By Andrea Nunez-Gamboa

In a rare occurrence, two Latino-themed films—Clika and The Dreamer Cinderella—competed at the box office this past January 23. The films simultaneous release offers a revealing look at how marketing strategies that address similar markets operate at opposite ends of the industry spectrum, namely studio-backed campaigns with substantial resources versus the limited marketing budget of independent films.

It is well documented that U.S. Latinos are the most avid moviegoers in the U.S. This matters not only because the film industry is experiencing sustained declines in movie attendance—limiting the discovery of new films and talent—but also because Latino audiences represent untapped economic potential.

A 2023 McKinsey’s research study found that the US film industry might generate an additional $12 to $18 billion annually if Latino cultural representation in films increased,. 

Latinos account for roughly 30% of the U.S. economy with a collective GDP that would rank as the fifth largest in the world, according to The Latino Donor Collaborative, a think tank that produces yearly studies on the filmgoing habits of U.S.Latinos  The disconnect between economic power and the industry’s representation of Latinos raises a persistent question: Why does Latino visibility in U.S. films remain so limited?

It is a complicated answer that includes the lack of studio greenlighting for Latino projects, smaller budgets, and limited marketing support. As a result, many Latino filmmakers turn to the independent route, where little to no funding is allocated to marketing. By the numbers, the disparity is striking: The ratio between a studio film’s marketing budget and an independent film’s is approximately 87 to 1.   

Sol Trujillo, co-founder of the Latino Donor Collaborative (LDC) and former Fortune 200 CEO, argues that Hollywood studios are leaving billions of dollars on the table by failing to produce and properly market content for U.S. Latinos. Based on the 2024 LDC U.S. Latinos in Media Report, Latinos  purchase 24% to 29% of all box office tickets, yet remain one of the most underrepresented groups on screen.

Same Opening Week, Different Budgets

The simultaneous release of the two Latino themed independent films Clika and The Dreamer Cinderella, represented a strong moment for Latino representation in cinema this past January. Led by Mexican American directors, producers, and actors, both projects reflected contemporary cultural themes. However, their markedly different production and marketing resources set the stage for contrasting box office trajectories.

Clika, a music drama directed by Michael Greene and produced by Jimmy Humilde, follows Chito (Jay Dee), a small-town musician whose viral success propels him into the world of corridos tumbados, a subgenre of regional Mexican rap music. Distributed in 522 theaters, the film benefited from the backing of Columbia Pictures, a Sony subsidiary with a robust marketing infrastructure. Given Sony’s existing ties to Humilde’s Latin record label Rancho Humilde, the project aligned seamlessly with the company’s brand ecosystem.

The Dreamer Cinderella tells the story of Xochitl, a fruit vendor whose life changes when a filmmaker casts her as the subject of a daring bet, revealing her as a hidden star. Directed and produced independently Dr. Ruiz Productions with first time director Dr. Jose Luis Ruiz, this independent film was distriubted in only 16 theaters by Atlas Distribution. The difference in marketing visibility between these two films is stark, but as the performance data will show, scale is not the only strategy at producers’ disposal to drive attendance.

Measuring Momentum, Not Scale

Trying to evaluate each film’s marketing effectiveness by comparing their total box office gross ticket sales would be unfair. Between January 23 and January 27, Clika earned $1,520,455 while The Dreamer Cinderella earned $8,880—a differential that reflects their vastly different scales of distribution. Instead, it is more equitable to compare the percentage changes in daily gross ticket sales respective to each film. This approach highlights momentum rather than reach, an especially useful lens for independent films whose full box office data is often underreported. While these limitations make a fully precise picture difficult, the figures still offer a meaningful basis for interpretation.

Takeaway: Clika

Clika’s performance data shows relatively moderate fluctuations, meaning the film experienced smaller declines following opening day and steadier rebounds throughout the opening week. This suggests consistent brand recognition and predictable audience reach. Even when attendance dips, the film’s structural visibility helps cushion the decline later in the week, allowing it to recover audience attendance by the following weekend.

This performance can be attributed to an ongoing baseline marketing presence supported by a studio-led campaign and a distributor such as Columbia Pictures/Sony. The strategy included a strong digital footprint, paid social media exposure, radio and podcast interviews, and billboard placements, which are elements that align with the comprehensive distribution and promotional approach typically associated with major studio releases.

Takeaway: The Dreamer Cinderella

The Dreamer Cinderella’s performance during opening week, by contrast, is characterized by sharp declines followed by a dramatic rebound, with its highest upward growth occurring on January 27 the last day of the theatrical run. This trajectory suggests a performance closely tied to marketing pushes, particularly those driven by community-based promotion, with targeted theaters, universities, film festivals, paid social media and community partners.

“…when the audience is targeted correctly, they respond.”

As an independent film, the key insight here is clear: When marketing aligns with audience outreach, the response is powerful. The spike in performance shows that when the audience is targeted correctly, they respond. Independent films can perform well, as audience interest often exists, but tailored marketing is required to make a meaningful difference during opening week.

In the case of The Dreamer Cinderella, there was an intentional effort to invest independent dollars into marketing, almost as a case study to test the idea that even modest marketing spending can influence performance and drive attendance.

Dr. Ruiz Productions joined forces with Entertainment Media Specialist to launch a groundbreaking case study of with The Dreamer Cinderella, and Latino independent film marketing. Modeled after major studio marketing strategies—but without the luxury of nine-figure budgets.  The Independent Latino Film Marketing Campaign (ILFMC) study harnessed the power of grassroots community outreach, mobilizing Latino organizations nationwide and reaching out to independent thaters to screen the film through a film distributor and community engagement. Together all helped build a smart, targeted, community-driven release strategy. 

FINAL THOUGHTS

“Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.”

The opening-week data makes one point clear, namely that marketing determines whether Latino audiences show up, not whether they exist. Clika’s steadier performance reflects sustained visibility, whereas The Dreamer Cinderella’s volatility reveals untapped demand that can be activated when outreach is strategic.

For Latino films, especially independent films, success is not a question of scale but marketing precision. When marketing investment is culturally informed and strategically deployed, independent projects can compete with large-scale commercial releases. In a market as powerful as the Latino audience, marketing is not optional. It is the difference between invisibility and impact, something that Latino movies should consider to gain a foothold in the film industry.

Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.

The post Marketing Latino Films: What The Films ‘Clika’ and ‘The Dreamer Cinderella’ Show Us first appeared on .

Nosotros and NBCUniversal are signaling a decisive shift in how Latino talent is developed and presented for the industry. With Season 5 of Ya Tú Sabes, the long-running incubator has fully transitioned from a traditional showcase model into a cinematic short-form pipeline—culminating in the crowning of The Comedian as this year’s top winner and positioning the program as a serious launchpad for writers and actors ready for film and television.

What began in 2020 as a challenge from NBCUniversal Launch to rethink the traditional actor showcase has evolved into a fully realized creative pipeline. Initially launched as the Ya Tú Sabes Monologue Slam, the program emphasized original writing and live performance. Over time, it expanded into fully produced stand-alone scenes selected through a competitive process, under a new name, Ya Tú Sabes Monologue Shorts.

Nosotros and NBCUniversal have marked that evolution and raised the bar once again with the explosive fifth season of Ya Tú Sabes, unveiling a bold new evolution of the long-running Latino talent incubator—one that trades the traditional stage showcase for cinematic pieces designed to reflect the professional readiness of Latino talent when given meaningful resources and production value.

“In a year shaped by a difficult national climate for Latinos, support for arts programs like this was far from guaranteed,” said Joel M. Gonzales, President of Nosotros. “We’re deeply grateful to NBCUniversal and the NBC Launch program for standing with us when sponsorships were tight. What Season 5 represents is how much this program has grown over the past five years—and how Latino artists continue to create opportunity, break through, and tell our own stories on our own terms.”

Emerging as Season 5’s creative breakthrough and top winner with judges and audiences alike, is The Comedian, written by stand-up comic José Maestas and powerfully performed by actor Richard Eick. This piece amplifies the Ya Tú Sabes’ core mission: spotlighting Latino writers and actors through original work rooted in universal themes—while steadily expanding the scale and seriousness of the platform.

A sharply observed and emotionally layered piece, The Comedian draws directly from Maestas’ personal experience to explore the duality of life on and off the stage—the persona versus the person. Its resonance was immediate, quickly becoming one of the most talked-about monologue shorts of the season for its depth, honesty, and cinematic execution.

“Across a lineup of powerful shorts, one of the strongest examples was the winner, The Comedian,” said Gonazlez, adding “The writing and performance stood out immediately and reflect the level of depth and readiness that exists in our community when the opportunity is real.”

The Ya Tu Sabes Monolouge Shorts premiered live at the Ricardo Montalbán Theatre this past December, streaming simultaneously on the Nosotros YouTube channel, with Audience Choice voting closing on December 31 declaring writer Cristal González Ávila and actor Mariana Belén as the  Audience Choice winners for Ropa Sucia.

Industry-Level Execution

Season 5’s six monologue shorts were led creatively by Hector Felix, who served as director, editor, and cinematographer, establishing a cohesive visual language across the entire showcase. The project was produced by Gonzales and co-produced by Nosotros Creative Director Juan Munevar, with creative collaboration from Joaquin F. Palma, writer/director of the program’s first three seasons—bridging the initiative’s roots with its cinematic future.

This year’s highly noted celebrity ambassador judges underscored the program’s industry credibility, include Julian Works (The Long Game, Jimmy), actor/producer Nicholas Gonzalez (La Brea, The Good Doctor), producer/director Ben DeJesus (Leguizamo Does America), actor/director Jon Huertas (This Is Us), and Larry Laboe, Executive Director of NewFilmmakers LA. They were joined by NBCUniversal executives and a broad cross-section of casting directors, agents, managers, publicists, and industry professionals.

What’s Next?

Looking ahead, the Season 5 monologue shorts—led by The Comedian and Ropa Sucia—will be submitted as stand-alone short films to film festivals, extending their life well beyond the showcase and expanding visibility for the participating writers and actors across the festival and industry landscape.

Winners will receive cash prizes and sponsored access to key industry leaders, including NBCUniversal executives, casting directors, agencies, and senior writers and producers—solidifying Ya Tú Sabes not just as a showcase, but as a tangible bridge to career advancement.

With Season 5, Nosotros and NBCUniversal have made a clear statement: when Latino artists are given space, resources, and respect, the results are not just promising—they’re cinematic.

The post EXCLUSIVE: Nosotros and NBCUniversal Crown Season 5 ‘Ya Tú Sabes’ Winner as Program Goes Fully Cinematic 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 .

By Judi Jordan

The American Film Market® staged a bold and forward-looking comeback this year, roaring back into Los Angeles with 6,132 attendees representing 83 countries and filling every corner of the Fairmont Century Plaza with energy, opportunity, and the unmistakable sense that global independent cinema is entering a new era. With 285 companies from 35 nations, the sold-out exhibition floor reaffirmed AFM’s reputation as the must-attend global marketplace — and Latin America, Spain, and U.S. Latino creators were unmistakably in the mix.

One of the biggest additions to AFM 2025 was the new Innovation Hub, produced in collaboration with Marché du Film / Cannes Next. The Hub brought together nine cutting-edge companies, anchoring AFM’s first-ever AI-driven programming series. These sessions tackled everything from ethical AI deployment to creative automation and distribution disruption — with panelists urging independent filmmakers, especially those from underrepresented communities, to stay ahead of the technology that’s reshaping global storytelling. For Latino creatives, this wasn’t a warning — it was a roadmap.

Another high-impact moment came with the spotlight on Navarra, Spain, presented by Arturo Cisneros and Beatriz Acinas. In one of the Market’s liveliest and most strategically important sessions, the duo introduced Navarra as Europe’s next breakout production hub, bolstered by muy generoso incentives, collaborative government support, and a streamlined co-production structure ideal for cross-border Spanish-language storytelling. With Mexico, Brazil, Argentina, and the U.S. Latino sector increasingly expanding into prestige TV, genre, and epic drama, Navarra’s pitch resonated as more than financial — it felt like a cultural bridge. The addition of the new Creators’ Lounge provided the perfect atmosphere for these conversations to turn into collaborations on the spot.

Latino presence wasn’t limited to the exhibitor floor — it made powerful waves onstage as well. Latino leadership also dominated the conversation onstage. The “Crafting the Narrative…” panel featured words of wisdom-getting greenlit from Lourdes Diaz (AGC Studios, former President of Entertainment at Univision). The session “Latinos Navigating Hollywood” assembled a powerhouse panel including Director Jay Torres, TV Writer/Author Rafael Agustín, Director Patricia Riggen (Miracles From Heaven), Producer Yolanda Macias (Terrifier 3), Robert Muñoz, Their discussion was frank, incisive, and deeply reflective of the moment: despite Latinos’ massive audience share and growing critical acclaim, greenlighting power and financing still lag far behind. But every panelist emphasized momentum — not deficit.

They spoke of rising transnational collaborations, an explosion of Latino genre and prestige storytelling, and the increasing refusal of Latino creators to wait for permission. The message was clear: the talent is here, the global Spanish-language audience is here, and Hollywood’s inaction is now costing it financially and creatively.

Buyers from Mexico, Brazil, Spain, Colombia, Chile, and the U.S. Latino sector fueled the marketplace, underscoring how Spanish-speaking regions are shaping global content demand across streaming, theatrical, and hybrid distribution. By the close of the Market, one truth resonated louder than any keynote: Latino creators are no longer an underserved sidebar — they are central to the future of the global indie landscape. AFM’s return to Los Angeles simply made it impossible to ignore.

The post American Film Market: Quite The Comeback — Attendance, Opportunity & The Rise Of AI 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 .

“In its sophomore year, the Latine Fellowship and Scholarship continues its mission to cultivate a vibrant space for Latine artists across various fields. It’s a place for community, professional growth, and financial and creative support,” said Hajnal Molnar-Szakacs, Director of the Artist Accelerator. “We’re ecstatic to back a brand new cohort of emerging artists, amplifying the Latine voice in film and television!”

The Sundance Institute Latine Fellowship will provide five early career Latine artists working in film or television with a yearlong fellowship experience. The fellows will each receive a $10,000 grant, bespoke creative and tactical support on their projects, and engage in regular cohort meetings. Fellows were selected from Sundance Institute artist support programs across fiction and nonfiction. In addition, scholars will receive customized feedback on their projects, mentorship from a Sundance Institute artist alum, and opportunities to connect with Sundance staff and its broader creative community.

Since the Latine Fellowship and Collab Scholarship launched last year, 11 artists have participated in the program. Alumni include Michael León, who has since made his Broadway debut as a playwright in New York, New York, and Cat Rodríguez, who recently received an Obie Award for her work with the ensemble Fake Friends Theater Collective. Rodríguez’s ensemble will embark upon several residencies where they will continue to develop their upcoming Sundance-supported project, Untitled Bikini Body Building Project.

The 2023 Latine Fellowship and Collab Scholarships were developed with leadership funding support from Lyn Lear and Cindy Horn and additional support from the John D. and Catherine T. MacArthur Foundation.

The fellows selected for the 2023 Sundance Institute Latine Fellowship are:

Johnny Alvarez (writer-director) with Average Dick: Borrowing from pop culture, current events, and the fraught collective consciousness, this tragicomic anthology series weaves together a complex tapestry of fragile masculinity. Each surreal tale introduces us to a disparate cast of characters, from closeted congressmen and porn-addicted priests to polyamorists in the apocalypse. Amidst triumphs, transgressions, and acts of self-degradation, these men learn the true weight carried between their legs.

Alvarez is a queer Cuban-American writer and filmmaker. His work has been supported by Sundance, SFFILM, Comedy Central, and Outfest. His films have screened at festivals in LA, Chicago, Seattle, and elsewhere. Originally from St. Louis, he currently resides in Northern California, where he is completing his MFA in Fiction.

Esteban Bailey (writer-director) with The Death of Salvador Colón. In the aftermath of a devastating hurricane, Juan’s father Salvador passes away, but when the overwhelmed police force fails to remove the body, Juan sets out to give his father a proper burial, confronting his own grief and the challenges of a ravaged community along the way.

Bailey is an award-winning Puerto Rican filmmaker. After graduating from NYU Tisch, Esteban’s short film El Extraño en la Casa Rivera screened at several festivals, including the Atlanta Film Festival, where he won the “Filmmaker to Watch Award” and the 2023 Sundance Film Festival.

Gabriella Garcia Pardo (director-producer) with Fenced (working title): Fences reflect our desires and fears. From our obsession with owning land and controlling virtual frontiers to the ways in which we divide ourselves, Fenced questions how the most ubiquitous human structure –– the fence –– shapes how we live, where we live, and the rules we live by.

Garcia Pardo is a Colombian-American documentary filmmaker whose work centers on stories of land, community, and non-humans. Gabriella produced and co-wrote La Bonga (True/False, 2023) with directors Sebastián Pinzón Silva and Canela Reyes. She’s currently directing her first feature, Fenced, and producing the observational feature, Backside, with director Raúl Paz Pastrana.

Gabriela Ortega (writer-director) with Huella: When her grandmother’s death in the Dominican Republic unleashes a generational curse, Daniela, a restless flamenco dancer living in New York City, must confront her family’s dark past as she fights for one last chance at professional dancing.

Ortega is an award-winning writer/director from the Dominican Republic. Her short Huella was a 2022 Sundance Film Festival official selection and will become her first feature film after being supported by the Sundance Labs. She was named one of Filmmaker Magazine’s “25 New Faces of Independent Film” and a Sundance Women to Watch fellow.

Walter Thompson-Hernández (writer-director) with If I Go Will They Miss Me: Twelve-year-old Lil Ant begins to see mysterious figures — eerie Black men with their arms spread like wings — around his home. When his father, Big Ant, realizes his son sees these “airplane people ” too, their family history emerges and reveals deeper meaning and connection between them.

Thompson-Hernández is a writer-director from Los Angeles. His film, If I Go Will They Miss Me, won the 2022 Sundance Film Festival Short Film Jury Award: U.S. Fiction.

The artists selected for the 2023 Sundance Institute Latine Collab Scholarship are:

David Rodríguez Estrada (writer-director-producer-editor) with Believer: Set in present-day Mexico, Clemencia is an evangelical working-class mother with a terminally ill son. He confesses to her he used to work for the cartel and shares a notebook with detailed information of those he buried in clandestine graves. After he dies, Clemencia’s faith finds itself at a crossroads.

Rodríguez Estrada is a Mexican-American writer/director. He obtained a Bachelor’s degree in Film from the Art Institute of L.A. He’s directed award-winning short films, including ¿Existes?, which premiered at the Palm Springs Shorts Fest and Suripanta, nominated for an Imagen Award. El Tesoro, starring Oscar nominee Adriana Barraza, is David’s latest film.

María Álvarez (writer-director) with Guava Tree: After the discovery of a family secret, a father travels back to his birthplace in Havana, Cuba, for the first time in decades. But this time, he is accompanied by his eleven-year-old daughter.

Álvarez is an internationally recognized Cuban-Dutch filmmaker based in Los Angeles. She graduated from USC with a BFA in Film Production. María is a 2023 Rising Voices fellow (Hillman Grad / Indeed), where she directed and co-wrote her latest short film, Last Days of the Lab, which premiered at Tribeca.

Daniel Larios (writer-director) with Apocalipsis: Childhood sweethearts grow apart, as Isaac devotes himself to God and Maria becomes the party girl of their Salvadoran village. After Maria survives a freak accident, Isaac caused, she declares that God saved her, gifting her His Message. Believing she must be a false prophet, Isaac aims to discredit her.

Larios is a Salvadoran-American producer, director, and writer based in Los Angeles. His short films have played at festivals, including Bentonville, NewFilmmakers LA, Philadelphia International, Paraguay International, and ICARO International. Daniel was a 2022 Tomorrow’s Filmmakers Today Fellow, and his first nonfiction short won the 2022 Blackstar Doc Shorts Pitch.

Silvia Castaños (co-director) with Untitled: Los Papeles de Mi Mami: Samantha lives in the city of Laredo, TX, in limbo between a country she came from and a country she seeks opportunity in, both bordered by a highly militarized state. Silvia, her first child, wants to heal with their mother as they both face deportation, separation, and the legal process.

Castaños is a Boston-based filmmaker and transit planner born and raised in Laredo, Texas. Silvia’s debut feature film Hummingbirds is a collaborative self-portrait directed by them and Estefanía Contreras. Their work is supported by Ford Foundation JustFilms, Field of Vision, Arts2Work, Threshold Fund, Sundance Documentary Fund, SFFILM, and Chicken & Egg Pictures, among others.

Eliana Pipes (writer) with DREAM HOU$E: Two Latina sisters with a strained relationship inherit their family home in a rapidly gentrifying neighborhood and decide to cash in on the property by selling it on an HGTV-style reality TV show that takes a twisted left turn.

Pipes is a playwright and filmmaker based in her hometown of LA. Awards include the Academy Gold Fellowship, Alliance Kendeda Prize, and Leah Ryan Prize. Her play Bite Me will premiere off-Broadway with WP and Colt Coeur. Her animated short ¡Nails! received an Outfest x Colin Higgins Foundation Grant.

The post Sundance Selects 2023 Latine Fellows & Collab Scholarship Recipients  first appeared on .

Crowdfunding:  A way of raising money to finance projects and businesses. It enables fundraisers to collect money from a large number of people via online platforms. Crowdfunding is most often used by startup companies or growing businesses as a way of accessing alternative funds.

Note: This is part of a listing service Latin Heat provides.  Any project listing in the LH Crowdfunding Listing is not endorsed by Latin Heat. Please do your own research before making any investment.

AVENIDA ENTERTAINMENT GROUP, INC

Avenida the first 100% Latino-owned movie studio in Hollywood!

Support at: wefunder.com/avenida

The world of filmmaking has historically been dominated by major studios and established filmmakers, leaving little room for underrepresented voices to tell their stories. However, a revolution is underway, as Latino independent producers are harnessing the power of crowdfunding to bring their unique narratives to the silver screen. Crowdfunding has become a vital tool for Latino filmmakers, empowering them to create powerful, diverse, and impactful films.  Avenida Entertainment Group, Inc. is taking their crowdfunding effort to a whole new level.  They are crowdfunding to raise money to help indie filmmakers create their independent films and to launch a streaming platform where they can also distribute the films of Latino independent filmmakers.

Avenida Entertainment Group, Inc. is sharing an opportunity to be a part of something that not only represents Latino roots but also the future of U.S. Latinos. Avenida has launched a wefunder.com/avenida campaign.  With an impeccable record of supporting filmmakers, Avenida has now been in business for seven years, providing solutions for Latino filmmakers to get their projects funded and produced. Soon they will be launch an English language streaming platform where US Latinos can stream their films, TV project, podcasts and more.

The Latino voice, stories, and perspectives have long been underrepresented in mainstream media. Yet, the rich tapestry of the Latino experience, the vibrant culture, and their unwavering spirit deserves a platform that does justice to their narrative. As Nelson Grande and Fanny Grande, the two principals of Avenida say, “The time has come to rise, unite, and be part of the change we wish to see in the media landscape.”

If you are interested you can get details in the offering and see how you can get involved.  Visit www.Wefunder.com/Avenida  

Avenida is ‘testing the waters’ to gauge investor interest in an offering under Regulation Crowdfunding. No money or other consideration is being solicited. If sent, it will not be accepted. No offer to buy securities will be accepted. No part of the purchase price will be received until a Form C is filed and only through Wefunder’s platform. Any indication of interest involves no obligation or commitment of any kind

The post Join the first 100% Latino-owned movie studio in Hollywood! first appeared on .

The Unscripted Producers Initiative is aimed at developing emerging showrunners and high-level producers. NBCU LAUNCH’s goal to produce authentic and compelling content with a focus on giving talented diverse content creators, at any place in their career, access to meaningful opportunities in television.

The effort could not be more welcome. However, these initiatives resonate differently in the midst of the writers strike in Hollywood that is now going on a month with no resolution in sight.

The Unscripted Assistant Editor Initiative is centered on creating a pathway for production assistants (PAs) to transition to assistant editor roles. The Below-the-Line Traineeship and the Production Assistant Initiative are focused on supporting below-the-line production crew members working across unscripted and scripted shows. Lastly, the NBCU LAUNCH Talent and Casting Assistant program aims to increase representation amongst episodic and unscripted casting directors. These inclusion initiatives were created in partnership with the unscripted teams within NBCU’s entertainment networks and Universal Television Alternative Studio, a division of Universal Studio Group.

“With the steady volume of unscripted programming in our industry as well as in our portfolio, it was imperative for us to make a major investment in inclusion efforts in unscripted television,” said Jeanne Mau, Senior Vice President, TV Programming Diversity Equity & Inclusion, NBCUniversal. “Our new initiatives focused on the next generation of showrunners, executive producers, head of departments and editors working in unscripted television are part of a comprehensive approach to improving representation behind-the-camera.”

The NBCU LAUNCH continues to address diversity, equity and inclusion that is aimed train new creative talent. Their press release emphasises that the talent is being sought for their entertainment networks in the NBCU Television and Streaming portfolio that includes – NBC, Bravo, E!, Oxygen, SYFY, Universal Kids, USA and Peacock – as well as Universal Studio Group, which comprises four powerhouse studios, Universal Television, Universal Content Productions (UCP), Universal International Studios and Universal Television Alternative Studio.

The complete list of initiatives include:

The NBCU LAUNCH Unscripted Producers Initiative provides valuable on-the-job experience and mentorship to qualified, mid-level producers, including those from underrepresented backgrounds. As part of this initiative, participants are hired on an NBCUniversal unscripted show in an applicable producer role, and they will receive mentorship from the show’s senior-level producing team as well as producer credit commensurate with their title. At the conclusion of their tenure, they are considered for future placement on an NBCUniversal unscripted series. The initiative has two tracks: one for Lifestyle and Documentary series and the other for Formats and Competition series.

The Lifestyle and Documentary Series track prepares segment, talent, field and supervising producers to become the next generation of executive producers and showrunners in their genre. Participants are hired onto one of NBCUniversal’s unscripted series for a full season, allowing them the chance to receive professional guidance from the senior producing team and make invaluable connections within the industry. Since the initiative began in 2022, five producers have been placed across multiple Bravo shows including “The Real Housewives” franchise (Miami, New York and Salt Lake City) as well as “Winter House.” Among the inaugural group are three field co-executive producers, one supervising producer and one segment producer.

Participants within the Formats and Competition Series track have varying levels of experience and focus, with roles ranging from supervising, post, challenge and field producer. Participants are assigned to an NBCUniversal unscripted series for a full season, while receiving support and mentorship from the show’s senior producing team. To date, four producers have been hired on NBCU series including American Ninja Warrior, America’s Got Talent, Password and The Voice in roles ranging from challenge producer to celebrity producer.

The NBCU LAUNCH Unscripted Assistant Editor Initiative creates a viable pathway for production assistants, including those from historically underrepresented backgrounds, to advance to the Assistant Editor (AE) level on NBCUniversal productions and within the industry. NBCU LAUNCH has partnered with The Handy Foundation to identify former production assistants who are eligible to be considered as part of the talent pool for hiring. Candidates must have completed the Foundation’s AE Training Program and are otherwise eligible to be employed on NBCU productions. 

The Talent and Casting Assistant program develops aspiring episodic and unscripted casting directors from diverse backgrounds. Through the program, participants spend six months supporting the internal Talent and Casting departments within NBCU’s television portfolio, followed by six months at an independent casting office in Los Angeles or New York. Alumni of the program currently work within NBCU’s casting departments and for independent casting directors.

The main objective of the Below-the-Line Traineeship and Production Assistant Initiative is to increase the pool of experienced talent, including those from underrepresented backgrounds, who can be hired directly onto productions. The shared long-term goal of these efforts is to create sustainable and meaningful change in the composition of production crews including head of departments. Both initiatives have had participants on various NBCUniversal unscripted series: a Below-the-Line trainee was placed on Baking It, and production assistants were placed across America’s Got Talent, Baking It, Botched, The Real Housewives of New York City, That’s My Jam, The Wall and Weakest Link.

To learn more about NBCU LAUNCH’s inclusion efforts, please visit the NBCU LAUNCH site.

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U.S. Latinos constitute 18% of the U.S. population with , and Warner Bros. recognizes that it is essential for their studio to target this portion of the demographic, which is why Warner Bros. Discovery U.S. Hispanic is focused on serving the Spanish language sector in the U.S.

“As multicultural marketing becomes increasingly important, more brands are partnering with us to forge genuine connections with U.S. Hispanic consumers,” said David Tardio, Vice President, Advertising Sales and Integrated Marketing, Warner Bros. Discovery U.S. Hispanic of their Spanish language content. “We offer a comprehensive solution: valuable, proprietary insights into the Hispanic viewer, and an engaged audience watching and streaming our shows in their native language.”

“The influence of Latinos continues to rise, and their stories, experiences, and passions are central to our content strategy,” said Andres Mendoza, Vice President of Programming at Warner Bros. Discovery U.S. Hispanic. “Our viewers seek authentic stories that celebrate the richness of Latino culture. By developing original content with the Hispanic viewer in mind, we continue to deliver a bold and engaging entertainment proposition for our audience.”

Warner Bros. Discovery U.S. Hispanic’s four networks that focus on Spanish content have been been engaging Spanish language viewers through culturally relevant and relatable programming. The upcoming slate for Warner Bros. Discovery’s U.S. Hispanic brands includes returning hit series such as Mexicánicos and Remodelaciones con Celebridades, in addition to new seasons of top titles such as Supervivencia al Desnudo, Todo en 90 días and Rodando por América.

“CNN en Español is the leading news brand for unbiased and relevant news and information content to U.S. Hispanics, in addition to a wide array of related content including DocuFilms, entertainment programming, health-focused content and more”, said Cynthia Hudson, Senior Vice President & Managing Director of CNN en Español and US Hispanic Strategy CNN.

Warner Bros. Discovery’s U.S. Hispanic division is one of the many choices for Spanish-speaking audiences in the United States.

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Individual directors and independent production companies are invited to submit a picture locked cut of their feature length scripted or documentary film. A jury of post-production professionals will divide the funds among the three top projects, based on their post-production needs. Funds recipients will be announced at this year’s LALIFF, which is presented by the Latino Film Institute (LFI) and takes place in Los Angeles May 31-June 4.

Throughout its history, LALIFF has bestowed the Gabriel Figueroa Lifetime Achievement Award to such industry icons as, Raul Julia, Pedro Almodovar, Carlos Saura, Maria Felix, Anthony Quinn, Nelson Pereira dos Santos, Federico Luppi, Rita Moreno, Ricardo Montalban, Antonio Banderas, Ignacio Lopez Tarso, Gustavo Santaolalla and, of course, Gabriel Figueroa himself.

“We are very excited to announce the expansion of our collaboration with Amazon Studios through the inaugural LALIFF Works in Progress initiative. By supporting this program, Amazon is supporting our work as we continue to elevate Latino voices in a landscape where it’s difficult for filmmakers from our community to secure post-productions funds”, said Academy Award® nominated actor, founder of the Latino Film Institute and co-founder of LALIFF, Edward James Olmos.

“At Amazon Studios we strive to remove barriers to success in the creative process. It is part of the equity work we are committed to doing” said Latasha Gillespie, global head of DEIA for Amazon Studios and Prime Video. “LALIFF Works in Progress is a compelling example of our Inclusion Policy and Playbook in action.”

LALIFF Works in Progress is an expansion of Amazon Studios and LFI’s current relationship; Amazon Studios is the exclusive sponsor of LFI’s Youth Cinema Project (YCP) Alumni program for the 2022-2023 school year.  The program connects over 300 students to hands-on access and learning opportunities across the industry, including mentoring and assistance with college applications. The sponsorship also includes the inaugural YCP Fellowship initiative, which provides 19 college bound students with resources to make a high-quality short film to strengthen their film school applications and scholarship opportunities. The finished film will screen at LALIFF in June. 

The LALIFF Youth Program, a screen education program that took place at the festival, set the groundwork for what would eventually become the statewide, public school educational film program known as, the Youth Cinema Project.

Visit here for more details on the LALIFF Works in Progress program and how to submit.

Amazon Studios is the home for talent, creating and producing Original films and television series for a global audienceAmazon Studios also produces and acquires Original movies for theatrical release and exclusively for Prime Video, in addition to producing Original content for Freevee, Amazon’s premium free streaming service.

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