In a strategic move that underscores the accelerating demand for short-form storytelling, Great American Media has partnered with Minivela to develop, distribute and monetize a slate of premium micro-dramas aimed at U.S. Latinos and Latin American audiences.

The alliance—announced April 8 in New York during ANA GrowthFronts—will anchor the launch of Pure Flix Familia, a new Spanish-language and bilingual destination focused on faith- and family-driven content, set to debut later this year.

The partnership is notable within the evolving vertical video ecosystem: it represents one of the first Latino-centric ventures creating culturally specific content in English and bilingual formats, positioning both companies at the intersection of mobile-first consumption and underserved Hispanic audiences.

Minivela is the first bilingual vertical shorts platform serving the U.S. Latinos and Latin American markets, Brilla Media co-founder and former Hispanicize CEO Manny Ruiz is its Chief Executive Officer.

A Mobile-First Bet on Cultural Relevance

The collaboration combines Pure Flix’s established base in values-driven entertainment with Minivela’s creator-led, mobile-first production model. The result is a pipeline of vertical-format micro-dramas tailored for audiences increasingly consuming content on smartphones.

As part of a multi-project agreement, Minivela will produce original IP as well as adaptations from Pure Flix’s existing library—reimagined specifically for short-form vertical viewing. Content will be produced across key production hubs including Miami, Los Angeles, New York and locations throughout Latin America.

“We’re excited to build Pure Flix Familia with a highly creative partner that shares our commitment to meaningful storytelling for Latino audiences,” said Bill Abbott, President and CEO of Great American Media, about the strategic alignment.

Data-Driven Development Meets Creator Economy

A key component of the partnership is the use of Pure Flix’s proprietary audience data to inform development decisions—an increasingly critical advantage in the fragmented streaming landscape. The companies will also collaborate on distribution opportunities and content acquisition strategies aimed at scaling reach among Latino viewers.

Beyond content, the alliance opens the door to integrated brand partnerships, giving advertisers new ways to engage audiences through culturally resonant storytelling rather than traditional ad formats.

Expanding Latino Creative Opportunities

For Minivela, the deal represents both scale and mission alignment as Co-founder Carlos Ponce highlighted the creative upside: “This creates opportunities for Latino writers, directors and creators to bring their voices into purpose-driven storytelling.” Ponce is also set to star in upcoming projects under the Pure Flix Familia banner.

“We’re focused on delivering stories that truly entertain, inspire and connect,” said Co-founder Manny Ruiz, added that the partnership stands apart in a crowded micro-drama space often driven by volume.

The micro-drama format—short, serialized content optimized for mobile viewing—has seen rapid growth globally, but remains relatively underdeveloped for U.S. Larino audiences, particularly in the faith and family segment.

With this move, Great American Media continues to build a multiplatform ecosystem targeting audiences seeking values-based entertainment, while Minivela strengthens its position as a leading creative and production partner in the vertical content space.

The launch of Pure Flix Familia later this year will test the viability of this hybrid model—combining bilingual storytelling, culturally specific narratives and mobile-first distribution—at a time when Latino audiences remain both one of the fastest-growing and most underserved segments in streaming.

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There are love stories—and then there are Love Struck.

In this daring, funny, and emotionally layered theatrical production, audiences are invited into the intimate world of Rachel and Laura—two women whose passionate romance has evolved into something deeper, more complicated, and ultimately more mundane. One American, the other Cuban, their relationship becomes a prism through which questions of ambition, identity, and belonging are explored with wit and candor.

At the center of it all is Odalys Nanin—a powerhouse in the Latinx and LGBTQ theater communities—who co-writes, co-directs, and stars as Laura. With a career spanning more than two decades, Nanin has built a reputation not just for provocative storytelling, but for consistently delivering award-winning work that resonates across cultures and communities.

A Story of Passion—and Its Aftermath

Rachel (played by Lizette Santiago) and Laura have been together for three years. What began as a whirlwind of “white-hot lust” has settled into a comfortable domestic life in Los Angeles. Their relationship is playful and adventurous—they experiment with role-playing, cosplay, and erotic accessories—but beneath the surface, tensions are building.

Laura’s professional success contrasts with Rachel’s growing insecurities. As Rachel yearns to match her partner’s accomplishments, she also begins to feel the pull of her roots in New York. What emerges is a deeply relatable question: Can love alone sustain a relationship when ambition, identity, and longing pull in different directions?

A Legacy of Theatrical Excellence

Nanin’s body of work reads like a canon of bold, unapologetic storytelling. From Frida: Stroke of Passion to Garbo’s Cuban Lover and The Nun and the Countess, her plays have pushed boundaries while celebrating complex, often underrepresented voices. Her honors include the prestigious Nancy Dean Playwriting Award, and her influence extends beyond the stage as the Founder and Producing Artistic Director of Macha Theatre/Films.

Her continued success is no accident. Nanin has a rare ability to merge sensuality, humor, and cultural identity into narratives that feel both intimate and universal. With Love Struck, she revisits one of her earliest works—first produced in 1997—and reintroduces it to today’s audiences with renewed urgency and relevance.

A Dynamic Creative Team

Joining Nanin is co-director Angela Nicholas, a multi-hyphenate talent who brings experience as an actor, choreographer, playwright, and designer. Her previous collaboration with Nanin on Garbo’s Cuban Lover adds a layer of creative synergy to the production.

Co-writer Marie Barrientos, known for her work on Law & Order and Another World, contributes a nuanced perspective that enriches the script’s emotional depth and authenticity.

Meanwhile, Santiago brings both vulnerability and strength to Rachel—a role that reflects her own award-winning trajectory, including recognition at the Short and Sweet Hollywood Festival and standout performances in La Wija and Whiskey Hollow Road.

A Pioneering Story—Then and Now

When Love Struck first premiered in 1997, it broke ground as a lesbian romantic comedy at a time when such stories were rarely told on stage—let alone with humor, sensuality, and cultural specificity. Today, its revival feels both celebratory and necessary.

This is not just a story about love—it’s about the evolution of love. It’s about what happens after the passion settles, when real life, real dreams, and real differences come into play.

It’s sexy, yes. It’s funny, absolutely. But most importantly, it’s real.

As Nanin continues to build on her award-winning legacy, Love Struck stands as a testament to her enduring voice—one that refuses to be boxed in and continues to evolve with every production.

Written by Odalys Nanin and Marie Barrientos. Directed by Odalys Nanin and Angela Nicholas. Presented by Macha Theatre/Films. A visiting production at Odyssey Theatre Ensemble.

At the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, CA 90025. Free parking onsite. Admission: $35 in advance, $40 at the door. Box Office: (310) 477-2055

ONLINE TICKETING: https://www.eventbrite.com/e/love-struck-tickets-66479031573

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The Mexican-American Film & Television Festival & Awards (MAFTF) returns for its milestone fifth year with growing momentum, expanding its footprint as a vital platform for Chicano and Mexican-American storytellers.  The two day festival will take place from March 25 and 26, expanding into two locations, Harmony Gold Theater in Hollywood and Milagro Cinemas located in Norwalk.

Founded with a mission to showcase, promote, and celebrate Mexican-American/Chicano filmmakers, MAFTF has steadily positioned itself as both a cultural and industry touchpoint—spotlighting voices too often underrepresented in mainstream Hollywood while championing authentic storytelling across all formats.

The festival has grown exponentially since it began in 2022. The projects were selected from over 200 submissions which included a wide variety of  film, documentary, television, and emerging vertical formats—underscoring both the demand and the creative surge within the community.

“MAFTF 2026 Theme: “Our Stories Must Be Told To Defy Adversity”, reminds us of how by telling our stories we inform, help heal and resist the forces which are hurting our community,” said Dr. Jose Luis Ruiz President & Festival Director of MAFTF.

In addition to the screenings, MAFTF features panels discussion, workshops, and Fireside Chats. 

The following panel discussion will be held on Saturday from 11:00AM – 6:00PM.

– Funding, Marketing & Distribution Panel

-The World of Vertical & How To Make Money With Them

– Casting & Production for Ultra Low Budget SAG Film

– Fireside Chat with Actor/Director & Producer Enrique Castillo

Special Honors Spotlight Industry Excellence

The culmination of the festival is the highly anticipated closing night Illustrious Awards, a recognition of the best of the festival and, this year the recognition of five individuals whose contributions—both in front of and behind the camera—exemplify the depth and range of Latino talent shaping today’s entertainment landscape.

Honorees

Veteran actor, writer, and director Enrique Castillo will receive the Lifetime Achievement Award, honoring a decades-long career that spans theater, film, and television. Castillo’s performances in films such as El Norte, Nixon, My Family, and Déjà Vu among many others, have consistently brought nuance and dignity to Latino characters. He remains indelibly associated with his iconic role as Montana in Blood In Blood Out, as well as his work on the Showtime series Weeds.

Rising multi-hyphenate Annie Gonzalez will be honored with the Illustrious Award for Outstanding Achievement in Acting. A Chicana actress, singer, and producer, Gonzalez has built a dynamic career with standout roles in Gentefied, Flamin’ Hot, and her portrayal of Jenni Rivera in the biopic Jenni. Her television work—including Shameless, American Horror Story, and Vida—reflects her ongoing commitment to advancing Latinx representation on screen.

Also receiving recognition is Mishel Prada, receiving the Illustrious Award for Trailblazing Excellence in Acting. Prada is best known for her groundbreaking role as Emma Hernandez in Starz’s Vida, portrayed a queer/pansexual Latina character with complexity and authenticity. She has also appeared as Detective KD Silva in Peacock’s The Continental, further expanding her range across genres.

Acclaimed television director Felix Alcala will receive the Trailblazer in Directing Award. With credits including Lone Star and 9-1-1 among many, Alcalá has helmed episodes of some of television’s most prominent series, helping shape the visual and narrative language of contemporary TV.

Rounding out the honorees is respected entertainment journalist Naibe Reynoso, who will be presented with the Excellence in Journalism Award and 

A Growing Cultural Force

According to several studies, although Mexican-Americans make up more than 11% of the U.S. population, they are significantly underrepresented or completely ignored by Hollywood. The Mexican-American Film & Television Festival stands as a beacon for inclusive storytelling for these filmmakers by creating space for narratives that are culturally specific yet universally resonant.

In just five years, MAFTF has evolved from a grassroots platform recognized for its significant cultural event, championing a new generation of storytellers while honoring those who have paved the way. With record submissions and a powerful slate of honorees, this year’s festival signals not just growth—but impact.

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“The Cesar Chavez Foundation has become aware of disturbing allegations that Cesar Chavez engaged in inappropriate sexual behavior with women and minors during his time as President of the United Farm Workers of America (UFW).

Little by little, the news has been emerging, with articles online increasing by the hour.

The media is doing what they do best, reporting on what information they have and digging for more. But the New York Times has been working on this story for years, and that story was set to publish on Cesar’s Birthday, March 31. We are sure a lot more details on, yet again, another incident of alleged “inappropriate sexual behavior with women and minors”.

If these allegations are true, the focus should always be the victims. It is a hard time for all. It will also be hard on our community as a revered hero is taken down.

Filmmaker, Writer and Humanitarian Border Relief Volunteer, David Damian Figueroa and Latin Heat Founder, Bel Hernandez Castillo, both very active and with deep ties to the community, penned a letter addressing this news. We hope you will share the sentiment

A Path Forward with Hope and Faith

There is no doubt that this is a devastating turn of events, and is heavy on our minds and spirits. No doubt, the mainstream news, the current political climate, gossip, innuendo, and finger-pointing will be ramped up on social media and in the mainstream news. 

We must prepare. Our future will be difficult to navigate, and this news is not just any conversation; it is a pivotal moment in Chicano/Mexicano history—one that could reshape our collective future. 

We urge every Latino to create an environment that radiates kindness and respect as they move forward. Let us create spaces that are sanctuaries for truth-telling, allowing everyone to express themselves and process this devastating news while also protecting one another. 

The way forward for the Latino community will depend on our working together so that a spirit of honor and collaboration emerges from respectful dialogue. What we do now will be a defining moment for us all. The narratives we craft today will echo through time, and unity will be our greatest strength in the days to come.

Our young people will look to us—trusting that we will help carry the weight of this responsibility with grace, integrity, and forgiveness. Hope is what we need to foster, and it starts with your willingness to engage thoughtfully, compassionately, and with purpose. 

Each of us has the power to inspire and lead. Let this moment be the spark that ignites a brighter path forward with hope and faith.

David Damian Figueroa, Filmmaker, Writer and Humanitarian Border Relief Volunteer

Bel Hernandez Castillo, Founder, Latin Heat Media

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Since it’s world premiere performance at the Mission Cultural Center for Latino Arts in 1990, Josefina López’s signature play Real Women Have Curves has become a cultural touchstone—evolving from a celebrated stage play into an award-winning 2002 film and a Tony-nominated Broadway musical in 2025. This this spring it returns to Los Angeles with a new production at CASA 0101’s Gloria Molina Theater, running March 27–May 3, 2026, with select performances presented in Spanish. ¡Que suave!

Set in 1987 Los Angeles, Real Women Have Curves tells of five curvy Latinas working in a tiny sewing factory who are trying to meet an impossible production deadline while hiding from immigration.  Their determination, courage and juicy “chisme” (gossip) help them form a bond and discover their power.

Creator and playwright Josefina López still marvels at the lasting impact of her landmark work. “When I wrote the first words of Real Women Have Curves in March 1988, I felt divinely guided to share my story,” she said. “I never envisioned the lasting impact and topical relevance my words would have this many years later.” López began writing the play at 18, inspired by the humorous yet revealing experiences she recorded while working in her sister’s sewing factory in East Los Angeles. Channeling her frustrations with machismo, racism, Hollywood’s objectification of women, and her own experience as an undocumented young woman, she shaped a story that would connect deeply with audiences.

Looking back, López believes the play’s enduring appeal lies in its celebration of women’s lives and evolving identities. “It reflects the four stages of womankind, the challenges of transitioning to the next stage and embracing the natural and organic process of aging and coming into our own wisdom,” she said. Inspired by her mother, sister, and the women around her, López now sees the play as “a sacred dance of feminine energy and camaraderie” that helps liberate women from shame—especially about their bodies.

Real Women’s unique message of body positivity, strength in the face of oppression and the power of the immigrant dream has resonated so profoundly over the decades that it has had nearly 130 professional and regional productions.  

Thi six week run at CASA 0101 stars Stefany Arroyo (Ana García), Yasha Alaniz (Estela García), Bianca Araceli (Carmen García,)  Amy Melendrez (Rosalí), Laura Vega (Pancha)  – and featuring, on stage for the first time, the original sewing machine that once belonged to Josefina López’s late mother, Catalina Perales López, who was the model for the character of Carmen García.  So, this is a distinctive cast in a story that takes on new relevancy in these challenging times.   Creatives behind the curtain boasts a talented team of creatives, including set designer César Rentana-Holguín, lighting designer Alejandro Parra, costume designer Tony Iniguez, and graphic designer Itzel Ocampo.

Heading this powerful artistic team is CASA’s longtime associate, director Corky Dominguez talked about working with Lopez, “I have had the great pleasure of collaborating with Josefina López on many of her original plays by taking what she has written on the page and breathing life into her characters and words by realizing them on the stage.  He also find a deeper corrolation, given to what is happening in the world we are living in today, “The spot on poignancy of Josefina’s themes and plotline in Real Women Have Curves, laced with a heavy dose of humor, is undeniably pertinent, joyous and uplifting for our times.  This will be the take away for audience members who come to see our production!”

As an ardent fan of Ms. Lopez’s writing, this journalist is personally overjoyed that Real Women is returning to Los Angeles, the place where this story was born and where it can play to a hometown audience who’s always responded to its enduring message.  I’m also extremely excited to announce a very special upcoming event, titled, Curves in Concert taking place on March 20th at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, California. This very special, one-time only performance will reunite members of the original Broadway cast of Real Women Have Curves:  The Musical as they sing selections from Joy Huerta and Benjamin Velez’s Tony Nominated score.  I caught the Broadway production and can highly recommend this special night directed and choreographed by Tony Award-winner Sergio Trujillo, who helmed the show in New York.  The concert will be followed by a talk-back with Ms. Lopez.

FOR ALL SHOW INFO: www.casa0101.org

Real Women Have Curves
Gloria Molina Auditorium at CASA 0101 Theater
2102 East First Street
Los Angeles, CA 90033

ENGLISH PERFORMANCES: Fridays & Saturdays @ 8:00 pm. on March 27 – May 3, 2026; Sundays @ 2:00 pm on March 29 & April 5, 2026; Sundays @ 7:00 p.m. on April 12, 19, 26 & May 3, 2026.  Playwright Josefina López will be doing a Talk Back after the Matinee performances on Sunday, March 29th and April 5th.
SPANISH PERFORMANCES: Sundays @ 2:00 p.m. on April 12, 19, 26 & May 3, 2026.  

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Los Angeles audiences will have an opportunity to witness art used as a powerful form of activism when Constance Marie and eight other actors take to the stage to read monologues inspired by true stories of families and communities affected by ICE.  Malice: Stories of Injustice, a special two-night theatrical event at the Odyssey Theatre Ensemble.

The monologues are inspired by real stories and written by Vivianne Nacif and Juan Pablo Oubina 
Directed by Vivianne Nacif.

Performances will be on March 10 at 8PM (Constance Marie will perform on this day) and March 11 also at 8PM. The performances feature nine monologues inspired by real-life stories of individuals affected by immigration enforcement actions. The fundraising event is designed inform and create community around the topic of immigration, not only as a theatrical experience but as a fundraiser with all proceeds going to help support and aid immigrant detained and/or their families.

Post-show discussions after each day’s performance will give the audience an opportunity to engage with the cast, writers, directors and discussions and learn what and where help will be provided for immigrants navigating the new challenges they face with ICE raids.

In addition to Marie, the actors (and the roles they will play) donating their time and talent to these two day charitable performances include:

Eduardo Enrikez – Francisco (Paletero) 
Angelines Santana – Linda (Tamalera) 
Alejandro Cardenas – Andry Hernandez (make-up artist) 
Iran Daniel – Alma (Home Health aid worker) 
Eduardo Enrikez – Marcos (Gardner) 
Constance Marie English performance only – Angeles (Agricultural worker) 
Vivianne Nacif   – Mariana (Jazmin’s mom) 
Alex Peña – Antonio (Daca Recepient-uber driver) 
Maria Jimena Gastelum -Sofia (US citizen College Student) 

All proceeds from the performances will benefit Mar Vista Voice and West Los Angeles Rapid Response Network, grassroots groups working on the front lines to provide legal aid, emergency response alerts, and community support for families impacted by ICE detentions.

The evening brings together actors who will portray the voices of individuals whose lives have been directly affected by immigration enforcement. Rather than statistics or headlines, the monologues present deeply personal narratives that reveal the human impact of policy.

“These monologues are based on are real people,” said Marie. “They’re not numbers or talking points. Many of them have lived in this country for decades and contributed enormously to the communities they live in.”

Marie will perform during the English-language performance on March 10, portraying an agricultural worker whose story reflects the experiences of many essential laborers. The Spanish-language performance will take place March 11, bringing the stories to Spanish-speaking audiences.

Among the characters represented are long-time residents, workers, and even a DACA recipient studying law whose life was disrupted by detention.

Art as Action

For Marie, whose decades-long career includes iconic roles in films like Mi Familia and Selena and starring as Angie Lopez on George Lopez (2002–2007) and Regina Vasquez on Switched at Birth (2011–2017) and most currently in TV showrunner Gloria Calderon Kellett’s With Love, working on Malice reflects her belief that storytelling can play a role in social awareness and community engagement.

“The antidote to despair is action,” Marie said. “People can protest, they can donate, they can post online — and this performance is another way to take action. Creative resistance is important right now.”

Audience members are encouraged to attend, bring friends, and engage with the community through the event and enjoy an evening is meant to be both moving and empowering.

For Marie, being part of this creative fundraiser is more than doing a monolough of another persons’ real life experineces with ICE — it is personal. “The hardest part for me is being in a country where I am a citizen but because the color of my skin i’m asked for my papers. I’m indigenous but because i’m brown I have to worry about the racial profiling that’s happening.”

Malice: Stories of Injustice performances will take place at the Odyssey Theatre in Los Angeles with two performances:

• March 10 — English-language performance (featuring Constance Marie)
• March 11 — Spanish-language performance
• Time: 8:00 PM

Tickets and donation information can be accessed through Constance Marie’s Instagram, @GoConstance, where a link and QR code are available for purchasing tickets or contributing to the cause, or at The Odyssey Theater website. Donations can also be made online at the Odyssey Theater Support Page, However, make sure to to indicate your donation is restricted funds to be used only for Malice charities.

Marie leaves us with an ecnouraging thought, “Right now many people feel overwhelmed. But community is the answer. Remembering our humanity and our shared stories are essential.”

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In the crowded field of documentary shorts this awards season, the Oscar nominated The Devil Is Busy stands out not through spectacle, but through access and immediacy. Executive produced by award-winning journalists Soledad O’Brien and veteran producer Rose Arce, the film directed by Geeta Gandbhir and Christalyn Hampton offers a clear-eyed portrait of reproductive healthcare in America after the 2022 reversal of Roe v. Wade. directed by 

The result is one of the most quietly powerful entries in this year’s Oscar race—and a reminder that the debate over reproductive rights is no longer theoretical, but unfolding daily at clinic doors across the country.

When the U.S. Supreme Court overturned Roe v. Wade in 2022, it didn’t just change the law—it erased half a century of protections that women in the United States had fought to secure.

“It was really back at the end of 2022 that we started thinking.  If this happens, if in fact Roe v. Wade is no longer the lay of the land, what could we do”, explained O’Brien on the urgency to “do something” immediately after the law was overturned. 

“There is actually a very strong Latina connection to all of this”, Arce points out. “During the Supreme Court oral arguments Supreme Court Justice Sonia Sotomayor asked the question of the Court, “Will this institution survive the stench this creates?”  Aware of the challenge ahead, O’Brien and Arce understood the mission and went to work producing the documentary. They approached the Ford Foundation and it was a Latina, Sonia Enriquez and Darren Walker who both said, yes to the funding.  “Once we had the film, a Latina executive at HBO was the one that said ‘OK…I am gong to run this’.” The Devil Is Busy has been streaming on HBO Max since September 23, 2025.

Powerfully, the film arrives guided by Latina leadership behind the scenes, bringing journalistic rigor and emotional clarity to a subject that too often gets reduced to political slogans. 

Filmed in cinéma vérité style, the 30 minute documentary short unfolds over the course of a single day, inside a women’s healthcare clinic in Atlanta.  Tracii, the facility’s head of security, navigates the daily reality of protecting patients and staff amid ongoing protests and heightened threats – from security sweeps of the premises to escorting patients inside while safeguarding their anonymity. 

For more than five decades, American women lived with the protections established under Roe v. Wade. The Devil Is Busy starkly contrasts that era with the new reality many patients face navigating restrictive state laws and an increasingly hostile climate surrounding reproductive care. 

Rather than relying on political commentary, the filmmakers keep the camera trained on the human infrastructure holding the system together. Tracii emerges as the film’s emotional anchor—part protector, part counselor. The documentary avoids polemics in favor of observation, allowing viewers to witness the emotional and operational toll on the staff tasked with ensuring women can still access basic healthcare.

The film’s power lies in this juxtaposition: routine healthcare operating under extraordinary pressure.

At a brisk half hour, The Devil Is Busy is compact but potent filmmaking. In an awards season often dominated by sweeping global stories, this short opts for a focused lens on a single clinic, a single day, and a single gatekeeper standing between patients and the chaos outside.

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Now in its 13th year, the annual celebration of Latina-directed cinema will present Merino with the Lupe Ontiveros Award on Opening Night, while Riggen will receive the Maverick Award. Both honors spotlight Latina leaders whose work has reshaped representation, storytelling, and opportunity across the entertainment industry.

Yvette Merino to Receive Lupe Ontiveros Award

Merino, producer at Walt Disney Animation Studios, will be honored for a career defined by artistic excellence and trailblazing achievement. The Lupe Ontiveros Award—named after the late actress who paved the way for generations of Latina performers—recognizes women whose careers demonstrate courage and a sustained commitment to expanding representation in film.

Merino made history as the first Latina to receive the Academy Award for Animated Feature for producing Disney’s Encanto. Over her 25-plus years at Disney Animation, she has served in key production roles on blockbuster titles including Tangled, Wreck-It Ralph, the Oscar-winning Big Hero 6, and Oscar-nominated Moana.

Following Encanto, Merino earned an Emmy Award for producing the short film Once Upon a Studio and served as producer on Moana 2. She is currently producing Zootopia 2. Beyond the screen, Merino was also instrumental in launching Voces@Disney, the studio’s first Latino employee resource group, serving as co-president for two years.

Patricia Riggen to Receive Maverick Award

Riggen will be presented with the Maverick Award, honoring a filmmaker whose body of work has challenged dominant narratives while bringing underrepresented stories to global audiences with authenticity and emotional depth.

Widely regarded as one of America’s leading female directors, Riggen’s feature credits span genres and scale. Her recent action thriller G20 stars Viola Davis, while earlier work includes Sundance breakout feature Under The Same Moon/La Misma Luna and Sony Pictures’ box-office hit Miracles from Heaven starring Jennifer Garner.

Her television directing credits include multiple episodes of the Emmy-winning limited series Dopesick starring Michael Keaton, as well as season one of Tom Clancy’s Jack Ryan.

A graduate of Columbia University School of the Arts, Riggen’s early short film work earned a Student Academy Award, Student Emmy, and Mexican Academy Award. She later directed Lemonade Mouth, which received a Directors Guild of America nomination, and the Chilean mining drama The 33 starring Antonio Banderas and Juliette Binoche—a production that required 30 days of filming underground in active mines.

Originally from Mexico, Riggen remains one of the few women of color to have directed top-grossing studio features in the past decade and continues to mentor emerging Latino filmmakers.

Festival Leadership and Mission

LIFE is led by Festival Directors Iris Almaraz and Cristina Nava, whose shared focus on community engagement, equity, and independent film continues to define the festival’s growth. Nava, a veteran independent producer and cultural organizer, brings decades of experience championing socially conscious storytelling and grassroots arts advocacy. Together, Almaraz and Nava position LIFE as both a platform for exhibition and a space for mentorship, networking, and long-term career development.

Founded thirteen years ago by screenwriter and playwright Josefina López (known for writing the groundbreaking film and Broadway play Real Women Have Curves), the festival was built on the belief that representation matters and that diverse voices strengthen the cinematic landscape.

In addition to screenings, the 2026 edition will feature panels, workshops, and networking sessions connecting emerging Latina directors with industry leaders and resources. LIFE is a fiscally sponsored project of the National Association of Latino Independent Producers (NALIP).

Tickets and full programming details are available at www.LIFEFilmFestLA.com.

The post EXCLUSIVE: LIFE Film Festival to Honor Oscar-Winning Producer Yvette Merino and Acclaimed Director Patricia Riggen first appeared on .

Vinícius Costa da Silva never planned to become opera’s favorite dark presence. Offstage, he’s warm, joyful, quick to  laugh. Onstage, the 6’3″, curly-bearded Brazilian commands priests, rogues, and powerful men  with effortless authority. That contrast — sunlight personality, shadow roles — is part of the  intrigue. And so, Brazil’s 2026 winning streak continues with a São Paulo native commanding the stage at LA Opera’s epic production of Akhnaten direccted by Philip Glass.

Costa’s journey from São Paulo’s working-class East Zone to LA Opera feels like destiny with a  strong assist from grit. The path wasn’t linear. It rarely is. 

Like many musicians, it began with curiosity. Costa was first drawn to the “funny-looking”  French horn, fascinated by its shape. The real turning point happened somewhere far less  glamorous — a school restroom. A classmate overheard him singing and told the choir master,  “He can sing!” Costa was suddenly doing solos. 

“Back then, I was just a curious kid trying different things. But after I sang for the choir master,  that’s when I found my true voice.” Support followed — slowly, then fully. 

“I had a very good family: my mom Marina Costa, brother Pedro were big supporters and my  father Zorandir Ramos — after a while when he realized that I could make some beautiful sound,  he got courage enough to come and listen to me then he started supporting me also.” 

From choir boy to opera stages, Costa’s trajectory reads like a sequence of doors opening — each earned. Mentors guided him from Brazil to Basel, where he completed bachelor, master’s  and post-master’s degrees, before arriving at LA Opera’s Domingo-Colburn-Stein Young Artist  Program. Akhnaten marks his fifth LA Opera role — with more ahead. 

Two early figures remain foundational: Maria Lúcia Waldow and retired baritone-turned-teacher Francisco Campos. 

“I treat them like Sensei,” Costa says, recalling lessons after school and how Campos would feed  him when he arrived hungry. Waldow’s message was constant: discipline, standards, no  shortcuts. “She was always telling me you don’t sacrifice quality!”  And: “You have to practice — a lot!” 

Costa smiles. “They not only taught me to sing but taught me what it means to be a  professional.” 

That seriousness toward craft defines him. Costa doesn’t approach roles technically — he  approaches them anthropologically. Languages, history, psychology — all part of the  preparation. German, French, Italian, Spanish, English — and the cultural codes behind them.

“Opera isn’t just about hitting the right notes — it’s about understanding the meaning behind the  words,” Costa said. “When I sing in a new language, I dive deep into its culture. I watch films,  listen to native speakers, to immerse myself as much as possible. I want to give the character the  depth it deserves.”  It shows. 

Whether as Aye in Akhnaten — father of Nefertiti and advisor to the Pharaoh — the Duke in Roméo et Juliette, or the Speaker in The Magic Flute, Costa specializes in dimensional authority.  Villains with interior life. Power with psychology. 

“The bass is often the villain, but I don’t play him as just evil. I try to find what makes him tick,  what makes him real.” 

Offstage, the intensity softens. Costa remains disarmingly grounded — curious, hardworking,  visibly grateful. The Young Artist Program at LA Opera plays a major role in that evolution. 

“LA Opera has been an amazing place to grow,” he says. “Everyone here does their job at such a  high level, and we’re treated with so much respect. It’s a place where artists are encouraged to be  their best, but they also feel supported. It’s been the perfect environment to learn and improve.” 

And yet, the perspective remains intact. 

“I never expected to be here,” Costa says. “I grew up in a place where classical music was rare.  But thanks to opportunities like the Guri Santa Marcelina program, which brought music into  communities that lacked access, I was able to find my path. Music was never ‘supposed’ to be a  part of my life, but now it’s everything.” 

Representation matters — and Costa understands the symbolism. 

“I’m incredibly proud to represent my country. Brazilian culture is rich, vibrant, and full of heart,  and I feel like the world is finally recognizing it.” 

The next chapter is already unfolding. This season includes Falstaff, one of his favorites. “It’s just so joyful, so playful, and it has some of the most beautiful music. I’ve always wanted to  be a part of it, and now I get to live that dream.” 

Looking ahead, Costa is drawn to roles with philosophical weight — darker edges, psychological  complexity, the devilish spectrum opera does so well.  Which brings us back to the title: Sweet Villainy. 

For Vinícius Costa da Silva, the tension between warmth and shadow isn’t a contradiction. It’s  the instrument. And LA Opera audiences are just beginning to hear its full range.

Akhnaten returns after 10 years to the Dorothy Chandler Pavilion, with performances running from February 28 to March 22, 2026. This revival features countertenor John Holiday in the title role and is conducted by Dalia Stasevska in her company debut

The post Dark Majesty: Brazil’s Vinícius Costa da Silva a Commanding Voice in LA Opera’s ‘Akhnaten’ first appeared on .

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 .