LATINAFest, the nation’s largest outdoor festival celebrating and empowering Latinas, continues its commitment to cultural storytelling through its ARTES, MOVIES Y CULTURA initiative with a special fundraising screening of The Dreamer Cinderella. This inspiring cinematic event takes place on November 24, 2025, at the Harmony Gold Theater in Hollywood, and will benefit two local nonprofits—Proyecto Pastoral and the Survivor Justice Center—that provide critical support for immigrant and underserved communities.

For LATINAFest co-founders Bel Hernández Castillo and Naibe Reynoso, art and culture have always been the perfect mediums to move hearts and spark social awareness. “Culture and art have the power to transform minds and souls,” says Hernández Castillo. “This film shows a different face of the Latino immigrant experience—a story of strength, transformation, and hope.”

A Story of Transformation and Resilience

Written, directed, and produced by Dr. José Luis Ruiz, The Dreamer Cinderella follows Xochitl, a Mexican-American fruit vendor whose simple life takes an unexpected turn when she becomes the subject of a daring bet between two rival Hollywood directors. In her journey from the streets to the spotlight, Xochitl not only discovers her own self-worth but also transforms the way others see her and, by extension, the way audiences see immigrants.

“I could not be more thrilled to partner with LATINAFest to bring this story to thousands of powerful Latinas—like Xochitl, our Dreamer Cinderella—who embody courage and perseverance,” said Dr. Ruiz. “This film celebrates their spirit and determination.”

Starring Anakaren Chablé (Troop Dragonfly) in her first leading role and Tara Reid (American Pie, The Big Lebowski), the film explores identity, resilience, and empowerment within the context of the immigrant experience in the United States. The Dreamer Cinderella will be released nationwide on January 23, 2026.

Empowering Stories, Real Impact

For LATINAFest, this screening is more than a film event—it’s an act of community empowerment. “It’s imperative to support Latino filmmakers who tell our stories authentically—because our stories matter and deserve to be seen,” said Hernández Castillo. Reynoso adds, “The Dreamer Cinderella beautifully captures the triumphs and challenges of Latinas and all immigrants striving for a better life. This partnership reflects LATINAFest’s mission to uplift our community and use storytelling as a catalyst for change.”

The partnership also extends tangible support to local organizations on the front lines of immigrant advocacy. Carmen E. McDonald, Executive Director of the Survivor Justice Center, shared, “As an organization serving immigrants and Dreamers, we witness firsthand the courage it takes to build a new life while preserving one’s heritage. The Dreamer Cinderella is an inspiring reflection of that strength, and we are proud to stand behind its message.”

Through partnerships like this, LATINAFest uses the transformative power of art to give back, uplift, and create meaningful change—one story at a time.

A Night of Culture, Celebration, and Giving

The ARTES MOVIES Y CULTURA evening will begin at 6:00 PM with red carpet arrivals, followed by a festive reception featuring food, cultural vendors, spirits, and special activations—including a transformational “make-up spruce-up.” The film screening begins at 7:30 PM.

General admission tickets are $30, while VIP tickets—which include exclusive perks, parking and premium seating—are $100.

PURCHASE TICKETS AT EVENTBRITE

About LATINAFest: Mind, Body & Soul

Under its Mind, Body & Soul and ARTES, MOVIES Y CULTURA initiatives, LATINAFest continues to celebrate Latina creativity, resilience, and storytelling. The community-driven organization provides year-round programming that empowers women to thrive while spotlighting narratives that reflect the beauty, challenges, and contributions of Latinas—including the immigrant experience.

The post LATINAFest Presents ‘The Dreamer Cinderella’ — A Benefit Screening Event That Celebrates the Power of Art, Culture, and Immigrant Stories first appeared on .

In a film festival landscape increasingly hungry for diversity yet still falling short in its representation of Latino voices, the Mexican American Film & Television Festival and Awards (MAFTF) is emerging as a powerful and necessary force. Now in its fourth year, this groundbreaking festival is the only one in the United States focused on turning a spotlight on the Mexican-American filmmaker —a group that, despite being the largest and most economically powerful Latino demographic, remains the most stereotyped and underrepresented in American media.

In May 2025 MAFTF presented it’s 4th edition, held over two days at the iconic Harmony Gold in Hollywood and the Milagro Theaters in Norwalk California, showcased this mission in full force, with corporate support from entertainment giants like MGM, Amazon, and Regal Cinemas, reflecting a growing acknowledgment of the festival’s influence.

Founded by visionary Dr. Jose Luis Ruiz, MAFTF is more than just a celebration of culture—it’s a corrective movement aimed at challenging deeply rooted media stereotypes and amplifying authentic stories.  The Mexican-American Film & Television Festival MAFTF has grown to become the premier Los Angeles Festival, representing the 40 million Americans of Mexican descent. Its focus is projects which depict the Mexican-American community, not with the usual Hollywood stereotype, but the more real-to-life depiction of a community of hardworking Americans who contribute and have contributed endlessly to this country.

“I am  also aware that despite our shared heritage, filmmakers from Mexico and  Chicano/Mexican-American filmmakers have not always collaborated as closely as we could,” said Dr. Ruiz, “This year’s festival theme was a call to action – a reminder that by working together,  we can amplify our voices, share our stories, and celebrate our rich cultural diversity”.

A Spotlight on Excellence

MAFTF is also dedicated to attract and honor some of Hollywood.s most accomplished figures. In a matter of four years, the festival has recognized some of the most accomplish filmmakers in Hollywood, including: Aademy Award-winning produer Yvett Merino, (Encanto); renowned director behind G20, Patricia Riggen (Miracles from Heaven); Frank Rodriguez, a leading executive at MGM Amazon Studios, and Moctezuma Esparza, Producer (Selena, Walkout, Milagro Beanfield War) among many.

These honorees, and many others, not only represent the heights Mexican Americans hacw reach in Hollywood but also serve as mentors and advocates for the next generation of talent. Their recognition by MAFTF serves to validate their lifelong contributions and underscore the significance of cultural representation in film and television.

Empowering the Future

While the awards bring deserved attention to established names, MAFTF’s core mission is supporting emerging filmmaker voices. Through its expanding platform, the festival has become a launchpad for filmmakers, actors, and creators. Each year, finishing grants are awarded to help filmmakers complete their projects, giving them crucial resources to bring their visions to life.

In addition to financial support, the festival offers year-round programming such as their yearly Masterclass with industry veterans, thought-provoking panels, and networking events aimed at building a sustainable ecosystem for Mexican American creatives.

A Growing Cultural Movement

More than a film event, MAFTF is the nucleus of a larger cultural awakening, highlighting the rich and diverse stories of Mexican Americans and Latinos. These stories are not only historically important but resonate deeply in a country where Latinos are the largest minority group, with Mexican Americans making up 66% of the Latino population.

With the U.S. Latino GDP now at $3.7 trillion annually, according to the Latino Donor Collaborative, the economic and cultural influence of Latinos in this country cannot be overstated. MAFTF is riding the wave of this momentum, earning national recognition and expanding its impact with each passing year. It’s a long-overdue platform for a community that has given so much to the American fabric, yet for too long, has been left out of its storytelling.

Looking Ahead

As MAFTF continues to grow in stature and relevance, its work is more crucial than ever. It is reshaping the narrative, empowering creators, and reclaiming identity—one story, one film, one celebration at a time. The message is clear: Mexican Americans are no longer waiting for Hollywood to notice them—they are building their own stage and inviting the world to see.

For the past four years, the Mexican American Film and Television Festival (MAFTF) has been committed to uplifting emerging filmmakers and their stories. This year, that mission came full circle when the festival’s founder, Dr. Ruiz, screened his own work-in-progress feature film, The Girl at the Fruit Stand, a modern Cinderella story of Xochitl, a Mexican-American street vendor offered a life-changing opportunity.

After debuting his short The First Cowboy a year before at MAFTF festival, Dr. Ruiz returned—not just as a founder, but as a filmmaker—using the festival as a platform to gather feedback and gauge audience response with his feature. His example underscores a valuable insight for all filmmakers: showcasing your film to a live audience can be a crucial final step. Testing marketability, refining based on reaction, and experiencing how the story resonates in real time can provide the finishing touch before release.

The post Mexican American Film & Television Festival and Awards is Focused on Changing the Narrative first appeared on .

By Catherine Jones

This year, Zoe Saldaña took home the Oscar for Best Supporting Actress for her role in Emilia Pérez, becoming the first actor of Dominican descent to do so. Her win should have been an unfiltered celebration, a long-overdue moment of recognition. Instead, it was met with controversy.

Saldaña’s acceptance speech was overshadowed by backlash from Mexican audiences, who criticized the film’s portrayal of their country. “I’m very, very sorry that many Mexicans felt offended,” she said in the Oscars press room. “That was never our intention.”

The tension surrounding her win speaks to a deeper, ongoing issue in Hollywood. It’s one where actors of color are often celebrated within a narrow, predetermined space while the industry drags its feet on true systemic change.

“Victory for Saldana is complex. It is celebratory for minority actors vying for inclusion, but simultaneously it is for a film mired in ethnic and cultural controversy,” UK-based Author Ben Arogundade explains. “So much so that Saldana herself felt the need to apologise to Mexicans for being disrespected in the film’s production.”

Arogundade adds, “Saldaña is only the second Afro-Latina ever to win an Oscar, and the eleventh Black woman to win Best Supporting Actress. Although her victory is celebratory, it also reveals the extent to which Black and Latina actresses are restricted to this award, but seldom the top prize of Best Actress. To date, only one black woman has ever won it (Halle Berry), and no Latinas at all, in almost a century.”

New Book That Shows Why Saldaña’s Win is Not Enough

In his newly released book “Hollywood Blackout,” Arogundade dissects racism in the film industry and how Hollywood’s diversity problem is still far from solved. Latin Heat caught up with the author, who is now on a press tour to promote his book in the United States, to ask him about his book and his findings. As it turns out, the Oscars are truly a mirror of Hollywood’s ongoing struggles with diversity.

Latin Heat: In your research, what was the most shocking discovery you made about Latino representation in Hollywood?

Ben Arogundade:  The way that they were negatively represented on screen in early Hollywood — as bandits, philanderers and ‘greasers’ — stereotypes that would take root for decades, and still linger within film culture today.

LH: How do Latino experiences compare to those of Black actors?

BA:  Very similar. All minorities, in film terms, were traditionally considered ‘second class’. Blacks and Latinos have suffered many of the same humiliations and stereotypes at the hands of a dominating white culture that sees them as ‘less than’. Just as Black actress Hattie McDaniel was corralled into being a career maid within Hollywood film, Rita Moreno suffered the same fate. Both women, despite winning Oscars, were not permitted to escape their typecasting.

LH: Many people are familiar with the lack of Black winners at the Oscars, but Latino actors are often overlooked in these conversations. Why do you think their exclusion has been less widely discussed?

BA: Before this year’s Academy Awards, Black actors had won Oscars on 23 occasions, while Latinos had won just four times. Four times! African Americans have fared better overall because they have lobbied and campaigned the hardest over time. From the early 1900s civil rights leaders and Black newspapers consistently demonstrated against Hollywood’s racism. Latinos by comparison have been less active and less vocal over the timeline. The Latino equivalent of Spike Lee — shouting for equality, has been missing. Worst of all though, Native Americans and South Asians, the least active, have won almost nothing as actors at the Oscars. So, the intensity and duration of agitation seems to correlate with the amount of Oscars won.

LH: Hollywood often celebrates itself as being diverse and progressive. Based on your research, do you think there has been real progress, or is the industry still struggling with the same systemic issues?

BA:  Yes and no. Undoubtedly there has been progress. The Academy started in 1927 with 33 white men and three women, who were mostly Americans. Latinos and blacks were barred from major roles, and their parts played by white actors. Today, minorities feature in major productions. The Academy has 11,000 members from over 70 countries, 20 per cent of whom are from under-represented backgrounds, and a third of whom are women. This is changing the types of films nominated, and the actors within them. This year, two non-English-language films made the Best Picture list, and gay and trans artists featured amongst the acting nominations. This has never happened before. But on the flip side, progress has been patchy. Emilia Perez was criticised for its old, stereotypical view of Latinos, and for excluding Mexicans from a production that appropriated their culture. Zoe Saldana was rightly celebrated as the second Afro-Latina to win Best Supporting Actress — but minorities have been relegated to only winning in this category, and have been shut out of the top prize of Best Actress, where Blacks have won once and Latinos not at all, after almost a century.

LH: If you could change one thing about the way the Oscars recognise talent, particularly for Black and Latino actors, what would it be?

BA: The Academy, particularly under its former leader, Cheryl Boone Isaacs, has done a good job in diversifying the roster of film professionals who vote for the Oscars, and this revision continues. So, if I could change anything now, it would probably not be there, but at the other end of the chain — when writers, directors, producers and casting agents are formulating projects. If these people can think in more expansive ways when casting actors, more Blacks, Latinos and others would feature in qualitative, major roles that might then get nominated, and then hopefully onto the podium on Oscars’ night. The streamers are doing a better job of this at the moment. But changing ingrained stereotypes within the white Hollywood psyche is not easy.

LH: What impact do you think your book will have on the industry?

BA: None, probably — although I am open to being surprised. I think its influence is more likely to be felt by the diverse people outside Hollywood, or who are trying to get in, who read it and learn something about the way things work, and why. ‘Hollywood Blackout’ might inform some strategy or enlightening moment for them. History books like mine are more important than ever right now, with people in America opposing diversity while forgetting the historical fact that diversity is what built America. It’s what made America great.

About the Writer: Catherine Jones is the Editor-At-Large for Nuestro Stories. Her writing has appeared in The Washington Post Magazine, USA Weekend, Huck, People, and dozens of other media publications. She’s also written about the Latino community for television segments on the Today show and NY1 Noticias.

The post History at the Oscars—But Hollywood’s Diversity Problem Still Looms first appeared on .

GUEST SPEAKERS  Surprise guest speakers

EMCEE Walk of Famer and iHeart Media personality Ellen K   

WHAT Dedication of the 2,762nd star on the Hollywood Walk of Fame

WHEN Thursday, September 7, 2023, at 11:30 AM PT

WHERE  6284 Hollywood Boulevard

YOU CAN WATCH LIVE  The event will be live-streamed exclusively at walkoffame.com 

Award-winning performer Marc Anthony will be honored on Thursday, September 7, with the 2,762^nd star on the Hollywood Walk of Fame. The star will be unveiled at 6284 Hollywood Boulevard near the historic corner of Hollywood & Vine. Anthony will be awarded his star in the category of Recording. There will be a street closure that morning.

The Hollywood Chamber of Commerce administers the legendary Hollywood Walk of Fame for the City of Los Angeles and has proudly hosted globally iconic ceremonies for decades.  Millions of people from here and around the world have visited this cultural landmark since 1960. 

“We are very proud to honor Marc Anthony, one of the world’s most influential artists known on a global level as the top-selling tropical salsa artist of all time. I need to know how he does it!” stated Walk of Fame Producer, Ana Martinez. “Fans have been waiting with anticipation for his star ever since the announcement so I know Marc’s star will be a huge draw to the Walk of Fame! This day will make for a wonderful birthday celebration for Marc!” added Martinez.

Marc Anthony began his career as a session vocalist for freestyle music and underground New York house music acts and his big hit in the Latin music scene came in when he first recorded the salsa version of the late Juan Gabriel’s hit “Hasta Que Te Conoc?.” The rest is history! Marc Anthony is known as one of the most influential artists of his time and a true ambassador of Latin music and culture. He has received countless gold and platinum certifications from the Recording Industry Association of America (RIAA) and has been credited with more than 50 Billboard chart #1 hits and over 7.1 billion views on YouTube.

On May 10, 2019, Marc Anthony released OPUS, his first new studio album in six years on Magnus Media / Sony Latin Music. OPUS is his eighth salsa album in the 26 years since Otra Nota (1993) established him. In addition to winning the 2020 Grammy for Best Tropical Album, Opus has earned Marc Anthony a #1 at Billboard’s Tropical Airplay list with “Parecen Viernes”, and four nominations to Latin American Music Awards for Favorite Album (OPUS), Favorite Artist Tropical, Favorite Song (Parecen Viernes), and Favorite Tour.  He was a finalist in four categories for the 2020 Billboard Latin Music Awards: Tropical Album of the Year (OPUS), Tropical Song of the Year (Parecen Viernes), Tropical Artist of the Year – Solo, and Tour of the Year (OPUS TOUR).

ARRIVE EARLY IF YOU WANT TO SEE THE CEREMONY IN PERSON.

The post Marc Anthony Gets His Star on Hollywood’s Walk of Fame Sept. 7th at 11:30AM first appeared on .

Clayton Cardenas has been cast to star opposite Taraji P. Henson in Time Alone, a feature based on Oscar Nominated writer Alessandro Camon’s play of the same name.  Camon is also set to direct with Henson as one of the producers.  Production is set to begin shooting July in Los Angeles.  

Deadline broke the news that Cardenas will play Gabriel, a man convicted of killing a rival gang member. Along the way, he meets Anna (Hensen) the grieving mother of a murdered police officer…both facing isolation in different forms.

“I’m thrilled to be working with Clayton on a film that means so much to both of us, and to everyone involved,” Camon is quoted in Deadline. “Clayton’s powerful work in Mayans MC brought his talent to a wide audience, but I’m a believer from the early days. He has the heart of a warrior, and the soul of a poet.”

Cardenas was originally slated to play Gabriel in 2017 in the Belle Rêve production of Time Alone when it premiered at Los Angeles Theater Center, however, a scheduling conflict prevented him from doing the role on stage. Time Alone did go on to win the Stage Raw Award and Critics Award for Best Play for that production.

Cardenas will also serve as executive producer for Time Alone along with Jason Tamasco and Zak Kristofek of Traction Pictures.  Cardenas’ manager with Marni Rosenzweig is also producing with Suzanne Warren and Todd Black. Motus Studios is providing the financing along with Oakhurst Entertainment.

Clayton, knew all along he would eventually get a chance to play the role of Gabriel.  “I had a gut instinct I would be portraying this character.” In fact, he had known the role was his for a while, as he stated in his recent Instagram post. “The few in my circle have known about this for a few years now. Excited to work with this team and ready to rock with @tarajiphenson.”

Cardenas made his mark in Hollywood as Angel Reyes in the drama Mayans M.C., among other TV credits. He leads the cast along with JD Pardo who plays his little brother on the FX drama now in its fourth season.  The multi-talented actor is also an artist and spoken word poet. 

Cardenas is repped by The Rosenzweig Group and Ginsburg Daniels Kallis

The post Clayton Cardenas In The Role He Was Meant to Play first appeared on .

By Bel Hernandez 

The biggest winner at the 2022 Academy Awards was inclusion.

Setting aside “The Slap” that was seen around the world, it was a historic evening for Latinos and other disenfranchised groups, whose presence was felt from the red carpet arrivals to the last Oscar given to the Best Picture winner Coda, whose cast included two deaf actors and a Latino who played a doctor.

All around this year’s Oscars looked as diverse as none other in past history. It was a beautiful thing to see the whole spectrum of nationalities and races — on the red carpet, on the nominee list, in the performances, and ultimately on the Oscar winners list.

During the pre-show to the Oscars Global Indigene, Bird Runningwater set the tone for the evening by address the global audience on the red carpet:

Movie lovers come together for this celebration on the ancestral lands of the Tongva people. The Academy pays respect to the Tongva people as well as the Tataviam and the Chumash people, the original caretakers of the water and land where many of us in the film community live and work. As we honor this year’s best stories and films, let’s also celebrate the original storytellers, the indegeons peoples of this region.”

Amy Schumer, Wanda Sykes and Regina Hall the hosts for the evening, kicked off the 94th Academy Awards ceremony as the first time three women hosted the star-studded event. Except except for the bit about Covid, they were funny and on point.

Serna and Venus Williams made the introduction to “Queen Bey” Beyonce as she kicked off the awards with a showstopping performance that took place the roof of a structure in the City of Compton transformed into a luscious lime green fantasy oasis housing an orchestra, dancers and Beyonce singing “Be Alive”, the nominated song from the movie King Richard. 

Then the Oscars were in full swing. Up first was the Best Supporting Actress category, which as pundits, critics and filmgoers predicted, went to first-time Oscar nominee Ariana DeBose for her performance as Anita in West Side Story.  With this much-anticipated win Debose made history for winning the Oscar in the same category, and role of Anita, that Rita Moreno, who was in the audience to cheer her on, won 50 years ago.

On accepting her Oscar DeBose said:

“Now you see why Anita says ‘I want to be in America’ because even in this weary world that we live in, dreams do come true…[looking at Rita Moreno] I am so grateful your Anita paved the way for tons of Anitas like me…Lastly, imagine this little girl in the back seat of a white Ford Focus. Look into her eyes and you see a queer, openly-queer woman of color. An afro-Latina who found her strength in life through art and that’s what I believe we’re here to celebrate.”

The sentimental win the Latino community was rooting for, became a reality and now it was on with the show to see what was ahead.

AN OSCAR 1st:

Ariana DeBose became the first Queer-AfroLatina to win an Oscar in the acting category.

Director Alberto Mielgo and Producer Leo Sanchez took home the Best Animated Short Film Oscar for The Windshield Wiper.  Director Hugo Covarrubias was also a nominee for Bestias, The other nominees included directors Dan Ojari and Michael Please for Robin Robin; Joanna Quinn and for Affairs of the Art; and director Anton Dyakov for Box Ballet.

In the Live Action Short Film Category, writer/director Kristen Davila was the indie filmmaker the Latino/a community was rooting for. And the Oscar went to The Long Goodbye directed by Aneil Karia, from a script by Karia and Riz Ahmen.

The Best Animated Feature film Oscar went to Encanto and with that Producer Yvett Merino accepted her very first Oscar, along with the other producers Jared Bush, Clark Spencer, and Byron Howard responsible for this amazing film that has touched hearts around the world, introducing the Madrigal family and their magical powers.

First time nominee, and Encanto composer Germaine Franco was nominated for Best Original Score and althought she lost out to Hans Zimmer who took home his second Oscar for Dune, (his first  was for The Lion King in 1994), she is forever more an Oscar nominee, which in itself is quite extraordinary.  

Also “winning” were the musical performances by Colombian singer Sebastian Yatra who sang “Dos Oruguitas” (Two Caterpillars), the song written by Lin Manuel Miranda and nominated for best song. The Oscar went to No Time to Die from the film by the same name, which was performed by Billie Eillish and her brother Finneas.

The biggest number of the evening was the spectacular musical performance of Encanto’s runaway hit song “We Don’t Talk about Bruno”. It was introduced by John Leguizamo who was the voice of Bruno.

The performance immediately lit up the room as dozens of dancers and original film cast members Adassa, Stephanie Beatriz, Mauro Castillo, Carolina Gaitan and Diane Guerrero, all dressed in a flurry of brightness took the stage. Leading the vocals were internationally known and lauded singers Luis Fonsi and Becky G who were joined by Megan Thee Stallion who added the hip hop flavor to the performance. And just like that audiences across the world witnessed the first-ever live on-stage performance of “We Don’t Talk About Bruno”.  

The multi-talent and one of Hollywood’s favorite directors Guillermo del Toro’s film Nightmare Alley was up for what was his sixth Oscar nomination. He is a two-time winning Oscar winner, both Oscars for The Shape of Water (2018) for which he took home the Best Picture and Best Directing prize. This year he lost out to CODA, a favorite to win and that did win.

As the cast of CODA took to the stage to pick up the award, actor/producer Eugenio Derbez who played Dr. Bernardo Villalobos in the film, took his rightful place on stage as part of the amazing cast.  

AN OSCAR 1st: 

Apple’s ‘CODA’ is the first movie from a streaming service to win Best Picture Oscar, and Troy Kotsur who played the dad won Best Supporting Actor was the first deaf actor to win

Javier Bardem who was nominated for Best Supporting Actor lost out to Troy Kotsur who won his Oscar for playing the role of Frank Rossi, the deaf father of the lead played by Emilia Jones 

The Best Actress Oscar went to the lovely and very talented Jessica Chastain for her performance of Tammy Faye in the bio-pic The Eyes of Tammy Faye.  Penelope Cruz’s nominated for her standout performance in Parallel Mothers, which has already garnered her eight awards including the National Society of Film Critics awards, went home with her husband Javier instead of “Oscar.”  However, both Cruz and Bardem already have an Oscar each. Cruz, a three-time nominee won the Oscar in 2008 for Vicky Cristina Barcelona, her other nominations were in 2006 for Volver and 2009 for Nine. While Bardem won his Oscar for the Coen Brothers’ No Country For Old Men.

PRESENTING

The 2022 Latinos Oscar presenters included Academy Award nominee Rosie Perez (Fearless 1994) who presented along with her White Men Can’t Jump castmates Woody Harrelson and Wesley Snipes), the award for Best Cinematography which went to Greig Fraser.  Then John Leguizamo, who had earlier last week done a secretive social media post saing that he would be at the Oscars, but didn’t say in what capacity, introduced the live performance of “We Don’t Talk About Bruno” another song written by Miranda for Encanto, which has become the highest-charting song from a Disney movie since 1995

Rachel Zeigler, who prior to the Oscars had also posted on social media to say she had not been invited to the Oscars, in spite of having played the lead role in the Oscar-nominated film West Side Story. Fast forward to Oscar night and she presented the Best Visual Effects category alongside Jacob Elordi (Euphoria). During the mile banter Elordi said that while growing up in Australia he would have never imagined being invited to the ceremony, to which Zegler jokingly said “I never thought I’d be here… six days ago [sic].” One of the funniest off-the-cuff remarks of the evening.

Oscar-winning actress Lupita nyong’o (for 12 Years a Slave 2013) was looking regal in her golden Prada gown. Mexican claim her as their own as she was born and lived in Mexico as a child. In 2014 she finally set the record straight about her nationality when she told media outlet El Mañana a few years back, “I’ve seen the quarrels over my nationality, but I’m Kenyan and Mexican at the same time. I am Mexican-Kenyan and I am fascinated by carne asada tacos.” We are all fascinated with this lovely and powerful actress!

Then there was “The Slap” with Will Smith playing the “Slapper” and Chris Rock the “Slapee.” The drama happened just prior to Smith winning the Best Actor Award for King Richard. And that is all I want to say on this matter.

The evening ended with the fluttering of hands in the theater, which in the deaf world is the way to show applause. Both Kotsur and Marlee Matlin who starred as the parents in the drama CODA are deaf and when the film won, the “applause” came in visual waves as the audience, which truly was “NOT so White”, was captured on camera.

All in all, this was the best Oscar night in a very long time. Represented on stage was amazing talent from Asia, the Middle East, Europe, Latin America, Mexico, Africa, and so many other countries and regions. Inclusion played a big part and the hope is that it continues. Because when the Oscars are truly representative of creative talents the world over, it creates a better understanding of our cultures.

One of the most poignant moments in the evening came when actress Mila Kunis (Family Guy, That ’70s Show) whose family is from Ukraine, introduced singer Reba Mackentire who sang “Somehow You Do”, the song from the nominated film Four Good Days. 

Before the introduction Kunis, without having to mention the country’s name, but every audience member and viewer knew, said:

“Recent global events have left many of us feeling gutted.  Yet when you witness the strength and dignity of those facing such devastation, it’s impossible not to be moved by their resilience.  One cannot help but be in awe of those who find strength to keep fighting through unimaginable darkness..”

This was followed by an on-camera chyron that directed people to donate. A powerful moment seen by millions, appealing to their generosity to the human spirit in all of us and at the same time, this gesture did not take anything away from the purpose of the evening.

Let’s not let the actions of one person pull focus on what a historic evening in Hollywood it was at the 94th Academy Awards.

The world is made up of many ethnicities and nationalities that for one evening come together to share the world’s love of film.  We are a world of film magic, let’s use that to make it a better place.

The post And The Oscar Goes to…Inclusion first appeared on .

Lights, Camera, Acciòn is an American Masters project directed by Ben DeJesus and executive produced by John Leguizamo, Michael Kantor of American Masters, and Sandie Viquez Pedlow of Latino Public Broadcasting/VOCES and David Chitel of NGL Collective premieres Tuesday, October 5, on PBS.

A co-presentation of Latino Public Broadcasting’s VOCES and American Masters, Lights, Camera, Acciòn is a celebration of the incredible impact Latinos have made in Hollywood — past, present and future, with a focus on the exciting new wave of talent that is transforming the industry. Featuring prominent Latino voices in film and television, this special captures the candid perspectives of talent from in front of and behind the camera, as they share their challenges, personal journeys and outlook on the future. 

In the documentary we hear from high profile A-talent who have been grandly representing Latinos in Hollywood for years. The documentary also focuses on the current writers and the on-camera talent that are now front and center, reshaping the image of Latinos in Hollywood through their work. The long list of talent include actors Edward James Olmos, Gina Torres, John Leguizamo, Chelsea Rendon, Jimmy Smits, Ivana Rojas, Esai Morales, Xolo Maridueña; showrunners Tanya Saracho (Vida), Peter Murrieta (Mr. Iglesias) and Marvin Lemus (Gentefied), media scholar Chon Noriega, and more.

“When I set out to make this film, my goal was to shed light on the incredible contributions – often unacknowledged – that Latinos have made to the history and success of Hollywood since the very beginning,” says director DeJesus. “I also wanted to showcase the new generation of talent that are now blazing their own trails, both on-screen and behind the scenes.”

“Visual media is such a powerful medium. It has the power to change the way we look at the world around us,” says executive producer Leguizamo. “Ben is on a 24/7 mission to get more of our stories out there because if people are able to see the incredible contributions that Latinx people make and have made to our society, imagine how they would look at our community. And more importantly, imagine how we would look at ourselves.”

The 24-minute documentary film premieres on Tuesday, October 5, immediately following the broadcast of American Masters — Rita Moreno: Just a Girl Who Decided to Go For It at 9 p.m. (check local listings). The film will also be available for streaming on all station-branded PBS platforms, including pbs.org/americanmasters  and the PBS Video App beginning October 5.

Lights, Camera, Acciòn is a co-production of NGL Studios and Latino Public Broadcasting in association with American Masters Pictures, with funding provided by the Corporation for Public Broadcasting. Directed by Ben DeJesus. Produced by Jill Krikorian and Cionin Lorenzo. Executive Producers: Sandie Viquez Pedlow, Michael Kantor, John Leguizamo, and David Chitel. Series Producer for VOCES: Luis Ortiz. Series Producer for American Masters: Julie Sacks.

The post ‘Lights, Camera, Accion’ Celebrating Latinos in Hollywood Then and Now first appeared on .

Salsa singer Tony Succar’s music documentary Más de Mi will kick off the Panamanian International Film Festival in Los Angeles, taking place Oct. 8 through 10 at Hollywood’s Raleigh Studios.

The documentary, directed and produced by Succar himself, chronicles his journey from his humble beginnings as an unknown indie artist, recording in his parents’ garage, to his winning one of the most prestigious honors in Latin music. In 2019 Succar was nominated for four Latin Grammys for his record Mas de Mi, winning for Best Salsa Album and as Producer of the Year. 

The doc Más de Mi is part of the four-day festival that aims to spotlight the emerging film industry in Panama and create exchanges and networking opportunities with the film industry in the U.S. This is the fest’s seventh annual edition.

Born in Lima, Peru, Succar immigrated with his family to the United States when he was two years of age. Music runs in Succar’s family. His father Antonio Succar is a pianist and his mother Mimy Succar is a singer. Also, his paternal great-grandparents are Mexican composer Lauro Uranga and Spanish flamenco dancer Rosa Rodríguez Valero. His maternal Japanese-Peruvian great-grandparents also sang and played musical instruments. 

When he was age 3, Succar reportedly started playing the Peruvian cajon with his parents’ group in private and business events around Miami. The box-shaped percussion instrument is original from his home country. 

After earning college degrees in music, Succar took over his family’s band. 

Más de Mi is Succar’s second studio album. The first one was Unity: The Latin Tribute to Michael Jackson, a salsa take on the King of Pop’s biggest hits that Succar produced. This album featured Tito Nieves, La India, Kevin Ceballo, Michael Stuart, Jon Secada, Jennifer Peña, Jean Rodríguez and Obie Bermúdez. Succar is also featured in all the album tracks. He also worked as a producer of a music film inspired by the album, capturing a musical tribute to Jackson by over 40 musicians and artists from around in performances in various cities.

That makes Más de Mi  Succar’s second film production.

“The purpose of Más de Mi is to inspire people to follow their dreams despite the obstacles and to never give up,” says the singer about his movie. The salsa star is expected to attend both the festival’s red carpet and his film’s screening on Oct. 8, which will be followed by a question-and-answer session and a reception.

Also featured at the Panamanian International Film Festival in Los Angeles are Blursday, a dramatic film by director Sergio Guerrero Garzafox, and Covid 19 Sins & Virtues, produced and directed by various Latino filmmakers in lockdown during the pandemic, including Yeniffer M. Behrens, Mauricio Mendoza, Oscar Torre, Hugo Garcia, Caroline Brethenoux, Hernan de Becky, Cesar Gamino, Juan Gil, Marabina James, Miguel Paredes, Shanay Patalano, Jesus Schettino and Alex Toedtli Mera.

The fest will also present a Panamanian shorts program.

For more information, visit http://piffla.com. 

The post Salsa Star Tony Succar’s Music Doc to Open Panamanian Film Fest in Hollywood first appeared on .

Latin Heat Media Founder and CEO  Bel Hernandez has been selected to the Hollywood Foreign Press Association’s Credentials Committee. The committee selects new members of the HFPA, the group that presents the prestigious Golden Globe Awards.

Considered “The Godmother of Latino Hollywood,” Hernandez is one of five prominent outside journalism professionals recruited to join a committee key to diversifying the HFPA. The other members are journalist Tre’Vell Anderson, author and former TV anchor Terry Azur, publicist Toni B. Moston and USC assistant journalism professor Allissa Richardson. 

The appointments are hailed by HFPA as “one of the most important steps of their comprehensive reform plan announced in May,” when the nonprofit organization announced proposed changes to correct its failures. Those shortcomings were the subject of a Los Angeles Times expose last February which generated widespread criticism of the 78-year-old group about its inner workings and lack of diversity. After the reporting, some actors returned their Golden Globes, NBC canceled the broadcast of the awards ceremony and some HFPA members resigned.

With the Credential Committee namings and other recent changes and new proposals, the beleaguered association hopes to turn the page on this year’s controversies.  

“We are so grateful that these five highly respected journalism professionals—each with diverse backgrounds and extensive experience in their fields—are devoting their time and energy to ensure an inclusive makeup of our Association,” said recently installed HFPA Board President Helen Hoehne. “Just in the past few months, we’ve changed our governance structure from top to bottom. Inclusion will be at the core of our new organization, and this new structure will allow us to not only grow but continue to add unique, representative voices from journalists around the world.” 

Hernandez has worked as a journalist for more than four decades, with her work earning recognitions from the Hispanic Public Relations Association, Latina Style Magazine, La Opinion newspaper, Hispanic Lifestyle, National Hispanic Health Foundation, National Hispanic Media Coalition and the City of Los Angeles. 

For her work focused on Latinos in the film industry, Moviemaker Magazine dubbed Hernandez “The Godmother of Latino Hollywood.” Hernandez is at the helm of Latin Heat Media, a multi-media company creating content by and about Latinos for universal audiences. She wears many hats under the Latin Heat brand including the publisher of the online magazine Latin Heat Entertainment (LatinHeat.com), executive producer and co-host of TheTRENDTalk Show and co-founder of LATINAFest: Mind, Body & Soul, an annual event to empower Latina women.

Latin Heat’s unprecedented coverage has supported the growing impact of Latinos in Hollywood. Considered the third entertainment trade in Hollywood by many, the outlet provides business news coverage, latest breaking industry news, talent profiles, TV & films news, spotlight on talent in front and behind the camera, and inside research not found anywhere else on Latinos in Hollywood. 

An accomplished Hollywood businesswoman, Hernandez originally pursued acting as a career. And although she may have found big success as a multimedia mogul, she more recently appeared in The Purge: Anarchy and the indie film Pretty Rosebud directed by Oscar Torre.

Hernandez’s work and leadership led her to serve as a juror on the George Foster Peabody Awards Board, where she was the first Latina/o to serve as the chair of the board.  

“I am beyond honored to be part of the HFPA Credentialing Committee which is tasked with the important work of helping diversifying the make-up of their members to be as inclusive as possible,” said Hernandez. “I know first hand about the importance of diversity, equity, and inclusion”.

In late August, the HFPA selected a new 15-member board of directors, with four of them serving on the powerful body for the first time. This board selected Hoene as the new president in early September and also oversaw the selection of the five new outside members of the revamped Credentials Committee, which is expected to announce a “class of new members” in the next few days. 

In the past several weeks, the HFPA also appointed Shaka McGlotten, Santiago Pozo and Paula Williams Madison to its Advisory Board. Also, it named Jeff Harris, Joanna Dodd Massey and Sharlette Hambrick as the first independent board directors for the association.

Latin Heat’s Hernandez and the other four new appointees will help the Credentials Committee with its sole responsibility to “ensure potential members meet the proper requirements,” according to the association. The obscure membership approval process was one of the main criticism the exclusive, 80-something-member association has faced, leading to allegations of persistent cronyism and even racial discrimination.

The HFPA overhauled its criteria for new member applicants in August in an effort to make itself more inclusive. That includes:

• Applicants can now work for any foreign publication medium: print, radio, television, online, or be a photojournalist. The previous requirement allowed only print journalists.
• Applicants can live anywhere in the United States. This replaces the former requirement of living solely in Southern California.
• Applicants must submit eight examples of their journalistic work products from the past two years. The previous requirement was 24 examples over a three-year period. The credentials committee will set a required number of clippings in subsequent years.
• Eligibility is now expanded to journalists outside of those accredited by the Motion Picture Association, MPA.
• The sponsorship requirement is now eliminated and the role of the credentials committee will include third parties from credible journalistic and other organizations focused on diversity, equity and inclusion.
• New members will immediately be allowed to vote on the Golden Globes, vote on board members and serve on committees.
• All current members will be required to meet the standards as incoming members for re-accreditation of their membership. This process will take place annually, and members may begin submitting materials to the credentials committee.

The post Latin Heat Media’s Bel Hernandez Appointed to HFPA’s Credentials Committee first appeared on .

U.S. Latinos made considerable gains in films last year but remain greatly underrepresented, according to a new study. UCLA’s Hollywood Diversity Report 2021 also indicates a growing interest in films with diverse casts. It also confirms that Latinos continue to be a major driver of movie ticket sales and streaming services subscriptions. 

In studying the top 200 films released theatrically and online in the U.S. and Canada, the report found people of color and women made substantial progress in four key job categories: lead actors, total cast, writers and director. There are more Latinos in all categories than in the previous two years, but their numbers are still disproportionately low. 

Latinos are the nation’s largest minority group making up 18.5 percent of the U.S. population, according to the U.S. Census. But their numbers are dismal in the report’s four key film employment categories. Latinos accounted for only 5.4 percent of all actors leading a feature and 5.7 percent of all movie roles. That means that while nearly 4 out of every 20 Americans are Hispanic, there is only one Latino out of every 20 protagonists in films. Just one of every 20 actors in movies is Latino. 

The case is worse in other categories. Latinos are just 3.2 percent of all writers and even less of all directors: only 2.7 percent. Still, those numbers represent a notable improvement from just two years earlier, when Latinos accounted for just 0.7 percent of both writers and directors. Latino representation in Hollywood remains a major issue. 

Yet, Hispanics are potent consumers of films. As in previous years, minorities were critical drivers of movie theater ticket sales and streaming subscriptions, notes the UCLA study. On opening weekends, people of color made up most domestic ticket purchases for six of the top 10 theatrical releases last year. And Latinos stand out among those going to the movies. “It’s worth noting that Latinx persons, about 19 percent of the U.S/Canada population, were significantly overrepresented among moviegoers in 2020, accounting for 29 percent of the tickets sold,” states the report. Six racial and ethnic groups are included in the survey: Asian, Black, Asian, Latinos, multiracial, Middle Eastern and North African, and White. 

Moreover, Latinos also watch films on the internet in significant numbers. “Latinx and Black adults were both overrepresented among online content subscribers and electronic sell-through/video-on-demand, daily viewers,” the report says.

In the pandemic and five years after the hashtag #OscarSoWhite challenged Hollywood, films with diversity have proved popular among audiences in general and minorities in particular.

Eight of the top 10 theatrical releases featured casts that were greater than 30 percent minority. The top 10 films were Bad Boys for Life, Tenet, Sonic the Hedgehog, Doolittle, Birds of Prey, The Invisible Man, Onward, Wonder Woman 1984, The Croods: A New Age and The Call of the Wild.

Online, Latinos also watched movies offering inclusivity. Six of their top 10 streamed films featured casts with more than 30 percent minority. The top 10 films were: Onward, Spenser Confidential, The Willoughbys, Extraction, The Wrong Missy, The Old Guard, Mulan, Project Power, The Christmas Chronicles 2 and Hubie Halloween. 

Overall, UCLA’s Hollywood Diversity Report showed progress for women and people of color in 2020, but that they still have low representation in critical jobs behind the scenes. Women made up just 26 percent of film writers and just 20.5 percent of directors. Minorities did slightly better, accounting for 25.4 percent of directors and 25.9 percent of film writers. Women account for little more than 50 percent of the U.S. population, minorities about 40 percent.

Who writes and helms a film seems to have an impact on its degree of diversity. According to the report, features written or directed by people of color and women in 2020 had significantly more diverse casts than those written or directed by White men.

“We’ve been systematically looking at these key job categories and comparing the representation of women and people of color to the all-important bottom line for eight years, and it’s encouraging to see skyrocketing numbers this year in front of the camera,” said Darnell Hunt, dean of the UCLA College division of social sciences and the report’s co-author. “This was a very interesting year to track the nimbleness of industry efforts to deliver content to audiences, who grow increasingly racially diverse each year and who it’s clear were eager to enjoy films in new ways, despite disruptions caused by the pandemic.” 

The current report includes 10 years of data, making UCLA’s Hollywood Diversity Report the longest-running, consistent analysis of gender and racial diversity in the film industry, according to the university. 

TV industry data, part two of the now biannual report, will be released in September 2021. 

UCLA’s Hollywood Diversity Report incorporates analysis of how top films perform among different racial groups, comparing the diversity of casts, directors and writers with the diversity of American audiences. The report is co-authored by Dr. Ana-Christina Ramón, director of research and civic engagement for the division of social sciences at UCLA. Michael Tran, Ariel Stevenson, Kali Tambree, and Aziza Wright contributed to data collection for analyses. The study received financial support from The Walt Disney Company, Netflix, NBCUniversal, Hulu and the Latino Film Institute. 

Featured Photo: Paul Deetman from Pexels

The post Hollywood Report: Latinos Make Progress in Film but Remain Underrepresented first appeared on .