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.

The post Minivela and Great American Media Teams Partner to Launch Micro-Dramas Aimed at U.S. Latinos first appeared on .

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

The post Love, Desire & Identity Collide in ‘Love Struck’—A Bold Return from Award-Winning Visionary Odalys Nanin first appeared on .

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.

The post Mexican-American Film & Television Festival Marks 5 Years With a Powerful Showcase of Culture and Content first appeared on .

“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

The post A Path Forward With Hope And Faith first appeared on .

Thirty years ago, Latino representation at the Academy Awards was almost invisible. In the mid-1990s, nominations for Latino artists were almost non existent and often limited to a single acting nod or a film from Latin America competing in the international category. Hollywood’s biggest night rarely reflected the depth of talent emerging from Latino communities in the United States and across Latin America.

The 98th Academy Awards, set for March 15, 2026 at the Dolby Theatre in Hollywood, feature 13 Latino creatives recognized across acting, producing, writing, and animation categories. The nominations highlight the continued global influence of Latinos talent in both studio and independent filmmaking.

Fast-forward to the 98th Academy Awards, and the picture—while still imperfect—shows meaningful progress. This year’s nominees include 12 creatives, from actors to casting Directors

What we can say is that there has been some progress.

Throughout the 1990s there were only three Latinos who garnered an Academy Award nomination in the actor category. That is three actors in ten years: Andy Garcia (Best Supporting Actor, The Godfather Part III, 1990), Rosie Perez (Best Supporting Actress, Fearless, 1994), and Brazilian actress Fernanda Montenegro (Best Actress, Central Station, 1998), who was the first Latina nominated in that category.

Fast-forward to the 98th Academy Awards, and the picture—while still imperfect—shows meaningful progress. This year’s nominees include a historic Best Actor nomination for Wagner Moura, and a secont Oscar nomination for Oscar winner Benicio del Toro (for Traffic). However this year there is a strong showing behind the lens beginning with multiple nominations for visionary Mexican filmmaker Guillermo del Toro. It is behind the scenes that Latino creatives are ceating and shaping major studio projects and independent film, including producer Yvett Merino and filmmaker Adrian Molina in the animated feature category — and more.

Compared with three decades ago—when Latino nominees could often be counted on one hand—the 2026 slate reflects a broader presence across acting, producing, writing, and directing. It’s a that there is more projects employing Latinos, or they themselves are creating the projects. There is definitely a stronger presence of Latino actors and behind the scenes creative, with an increasing move from the margins into the creative center of global filmmaking.

Yet the progress tells only part of the story. One glaring absence remains: Latinas. Despite a year rich with powerful performances and acclaimed films by Latina creatives, women of Latin American descent are largely missing from the nomination roster.

As Hollywood celebrates this year’s nominees, the conversation inevitably turns to the question that continues to echo through awards season: whose work is still being overlooked? But that is for another article.

For now we celebrate all the the Oscar nominees and draw your attention to the 2026 Latino Oscar nominees, from on-screen talent, to behind the camera. And the nominees are…

2026 Actor Oscar Nominees

ACTORS

Benicio del Toro

Nomination: Best Supporting Actor — One Battle After Another

Academy Award winner Benicio del Toro received his third career nomination for his role in Paul Thomas Anderson’s ensemble drama One Battle After Another. One of the most respected Latino actors in Hollywood, del Toro first gained global attention with films such as The Usual Suspects and Traffic, the latter earning him an Oscar. His career has spanned major franchises (Sicario, Star Wars: The Last Jedi) and auteur-driven cinema.

Oscar history:

• Nominations: 3
• Wins: 1 — Best Supporting Actor for Traffic (2001)

Wagner Moura

Nomination: Best Actor — The Secret Agent

Brazilian actor Wagner Moura earned a historic nomination for his performance as a political dissident navigating Brazil’s military dictatorship in The Secret Agent. Moura first gained international recognition starring as Pablo Escobar in the Netflix series Narcos, after becoming one of Brazil’s most acclaimed actors through films such as Elite Squad and Elite Squad: The Enemy Within. Known for his politically charged roles and directing work, Moura continues to bridge Brazilian cinema with Hollywood productions.

Oscar history:

• Nominations: 1
• Wins: 0

Notably, Moura becomes the first Brazilian man ever nominated for Best Actor.

Producing, Writing & Directing

Juan Arredondo

Nominations:

• Best Documentary — Armed Only with a Camera: The Life and Dath of Brent Renaud

Colombian photojournalist and professor Juan Arredondo earned a 2026 Oscar nomination for Best Documentary Short Film Armed Only with a Camera: The Life and Death of Brent Renaud. Arredondo, who was severely wounded in the 2022 Ukraine attack that killed his colleague, produced and edited the film to honor Brent Renaud’s legacy.

Oscar history:

• Nominations: 1
• Wins: 0

Guillermo del Toro

Nominations:

• Best Picture — Frankenstein
• Best Adapted Screenplay — Frankenstein

Mexican visionary Guillermo del Toro continues his remarkable awards legacy with multiple nominations for his gothic reimagining of Frankenstein. Del Toro is widely celebrated for blending dark fantasy with emotional storytelling in films such as Pan’s Labyrinth, The Shape of Water, and Guillermo del Toro’s Pinocchio. His work has made him one of the most influential filmmakers to emerge from Mexico’s modern cinematic wave.

Oscar history:

• Nominations: 8+ (across producing, directing, and writing)
• Wins: 3
  • Best Director — The Shape of Water (2018)
  • Best Picture — The Shape of Water (2018)
  • Best Animated Feature — Guillermo del Toro’s Pinocchio (2023)

Yvett Merino

Nomination: Best Animated Feature — Zootopia 2 (Producer)

Producer Yvett Merino has become one of the most prominent Latina executives in animation. As a producer at Walt Disney Animation Studios, she previously won the Oscar for Encanto, the globally celebrated musical inspired by Colombian culture. With Zootopia 2, Merino continues her work shepherding large-scale animated storytelling within the Disney system.

Oscar history:

• Nominations: 2
• Wins: 1 — Best Animated Feature for Encanto (2022)

Nidia Santiago 

Nomination: Little Amélie or the Character of Rain (Producer)

Multiple award- winning producer for the animated short Little Amélie or the Character of Rain including an Oscar. In her productions we find the titles Chulyen, histoire de corbeau by Cerise Lopez and Agnès Patron (nominated for the Emile Awards 2017); Negative Space by Ru Kuwahata and Max Porter (FIPRESCI Award at the Annecy Festival, Grand Prix at Animamundi (Brazil), nominated for the Oscars in 2018.

Oscar history:

• Nominations: 2 – Negative Space (Produer)
• Wins: 1 — Best Animated Feature for Negative Space (2018)

Adrian Molina

Nomination: Best Animated Feature — Elio (Co-Director)

Adrian Molina is best known as the co-director and co-writer of Pixar’s Coco, which celebrated Mexican culture and became a global box office success. Molina returned to Pixar’s director’s chair with Elio, a sci-fi adventure about a boy mistakenly identified as Earth’s ambassador to an intergalactic council.

Oscar history:

• Nominations: 3 (including writing and animated feature categories)
• Wins: 2
  • Best Animated Feature — Coco (2018)
  • Best Original Song — “Remember Me,” Coco (2018)

Beyond the acting and directing categories, Latino talent continues to make a significant impact behind the camera, shaping the visual, technical, and sonic elements of some of the year’s most talked-about films.

Ken Diaz

Oscar Nomination: Best Makeup and Hairstyling — Sinners

Veteran makeup artist Ken Diaz earned an Academy Award nomination for his work on the genre-bending supernatural drama Sinners. Diaz, known in Hollywood for his expertise in character transformation and special makeup effects, helped create the film’s striking visual aesthetic alongside collaborators Mike Fontaine and Shunika Terry. The nomination places Diaz among the few Latino artists recognized in the Academy’s makeup branch in recent years. He has three Primetime Emmys for his work as a make-up artist in television and an overall of six nominations. With the Sinners nomination that makes him a three time Oscar nominee My Family/Mi Familia (1996) and Dad (1990). The chances of a “third time is the charm” just might work out.

Oscar history:

• Nominations: 3
  • Best Make-up – Mi Family/My Family (1996)
  • Best Make-up – Dad (1990)
• Wins: 0

Jose Antonio Garcia

Oscar Nomination: Best Achievement in Sound Mixing, One Battle After Another

 José Antonio García a renowned Oscar-nominated and awarded sound engineer Mexican known for his work on major films like Argo (2012), Roma (2018), and the 2025 film One Battle After Another. He has received multiple Acadmey Award nominations for Best Sound Mixing throughout his career.

Oscar history:

• Nominations: 3
  • Best Achievement in Sound Mixing, Roma (2019)
  • Best Achievement in Sound Mixing, Argo (2013)
• Wins: 0

Felipe Pacheco

• Nominations: 3
  • Best Make-up – Mi Family/My Family (1996)
  • Best Make-up – Dad (1990)
• Wins: 0

Nomination: Best Sound — Sinners

Costa Rican–born sound editor Felipe Pacheco received an Oscar nomination as part of the sound team for Sinners. A Berklee College of Music graduate, Pacheco has built a reputation in Hollywood for his work on large-scale productions and streaming series, including the acclaimed Apple TV+ series Severance. His nomination reflects the increasingly global nature of sound design teams in modern filmmaking.

Oscar history:

• Nominations: 1
• Wins: 0

Juan Peralta

Oscar Nomination: Best Achievement in Sound Mixing, One Battle After Another

Juan Peralta is an American sound engineer.^[2] He was nominated for an Academy Award in the category Best Sound for the film F1.^[3]. Hia other credits include  Avengers: Endgame (2019) and Doctor Strange (2016).

Adolpho Veloso

Nomination: Best Cinematography — Train Dreams

Brazilian cinematographer Adolpho Veloso earned a historic nomination for his atmospheric photography on Train Dreams. Known for his painterly visual style and ability to capture expansive natural landscapes, Veloso became one of the few Brazilian cinematographers ever nominated in the category, bringing international attention to his work.

Oscar history:

• Nominations: 1
• Wins: 0

Gabriel Domingues

Nomination: Best Casting — The Secret Agent

Brazilian casting director Gabriel Domingues received an Oscar nomination for assembling the ensemble of The Secret Agent. His work recreating the political and social landscape of 1970s Brazil through casting was widely praised and marks recognition in the Academy’s newly introduced casting category.

Oscar history:

• Nominations: 1
• Wins: 0

Additional, although not an Oscar nominee Danya Jimenez is a Mexican American screenwriter and LMU alumna who, alongside writing partner Hannah McMechan, co-wrote the 2025 hit animated film KPop Demon Hunters which is a two time Oscar nominee. Released on Netflix, the musical action-comedy became a global phenomenon, ranking as the platform’s #1 most-watched movie. The duo was named to Variety’s 2025 screenwriters to watch list. 

The progress from three decades ago is undeniable. Latino artists today are directing Oscar-winning films, leading global franchises, and shaping Hollywood’s creative future. Yet the absence of Latina nominees in 2026 is a reminder that the industry’s evolution remains incomplete. Until the Academy’s ballot consistently reflects the full spectrum of Latino talent—women included—the celebration will always carry a note of unfinished business.

The post Banner Year: 13 Latinos Nominated for an Oscar in 2026 first appeared on .

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.  

The post Classic Play ‘Real Women Have Curves’ Returns at CASA 0101 first appeared on .

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

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