By Andrea Nunez-Gamboa

In a rare occurrence, two Latino-themed films—Clika and The Dreamer Cinderella—competed at the box office this past January 23. The films simultaneous release offers a revealing look at how marketing strategies that address similar markets operate at opposite ends of the industry spectrum, namely studio-backed campaigns with substantial resources versus the limited marketing budget of independent films.

It is well documented that U.S. Latinos are the most avid moviegoers in the U.S. This matters not only because the film industry is experiencing sustained declines in movie attendance—limiting the discovery of new films and talent—but also because Latino audiences represent untapped economic potential.

A 2023 McKinsey’s research study found that the US film industry might generate an additional $12 to $18 billion annually if Latino cultural representation in films increased,. 

Latinos account for roughly 30% of the U.S. economy with a collective GDP that would rank as the fifth largest in the world, according to The Latino Donor Collaborative, a think tank that produces yearly studies on the filmgoing habits of U.S.Latinos  The disconnect between economic power and the industry’s representation of Latinos raises a persistent question: Why does Latino visibility in U.S. films remain so limited?

It is a complicated answer that includes the lack of studio greenlighting for Latino projects, smaller budgets, and limited marketing support. As a result, many Latino filmmakers turn to the independent route, where little to no funding is allocated to marketing. By the numbers, the disparity is striking: The ratio between a studio film’s marketing budget and an independent film’s is approximately 87 to 1.   

Sol Trujillo, co-founder of the Latino Donor Collaborative (LDC) and former Fortune 200 CEO, argues that Hollywood studios are leaving billions of dollars on the table by failing to produce and properly market content for U.S. Latinos. Based on the 2024 LDC U.S. Latinos in Media Report, Latinos  purchase 24% to 29% of all box office tickets, yet remain one of the most underrepresented groups on screen.

Same Opening Week, Different Budgets

The simultaneous release of the two Latino themed independent films Clika and The Dreamer Cinderella, represented a strong moment for Latino representation in cinema this past January. Led by Mexican American directors, producers, and actors, both projects reflected contemporary cultural themes. However, their markedly different production and marketing resources set the stage for contrasting box office trajectories.

Clika, a music drama directed by Michael Greene and produced by Jimmy Humilde, follows Chito (Jay Dee), a small-town musician whose viral success propels him into the world of corridos tumbados, a subgenre of regional Mexican rap music. Distributed in 522 theaters, the film benefited from the backing of Columbia Pictures, a Sony subsidiary with a robust marketing infrastructure. Given Sony’s existing ties to Humilde’s Latin record label Rancho Humilde, the project aligned seamlessly with the company’s brand ecosystem.

The Dreamer Cinderella tells the story of Xochitl, a fruit vendor whose life changes when a filmmaker casts her as the subject of a daring bet, revealing her as a hidden star. Directed and produced independently Dr. Ruiz Productions with first time director Dr. Jose Luis Ruiz, this independent film was distriubted in only 16 theaters by Atlas Distribution. The difference in marketing visibility between these two films is stark, but as the performance data will show, scale is not the only strategy at producers’ disposal to drive attendance.

Measuring Momentum, Not Scale

Trying to evaluate each film’s marketing effectiveness by comparing their total box office gross ticket sales would be unfair. Between January 23 and January 27, Clika earned $1,520,455 while The Dreamer Cinderella earned $8,880—a differential that reflects their vastly different scales of distribution. Instead, it is more equitable to compare the percentage changes in daily gross ticket sales respective to each film. This approach highlights momentum rather than reach, an especially useful lens for independent films whose full box office data is often underreported. While these limitations make a fully precise picture difficult, the figures still offer a meaningful basis for interpretation.

Takeaway: Clika

Clika’s performance data shows relatively moderate fluctuations, meaning the film experienced smaller declines following opening day and steadier rebounds throughout the opening week. This suggests consistent brand recognition and predictable audience reach. Even when attendance dips, the film’s structural visibility helps cushion the decline later in the week, allowing it to recover audience attendance by the following weekend.

This performance can be attributed to an ongoing baseline marketing presence supported by a studio-led campaign and a distributor such as Columbia Pictures/Sony. The strategy included a strong digital footprint, paid social media exposure, radio and podcast interviews, and billboard placements, which are elements that align with the comprehensive distribution and promotional approach typically associated with major studio releases.

Takeaway: The Dreamer Cinderella

The Dreamer Cinderella’s performance during opening week, by contrast, is characterized by sharp declines followed by a dramatic rebound, with its highest upward growth occurring on January 27 the last day of the theatrical run. This trajectory suggests a performance closely tied to marketing pushes, particularly those driven by community-based promotion, with targeted theaters, universities, film festivals, paid social media and community partners.

“…when the audience is targeted correctly, they respond.”

As an independent film, the key insight here is clear: When marketing aligns with audience outreach, the response is powerful. The spike in performance shows that when the audience is targeted correctly, they respond. Independent films can perform well, as audience interest often exists, but tailored marketing is required to make a meaningful difference during opening week.

In the case of The Dreamer Cinderella, there was an intentional effort to invest independent dollars into marketing, almost as a case study to test the idea that even modest marketing spending can influence performance and drive attendance.

Dr. Ruiz Productions joined forces with Entertainment Media Specialist to launch a groundbreaking case study of with The Dreamer Cinderella, and Latino independent film marketing. Modeled after major studio marketing strategies—but without the luxury of nine-figure budgets.  The Independent Latino Film Marketing Campaign (ILFMC) study harnessed the power of grassroots community outreach, mobilizing Latino organizations nationwide and reaching out to independent thaters to screen the film through a film distributor and community engagement. Together all helped build a smart, targeted, community-driven release strategy. 

FINAL THOUGHTS

“Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.”

The opening-week data makes one point clear, namely that marketing determines whether Latino audiences show up, not whether they exist. Clika’s steadier performance reflects sustained visibility, whereas The Dreamer Cinderella’s volatility reveals untapped demand that can be activated when outreach is strategic.

For Latino films, especially independent films, success is not a question of scale but marketing precision. When marketing investment is culturally informed and strategically deployed, independent projects can compete with large-scale commercial releases. In a market as powerful as the Latino audience, marketing is not optional. It is the difference between invisibility and impact, something that Latino movies should consider to gain a foothold in the film industry.

Ultimately, this analysis suggests that budget size matters less than how resources are allocated. As Latino audiences continue to grow and drive box office revenue, films made for these communities must be paired with marketing strategies that recognize their value and meet them where they are.

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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. 

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With pandemic protocols relaxing, the Los Angeles Latino International Film Festival will be returning with a mix of virtual programming and in-person screenings in Hollywood June 2 through 6.

LALIFF has announced a hybrid lineup featuring more than 40 films in English, Spanish and Portuguese that include 18 features, 6 episodic series and 24 shorts. The selections hail from about a dozen countries from the Americas, from the U.S. down to Tierra del Fuego and also the Caribbean.

Opening the fest is 7th & Union, an American dramatic feature about a Mexican immigrant ex-fighter whose friendship with a disgruntled man could save the boxer and his family. Debuting worldwide at LALIFF, the film stars famed Mexican actor Omar Chaparro who appeared in the comedy No Manches Frida that had wide distribution in American theaters. It is directed by the upcoming filmmaker Anthony Nardolillo (Shine) and written by Oscar Orlando Torres (Instructions not Included). A binational co-production, the film is produced by USA’s 13 Paces and Mango Tree and Mexico’s Broken English. Co-starring the film are Edy Ganem, Julian Obradors, Gregg Daniel and Lee Coc. The opening screening will take place at the historic TCL Chinese Theatre.

The festival’s line up includes Rita Moreno: A Girl Who Decided to Go for It, the documentary about Academy-Award winner Rita Moreno, directed by Mariem Perez Riera and winner of Sundance Film Festival’s Grand Jury Prize in the documentary category; Bridges, the debut feature by director and actress Maria Corina Ramirez (Grown); the documentaries American Exile by John J. Valadez, Landfall by Cecilia Aldarondo and Fruits of Labor by Emily Cohen Ibañez; and Jonathan Cuarta’s My Heart Can’t Beat Unless You Tell It to, a horror drama that was an official selection of the Tribeca Festival last year.

Those attending the fest will also get to see a special preview of the highly anticipated musical film In the Heights. Directed by Jon M. Chu (Crazy Rich Asians), the film is based on the Broadway musical hit with music and lyrics by Lin-Manuel Miranda (Hamilton, the Broadway musical) and a book by Quiara Alegría Hudes. The story takes place in New York’s largely Dominican neighborhood of Washington Heights. The screening will take place June 4, five days before the film’s showcase at the Tribeca Film Festival’s World Premiere and a week before its release in theaters and on HBO Max.

Featured films include Colombia’s Between Fire and Water, Brazil’s Executive Order, Argentina’s La Botera, Mexico’s Nudo Mixteco, Dominican Republic’s Papi, Panama’s Something Blue, and Peru’s The Best Families.

The majority of the fest’s selections are American, which also include Green Ghost, Landfall and Blursday, the latter a co-production with Taiwan.

Closing the film will be Women is Losers, another American selection. Set in working-class San Francisco of the ’60s, the coming-of-age drama marks the directorial debut of Lissette Feliciano, who also wrote the screenplay. Starring Once Upon a Time in Hollywood’s Lorenza Izzo, it tells the story of a once-promising catholic schoolgirl who rises above the oppression of poverty and invests in a future for herself setting new precedents for the time. Simu Liu, who will make history this fall with his lead role in Marvel’s Shang-Chi and the Legend of the Ten Rings, also stars in the film.

LALIFF is an annual project of the nonprofit Latino Film Institute. Last year’s fest was held online because of the pandemic.

“As we begin to finally see some normalcy in our lives, we are thrilled to be able to commemorate our 20th anniversary by bringing Angelenos together, safely, to celebrate our community of talented storytellers that so need our support,” says Academy-Award nominated actor and LALIFF founder Edward James Olmos. “This past year has been hard for everyone, and we are excited to continue to support and provide a platform to these creators that despite all odds, continued to create art.”

Fest organizers hope the hybrid screenings will allow the event to reach a wide audience. “After such a challenging year LALIFF comes stronger than ever, with a diverse program that is testament to the creativity and resilience of our artists,” says Diana Cadavid, the fest’s artistic director who assumed her position last year at the beginning of the pandemic. “Our combination of in-person and virtual events is designed to enhance our viewership experience and to ensure that everyone can enjoy the rich offering of films, episodics, music and art that we have carefully curated.”

For a complete movie lineup, schedule and tickets, visit www.laliff.org.

Featured Photo: In The Heights (Credit: LALIFF)

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By Justina Bonilla

Since 1988, the National Library of Congress’ National Film Registry has chosen 25 films a year to preserve for being “culturally, historically or aesthetically” significant. This list in the past has inducted iconic and groundbreaking films from To Kill a Mockingbird to The Godfather and Disney’s Snow White. The 2019 film inductions are more diverse than ever, with ten films directed and/or featuring ethnic talent, including five Latino/Hispanic talent.

Inducted this year, are two highly regarded films in Latino American and Chicano cinema, Zoot Suit and Real Women Have Curves.  Zoot Suit is the second film written and directed by the Father of Chicano theater Luis Valdez. Real Women Have Curves is a modern classic by Chicana playwright Josefina Lopez, who created the story and co-wrote the screenplay.  Both Real Women Have Curves and Zoot Suit began as plays, showing the significant influence of plays in Latino American film history.  

Latino/Hispanic talent was also featured in other inducted films, namely Purple Rain (leading actress Apollonia Kotero), Boys Don’t Cry (actress Hillary Swank), and Platoon (actor Charlie Sheen).

Past inductees featuring significant Latino/Hispanic stories and/or talent include:

In 2018, the National Film Registry faced criticism, due to its lack of diversity in its list of 750 films. According to TIME Magazine Only 36 films were directed by people of color. Now, the National Film Registry is adding more films with ethnic talent behind and in front of the camera. Solidifying the importance and impact of ethnic talent and stories in American cinema. Contributions that have been overlooked for years, due to preferences for non-ethnic stories and limited and/or stereotypical ethnic roles.

Latino oriented films and significant films with Latino talent that should be evaluated for consideration by the National Film Registry for induction include:

Significant Films featuring Latino talent:

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