By Judi Jordan | LATIN HEAT

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

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

I was curious. Very.

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

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

And satisfies.

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

The Q&A was another revelation.

Two helmers are better than one.

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

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

He did.

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

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

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

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

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

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

Catharsis totalmente.

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

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

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

We become voyeurs. And conspirators.

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

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

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

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

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

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

REVIEW: If I Could Stay – Documentry

If I Could Stay, a documentary film by the producing and directing team of Theo Rigby and Florencia Krochik tells the complicated deportation struggles of two women, one from Peru, Ingrid, and one from Mexico, Jeanette, who found safety, moral support, and above all, sanctuary in the Unitarian church community in Colorado. It was encouraging and heartening to see a Christian church play such a significant role in the complicated lives of these two women. But not surprising. 

The Unitarian Universalist Church was in the vanguard in the anti-slavery, abolition movement before and during the Civil War. They are an enlightened and progressive church that embraces not only Christianity but all faiths.

Their symbol is the flaming chalice that represents communion, sacrifice, and service.

Both filmmakers, Rigby and Krochik, have produced many films on the subject of immigration, deportation, and the emotional perils of living under the uncertain, racist, anti-immigrant Sword of Damocles, that hangs over the heads of people like Ingrid, Jeanette, and their families. 

The story of the two women in sanctuary is a compelling and important one, often filled with genuine moments of life-affirming love and local community support for the two women.

But paradoxically, If I Could Stay, is also a grim reminder of the over-arching cruelty, and madness we find ourselves in now, which dominates our daily national headlines.

After watching If I Could Stay, I kept asking myself: “How did we arrive at this dark point in our history where we are on the verge of becoming a Third World, fascist, dystopian nightmare of a country?”

It all started when Donald descended that Golden Escalator in 2015. and described Mexicans coming to America as drug dealers, rapists, and murderers.

But to truly reflect the real symbolism of that moment, he should have been seen ascending from the Basement of Hell engulfed in a stinking fog of sulfur. 

Is this our Apocalypse Now? We have masked ICE Men thugs terrorizing innocent Hispanics in their so-called search for “the worst of the worst”. 

We have for-profit detention centers (concentration camps) springing up all over the country, and shamefully, one of “the worst of the worst” is right here in Dilly, Texas, not too far from my homebase of San Antonio

Have we forgotten:

• The Palmer Raids of 1919
• The Asian Exclusion Act of 1924
• The Internment of Japanese-Americans in 1942
• Operation Wetback in 1954

Have we forgotten those other “rhyming” racist, anti-immigrant, anti-foreigner, White supremacist legislation  

Aimed at oppressing, excluding, and, suppressing the rights of “The Other”?

The stories of Ingrid and Jeanette ended basically unresolved, because If I Could Stay ends with the beginning of the  Trump Second Reich in 2024, and his mass deportation “pogrom” engineered by that odious, skinhead, jackal trying to pass for a human being, Stephen Miller.

However, the worm is beginning to turn. Recent reported and documented atrocities, executions, abductions, illegal deportations, acts of torture in detention centers, and the forced separation of children from their mothers by Trump’s ICE goons has caused Americans to protest these Gestapo tactics by the ICE Men in growing numbers and intensity.

If I Could Stay, a hopeful film gifted to us by the filmmakers, Theo Rigby, and Florencia Krochik, is an intimate portrait into the sanctuary oasis provided to Ingrid and Jeannette by the Unitarian Universalist Church, whose clergy and members are guided by what Abraham Lincoln called “the better angels of our nature”. It demonstrates that even if history often rhymes in misguided ways, sometimes it can rhyme with the pure poetry of compassion and justice.

If I Could Stay Premiered on PBS Stations,PBS.org and the PBS App on June 1, 2026

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By Carlos Aguilar

Crossing the concrete landscape of Los Angeles on public transport with precious cargo, Raquel (Sofia Yepes), a queer Latina aspiring to become a major music producer, is also carrying plenty of personal baggage wherever she goes. Her main occupation is working for a drug dealer, which comes with dangerous liabilities. Add to that her turbulent, unresolved past in the military, and the result is a ticking time bomb of pent-up rage. 

When Raquel runs into Veronica (Sidney Flanigan), a frazzled, but charming young woman who also claims to have creative dreams, she sees an opportunity for a fresh start. Best known for her lead role in the acclaimed indie Never Rarely Sometimes Always, Flanigan plays the part with believable fragility, while slowly revealing a more complex personality underneath the defenseless façade. Their serendipitous encounter is the foundation of the sleekly shot moody crime thriller The Low End Theory from writer-director Francisco Ordonez. Their instant connection spells trouble for Raquel, who willingly takes major risks both on the romantic and professional front in order to pursue this incandescent fling. 

From their first time the two women meet inside Raquel’s car, cinematographer Gemma Doll-Grossman’s camera becomes attached to their faces. The dance of intensely tight closeups playing with colorful lighting is how we come to understand the fiery spontaneity of what Veronica and Raquel feel for each other—whether at the club or during a moment of sexual intimacy. The camera can’t get any closer, and that’s an effective choice on Ordonez and Doll-Grossman’s part to communicate the raging emotions at play. 

But Raquel has a partner, Giselle (Ser Anzoategui), who happens to be the sister of her boss Uly (Eddie Martinez), a drug lord with a conscience. Then there’s the menacing presence of Efraim (Rene Rosado), her co-worker and the person with whom she creates music. All of these relationships, as well as Uly’s ill-obtained cash become entangled in a series of lies and terrible consequences that Raquel sets in motion in order to protect Veronica, who owes money to other nefarious parties that threaten to hurt if she doesn’t pay it back. 

For as much as The Low End Theory surrenders to well traveled paths when it comes to urban stories with a protagonist involved in illicit activities, the central relationship between Raquel and Veronica rings refreshing even when the screenplay leans into expected tropes. 

Yet, it’s Yepes’ convincingly layered performance as someone guided by a belief in a higher power, namely karmic forces, that keeps one invested in the narrative. Yepes remarkably conveys a cocktail of conflicted sentiments, particularly because of the clash between the positive light in which others see Raquel, and the dark, violent thoughts that plague her mind. There admittedly too many facets of Raquel’s world on display for any of them to truly take precedence. Thankfully Yepes remains consistently compelling through it all. 

Though far from entirely unique, The Low End Theory packs enough visual panache and the kinetic flourishes of Ordonez’s direction to result in an engaging neo-noir effort with characters who rarely get to be at the center of a story like this and where even the supporting parts benefit from above-average acting.

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In movies like Avatar and Guardians of the Universe, just to name a few, Zoe Saldana has solidified her creds as a lethal action / adventure hero superstar who happens to be Latina. And now on the heels of her powerful dramatic performance in Emilia Perez (and the girl can dance and sing, too), which has garnered her many award nominations, Saldana puts both acting / action talents in violent, harmonic, full blown display on Lioness.

Saldana plays Joe, the head of a top-secret special op unit called “Lioness.” Their top-secret CIA mission is to insert a female asset (a lioness) into terrorists’ cells and make high value targets in the cell vulnerable and exposed, at which point, Saldana’s team “terminate” the target with “extreme prejudice.”

Saldana and her team are salty, earthy, hardened, experienced warriors and they all drop more “F” bombs in one episode than all the bombs dropped  on Germany, Japan and Vietnam combined. The shootouts are nail-biting bullet blazing scenes with Saldana relishing all the action, almost to a fault.

Her life is complicated by a marriage and family she is neglecting to fulfil these dangerous missions.  Saldana finds herself torn between duty and family. She’s a flawed, adrenaline- driven, emotionally conflicted person. Saldana plays it beautifully in a compelling, riveting performance.

“Lioness” is the name of the special ops program and the female asset to be inserted in a terrorist cell. But it also perfectly describes the fierce persona of Zoe Saldana in this pulse-pounding, Latina character-driven, action, thriller hit Paramount+ Original TV series.

Lioness streams on Paramount+, Hulu and other streaming platforms.

Stars:  Zoe Saldana, Laysla De Oliveira, Dave Annable, Jill Wagn

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Becoming Frida explores the life of celebrated artist Frida Kahlo in a three-part docuseries. The series delves into major personal and political events of her life, including her stormy and devoted relationship with artist Diego Rivera.

The camera adored Frida Kahlo. She was so beautiful. Those dark, piercing, haunting, unforgiving eyes were like black mirrors reflecting her tortured body and tormented soul that found expression in her intimate, intensely personal art. Frida’s body of work was revered by such artistic giants as André Breton, the founder of surrealism, and her mentor, husband and love of her life legendary serial womanizer and biggest fan, the great Mexican muralist, Diego Rivera.

Rivera’s majestic wall murals were like historical and political storyboards about great people, Mexican history and significant world events.  But those magnificent wall murals said nothing about Rivera, the man. On the other hand, Frida’s small, mostly self-portraits and other surrealistic images were often disturbing representations of her agonized interior and tragic spiritual landscape.

Famed Hollywood photographer of the stars, Nicholas Murray, took dozens of color photographs of Frida. But they were too bright, too much color, poses too staged. Not Frida. The black and white archival pictures and newsreel footage of Frida used in the PBS three -part documentary, Becoming Frida Kahlo, more accurately and affectionately captured the true essence of her natural beauty and mutual love affair with the camera

PBSs three-part documentary, Becoming Frida Kahlo, is an unforgettable portrait of a world renown Mexican artist framed in pain.

Becoming Frida Kahlo can be seen on PBS.org. 

Also highly recommended for viewing, Frida, the excellent 2002 biopic featuring a brilliant Oscar-nominated performance by the wonderful Salma Hayek in the title role. Frida is streaming on MGM+, Amazon Prime Video and other streaming platforms.

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By Bel Hernandez Castillo

Over the weekend, a Variety reviewer called the film Say a Little Prayer “…a well-intentioned but ordinary Latino Romantic Comedy.” I respectfully disagree with that assessment—and not just on one count, but two.

It’s Anything But Ordinary

Let’s talk about “ordinary.” By definition, ordinary means “with no special or distinctive features; normal.” But there is nothing “normal” about Say a Little Prayer, a rom-com written by Nancy de Los Santos and directed by Patrick Perez. In fact, it breaks new ground as the first English-language romantic comedy centered on U.S. Latinas in over 30 years. That alone makes it extraordinary.

There are very few Latina actresses who have starred in rom-coms over the years. Jennifer Lopez is one of them and she has starred in over eight of them including Maid in Manhattan, The Back-Up Plan, Shotgun Wedding, but those films rarely explored their characters’ heritage or culture. While those characters occasionally had Latina names, their identities were largely incidental to the story. By contrast, Say a Little Prayer is unapologetically rooted in Latina identity, making it a unique entry in the rom-com genre.

A Genre of Its Own

What sets Say a Little Prayer apart is that it’s not a “Latino Romantic Comedy”; it’s a U.S. LATINA Romantic Comedy. That distinction is crucial. The film speaks directly to U.S. Latinas, claiming space in a genre that hasn’t fully embraced their stories. Representation matters, and this movie reminds us why.

It’s clear the film didn’t resonate with the reviewer, and that’s fine. Not every movie is made for everyone. But it’s important to recognize that this film was created with a very specific audience in mind: women, especially Latinas, who love family-centered and relationship-driven stories. Research into rom-com audiences shows that 85% of viewers are women aged 18 to 44, a group that gravitates toward romantic and heartfelt narratives. For these viewers, especially U.S. Latinas, Say a Little Prayer offers a chance of seeing themselves authentically represented on screen is a rare and deeply meaningful experience.

A Love Letter to San Antonio

The reviewer also critiqued the film’s setting, writing, “Every frame in the film could serve as a glossy tourism campaign encouraging viewers to visit the lovely city of San Antonio. Pérez Vidauri and cinematographer Mario Gallegos miss no chance to feature the famous River Walk and other landmarks.”

And the problem is?

San Antonio isn’t just a backdrop; it’s a character in the story. Its vibrant culture, historic landmarks, and scenic beauty make the setting feel authentic and alive. Incorporating these elements only enhances the film’s charm and grounds it in the experiences of many U.S. Latinas while celebrating the beauty of a city that many call home.

Representation Matters

It’s 2025, and it’s about time that U.S. Latinas see themselves in leading roles, especially in non-stereotypical stories about love and self-discovery. As the saying goes, “If you can’t see it, you can’t be it.” For younger generations, films like Say a Little Prayer are vital—they normalize seeing Latinas as complex, relatable, and worthy of center stage.  This isn’t just another rom-com—it’s a celebration of U.S. Latina identity and culture.

A Story Rooted in Real Life

The story behind Say a Little Prayer is as inspiring as the film itself. Screenwriter de Los Santos loosely based the plot on her own experience in her 30s, when her grandmother, concerned that she was still not married, gave her the San Antonio de Pauda prayer, telling her that her “husband was lost and the prayer would help her find him.” That moment sparked a 25-year journey to bring this story to life.

De Los Santos has always been dedicated to telling Latina stories, serving as an associate producer on Mi Familia and Selena with strong Latina characters, and writing Gotta Kick It Up (2002), a Disney Channel TV movie about a Latina-centric school dance team. Say a Little Prayer is the culmination of that passion and determination—a film that celebrates U.S. Latinas and their place in the world of romantic comedies.

Over the weekend, de los Santos attended several opening weekend screenings around L.A. At a Norwalk screening in East L.A. she told the audience, “Realizing that we were not on screen, made me angry. It made me angry that I did not see myself on the screen. So that anger turned into passion,” she said to hoots. “And, a Latina with passion cannot be stopped,” she said to cheers from the audience. “And, a Latina with passion cannot be stopped,” she concluded to thunderous applause.

A Bold Step Forward

Judging from the many sold out screenings at the AMC theaters around the country in New York City, Los Angeles, Miami, San Antonio, Charlotte, Dallas, Houston and several more, the movie definitely captured a specific audience. As of this writing, the box office numbers are not in yet, but one thing is certain, Latinas came out to support. Feeling represented in this film, organizations and individuals organized groups at various theaters and took to social media to have their say.

Say a Little Prayer is far from ordinary—it’s a bold step forward for Latina representation in Hollywood. It’s a film that embraces culture, identity, and love, proving that there’s nothing “normal” about being groundbreaking. For U.S. Latinas and rom-com fans alike, this movie is a much-needed breath of fresh air.

Cast: Vannessa Vasquez, Luis Fonsi, Jackie Cruz, Vivian Lamolli, Angélica María. Produced by: Cristina Nava, Nancy De Los Santos-Reza. Executive producers: Edward James Olmos, Luis Fonsi, Belinda Vela Reyna, Rowland S. Reyna, Dorene Dominguez, Sol Trujilo, Jeff Valdez, Patrick Perez Vidauri. Gil Elbaz.

Distributed by: New Cadence Productions

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Three Latinas Give Oscar Worthy Performances in Emilia Perez

Emilia Perez starring Zoe Saldana, Karla Sofia Gascón and Selena Gomez, is a gender-bending, genre-busting, phantasmagorical, operatic, hyper theatrical, electrifying crime and redemption melodrama.

Saldana plays Rita Mora Castro, an attorney tasked with negotiating a sex change operation for Manitas Del Monte, an arch drug cartel criminal . In a dark, unsettling scene, we meet the mobster with Gascón eerily portraying Del Monte in heavy prosthetic make-up.

Del Monte is born again as Emilia Perez. She tries to make up for her previous evil ways by helping  grief-stricken Mexican citizens find loved ones who have disappeared, often at Manitas’ hands. It’s a nice try, but sometimes redemption is a bridge too far.

Emilia Perez is a powerful Latina centric film. Saldana showcases her singing and dancing talents. Gomez, as Jessi, Manitas’ clueless spouse, gives a surprisingly strong and tough performance proving she has the acting chops for more demanding dramatic roles. Gascón shines in the dual role of Manitas and Emilia.

 The three leads, Saldana, Gascón and Gomez all shared a Best Actress Award for their performances in the film at the Cannes Film Festival. They will all get Oscar nominations. Hopefully, they won’t cancel one another out.

Writer / director Jacques Audiard will, no doubt, be considered for an Oscar for Best Director, as well as the movie for Best Picture. Could this, at long last, finally be the year Latinos make their too often overlooked and snubbed presence known at the Academy Awards? Hope so, otherwise the Academy will be on the receiving end of an acid drenched “WTF were you thinking? ¡Fideo Loco! blog from yours truly.

Emilia Perez is streaming on Netflix.
Director: Jacques Audiard
Cast: Karla Sofía Gascón , Zoe Saldana , Selena Gomez , Adriana Paz , Edgar Ramirez
Running time: 2 hr 10 minCast:  

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Just finished watching House of Spoils. Ariana DeBose gives a solid performance as a driven ambitious chef trying to open a gourmet restaurant in an old house in the woods that just happens to be haunted by a witch who lived there before.

It’s an atmospheric thriller that evokes  Henry James‘ The Turn of the Screw and Tim Burton‘s  Sleepy Hollow.

DeBose’s kitchen is a chaotic nightmare  serving  some  questionable dishes.  After seeing some of the food served, I looked over at my wife and said: “We’re not going to this restaurant. How about  if we stay home and I fix us some migas?”

However, House of Spoils does serves up some tasty scary moments.

Have a great weekend.

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Following in a long line of tastefully simple yet effective thrillers, Angel Baby centers around Val (Isabel Cueva), a loving wife, and her husband Justin (Dan Thiel) who move to a remote cabin to heal from the sudden death of their unborn twins and are in search of a new beginning. Soon she senses an evil presence that interrupts their tranquility. After her best friend (Whitney Anderson) comes to check on her mental health, dark secrets begin to unravel. 

Cueva, who is also the producer of Angel Baby, takes us on a rollercoaster of emotions as she navigates her way through grief and terror. Meanwhile, Val meets a mysterious neighbor (Chris Browning) desperately searching for the truth, and with the help of Maggie, the local bar owner (Rebecca DeMornay), she gains the strength to face what is tormenting her peace, leaving the audience cheering for her in the final act. 

Angel Baby is a film that, though delivering plenty of jump scares and terrifying musical cues, balances cinema horror with the deeper themes of grief and ultimately, acceptance.

Angel Baby is produced by Cueva of Cave Entertainment, and financed by Fearful Pictures. Cueva founded Cave Entertainment to make ground-breaking female-driven films and television shows focused on Latino, indigenous, and underrepresented voices. With the USC Annenberg

Inclusion Initiative report, released in October 2023, revealing that across 16 years, 3.1% of “Produced by” credits went to a Latino or Hispanic individual with “Women” representing less than 1% overall. Less than one-quarter of one percent (<0.25%) of all speaking roles went to Native American characters across the 16 years studied. In fact, the percentage of Native American roles did not exceed 1% across any of the years evaluated. There was only 1 film with a Native actor in the leading role.

Angel Baby is coming to select Theaters in the US and On Demand Dec 15. The film is distributed by Quiver Distribution in North America and Canada. The screenplay is written by Elisa Manzini (I’ll Be Waiting) and Rebecca Stahl (Everything in Between). Whitney Anderson (Holland, Michigan) and Chris Browning (Bright) also star in the film. Cinematographer is Alvaro Martin Blanco, Production Designer is David Hartwell, Composer is Max Di Carlo, Costume Designer is Elaine Lin.

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Throughout the years the sci-fi genre has been littered with cautionary tales of advanced machines taking over. From 2001 A Space Odyssey to Terminator to The Matrix, these films display the level of fear we humans have of our own obsolescence on a grand scale. More often than not, the cinematic figures we’ve turned to to help quell our fears through the rise of the machines have been seemingly superhuman. But in The Ballad of Tita and The Machines, director Miguel Angel Caballero turns to an unorthodox and exciting new savior : an elderly, queer, arthritic farmworker. 

When an AI Productivity Monitoring Software deems widow Tita (Laura Patalano) no longer fit for work due to her swelling joints, she reluctantly hires an AI humanoid to fill in for her picking strawberries out in the fields. Yet, as model after model breaks down during the arduous labor, it becomes clear that no AI Humanoid the company provides is capable of executing the same back-breaking work. 

Patalano is endearing and just the right amount of tough in her role as Tita, who navigates both a humorous and heartfelt performance. She is surrounded by an equally engaging cast that convinces us that Caballero’s world in the not-too-distant future could very soon be a reality. 

Written by Luis Antonio Aldana & Miguel Angel Caballero, this film was produced by Helena Sardinha and Rafael Thomaseto, presented at the Tribeca Festival and was made as part of Indeed’s Rising Voices program – an initiative set up to discover, invest in and share stories created by BIPOC filmmakers and storytellers, and has qualified to be considered for a 2024 Academy® Award. Rising Voices was created in collaboration with Emmy® Award-winning writer, creator, and actor Lena Waithe, Hillman Grad Productions, Ventureland and 271 Films.

Miguel Angel Caballero (co-writer/director) is the son of Mexican immigrant farm workers and an award-winning Queer Mexican-American/Chicano writer, director, and producer. His short film, ACUITZERAMO, premiered at the Morelia International Film Festival, won 20 awards internationally, and is screening on MAX. Miguel Angel is an Outfest Screenwriting Lab Fellow, Film Independent Project Involve fellow, and the Warner Bros. Discovery 150 Artist Grant recipient. Miguel Angel was one of ten directors selected to participate in the 2022 inaugural Academy of Motion Picture Arts & Sciences Accelerator Program and won the Humanitas New Voices Fellowship. 

STARRING

Laura Patalano

Luis Antonio Aldana

Nico Greetham 

Cheryll Umaña

Rocío Lopez

Geoffrey Rivas

Rafael Cobos Delgado

Juan Alfonso

Elia Saldana

Joan Almedilla

Arlene Santana

Christain Jaime Garcia

Kiara Bletran

David Rodriguez Estrada

PRODUCTION: Indeed, Hillman Grad Productions, 271 Flms

DIRECTOR:  Miguel Angel Caballero

WRITERS: Luis Antonio Aldana, Miguel Angel Caballero

EXECUTIVE PRODUCERS: Lena Waite, Rishi Rajani, Doménica Castro, Constanza Castro

PRODUCERS: Helena Sardinha, Rafael Thomaseto

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