage audiences in person, the filmmakers are ensuring that the legacy of the Original Changuitos Feos/Ugly Little Monkeys—and the enduring power of mariachi music—will continue to resonate for years to come.

While many filmmakers wait until a film is completed to think about distribution, Ugly Little Monkeys demonstrates the value of building audiences throughout the production process. Every interview, festival appearance, community partnership, and cultural connections became part of a long-term marketing strategy that is now helping the film reach audiences around the world.

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The Dreamer Cinderella opens on January 23, 2026 in theaters nationwide, marking a major milestone for this bold indie romance with a studio-scale theatrical rollout. The Dreamer Cinderella marks the highly anticipated theatrical debut of a powerful new indie feature, arriving in cinemas nationwide. The film stars Tara Reid,Anakaren Chablé, Anthony W. Preston, Paul Rodriguez, Victoria Del Rosal, and Paul Johansson, bringing together a cross-generational ensemble of recognizable talent and emerging voices.

The film’s official World Premiere screening is on Wednesday, January 21st. Although it is already sold out, the producers are having local red carpet screening available for the public to attend, adding to the excitement of the opening week celebration. All audiences are invited to a red-carpet, Hollywood style screening at several locations at the following theaters (some cast will be in attendance).

Local red carpet premieres that have tickets available include (CLICK HERE Purchase tickets):

Tuesday, January 20 – Fresno, Maya Cinemas

Thursday, January 22 – Norwalk, Milagro Cinemas

Saturday, January 24 – Chino, Maya Cinemas

Sunday, January 25 – Las Vegas, Maya Cinemas

The producers also invite the public to support The Dreamer Cinderella beginning January 23rd at the following locations: CLICK HERE TO Purchase your ticket

? SOUTHERN CALIFORNIA

• Cinépolis Cinemas Pico Rivera
• Milagro 8 – Norwalk, Los Angeles, CA
• Regency Theatres Van Nuys Plant – Los Angeles, CA
• Regency Commerce 14 – Los Angeles, CA
• Maya Cinemas Chino 8

? CENTRAL CALIFORNIA

• Maya Cinemas Fresno 16
• Maya Cinemas Bakersfield 16
• Maya Cinemas Delano 12

? NORTHERN CALIFORNIA

• Maya Cinemas Pittsburg 16
• Brenden Theatres Modesto 18
• Maya Cinemas Salinas 14

? TEXAS

• City Base Cinemas – San Antonio, TX
• Santikos Casa Blanca – San Antonio, TX
• Premiere LUX Cine 17 IMAX – El Paso, TX
• AMC Gulf Pointe 30 – Houston, TX
• AMC Willowbrook 24 – Houston, TX

? LAS VEGAS

• Maya Cinemas North Las Vegas, NV

? FLORIDA

• AMC Hialeah 12 – Miami–Fort Lauderdale, FL
• AMC Tamiami 14 – Miami–Fort Lauderdale, FL

Written and directed by Dr. Jose-Luis Ruiz, The Dreamer Cinderella centers on Xochitl, a Mexican-American fruit vendor whose life is unexpectedly transformed when she becomes the focal point of a high-stakes bet between two rival film directors. Blending romance, social commentary, and industry satire, the film explores themes of ambition, visibility, and who gets to be seen—and valued—within Hollywood and beyond.

The film’s nationwide theatrical rollout underscores a growing appetite for culturally resonant, audience-driven independent cinema. Members of the media are invited to attend the red-carpet premiere and participate in exclusive interviews with cast and filmmakers, spotlighting the film’s message, cultural impact, and journey from grassroots development to wide theatrical release.

Community is invited to help make this a boxoffice success. Latinos have the power as they are the #1 film going audience.

The post ‘The Dreamer Cinderella’ Rom-Com Opening Week is Here! 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 .

EXCLUSIVE: Dr. Ruiz Productions and Atlas Distribution Company have set January 23, 2026, as the official nationwide release date for The Dreamer Cinderella, the highly anticipated romance drama marking Dr. Ruiz Productions’ first-ever feature film.

The partnership represents a major milestone for the emerging production company as it expands into theatrical distribution with a story that celebrates perseverance, cultural identity, and the power of dreams.

“The Dreamer Cinderella is a beautifully crafted and deeply uplifting film that captures the wonder, courage, and faith that inspire audiences of all ages,” said Harmon Kaslow, President of Atlas Distribution Company. “It’s rare to see a story that blends timeless fairytale magic with such emotional truth and authenticity. Atlas is proud to bring this extraordinary film to theaters and into the hearts of moviegoers everywhere.”

About the Film

Blending the emotional resonance of Under the Same Moon with the transformational charm of My Fair Lady, The Dreamer Cinderella centers on Xochitl, a Mexican-American street fruit vendor whose life changes when a powerful film director, Andrew Goldblum (Anthony W. Preston), makes her the subject of a risky bet with his career rival.

Xochitl, played by AnaKaren Chable. is thrust into a world far removed from her own—one she perceives as hostile. What begins as a challenge quickly becomes a clash of cultures, paving the way for new friendships, surprising rivalries, and the pain of family separation — life-altering consequences.

A feel-good, Cinderella story for the whole family, the film explores the untold stories of hardworking street vendors who are too often overlooked, with the added topics of cultural bias, self esteem, immigration, DACA, and the pain of families separated.

Director’s Statement

“We are beyond thrilled to partner with Atlas Distribution Company to bring The Dreamer Cinderella to theaters,” said Dr. Jose-Luis Ruiz, who wrote, directed, and produced the film. “This story is a love letter to the immigrant experience — to the dreamers, workers, and families whose resilience and courage often go unseen. Our goal has always been to create films that reflect real lives and inspire hope, and we can’t wait for audiences to see themselves in this story.”

Dr. Ruiz Productions is a Los Angeles–based production company dedicated to creating inspiring and culturally resonant stories that celebrate humanity, perseverance, and emotional truth. With a focus on powerful narratives and meaningful representation, Dr. Ruiz Productions continues to champion independent filmmaking with heart.

The Dreamer Cinderella opens in theaters on January 23, 2026.

The post EXCLUSIVE: Atlas Distribution to Release Dr. Ruiz Productions’ Debut Feature ‘The Dreamer Cinderella’ in Theaters January 23, 2026 first appeared on .

Add it to your watchlist, stream it on release day, and tell your friends. Let’s make some noise for this joyful rom-com and show the industry that Latino voices, Latino love stories, and Latina creators belong front and center in Hollywood.

A Dream Decades in the Making

This is not just another rom-com. Say a Little Prayer is one of the very few romantic comedies written and produced by Latina women—a long-awaited project that writer-producer Nancy De Los Santos has been working to bring to life for over 20 years. Inspired by her grandmother’s advice to pray to St. Anthony, the patron saint of lost things, because her “husband was lost” when she was still unmarried at 35, the film mixes humor, heart, and tradition into a story that feels both timeless and fresh.

For De Los Santos, this premiere is the culmination of persistence and passion. Latina romantic comedies are still a rarity in Hollywood, making this wide release especially meaningful. Produced by Cristina Nava of Migrant Filmworks, with Edward James Olmos and Luis Fonsi also on board as executive producers, the film delivers a joyful, authentic Latina perspective rarely seen in mainstream rom-coms.

Directed by Patrick Perez Vidauri, the film follows three inseparable best friends—Adela (Vannessa Vásquez), Ruby (Jackie Cruz), and Cristina (Vivian Lamolli)—who recite an ancient prayer to St. Anthony in their quest for true love. But what begins as a playful ritual turns into a whirlwind of unexpected events that test their friendships and transform their lives.

“Romantic Comedies are making a comeback,” said director Vidauri. “Audiences want to see beautiful people falling in love. Especially in a place as cinematic as San Antonio, with it’s one-of-a-kind Tejano culture.”

Adding star power and musical magic, Say a Little Prayer also marks the acting debut of Grammy Award–winning superstar Luis Fonsi (“Despacito”), who not only stars in the film but also contributes the original song “Prayer in Your Eyes,” co-written with Grammy-winning songwriter Josh Kear. The ensemble cast includes Mexican acting legend Angélica María (House of Flowers), Tatanka Means (Killers of the Flower Moon), and Chris Kattan (Saturday Night Live).

For the filmmakers and Latino audiences, this is more than just a movie—it’s proof that audiences want diverse stories on screen. But it will take audiences who love rom-com movies and who want to see Latinas on screen to watch the film and make sure to share and to support Say a Little Prayer. This is a powerful way to support Latina storytellers and open the door for more projects like this to be made.

Samuel Goldwyn Films is a major, independently owned, and operated motion-picture company that develops, produces, and distributes innovative feature films.

The post With A ‘Prayer’ and Luis Fonsi This Rom-Com Hits Streamers and VOD Sept 26th first appeared on .

Before Sex and the City defined women’s friendship on screen, a group of Latina creatives in Los Angeles were already breaking ground with their own unapologetic, vibrant take on love, sex, and sisterhood. For those of you who missed it back then, or weren’t born yet (yes it’s been around a while but still fresh and relevant), Luminarias (1999) the first Latina chick rom-com, is now streaming on Amazon Prime Video During Hispanic Heritage Month, offering audiences a chance to rediscover a trailblazing piece of cinema.

Written by acclaimed playwright and actress Evelina Fernández and directed by José Luis Valenzuela, Luminarias brought together a dynamic cast including Marta Dubois (Star Trek: Next Generation), Angela Moya (Zoot Suit), Dyana Ortelli (Legends of Evergreen Fields, Rocket Power), Robert Beltran (Star Trek), Geoff Rivas (Blood In Blood Out, La Bamba) Cheech Marin (Primos, Born in ELA), and Scott Bakula (NCIS: New Orleans). The film centers on four professional Latinas who gather at an East Los Angeles restaurant—fittingly named Luminarias—to share their truths about careers, relationships, family, and, yes, sex.

Dubbed the “Latina Sex and the City of the West Coast,” the film was ahead of its time in representing Latina women not as stereotypes, but as complex, independent, and funny protagonists with agency over their love lives and ambitions.

For many in the Latino community, Luminarias was more than just a film; it was a cultural touchstone. It reflected the realities and aspirations of women often invisible in Hollywood stories, while celebrating East L.A. as a vibrant hub of community, friendship, and identity.

Now, 25 years after its original release, the film is finding a new audience on streaming. Its return couldn’t be more fitting for Hispanic Heritage Month, inviting a new generation to experience this groundbreaking and entertaining work that helped pave the way for greater representation in Hollywood.Whether you’re revisiting it or discovering it for the first time, Luminarias is a must-watch reminder that Latinas have always had the ganas, humor, and brilliance to tell their own stories.

The post ‘Luminarias’ — The 1st Latina Chick Rom-Com Streams On Amazon During Hispanic Heritage Month first appeared on .

Inspired by true events, City of Dreams, directec by
Mohit Ramchandani follows Jesús, a young Mexican boy whose dreams of becoming a soccer star are shattered when he’s trafficked across the border and sold to a sweatshop making fast fashion in downtown Los Angeles. Thrust into a world of exploitation and despair, he’s forced to adhere to the grueling work schedule dictated by El Jefe, a boss who promises freedom for those who complete their quotas. Despite Jesús’ hellish existence, he finds solace in Elena, a girl who was similarly betrayed and sold into slavery. When she goes missing and another co-worker Carlitos is severely beaten, Jesus realizes that the only way to save himself and the others is to fight back, even if it costs him his life.

The theme song, penned by hall-of-fame songwriter Linda Perry and performed by world-renowned super star artist Luis Fonsi, adds a layer of emotive depth. Fonsi, the artist behind Despacito, the most streamed song in history, lends his vocal prowess to the film, resonating with audiences globally.

The film also stars Jason Patic, Paulina Gaitan, Diego Calvo (pre Babylon) and is produced by
Matthew Diezel, Jon Graham, Rufus Parker, Mohit Ramchandani, Sean Wolfington.

Lopez’ career is on the rise. Since filming City of Dreams, he has already done four other movies in Mexico and is currently in pre-production for his next film.

Here is our Hollywood Talks with Ari Lopez interview.

The post Ari Lopez’ On The Rise With His First Leading Role in City of Dreams first appeared on .

The Border Patrol truck snuck up behind us, flashing its red lights. We stopped on the dirt road, wondering why we were being pulled over. 

It was around 10 a.m. on August 14, 2024, and we were a few miles from the border wall. Our documentary film crew woke early to capture the sunrise at the border wall and spent the morning filming. For the past year, we have been taking trips to document the humanitarian work of Green Valley-Sahuarita and Tucson Samaritans on the Arizona border.  

Our SUV belonged to the Green Valley-Sahuarita Samaritans and was marked with the organization’s logo—a white cross on a red background. Pastor Randy Mayer, co-founder of the Green Valley-Sahuarita Samaritans—had been driving and escorting our three-person film crew, which consisted of myself–one of the film directors—bestselling author Reyna Grande, who is one of our executive producers, and another crew member, who wishes to remain unnamed. 

On our way back from the border wall, we passed a Border Patrol (BP) truck along Tres Bellotas Ranch Road. We waved to the officer from our easily identifiable SUV. He did not wave back. A customary, cordial, and unspoken practice between the humanitarian aid volunteers and the BP is to wave, stop, and report any sightings of stranded migrants at the end of the wall, then continue. Volunteers’ mission is to save lives, and the BP is there to apprehend migrants, although they save lives, too. 

Soon after the BP officer stopped us, a loud helicopter circled above us. The officer approached our SUV. “Are you all United States citizens?” he asked.

We all answered affirmatively. The officer asked Pastor Randy to exit the car and grab the keys. The pastor immediately told him that his passengers were documentarians. 

“Why are you stopping us?” I demanded.

“Vehicle inspection,” he said.

The officer ordered Pastor Randy, a white man, to open the back hatch of the SUV, and once he inspected our belongings, he slammed it shut. We could no longer hear them, and my apprehension grew.  

After more than a year of filming in the Sonoran Desert, our documentary was nearing the end of production. 

This past year has been one of the most historic times at the southern border. Thousands of migrants from all over the world were seeking asylum in the U.S. Our cameras captured the mass migration and interviewed asylum seekers from Sudan, Guinea, Morocco, India, Turkey, Russia, China, Mexico, Venezuela, and other countries throughout Central and South America. We filmed mainly on the Arizona side of the U.S.-Mexico border. 

The overwhelming majority of the volunteers at this stretch of the border, the Tucson sector, which is considered the deadliest land crossing in the world, are older White Americans. The Samaritans range in age between 60 and 85 years old. Working in crews, these “badass” older White volunteers, both men and women, pack up their four-wheel-drive SUVs with food, water, and supplies and make the one-and-a-half-hour drive through the middle of the Sonoran Desert. No heat, rain, hail, or snow keeps them from showing up and helping migrants in need.

At the end of the long day, each volunteer is responsible for restocking and refilling the gas tank, powering portable chargers to hand out to migrants with dead cell phones, and washing the dusty vehicles. Once home, they must write a report of the day’s life-saving efforts so that, by Monday, they can present their findings, challenges, and encounters with the BP to the volunteer corps during the in-person meeting.

When the BP agent finished interrogating Pastor Randy, he came for me. He ordered me to get out of the car. “Do you have an ID with you? I have to establish citizenship on everyone here, okay?” he said.

He then took me behind our vehicle, where Pastor Randy sat under the hot sun on the car’s bumper. The officer asked me if we had crossed the border illegally. He mentioned that surveillance cameras were everywhere, and they saw two migrants with two white bags cross the border and get into our vehicle. 

I explained that we had crossed the vehicle barriers at the end of the wall that morning–Reyna wanted to pick up trash litter in the area, and I wanted to film the sunrise from the other side of the wall–but we were still in the United States. In 1855, the U.S. government installed 276 obelisks to mark the U.S. boundary. The current border wall stands about twenty to thirty feet beyond the boundary on US soil. So, technically, we never left the United States.

A situation like ours would usually only take a few minutes to resolve by showing our US passport, but this BP officer had something else on his mind. He escorted me to the BP truck and ordered me to spread my legs and place my hands against the vehicle. He patted me down and touched my groin. Opening the door, he informed me that I was not under arrest, but he needed to call in a background check. He ordered me to enter the truck, which was caged and not ventilated, and then he shut the door, which automatically locked. 

In 2014, I served as executive producer of the documentary Food Chains.  The Samaritans invited me to screen the feature film at their annual conference called “Common Ground on the Border,” where I first heard of The Samaritans. I was intrigued. The unspoken truth is that this volunteer work has an element of danger. At the border wall, the vigilantes, militia, BP, the security for the wall construction crews, and the cartel carry pistols and machine guns. The volunteers are always unarmed, preferring to use their hands to carry gallons of water and food. These elders could be doing less dangerous volunteer assignments-like being a docent at the museum, reading to children at the local library, or helping give directions at an information booth at the local hospital or the airport. Why would these older White Americans, instead of enjoying their retirement doing leisurely–and safe–activities, be willing to devote their time, money, and energy to helping migrants at the wall and putting themselves in harm’s way?

I was determined to make a film about these courageous and compassionate people. The Samaritans inspired our entire production team and were up for the challenge of telling an alternative story of the border.  

However, as a Latino filmmaker, I quickly noticed Latino volunteers’ absence among The Samaritans. “Where are the Latinos?” I would ask. I got a range of responses from the Latinos I asked–They were too busy working and raising families, or that the work was too dangerous, and they were afraid of getting hurt. When I pointed out that the Samaritan volunteers were facing those dangers, the pushback I would get is that because they were white, they had nothing to worry about. “They are privileged. Nobody is going to do anything to them,” was the response from one of the Latinos I interviewed. 

I admit I was perplexed. Don’t we, as Latinos, have a responsibility to offer aid to our stranded Latino brothers and sisters in the desert? 

Though I knew I would get some criticism for making a film about White people, not recognizing the work white humanitarians do at the border wall would be a disservice to our allies. I thought they would serve as role models for other white Americans, and hopefully, this film might encourage them to get more involved in helping migrants in need and shift their fear or bias. The volunteer work is not motivated by a White savior mentality, as some may think. Though our film might be centering on their perspective, we hope to capture and convey that the work these white volunteers do is nothing less than an act of radical love for humanity.

Equally important is for Latinos to witness this as well. If we executed our film correctly, we could send a powerful message to Latinos about working side by side in offering life-saving aid with our allies to stand up to injustice and do something about the human rights violations happening at the border. I thought it could encourage them to overcome their fears and reservations about volunteering.

The inside of the caged area of the Border Patrol truck was suffocatingly hot. To put our situation in perspective, leaving a child alone in a locked hot car for just fifteen minutes can be deadly. It is incomprehensible that any person with half a brain would think it was okay to force a person or persons into a hot vehicle and lock the windows and doors in the dead of summer. It made me think of all the migrants, alone and afraid and not speaking English, who have gone through this situation.

Through the grates on the window, I watched the BP officer return to The Samaritans’ SUV and order our film’s executive producer, Reyna Grande, out of the vehicle. After asking her repeatedly if she was in the country legally–all while holding her US passport in his hands–the officer escorted her to the vehicle and put her in the back with me. Oddly, once in the truck, the officer ordered her to frisk herself while he watched. 

The migrants call the caged part of a BP vehicle “La Perrera” (The Kennel). Once both Reyna and I were in the kennel, under suspicion of crossing the border illegally or transporting migrants, it became apparent that in the eyes of the BP agent, the only crime Reyna and I had committed was being of Mexican descent.

The U.S. Customs and Border Protection, under which the BP operates, has a troubling history of racial profiling. Despite laws against it, a 2014 exception from the Obama Administration allows the BP to continue this practice within 100 miles of the border. This egregious practice has created a climate of fear and mistrust among Latino communities, with a Pew Research Center study finding that U.S. born Latinos are significantly more likely than other groups to fear deportation. According to the ACLU, “CBP’s militarization of the border region has produced rampant abuses ranging from racial profiling to excessive force,” with Latinos more likely to be stopped and searched at the border.   

It brings to mind the rarely told stories of the nearly two million deportations, inspired by the anti-immigrant rhetoric and a shaky economy, of our American ancestors of Mexican descent from the 1930s and 1940s. This historical trauma continues to haunt Latino communities today.

The BP’s actions towards us were a stark reminder of this systemic bias. The officer’s insistence on repeatedly questioning our citizenship, being suspicious of us, and detaining us while he verified that we hadn’t crossed the border illegally or were transporting migrants, even while holding our U.S. passports in his hands, was a clear violation of our rights.

Now I understand why Latinos do not sign up as humanitarian volunteers in this section of the border wall. Latinos’ fear of being harassed or deported by the BP is a real fear.  

“Okay, you can go now,” the officer said, opening the door to the vehicle and letting Reyna and me out of the hot truck. He returned our passports and escorted us to the Samaritan’s SUV. 

As the helicopter stopped circling and flew away, I wondered what would have happened if we had not agreed to a vehicle inspection, even under probable cause, even though we had the right to remain silent and not answer questions without a lawyer. In that case, the consequences might not have ended well for us people of color. 

As our production team continues to document the humanitarian work of The Samaritans, we are more determined than ever to shed light on the human rights violations happening at the border and the toll of unjust policies. 

January 3, 2025, is the next session of the new Congress before the newly-elected President takes office on January 21st. No doubt, there will be rumblings of what to do about the border. Latino leaders and members of the Congressional Hispanic Congress must demand humane practices within the CBP and include them in a new immigration reform bill. We must also require that our newly-elected President undo the exemption that exists today that allows racial profiling by the BP and the U.S. Customs and Border Protection (CBP). It’s time to deal with the border like mature adults and make the necessary changes to an antiquated immigration system that refuses to acknowledge the contributions that Latinos have made and continue to make to the United States. 

Our stories and history are valuable; we must continue advocating and fighting to tell them.

The post Filming While Brown: Racial Profiling of Latino Filmmakers at the Southern Border first appeared on .

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

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

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

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

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

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

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

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

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

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

Watch the Spotlight Dorado Short Film Trailers

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

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

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

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

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

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

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

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

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

The post McDonald’s Spotlight Dorado Champions Hispanic Representation in Film by Unveiling Top Three Finalist Short Films first appeared on .