To understand what Chicano Hollywood “wants”, you first need to understand what a “Chicano” is.  

In 1970 award-winning journalist Ruben Salazar wrote the definitive article defining the word Chicano in his Los Angeles Times article titled:  “Who is a Chicano and What is it that Chicanos Want?

In his article Salazar wrote, “A Chicano is a Mexican-American with a non-Anglo image of himself. He resents being told Columbus “discovered” America when the Chicano’s ancestors, the Mayans and the Aztecs, founded highly sophisticated civilizations centuries before Spain financed the Italian explorer’s trip to the “New World.”

The passage captures why the term became associated by many Mexican-Americans  with cultural pride and self-determination.

However over the past five decades, the meaning of “Chicano” has evolved. Once embraced as a political identity rooted in the Chicano Movement, it later fell out of favor among some Mexican Americans, while others continued to wear it as a badge of cultural pride. Today, a new generation, and not just Mexican- Americans, are reclaiming the term in ways that emphasize identity, history, and empowerment.  

So what is Chicano Hollywood?

Johnny Murillo, founder of Chicano Hollywood, defines it as a platform “a community built to elevate, empower, and showcase Chicanos and Latino storytellers”. But the vision extends far beyond that simple definition.

That vision might be rooted in past efforts by several Latino organization, who throughout the years were founded for the same purpose.  Chicano Hollywood is part of a broader Latino entertainment ecosystem that has been nurtured over past decades by these organization.  Most notably Nosotros (Founded in 1970 by Ricardo Montalban), Hispanic Organization of Latin Actors (HOLA) (Founded in 1975);  LatinHeat LEMI Conference (Founded 1995); and NALIP (Founded in 1999) – among them.

What distinguishes Chicano Hollywood is its early focus on Mexican-American independent filmmakers—many who existed outside the Hollywood’s traditional power structure. However, Murillo’s vision went beyond its core base, growing to include all Latinos and making alliances with non-Latino entities and filmmakers. Chicano Hollywood created an infostructure from production to distribution.

“For too long, our stories have been underrepresented or misrepresented in mainstream media,” Murillo explains. adding, “Chicano Hollywood was created to change that — to build our own lane, our own economy, and our own global stage.”  

Murillo, who has been working in Hollywood for more than 15 years as an actor/line producer and screenwriter, began building Chicano Hollywood in 2021.  According to Murillo, the impetus for the Chicano Hollywood brand came from his lived experiences, as well of those of his peers in the Mexican-American community, attempting to pitch stories to the studios.

It is no secret that Chicanos/Latinos represent one of the largest minority groups in the United States. Their economic influence, is noted in the Latino Donor Collaborative studies — increasingly their economic, cultural and creative impact—is undeniable.

For decades, Chicano culture has been portrayed stereotypically in major Hollywood films (Walk Proud (1979), Spanglish (2004), without a balance of characters. It took Latino filmmakers like the following to make independent films that portrayed another side of the Latino experience.

Robert Rodriguez

• El Mariachi (1992)
• Desperado (1995)
• From Dusk Till Dawn (1996)
• Spy Kids (2001)

Gregory Nava

• El Norte (1983)
• Selena (1997)
• My Family (1995)

Luis Valdez

• Cisco Kid (1994)
• La Bamba (1987)

Eva Longoria

• La Guerra Civil (2022)
• Flamin’ Hot (2023)

Despite the box office success of these films, Latino-led films have generally received fewer large-scale studio investments than comparable projects centered on Black film projects, as the 2026 UCLA’s latest Hollywood Diversity Report notes.

So what does Chicano Hollywood want?

Murillo quickly understood that success in entertainment requires more than talent alone. It demands infrastructure, education, access, and ownership. In other words, it requires an ecosystem.

At its core, Chicano Hollywood focuses on three major pillars.

1. Building a Creative Ecosystem for Chicano and Latino Talent

One of the organization’s primary goals is to provide career development and professional education for emerging storytellers, filmmakers, and creatives. Access to industry knowledge has historically been inequitable, and many talented voices simply never receive the tools or mentorship needed to navigate the entertainment industry.

Through the Chicano Hollywood Academy, aspiring creators can access courses such as How to Produce a Micro-Budget Film, How to Write a Contained Script, and the academy’s latest offering, How to Write a Vertical Series.

The company’s vision is ambitious—to establish creative hubs in 15 to 20 major cities and build a pipeline of in-house talent capable of becoming the next generation of writers, producers, directors, and entertainment professionals. The goal is not simply participation in the industry but ownership within it.

2. Creating Independent Media and Distribution Platforms

Another key aspect of Chicano Hollywood’s mission is the creation of multimedia platforms that allow creators to independently produce, distribute, and promote their work.

For many filmmakers and storytellers, gaining access to traditional media channels, distribution deals, or large promotional platforms remains a significant challenge. Chicano Hollywood understands that representation is not only about creating content; it is also about controlling where, how, and by whom those stories are shared.

In response, the organization launched ChicanoHollywood.tv, a streaming and media platform featuring original in-house productions ranging from drama to documentary. Some of its titles include The Calipso Show (2024), Dirt City (2021), and Ruben Gutierrez: My Story (2025), among others.

In publishing, Chicano Hollywood Magazine serves as an additional platform dedicated to showcasing original productions while highlighting influential Chicano and Latino voices across entertainment, business, and technology. The magazine has featured notable figures, such as Eva Longoria, Edward James Olmos, Emilio Rivera, and Oscar-nominated makeup artist Ken Diaz.

The organization’s long-term vision includes developing original content, building subscriber-based revenue, securing advertising partnerships, expanding merchandising opportunities, and increasing distribution channels. In many ways, Chicano Hollywood is working toward creating a self-sustaining entertainment network rooted in cultural ownership, creative independence, and community visibility.

3. Developing an Economic Engine for Latino Creatives and Entrepreneurs

Chicano Hollywood also recognizes that the entertainment industry is deeply driven by relationships, networking, and economic collaboration. For that reason, the organization seeks to create opportunities not only for artists but also for entrepreneurs, vendors, producers, and creative professionals working across the entertainment landscape.

Its first public initiatives was their Elevate Conference, where Chicano Hollywood brought together keynote speakers, industry panels, and entertainment-focused businesses to foster spaces for inspiration, collaboration, and professional growth. Over the past three years, the conference has featured notable voices such as Xolo Maridueña (Blue Beetle, Cobra Kai), producer and actress Lisa Vidal (The Division, Being Mary Jane), actress Maria Canals-Barrera (Wizards of Waverly Place, Camp Rock), actors Edward James Olmos (Blade Runner, Miami Vice, Zoot Suit), Luis Guzmán (Wednesday, Narcos), Enrique Castillo (Deja Vu, Blood In Blood Out, The Waltons) and others, helping establish the Chicano Hollywood as an important space for dialogue, visibility, and industry exchange. 

Last year, the organization also launched its first Chicano Hollywood Film Festival, showcasing films, documentaries, short films, and series that were created by Chicano and Latino filmmakers from across the country.

The momentum continues to grow. The next edition, the 2026 Chicano Hollywood Film Festival, is scheduled to take place from July 29 through August 2, 2026 at the The Union On Garey, further expanding the organization’s vision of creating a national platform for Chicano and Latino storytelling, collaboration, and cultural ownership.

This year over 100 features and short film will screened, workshops that include How To Self-Distribute Your Indie Film with Selina Ringal; Stuntman Fighting with Geo Perez and Joe Chacon and even a marketing activations — a Chess Match: Keanu Reeves vs Bianca Mitchell followed by a panel with Reeves and the filmmaking team, followed by a screening of their Mad Woman’s Game feature documentary. The five day festival will culminate on Augut 2nd with the awards ceremony. Tickets can be purchased HERE

This is only the beginning 

Organizations willing to articulate a long-term vision often inspire broader participation. By defining its ambitions publicly, Chicano Hollywood invites filmmakers, entrepreneurs, educators, and audiences to imagine themselves as part of a larger movement.

Ambition invites collaboration, and movements grow when communities see themselves reflected in them. Chicano Hollywood possesses many of the elements necessary to become one of the leading independent Chicano and Latino entertainment networks in the United States, namely education, infrastructure, distribution, community, and perhaps most importantly, a commitment to telling stories authentically.

Earlier generations relied almost exclusively on access to Hollywood’s gatekeepers, today’s creators are increasingly building their own educational institutions, media platforms, festivals, distribution channels, and business networks.

Representation is not just about being seen. It is about people having the power to tell their own stories, in their own voice, with their own faces.

Andrea Nuñez-Gamboa Co-wrote this article

The post What is Chicano Hollywood and What Does Chicano Hollywood want? first appeared on .

By Bel Hernandez Castillo

What is a Chicano?

In his 1970 Los Angeles Times essay What Is a Chicano? And What Do Chicanos Want?, the late, award-winning journalist Rubén Salazar defined a Chicano as “a Mexican-American with a non-Anglo image of himself.”

Chicanos are boldly authentic and now raising their voice proudly, creating content that is authentically theirs. What better event to showcase their creativity than the Chicano Hollywood Film Festival. over 100 film and TV projects will be in full display at the first annual Chicano Hollywood Film Festival which takes place July 17–20, 2025, at The Union (350 Garey Ave, Pomona, CA). 

The brainchild of ex-pastor and producer Johnny Murillo, the festival, (planned before the immigration raids began) will brazenly launch in spite of the ICE raids which are targeting undocumented farm laborers across Southern California. The festival positions itself as both a cultural celebration and a platform for protest—amplifying the stories, struggles, and strength of the Chicano and Latino communities. 

Opening the film festival will be The Last Brown Beret, a gripping and timely feature directed by Del Zamora abd based on the play by writer/director Alfredo Ramos. The film revives the legacy of the Brown Berets, Civil Rights activists whose fight for justice in the 1960s echoes today’s urgent need for protection, dignity, and unity within the Chicano community amid fear of raids, riots, and mass arrests. 

“This festival isn’t just about watching films—it’s about answering the call,” said Johnny Murillo, founder of Chicano Hollywood. “The Brown Berets stood up for our people. It’s time to do the same—with cameras, stories, and truth.” 

In addition to spotlighting powerful features, the Chicano Hollywood Film Festival will showcase over 90 short films, television pilots, music videos, and digital projects from emerging Chicano/Latino filmmakers across the U.S. and Latin America. The diverse lineup highlights stories of identity, resistance, humor, and healing. 

Featured films include: 

— Ugly Little Monkey – A powerful documentary produced and co-directed  by Chicano legend Enrique Castillo (Montana in Blood in Blood Out) and David Valdez, exploring the journey of the first Youth Mariachi in the U.S. whose trauma lead to healing through the music of Mariachi.  

— Horchata With Oat Milk – A viral, culture-clash comedy directed by Christian “LV” Leyva, addressing the issue of gentrification and offering fresh laughs with a Chicano twist.  

— A Little Family Drama – A layered and emotional dramedy directed by Nadia Zoe that brings generational conflict to light.  

— Cholita Takes LA – Directed by Sylvia Ray, a bold exploration of female empowerment within Chicana culture and a Bolivian Cholita Wrestler seeking identity.  

— Lost in the Barrio – Directed by Alberto Portillo, a gritty, heartfelt story of survival and loyalty in the urban neighborhood. Starring Fabian Alamar (Flamin’ Hot).  

Festival goers can also expect live “DJ” sets, Q&A panels, networking events, and the launch of the Chicano Hollywood Academy, an initiative to train the next generation of Latino creatives in acting, directing, production, and content monetization. 

The Chicano Hollywood platform was created to elevate the  Chicano voice in every space of culture, Chicano Hollywood is a groundbreaking media and cultural movement committed to empowering Chicano and Latino content creators. Through film, education, and strategic partnerships, it seeks to amplify underrepresented voices and reimagine representation in Hollywood and beyond.

“This is the first of many,” said Festival Director, Francisco Roel. “We’re building a movement where Chicanos and Latinos own their stories, their space, and their future in entertainment.” 

Press, Tickets & Festival Schedule:
Visit www.ChicanoHollywood.com  

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There is power in numbers, and if that is so, with the new partnership between novela and film star Carlos Ponce, Brilla Media, Numatec, and Chicano Hollywood, who are launching Minivela, it is a power move in the right direction. Minvela is their digital shorts joint venture launching in January 2025 aimed to set in motion a bold new era for American Latino filmmakers, creators, and advertisers. The announcement was made at the 26th annual ANA Multicultural Marketing & Diversity Conference in Las Vegas earlier this week.

Minivela is an American Latino-owned and operated company dedicated to producing advertiser-supported digital shorts created by Latino filmmakers and creators with a target audience of primarily American Latinos ages 18-34. Initially the streaming content verticals will range from 10 to 90 minutes. A key pillar of Minivela’s approach is to catapult select narratives into independent features or series utilizing the innovative, adtech-powered approach.

“This is a groundbreaking journey that we believe will empower Latino storytellers and drive U.S. Hispanic digital advertising for years to come,” said Manny Ruiz, who serve as the Chief Creative Officer and Executive Producer of the joint venture alongside Ponce, who will also write and direct select Minivelas. ““Our focus is on consistently producing universally appealing stories with a vision that extends beyond Minivelas.  A key pillar of our innovative approach is to catapult select narratives into independent features or series.”

“When the Hollywood system is undergoing a much-needed reboot, Minivela represents a beacon of hope, experimentation, and opportunities for Latino creatives at a time” said Ponce.  Adding that the Latino-owned venture will address the representation gap for our community organically, and that our operations are driven by pioneers in Latino social media, digital media, and adtech.

The family-friendly digital films will be accessible free on Minivela’s YouTube, and social media channels, as well as thru adtech conglomerate, Numatec’s distribution partnerships.  Combined with Brilla Media’s Nuestro Media network, brand sponsors will be able to secure USH audiences effectively across digital, CTV, and other platforms.

 The West Coast production arm of the company and a cornerstone of Minivela is Chicano Hollywood, the influential L.A.-based production, media, and magazine company that produces the annual Elevate conference for Latino filmmakers.

Chicano Hollywood is already producing one of the platform’s early bets, a feel good romcom called “Cholita Takes L.A.” that is being directed by a rising Chicana director. Cholitas, Cholos, and Cholas shine in this story about a young Bolivian luchadora and aspiring fashion designer who journeys to L.A. to care for her ailing grandmother—only to discover she must also overcome culture clashes and personal challenges on her path to unexpected love.

“Minivela is putting deeds before words, and that’s something the Latino film community will root hard for, and why we’re a proud partner,” said Johnny Murrillo, founder and CEO of Chicano Hollywood.  “It’s also critical to note that for Minivela, the projects must be Latino-produced but the stories must appeal to audiences universally even outside our core Hispanic community.  We have some fun ones lined up!”

Angela Sustaita-Ruiz, chairwoman of Brilla Media, the parent company of Minivela, expands on the mission of the venture, “We’re going to push boundaries and prove that you can be creative and positively provocative without leaning on the usual violent drug dealers, and other tired tropes that diminish our community.”

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By Bel Hernandez Castillo

Film festivals are an amazing place to discover films and filmmakers who you instinctively know you want to see more of. Recently at the Mexican American Film & Television Festival, there were several short films that fit the description. One that caught our attention, and an audience favorite, was The First Cowboy, written, executive produced, and co-directed by Dr. Jose-Luis Ruiz and produced by Johnny Murillo.

The First Cowboy recounts the powerful and engaging story of how Mexicans, the original inhabitants of the Southwest, and Americans co-existed before the human cost of the ultimate US conquest of Texas. The story is told through the eyes of two families, the gentile Southerner Palmers, and the educated, progressive land owners, la familia Velascos.

The film is both a love story and an epic human story that depicts the initial mistrust between the Protestant Palmers and the Catholic Velascos. The friendship begins with the slow and reluctant interaction which blossoms into affection and pacts made between them, and then the eventual betrayal, followed by dehumanizing domination.

In 2018 Dr. Ruiz formed a non-profit organization, the Mexican American Cultural Education Foundation (MACEF) with the goal to spotlight the endless contributions the Mexican-American people (Chicano, Latino, Hispanic, Latinx, or 1st generation immigrant) and their rich culture have given to America. To that end, in 2022 MACEF launched the first ever Mexican American Film & TV Festival. This year the film festival grew exponentially with over 100 projects submitted this year, and where trailblazers like pioneering writer/director Luis Valdez (La Bamba, Zoot Zuit, The Cisco Kid) are honored with the Illustrious Award for their contributions to the world of cinema.

But why a festival dedicated to Mexican American we asked Dr. Ruiz. Simply put, he reminds us that Mexicans-Americans are the largest percentage of the U.S.Latino population. There are 63 million Latinos in the U.S. Mexicans who can trace their ancestors to Mexico, make up 21% of the U.S. population, a group that contribute the largest portion of the $1.7 trillion annual GDP Latinos are noted for to the U.S. economy, yet Mexicans are the most vilified and not given the credit they deserve, according to Dr. Ruiz.

The mission of MACEF is “To change the narrative by educating the community about the endless positive contributions the Mexican-American people, (Chicano, Chicanx, Latino, Hispanic, Latinx, or 1^st generation immigrant), and their rich culture have given to America, which is often unrecognized. This is to be achieved by promoting unity, education, pride, and progress.”

The First Cowboy is based on a novel by the same name written by Dr. Ruiz. It delves into the tradition of the American cowboy, the subject matter of countless Hollywood movies. But those movies have never dealt with the true origin of the Mexican “vaquero” whose traditions were adapted to create the iconic American “Cowboy”, which was truly a Mexican tradition. 

Dr. Ruiz has long been studying the history of the Mexican Vaquero and now has produced and co-directed the film that tells the story, The First Cowboy. We sat down with Dr. Ruiz to delve into the story, his book the film is based on and the reason this story is important.

LATIN HEAT: Dr. Ruiz, congratulations on your film The First Cowboy, and the great response you had at the festival. I love the subject matter, and I had heard that the American cowboy learned from the Mexican Vaqueros but did not know all of the story. Why did you feel the need to write about it and then take the next step and make a short film?

DR. RUIZ: This is a crucial part of the history of Mexicans in American history that the history books have never told correctly. Before writing my fiction novel The First Cowboy, The Collision of Two Great Cultures, I did extensive research and hired a historian to dig out information about the lives of the people who lived at this time. This film is an adaptation of the novel.

LATIN HEAT: One thing we enjoyed and the audience seemed to enjoy as well as the references to the Mexican vaqueros teaching Americans the Mexican vaquero culture, why do you think this is so well received by the audience?

DR. RUIZ: If you read the news and see Hollywood films, you would have to assume Mexicans are newcomers to America, and who barely contribute to this country. Few Americans understand that Mexicans have been part of America for almost 200 years and have contributed in endless ways to make America what it is today, but have never been credited for it. What is more American than the cowboy?  Well, the fact is that the vaqueros are the original American Cowboys, almost a carbon copy of the Mexican vaquero and that is a thing of great pride for Mexicans and Latinos, and to see it on the screen makes all of us very proud.

LATIN HEAT: We know that while you are an award-winning novelist, this is in fact your first film. What made you confident that you could make such an impactful short?

DR. RUIZ:  I feel very fortunate to have found such a great producer in Johnny Murillo within his production company Chicano Hollywood. He and his production team are very talented and who worked tirelessly to make my story come true on the screen. I am a creative, and I have a vision and I guarded this vision throughout the casting, production, and post-production, to closely adhere to the novel. I feel so proud of the truly remarkable actors who turned in stellar performances like Fernanda Kelly, Mauricio Mendoza, Ryon Thomas, Bree Segars, and Glen Baggerly.

LATIN HEAT: The audience loved the film and expressed their desire to see the whole story in a feature film. What are your plans in that regard?

DR. RUIZ: I am excited to tell you that I am also working on the full feature, and I am currently shopping the film for major studios and using the short as a proof-of-concept. I am confident soon everyone will be able to see the full-feature film on the big screen.

LATIN HEAT: When can people see the film? 

DR. RUIZ: Currently, the full 20-minute short film can only be seen at film festivals. But in the meantime, everyone can see the trailer on my website www.RuizElevamosFilms.com.

The talented cast of The First Cowboy includes the leads Mauricio Mendoza as Don Ignacio Velasco and Fernanda Kelly as his wife Maria. Ryon Thomas and Bre Segars play the Palmers with Emma Elle Bird as the Young wife.

Music Composer Sid De La Cruz, Director of Photography Pablo G. Ledezma, Editor Sid Sotelo

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