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

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

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

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

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

But the documentary is about far more than mariachi.

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

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

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

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

Opening Night LéaLA Schedule

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

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

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

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

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

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American International Short Film Festival Returns to Los Angeles With 46 Films From 30 Countries

LOS ANGELES — The American International Short Film Festival (AISFF) returns to Los Angeles September 14–17 with 46 short films representing 30 countries, featuring industry panels, filmmaker networking and a live entertainment program, giving AISFF an international scope while maintaining its focus on emerging talent and short-form storytelling.

The festival, held at City Club Los Angeles, is partnering this year with the Alliance of Women Directors (AWD) as part of its programming focused on emerging filmmakers and women working behind the camera.

Founded by David Meiselman, AISFF positions short filmmaking as an entry point for emerging directors, writers, actors and producers looking to build audiences and industry connections.

“A short film can be a filmmaker’s calling card, but getting that film in front of the right people can change the trajectory of a career,” Meiselman said. “We created AISFF to give filmmakers a place where their work can be seen, their voices can be heard, and where they can make the connections that can move their careers forward.”

The festival’s international selection spans genres including drama, comedy, documentary, animation, horror, science fiction, thriller and music video, with awards recognizing filmmaking and performance across multiple categories.

On Wednesday, September 16,  AISFF will combine industry programming with an evening of live entertainment. The afternoon will feature a series of industry panels, culminating at 4 p.m. with a conversation featuring Peter Baxter, founder of the Slamdance Film Festival. 

The entertainment lineup includes musical performances by Adelaide Pilar and Las Chingonas, followed by a fashion presentation featuring Los Pachucos of Fullerton. The evening will also feature a burlesque performance by Ruby Champagne.

AISFF’s partnership with the Alliance of Women Directors further emphasizes opportunities for women filmmakers and visibility for women working in directing.

The combination of film screenings, industry programming and live performance gives AISFF a broader festival format, bringing filmmakers and audiences together beyond the traditional screening schedule.

For participating filmmakers, the festival’s four-day program includes screenings, networking opportunities, industry discussions and awards recognizing work across a range of categories.

AISFF 2026

American International Short Film Festival
September 14–17, 2026
City Club Los Angeles
Los Angeles, California

?? TICKETS ARE ON SALE NOW. Film fans, filmmakers and industry professionals can get tickets and view the complete festival schedule at AISFFLA.org.

Don’t miss four days of international short films, filmmaker conversations, industry panels and live entertainment in Los Angeles.

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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

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LOS ANGELES — Filmmaker Joaquim Adrià Pujol is bringing his acclaimed documentary Màquina to Hollywood, with the 90-minute film set for its Los Angeles premiere Sunday, September 13 at 9:45 p.m. during the Indiewood Film Festival.

The Spanish- and English-language documentary takes an unflinching look at addiction, alcoholism and generational trauma through an unusually personal lens: Pujol documents his own father and brother as they travel across the American West in an aging Winnebago en route to Colorado for ibogaine-assisted addiction treatment.

What could have been framed as a conventional addiction-recovery documentary instead becomes an intimate family drama — one that asks difficult questions about responsibility, codependency and the emotional toll of trying to save someone you love.

Pujol directs, produces and shoots the film, placing himself directly inside the story alongside his father, Xavi Pujol Berlanga, and brother, Marcel Enric Pujol. The result is a portrait of a family confronting its history in real time, with the filmmaker capturing the arguments, awkward silences, humor and tenderness that accompany their journey.

Even the vehicle becomes part of the narrative.

As the aging Winnebago repeatedly breaks down along the route, it emerges as a visual metaphor for a family struggling to keep itself moving forward.

Màquina also avoids presenting psychedelic-assisted treatment as a simplistic answer to addiction. Instead, the film examines what happens before, during and after the decision to seek help — and the complicated emotional terrain occupied by the people surrounding an addict.

That approach has already drawn critical attention. Film Threat gave the documentary a 9/10, calling it “a parade of stunning visual metaphors for the struggle with addiction.” The film has also received positive reviews from DMovies and High on Films.

At its heart, however, Màquina is a father-and-son story.

Pujol’s decision to make himself part of the film allows the documentary to move beyond the traditional observer role, confronting the inherited wounds, family dynamics and blurred boundaries that can accompany addiction. The film explores the difficult distinction between supporting someone and becoming consumed by their struggle.

The Los Angeles premiere comes as the documentary continues to build attention for its raw, observational approach and its refusal to package recovery into an easy Hollywood narrative.

The film features Xavi Pujol Berlanga, Marcel Enric Pujol, Joaquim Adrià Pujol, Charles B. Shaw, John Dias, John Anthony Dias, Hana Farky, Dennis Bouverie, Gerardo Ortiz, Bryan Davis and Shawn Johnson.

Vesta Tu?kut? produces alongside Pujol, with Silvija Vilkait?-Ramanausk? editing and acclaimed composer Jozef van Wissem providing the score. Pujol also serves as cinematographer.

Màquina is a 2025 U.S. documentary, presented in English and Spanish, with a runtime of 90 minutes.

Maquina — LOS ANGELES PREMIERE

Indiewood Film Festival
Sunday, September 13, 2026
9:45 p.m.
Hollywood, California

For Pujol, the journey at the center of Màquina is ultimately about more than addiction treatment. It is about the machinery of family itself — how it breaks down, how people carry one another, and whether something damaged can still be repaired.

The post Joaquim Adrià Pujol’s Addiction Doc ‘Màquina’ Set for LA Premiere at Indiewood Film Festival 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

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Mighty Aphrodite Pictures Taps Jolene Rodriguez to Produce

BREAKING NEWS

LATINOWood — Award-winning director, producer and bestselling author Jorge Xolalpa is taking on one of the most significant projects of his career. Xolalpa has secured the exclusive option agreement to develop the authorized feature film based on the life and legacy of U.S. Army Specialist Vanessa Guillén, whose 2020 disappearance and murder at Fort Hood ignited a national movement for justice, military accountability and systemic reform.

The option, signed with Vanessa’s sister Mayra Guillén, gives Xolalpa and his company, Mighty Aphrodite Pictures, the exclusive right to develop, package, pitch, negotiate and market the authorized film. The project will be developed in cooperation with the Guillén family, with their participation and support intended to help ensure that Vanessa’s story is told with authenticity and respect.

The deal comes after interest from multiple entertainment-industry players, with the Guillén family ultimately entrusting Xolalpa with the project. For the filmmaker, the significance goes well beyond adding another title to an increasingly ambitious independent film slate.

“This is far more than an opportunity to make a film. It’s a responsibility,” said Xolalpa, who heads Mighty Aphrodite Pictures. “From the very beginning, our commitment has been to honor Vanessa’s life with honesty, compassion, and authenticity. We are deeply grateful to Mayra and the Guillén family for placing their trust in us. Our promise is to tell Vanessa’s story in a way that preserves her legacy and inspires audiences for generations to come.”

A Story That Changed the Conversation

Vanessa Guillén was a 20-year-old U.S. Army Specialist stationed at Fort Hood, Texas, when she disappeared in April 2020. Her murder and the subsequent investigation thrust the experiences of military families into the national spotlight and prompted widespread questions about sexual harassment, reporting procedures and accountability within the military.

The Guillén family’s campaign for justice ultimately helped drive legislative change, including provisions addressing sexual harassment and assault within the armed forces.

The forthcoming film is expected to chronicle not only Vanessa’s life and death, but also the extraordinary advocacy of her family and the movement that grew around her name. That distinction is important to Xolalpa.

Rather than approaching the story solely as a tragedy, the filmmaker and the Guillén family are positioning the project as a story about Vanessa the person, her aspirations and her legacy — and the determination of a family that refused to let her disappearance be forgotten.

For Xolalpa, whose body of work has centered on underrepresented voices and culturally specific stories, the project represents a natural extension of his filmmaking mission.

His films have screened at more than 50 film festivals worldwide and earned dozens of awards and accolades. His work has consistently explored identity, immigration, resilience, belonging and the experiences of communities historically underrepresented on screen. Now, that approach is being applied to a story with national resonance.

Jolene Rodriguez Comes Aboard

Joining Xolalpa is producer Jolene Rodriguez (7th & Union) of Broken English Productions. Rodriguez brings significant industry credentials to the project and was previously named by Variety as one of its “10 Producers to Watch.”

Her involvement also marks the beginning of a broader creative partnership with Xolalpa.

The two filmmakers have entered into a three-film producing agreement, establishing a partnership that will see them collaborate on three feature films, with additional projects expected to be announced.

For Xolalpa and Rodriguez, the Vanessa Guillén film therefore represents both a major standalone project and the first chapter of a larger producing relationship. Mayra Guillén and Alejandra Palomera will serve as executive producers.

The option agreement was facilitated by Palomera Group and Levy Law PLLC, Mayra Guillén’s team.

Building a Latino Indie Film Powerhouse

The deal further positions Xolalpa’s Mighty Aphrodite Pictures as a company focused on commercially viable films with culturally specific stories and strong social relevance.

Xolalpa has spent more than a decade establishing himself as an independent filmmaker while expanding his work beyond directing. He is also the bestselling author of “Ni De Aquí, Ni De Allá: A Soul Suspended Between Two Worlds“, a memoir exploring identity, immigration and belonging.

Following the book’s release, Xolalpa embarked on a 25-city national tour, appearing at universities, cultural institutions, bookstores and community organizations across the country. His expanding literary slate includes the upcoming children’s book The Boy Who Reached the Stars and his debut novel, The Woman in My Mirror.

But it is the Vanessa Guillén project that could represent his most consequential cinematic opportunity to date.

For an independent filmmaker who has built his career around stories that challenge the industry’s traditional center of gravity, being selected by the Guillén family carries a significance that cannot be measured simply by budget or box office potential. It is a vote of confidence in the idea that who tells a story — and how that story is told — matters.

The post Jorge Xolalpa Lands Exclusive Option Deal to Develop Authorized Vanessa Guillén Bio Pic first appeared on .

Watch it now on OnTheHiway

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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Where to attend Advance Red Carpet Screenings and a full List of Theaters Where The Film Will Release

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 .

By Judi Jordan

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 .

The Dreamer Cinderella Opens in Theaters Nationwide on January 23, 2026

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 .