Efrain Schunior, Festival Director and APCH Theater Program Manager stated, “We are beyond excited to present our 3rd annual Latinx Theater Festival as a kick-off to Latinx Heritage Month. Due to pandemic closures and considerations during the previous two festivals, we were unable to realize our original vision for the scope of the festival. This year, we are adding a block party element on Saturday, and presenting a full slate of seven wonderful Latinx theater pieces throughout the course of four days. Four of the plays featured are critically acclaimed encore presentations previously performed in Los Angeles this past season, and one production is an exclusive APCH premiere. We invite the entire community to join us for the shows as well as the free community block party on Saturday, September 16th from 10 am to 5 pm.”

El Centro Del Sur Latinx Theater Festival includes four Encore productions: La Egoista, presented by Skylight Theatre Company; (Un)Documents, written and performed by Jesús I. Valles; L.A. Real, presented by About…Productions; The Diary of Anne Frank (LatinX), presented by Pop-Up Playhouse, Burbank Human Relations Commission, Tracey Rooney, Wilson Cruz. Programming will also include an exclusive APCH premiere production of Mariposa presented by Company of Angels; a workshop staging of Bodalands: A Comedy in Four Weddings, presented by ACT@APCH; and a staged reading of Spread presented by The Sideway Society with Alumni Members of A Place Called Home.

“We are honored to bring together such a powerhouse and dynamic group of Latiné creators from Los Angeles and beyond, established partners and new friends, to celebrate our shared heritage in a big way through the arts. South Central has been relatively unknown by the greater LA arts community and we are shifting that narrative with this year’s El Centro del Sur,” said Schunior.

El Centro De Sur Latinx Theater Festival: Tu Hogar schedule is as follows: Thu. Sept. 14 @ 8 pm, Mariposa; Fri. Sept. 15 @ 8 pm, La Egosita; Sat. Sept. 16 @ 3 pm, Bodalands, A Comedy in Four Weddings; Sat. Sept. 16 @ 8 pm, (Un)Documents; Sun. Sept. 17 @ 12 pm, Spread; Sun. Sept. 17 @ 3 pm, L.A. Real; Sun. Sept. 17 @ 7 pm, The Diary of Anne Frank (LatinX).

The free Community Block Party takes place on Sat. Sept. 16 from 10 am to 5 pm in conjunction with the festival. Come enjoy art vendors, food trucks, performances by A Place Called Home’s dance company and others yet to be announced.

All plays presented are family-friendly (PG / TV-14) and feature all Latinx casts, writers, directors, designers, and crew. The festival is produced in part by the teen members of APCH Theater Program’s Advanced Classes in Theater.

Tickets for all plays are only $10 each. A 7-play festival pass is available for $50. There’s also a $100 VIP Festival Pass which includes 7 concessions items and VIP seating to all performances.

For more information and tickets, visit: www.apch.org/elcentrodelsur

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Campanario Entertainment Co-founder and President, Jaime Dávila and Senior Vice President Diana Mejia-Jones, will work closely with Addiction House co-founders and brothers Sebastian and Emilian Zurita, and Ricardo Gaspar to create five original programs across multiple genres and formats. The goal is to continue making international fare for audiences of all ages, in Spanish and English, across the US, Latin America, and globally.

“Emiliano, Sebastian, and Ricardo have created an amazing company in Addiction House, and our work together on Como Sobrevivir Soltero, which created a bidding war and resulted in three successful seasons so far, says Jaime Dávila”. Adding, “It proves that together; we can continue creating fresh ideas with the power to break through in all markets.”

Campanario Entertainment has produced the award-winning Netflix Original, Selena: The Series, award-nominated series La Flor Mas Bella, Mexican Dynasties, among others. Together, Campanario Entertainment and Addiction House created and produced the hit Prime Video series Como Sobrevivir Soltero, the Spanish-language dramedy that was among the first in a slate of programming for the streamer in Mexico.

“As creators, we know the importance of telling stories that matter and resonate with our core audience and beyond,” says Sebastian and Emiliano Zurita, co-founders. “It’s invigorating to continue our partnership with Campanario Entertainment who are strong advocates for innovative and entertaining Latino content in the US and Latin America.”

Addiction House is based in Mexico City and Los Angeles. They develop original content in television and theater, along with some films. Emiliano and Sebastian Zurita are the creators, directors, and executive producers of Como Sobrevivir Soltero, and their latest Addiction House original mockumentary-style comedy Champions Gym was recently acquired by Sony Entertainment.

The partnership kicks off with two scripted projects in development:

How to Rob a Bank (Film) – created by Alex Suarez, the film is centered around a talented, but unemployed actor that’s decided to play the role of a lifetime to save himself from financial ruin – rob a bank. Using only his acting skills and what he’s seen on the big screen, he casts a crew of robbers composed of unsuspecting industry hopefuls. They’ll soon find that a real, “perfect” robbery might just help them make a name for themselves in Hollywood and beyond.

Magic (TV series) – co-created by Sebastian and Emiliano Zurita, this comedy follows six amateur magicians who are brought together to be part of a star magician’s content house. Only one will inherit the workshop and all his secrets. Who has the most tricks up their sleeves to win it all is yet to be seen.

Along with How to Rob a Bank and Magic, Addition House and Campanario Entertainment will focus their work on developing content across various genres including dramas, comedies, thrillers, and more in both Spanish and English.

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Nuestro Stories co-Founder Manny Ruiz, who will oversee the Nuestro Studios productions team, is the innovator who put the spotlight on the Latino social media and influencer marketing industries when he founded Hispanicize in 2010. “We innovated the Latino social media and influencer marketing industries with Hispanicize. Today we will apply that same tenacity and entrepreneurship to crack the code for Latinos in Hollywood,” Ruiz said. “In collaboration with like-minded filmmakers, actors, producers, and media companies, Nuestro Studios will help unleash the bottled-up dreams and great stories of countless Latino storytellers.”

Nuestro Studios marks a bold evolution from the Nuestro Stories platform with storytelling capabilities that now span premium branded content, original films, series, documentaries, and podcasts.

First Productions Slated

Nuestro Studios’ first slate of productions launches with three original films, Bistec: A Dissident’s Tale’ written by Ruiz tells a quirky cat-and-mouse story of Cuba’s most prominent dissident, and the Communist neighborhood snitch who’s sworn to stop him. The feature film, which includes an original audio series, will be scored by six-time Emmy-winning conductor Alberto Bade. Cuban filmmaker, writer, and documentarian Ernesto Fundora of Cuba Suena is on board as associate producer, and head of photography.

Also in production is the short film El Clavito which tells the dark tale of a young couple who make a strange compromise to buy their dream home for $1. El Clavito was co-written by the late Mel Santiesteban and Ruiz.

Ther podcast Fantastic Fails is on queue for production. The insightful and entertaining podcast will be devoted to showcasing entrepreneurs’ biggest business ideas that failed, and the lessons learned, is being hosted and co-executive produced by Jesse Martinez, founder of the Latinx Startup Alliance.

Nuestro Studios will produce both the five-part audio series for Bistec and the original serial podcast Fantastic Fails with the award-winning team of Studio Ochenta led by Lory Martinez.

The company’s expansion, Nuestro Studio has promoted the multi-hyphenated producer, and senior editor at Nuestro Stories, Efrain Gonzalez to partner and vice president of Nuestro Studios productions. Gonzalez’ signature talent is seen on many of Nuestro Stories’ current premium snackable documentaries online.

Nuestro Studios’ approach will initially lean on commercial-friendly content that can be packaged for the branding partnerships Nuestro Stories has cultivated. Nuestro Stories’ powerful capability in social media, adtech, influencers, and press release wire through Noticias Newswire, already affords the company substantial leverage to solve many of WOM and marketing-related hurdles Latino content platforms and producers typically face.

“We’re already on phase two, which is to ensure maximum amplification and views for the productions we’re creating or collaborating on,” said Gonzalez. “Aggressively solving for the distribution of content on streamers, online, and elsewhere is what we’re addressing for the marketplace and what excites us most.”

Despite Latinos representing 19% of the total U.S. population and being enthusiastic moviegoers, their presence on the big screen remains disproportionately low (Hollywood Diversity Report 2023) with leads predominantly White in 66.7% of films on streaming platforms. Latinos were represented in only 6.1% of these roles. Nuestro Studios was created with these stats in mind, and hope to positively help raise the percentages with their content dedicated to the U.S. Latino audience.

Nuestro Stories is the flagship brand of the diverse-owned Brilla Media Ventures. Nuestro Stories produces snackable videos, stories, and social media content daily focused on Latino origins and histories, and through its Nuestro Studios will also now create branded and original films, documentaries, series, and podcasts. Nuestro Stories is led by Angela Sustaita-Ruiz and Manny Ruiz, creators of Hispanicize.

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The festival is five days of screenings, live music, panels, and networking opportunities, celebrating the diversity and talent of the Latino/a artists and storytellers from our community. This year’s lineup features 44 females (representing over 50% of the program), 13 Afro/Black Latino, nine Indigenous, and 16 LGBTQ+ directors, with 19 different countries represented.

OPENING NIGHT FILM AND GALA

LALIFF kicks off on May 31 with the West Coast premiere of Eva Longoria’s feature film directorial debut Flamin’ Hot, the story of Richard Montañez a Frito Lay janitor who had an idea that a spiced up Cheetos snack would resonate with his community with a little “chili” added. With his grassroots marketing the snack to his community, Flamin’ Hot Cheetos became a global pop culture phenomenon.

Jesse Garcia plays Montañez with Annie Gonzalez playing his wife Judy. Included in the cast are Emilio Rivera, Tony Shalhoub, Bobby Soto, Pepe Serna and Brice Gonzalez among others. The after party will include musical performances, featuring La Misa Negra.

HIGHLIGHTED FEATURES: June 1, 2023

You Were My First Boyfriend: Directed by Cecilia Aldarondo & Sarah Enid Hagey. Synopsis: In this high school reunion movie turned inside out, filmmaker Cecilia Aldarondo relives her tortured adolescence, wondering if she remembered it all wrong.

HIGHLIGHTED FEATURES: June 3, 2023

Patria Y Vida: The Power of Music. Directed by Beatriz Luengo. Synopsis: The powerful story of six afro descendants rappers who have rewritten Cuban history and sparked a lyrical battle for human rights through a song called “Patria y Vida”. 

Moe: Directed by Jose Luis Valenzuela. Synopsis: is name is Moises, but his friends call him Moe. He’s having a going away party because he’s dying of AIDS.

For Full schedule of features screeing June 1 – June 4 CLICK HERE

A SLATE OF SHORT FILMS

For the 2023 edition of LALIFF, we are proud to be presenting a collection of 42 live action short films directed by Latino filmmakers from regions all over the world including the U.S., Latin America, and Europe! Be sure to check out the different short programs, as well as the ones that will be presented alongside a feature.

Thursday, June 1 at 6:30 PM

This short program aptly includes teenagers looking to have their first time (Before Madrid), grocery store workers facing creatures from out of this world (Dead Enders), a poetic contemplation of queer activism (Flores del Otro Patio), a cowgirl learning the ropes (How to Lasso), the fight of migrant workers against wage theft in Florida (Monarcas), a love affair with a fictional heartthrob (Consuelo), a young woman facing her obsession with food (Detox), and a gathering at the hottest dance spot in town (Hot Latin Nights at the Granada!).

FRIDAY, JUNE 2 at 8:30 PM

In this program we see a young woman whose best friend is a ghost (A History of Sitting in Waiting Rooms (Or Whatever Longer Title you Prefer)), the last two speakers of an Indigenous language struggling to keep it alive (Still Here), a maid in search for her place in society (Clinging to Air), the paranoia inside an office (In the Static), a couple struggling to choose a name for their newborn (23 Semanas), a love letter to Afro-Latina islanders (Negra, Yo Soy Bella), a damning criticism of gentrification (This One is for the Neighborhood) and a look into vibrant a Mexico City dance subculture (Danzoneros). There is something for everyone.

SUNDAY, JUNE 4 at 1:45 PM

The final shorts program, come watch a strange phenomenon overtaking people in the streets (The Hour of the Birds), a complicated look into family relationships (Mother’s Daughter), a gang of badass women standing up for themselves (Bumblebees), a group of young immigrant children helping their parents survive (Translators), the undying love for a mother amidst a health crisis (Pedacito de Carne), an unlikely connection in the underbelly of Mexico City (Strange World), and the most bizarre commercial shoot you’ve experienced (SABORRRR!). We have great stories up until the very end!

LALIFF will wrap up the festival on a high with Problemista, from writer, director, and actor Julio Torres. The film tells the story of an aspiring toy designer from El Salvador, struggling to bring his unusual ideas to life in New York City. As time on his work visa runs out, a job assisting an erratic art-world outcast, interpreted by Tilda Swinton, becomes his only hope to stay in the country and realize his dream.

LALIFF offers a schedule feature films, shorts and workshops. SEE IT HERE

Purchase tickets at https://bit.ly/3VU8AlE.

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In 2020, over 270 Latino writers and showrunners wrote an open letter entitled “Dear Hollywood”, which demanded action on inclusivity. As LatinHeat’s own Bel Hernandez has expressed in the past, “we need studios and networks executives to greenlight our projects”. This is where producer and head of Mankind Entertainment, John Martinez O’Felan comes in. He and his team are passionately focused on creating the demand for studios to hire more Latino executives.

LatinHeat sat down with O’Felan to discuss the challenges facing Latinos in the film industry, and how he hopes to impact change for Latino presentation in cinema with Mankind Entertainment. He also shared in-depth insight about his much talked about feature film project Alina of Cuba, James Franco’s performance, as well as his surprising thoughts regarding John Leguizamo. Martinez also shared all-new details about his two other new Latino centered film projects that are currently in development, including Barton Creek and Anna in the Tropics. 

To begin, O’Felan first elaborated on his own background and experience being Latino, and how he defines his identity:

John Martinez O’Felan: I’d like to start off by sharing my Latin cultural vantage point to frame how I see the critical mass of the cultural solution for better representation. In my Latino heritage, I come from a family with scrolled roots to one of the most ancient Spanish / Mexican lineages of Latin ancestry, one that verifiably dates back to far before 1699 B.C, through the ancient Hispanic Rite, and verifiable through various international Hispanic and tribal histories. With that level of historical enlightenment by heraldry, I see being “Latin” as a united global race with Hispanic roots, that developed and traces over eras of social and societal development. One proof of such is that the word “Latino” actually was heavily influenced by “Ladino,” a language spoken by Judeo-Spanish tribes who first migrated to the Latin America we know today: so even the word Latino is linked to Spain, so my cultural view honors all unbiasedly as a people. Taking that thinking into consideration and being someone who has spent 15 years of new company evangelization in a push for a new frontier for global Hispanic Cinema, I think the solutions have to initially hold a “global financial focus.”

Xavier LeBlanc: What inspired you to choose Alina of Cuba, Anna in the Tropics and Barton Creek? 

JMO: Part of my selection process as a Latino has been to promote new history. I’m 43 years old and coming from my generation, that’s one thing that I always felt that we lacked was a representation as to history. So, these projects that I took on take a look back at contributions that other Hispanics and Latinos have made to society between the stories of the character themselves, and also to celebrate artistic influencers like Nilo Cruz. He was the first Latino to ever win the Pulitzer prize for drama. So, I felt that with no one promoting new Latin history in America right now, I felt that sense of calling to advance that angle of the film industry. And that’s what’s driven my passion to get us to where we are now.

Alina of Cuba is based on the true-life story of former Cuban exile Alina Fernandez (aka “Castro’s Daughter”). The film is a celebration of the bravery of Latina women in seeking and elevating their voices and rights over the last fifty years. Actress Ana Villafane plays the lead role of Alina. Villafane is most known for playing international Cuban music icon Gloria Estefan in the popular Broadway production On Your Feet. She stars alongside Oscar-nominated actor James Franco as Fidel Castro. The script is written by Oscar-nominated Puerto Rican screenwriter José Rivera, and Pulitzer Prize winner Nilo Cruz. Martinez spoke about his motivations behind producing Alina of Cuba. Miguel Bardem, who is a Spanish Goya Award winner, directs the film.

JMO: I produced Alina of Cuba as an unbiased celebration of universal Latinism. So, I did it to ultimately promote unity between U.S. and international industries which ultimately impacts and helps grow a greater network for Hispanic material to be distributed. So, in other words I’m trying to prove that stories of Hispanic fabric can travel.

XL: Do you feel that Ana Villafane and James Franco may surprise audiences with their performances in Alina of Cuba, and if so, in which ways?

JMO: Absolutely. You know she’s our leading lady as Alina, and she’s an amazing talent who had her launch on Broadway, and coming with such a pedigree class. And knowing of the history being Cuban through her mother, I feel like she’s absolutely the perfect character fabric of the new age Latina to enact this story. As far as James, his likeness to the real Fidel Castro feels almost like an on-screen conjuring. But, even more exciting will be when the world sees him come out of his skin in what I believe will be one of his best performances of all time. And I say that because he studied, you know very in-depth on the character and dialect. They had a dialect coach and really dug deep, and so I feel like people are really going to love what they see when you see the fire between him and Ana on screen. It’s just going to be so amazing, because I’m already watching the footage and editing, and we’re like “Wow! You know this is something very special”.

XL: What can we expect from the most recently announced cast additions of Luna Baxter, Charlotte de Casa Bianca and Carlos Manuel Vesga in Alina of Cuba?

JMO: I think one thing is audiences I believe are going to see new faces from the international community, and I think those faces are going to impact the growth and demand between industries. Working with an actress like Luna, she’s a high pedigree great actress, and has some of the highest coveted awards. Same with Carlos. They’re amazing actors, and I think that we’ll continue to see these actors transition into more of a global image.

XL: What are some of the goals that you hope to achieve within the industry with Mankind Entertainment?

JMO: I think ultimately I’d like to create more Latin themed stories and also ultimately see more Latinos represented on the big screen. Not just in Latin stories, but also mainstream stories. I use director Robert Rodriguez as a great example of the way he used to cast his movies, or he casts his movies. 

Our focus is on the feature theatrical awards network : With our sales groups, we plan to push our U.S-developed Hispanic/Latino titles to the acquisition’s awards labels, while also creating a global festival presence for Hispanic Cinema in festivals like Cannes and Toronto, where content is globally recognized and impacts studio interest overall.

XL: Are there any notable Latin actors or directors that you would like to collaborate with that you have not yet worked with?

JMO: Well yeah, I mean first and foremost one of my favorite actors, and even you know we may see things differently and see addressing the issues of Hispanic demand differently, but I would love to work with John Leguizamo. He’s someone that you know…there’s a project that I have now, that I mean, I think he could work perfect for. You know also of course Javier Bardem, Gael Garcia, Diego Luna and Anthony Ramos is someone that I think really sticks out to me right now. As well as Ismail Cruz Cordova. As far as directors Robert Rodriguez has always been one of my Hispanic heroes. We’re both from the same hometown. I’m here from Austin, and so I think he’s someone that I strongly admire as well as a director. As far as Latinas I think Ana de Armas is someone that would be an honor to work with, and you know the list goes on I want to work with everyone.

XL: What are some ways that you feel the industry can do more to promote Latin representation, both in front of and behind the camera?

JMO: Ultimately, increasing Latin representation has to start within the packaging model on mainstream titles. So, again I use Robert Rodriguez as a great example of how he would cast his major successes.

The sad truth is the studios are driven by stockholder numbers, and timelines. So, inevitably are held hostage to having to invest mainly in already proven A-list stars to carry their titles and this is how they mitigate their financial risks. So, looking at it from that angle and considering that production executives have to focus on institutional survival; One way that I see that stands out, is for producers to focus on placing more Latin supporting cast around the already established big names on bigger titles. What this does is ultimately create more bankable Latin actors that can become the next Salma Hayek, the next Jessica Alba and the next Eva Longoria of the newer generation to continue the cycle. In other words, we need to see more diversity around established bankable actors because the buzz value will spotlight new talents that have yet to be seen.

Again, I go into the packaging of Alina of Cuba as a great example. Having James Franco as a major actor in packaging him with stars that are new and growing. I think it will have that impact. Luna Baxter and the Carlos Vesga are great examples of that type of talent in helping grow the industry and the network as a whole.

Martinez also emphasized the importance of highlighting true stories about Latinos, such as that of Carlos Lavernia in Barton Creek. As well as representation when it comes to Latinos of different groups, including Cuban and Mexicans in the US. This Latino-led biopic is written and will be directed by award-winning Cuban-American director Carlos V. Gutierrez. The story follows the triumphant life story of Lavernia, a Cuban political exile and Innocence Project participant, who was wrongfully convicted to life in prison and spent 15 years behind bars before being proven innocent. 

JMO: Stories like his are very inspiring in that you know he had no choice. He had to learn what it is to live in America, what it takes to challenge the legal system and speak the language. So, you know he didn’t have an easy road and I feel like you know his story deserves to be told to ultimately inspire others. 

Given that the Mexican-American mass is 24m+ and 40% of the U.S Hispanic market share, there really needs to be more Mexican American talents, which we also aim to cast in Mr. Lavernia’s story as a Cuban living in Texas around a mass of Chicanos, the neighborhood I grew up in.

XL: How do you feel the Hispanic and Latino marketplace for film and entertainment will change in the next 10 years? 

JMO: I think we’re going through a major population transition right now. There’s 62.6 million Hispanics in the U.S. roughly about 600 million total in Latin America and I think over time we’re going to gradually see studios aiming more to crack the code to cross national awards content that is led by more Latin actors. But, this also means that more producers focused on universality. We need more producers focused on universality and diversity because the content’s not going to get developed and produced by itself.

O’Felan also went into detail on what he has learned about the industry from his experiences working on Alina of Cuba, and his understanding of how the business and unity come together to move everything forward: 

JMO: Using Alina of Cuba as my first key to the Hollywood mecca to studio buyers, I learned first-hand during my process that each publicly traded conglomerate corporation (NBC-Universal, Focus, Sony, Fox, etc) has an executive in charge of independent acquisitions, an area where finished privately financed pictures are purchased in partnership for theatrical distribution: this is where investors recoup. Each year, during a studio’s yearly buying process, they study independent global consumer financial trends, buzz patterns and talent / content bankability en masse, and not just creative “storytelling.” Being that the U.S officially became the Corporation of the United States of America since 1871, ever since Thomas Edison founded the first studio in 1893, studios have historically grown over the last 130 years under the pressure of profitability by stockholders and growing government taxation in parallel.

With this thinking, each studio’s major investment in a finished picture is scaled across the world, and not just the United States or any tiny region, so it’s the global consumer that heavily influences what we’re seeing put out here in the U.S. In the current state, this is why comic book and action brands, which have held bestseller status, have become the norm. However, comic book and action brands aren’t necessarily designed to celebrate or promote culture, which is why studios won’t be shifting away from the Marvel or DC Universe any time soon.

The good news is, however, that right now is an ultra-hot time for independent “awards producers” and private equity financiers to step up and produce more Hispanic-human related content to service and sell to the studios, who will pay guarantees against films within the bulk of the roughly 100 international markets. This is where unity is key, because when a producer hires a large star like a James Franco or Javier Bardem as a co-lead on an awards picture, this allows the picture to introduce new stars while giving them initial clout. A perfect example is when Robert Rodriguez shot Desperado. That film was a case where as an innovator, Rodriguez, a Mexican American from Texas, placed a Spanish star as the male lead, and launched the epic career of Salma Hayek, a Latina born in Mexico who is now one of the most celebrated icons in film history.

Ultimately, O’Felan says, “I’d like to call for Hispanic unity as the first step in the business, because such will allow the independent world to build Latin stars alongside the current standing stars, creating a new universe for diversity and long term growth. In other words, we need to see more diversity around established bankable actors, because the buzz value will spotlight new talents who have yet to be seen.”

During our interview O’Felan stated that “Hispanics need a renaissance”. It seems that he is indeed doing everything possible to make that come true, while also becoming one of the trailblazers that is sorely needed in the entertainment industry right now. Mankind Entertainment’s remarkable lineup of powerful Latin stories and their mission of representation may soon help change the way audiences and Hollywood views Latinos.

The post EXCLUSIVE: ‘Alina De Cuba’ Producer John Martinez O’Felan Talks Latino Representation in Hollywood first appeared on .

The award ceremony will take place on Sunday, October 2, 2022, in Los Angeles at LA Plaza de Cultura y Artes.

“It is an honor to be nominated among such a great group of content creators. We continue to do our best to bring forward our stories in the most authentic manner possible” said DeJesus.  

Lights, Camera, Acciòn, a co-production of Latino Public Broadcasting’s VOCES and American Masters, is a celebration of the incredible impact that Latinos have made in Hollywood – past, present and future, with a focus on the exciting new wave of talent that is transforming the industry.

From award-winning director DeJesus and executive producer John Leguizamo, the documentary captures the candid perspectives of prominent voices in film and television, from in front and behind the camera, sharing their challenges, personal journeys and outlook on the future.

DeJesus is an Emmy and Tony-nominated director, producer, writer and co-founder of NGL Studios with his partner John Leguizamo. With over a decade of experience in the U.S. multicultural, Latinx and youth markets, DeJesus has created over 100 hours of award-winning content including non-fiction, episodic, music videos and branded content.

Ben got his start as stage actor before landing at MTV, where he became one of the original writer/producers for several seasons of MTV Cribes. He then went on to produce and write for MTV News, VH1, mun2, Nick @ Nite, and many of the on-air VJ’s.

Recent Television credits include: (PBS) American Masters: Lights, Camera, Acción; (CBS) Essential Heroes: Momento Latino, exec-produced and hosted by Eva Longoria; (Peacock) The Latino Presidential Inauguration Special and multiple episodes of (Disney) Bunk’d, the hit multi- cam sitcom. Currently, Ben is directing and exec-producing a 6-episode series for MSNBC hosted by Leguizamo.

Film credits include: Raul Julia: The World’s a Stage which received an Emmy nomination in the Non-Fiction Series category in 2020, along with his second Imagen Award and Best Latinx Film Award by the National Association of Independent Latino Producers (NALIP). Ben also directed Great Performances: John Leguizamo’s Road to Broadway where he won his first Imagen Award for Best Documentary. His previous feature doc (PBS) Tales from a Ghetto Klown was also produced by DeJesus and Academy Award- Winner® Fisher Stevens (The Cove) and premiered nationwide.

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Film The Gray Man

Genre: Action, Thriller

Directors: Anthony russo, Joe Russo

Writers: Joe Russo, Christopher Markus, Stephen McFeely

Cast:  Ryan gosling, Chris Evans, Ana de Armas, Billy Bob Thornton, Jessica Henwick, Dhanush

REVIEW

Fact: Behind every bad ass white guy is an equally bad ass Latina. When the CIA’s most skilled operative code named Six, played by Ryan Gosling (La La Land, Dune) inadvertently uncovers dark agency secrets a nutso evil looney tunes former colleague, Lloyd Hansen, played with demonic over-the-top glee by Chris Evans (The Avengers, Captain America: Civil war) puts a bounty on Six’s head setting off a world-wide manhunt by international assassins.

But coming to protect Six’s head as well as his “six” (behind) is Agent Dani Miranda played by Ana de Armas (Knives Out, No Time to Die). Miranda is every bit as capable and tough an agent as Six which is handy since the two get involved in more furious, fever-pitched gun battles with Lloyd’s hired goons than the Marines in the Battle of Okinawa in World War II. Fortunately for Six and Miranda the paid pistoleros are either myopic or just terrible shots because despite all the firepower aimed at Six and Miranda, they never seem to hit anything and come off looking more like the Keystone Kops than stone-cold killers.

The Gray Man is one of those large-scale action-adventure movies that is meant to be seen in a theater with appropriate booming deafening sound system. But now that The Gray Man is streaming on Netflix in order to fully appreciate the powerful visual impact of the film the bare minimum of a 60-inch flat screen TV with surround sound is required to get the full effect.

However, no particular screen size is required to enjoy watching Ana’s exploits as Agent Miranda in The Gray Man as she shoots, fights, kicks but and escapes danger side-by-side with Six as they battle the seemingly overwhelming and endless killer, heavily armed enemy forces of Lloyd Hansen. Ana de Armas is on the verge of becoming a superstar in Hollywood. Her star power gets closer and closer to supernova brilliance with every movie.

Ana de Amras has proven her acting versatility in different genre films like Blade Runner 2049 and Knives Out. She was the “Bond” girl in No time to Die and soon will be seen in Netflix’s highly anticipated biopic of Marilyn Monroe, Blonde. The Gray Man is a crowd-pleasing high-octane action-adventure movie that could turn into a franchise like The Bourne Identity or Mission Impossible which will give us the pleasure of watching Ana de Armas’s future exploits as Agent Dani Miranda either in the theaters or on a streaming platform near you.

Producers: Chris Castaldi, Jeff Krischenbaum, Mike Laroca

Production Company: AGBO

Distributor: Netflix

Available: Netflix

Rating:

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Film: The Valet

Genre: Comedy, Romance

Director: Richard Wong

Writers: Bob fisher, Rob Greenberg, Francis Veber

Cast: Eugenio Derbez, Samara Weaving, Max Greenfield, Betsy Brandt,  Carmen Salinas, Amaury Nolasco

REVIEW

A Mexican character actor puts on a Master Class in light comedy.  The Valet, a sweet, charming romantic comedy becomes the perfect vehicle to showcase the comedic acting talents of Eugenio Derbez (Acapulco, CODA). Derbaz plays Antonio, a parking valet for a swank Beverly Hills restaurant. His life takes a convoluted turn for the weird when a beautiful movie star, Olivia, played by Samara Weaving (Ready or Not, Guns Akimbo), talks Antonio into posing as her boyfriend to cover up her relationship with a married man. Antonio is offered a lot of money for the gig and he needs it, so he agrees.

This theme of a famous  gorgeous female superstar celebrity getting romantically involved with a regular guy was used successfully in the hit movie, Marry Me with Jennifer Lopez and Owen Wilson and sadly all too briefly in the short-lived TV series, The Baker and the Beauty featuring Victor Rasuk and Natalie Kelley. In all three stories the Hollywood star is transformed by her relationship with her  “down to earth” working-class romantic interest. In The Valet, Olivia not only is smitten with the irresistible good-natured charms of Antonio, but also finds herself accepted into his Mexican family, especially by his mother, Cecilia, played by the late veteran Mexican actress, Carmen Salinas (Man on Fire, Carnival Nights) in a lovely supporting role.

But it’s Derb az’s effortless comedic performance that is the linchpin of The Valet. Light comedy acting is an underappreciated art in Hollywood. Performing light comedy at a high level like Derbez does in The Valet is not only underappreciated but often overlooked when it comes to getting nominations during award season.

Such was the case this year as the Emmys looked past Derbaz’s comedic performances in both The Valet and his bi-lingual comedy TV series, Acapulco. But Derbez is in good company. Cary Grant, another master of light comedy roles, never won an Oscar (except an Honorary one toward the end of his life)and was only nominated twice. Whether Derbez ever wins any acting awards for his unique light comedy gifts, his on-screen persona will continue to warm our hearts and bring a smile to our faces.

Producers: Eugenio Derbez, Ben Odell

Production Company: 3Pas Studios

Distributor: Hulu

Available: Hulu

Rating:

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William Frey’s seminal work on the changing future demographics of the United States, The Browning of America has it all right, except for the title. The book should be titled, The Re-Browning of America. 

How soon we forget. The pre-Columbian Americas from Canada down to Patagonia were flush with brown people long before the first seasick pasty white Pilgrim set foot on Plymouth Rock.

Frey predicts by 2030 most of the West Coast, the Southwest, the Deep South, and some East Coast states will become minority-majority states with Latinos of all fifty shades of brown, accents, music and food making up a huge percentage of the population in those areas.

California is already a minority-majority state. So we can assume that Los Angeles with its massive Chicano community and the home of Latino Hollywood is the place where diversity and inclusivity are a slam dunk in film and TV, right? Well not so fast Speedy (insert your favorite Spanish surname).

Fear and Loathing in LA

“They’re singing songs of diversity, but not for me” is a tune many in Latino Hollywood find themselves singing these days. And in the face of so many reported gains in diversity and inclusion for women and other minorities for opportunities in front of and behind the camera, the question has to be asked why Latinos haven’t benefitted from these improvements?

An article about the recent WarnerMedia Discovery merger in a Latin Heat article, cited the public criticism by several Latino advocacy groups for inviting minority groups to their corporate board table. Rather the message to the Latino entertainment community was not to bother attending, but that they were more than welcome to come and bus the tables.

A similar UCLA study showed that even though Latinos make up almost 19 percent of the US population, they only have a 7 percent representation in film and TV.  Why such a wide gap in the disparity of representation in comparison to women and other minorities? Could it be fear?

The City of Los Angeles and the Latino community have had a troubled relationship ever since the city became part of the United States. The Anglo incursion into the city resulted in Latinos moving into barrios where they increasingly became objects of scorn and suspicion.  The Zoot Suit Riots of 1943 only underscored the image of the Latino as a criminal to be feared.

The Chicano Movement of the ‘60’s was a wake-up call to the “establishment” that we were unified by an identity of pride and were now a force to be reckoned with. And now there is enough star power in the Latino entertainment galaxy with countless brilliantly talented producers, directors, writers, actors, musicians, cinematographers and craft technicians to light up a whole city. A city like LA. Could it be there are leftover vestiges of that old Latino dread that still linger in the big studio boardrooms and they feel threatened of losing their power in the oncoming, unstoppable cultural tsunami of The Browning of Hollywood?

What Do We Need?

In 2020, over 270 Latino writers and showrunners wrote the “Dear Hollywood” open letter demanding action on inclusivity. The letter’s signatories included such luminaries as Gloria Calderón-Kellett (One Day at a Time), Lin-Manuel Miranda (Encanto) Steven Canals (Pose), Tanaya Saracho (Vida), and John Leguizamo.  In the letter, the group lays out a list of five points of action they deem necessary for change: 

• Hire Latino writers to tell Latino stories
• Greenlight more projects from Latino creators
• Represent all aspects of Latino life and culture
• Do away with writers repeating low-level positions
• Hire Latino writers for projects about other groups.

That was two years ago and from all indications as the song says: “The beat goes on.” So, what do we need to make things change? When will Othello be played by Edward James Olmos rather than James Earl Jones? When will the next reboot of Cheaper by the Dozen be about a blended Mexican-American family of 12. Mom is a retired Air force helicopter pilot who is now running for political office. Dad is a doctor who runs a free clinic in their small Texas border town. The kids divide their time volunteering for Mom and helping out Dad at the clinic.

Who’s going to greenlight these projects from Latino creators?

Bel Hernandez, publisher of the influential trade journal, Latin Heat Entertainment, has been tracking Latino Hollywood since 1992. They don’t call Bel the Godmother of Latino Hollywood for nothing.  “In my opinion having Latino showrunners is essential,” she said. “But what we also need is studios and networks executives to greenlight our projects.” Adding, “And just as important, we need Latinos with deep pockets to invest in our stories like the African American community has done in theirs.”

Impatiently Waiting at the Railway Station

Latino Hollywood has been sitting in the railway station holding a ticket for its inevitable inclusive destination long enough.  That diversity train should have already arrived a long time ago. Well, the damn trains never run-on time, do they? But it won’t be long before we hear the roaring down the tracks of a fast-approaching train.

The post Why is the Hollywood Diversity Train Leaving Latinos Behind at the Station?? first appeared on .

The biopic, starring Jennifer Lopez and Edward James Olmos, inspired so many people around the globe. 25 Years later, it continues to move the hearts of millions of fans who love her songs.

“Rediscover a family’s story of dedication, perseverance and hope in breaking a male-dominated music genre and taking the world by storm,” Selena´s family wrote in the announcement of the film’s re-release.

“This movie means so much to me … Selena and her family mean so much to me, and I was so lucky to be chosen to play her,” Lopez wrote on her social media. “I’ll never forget this time in my life and it’s an honor as an artist to have been part of the magic that is this movie.”

Selena was killed on March 31 by her fan club president Yolanda Saldivar weeks before her 24th birthday, which would have been April 16, 1995.

Selena the movie was inducted into the Library of Congress’ 2021 National Film Registry this past December.

The post Selena Movie Returns to Theaters in April. first appeared on .

Los Angeles, CA – Just announced, Latinos will be gracing the stage at the 94th Academy Awards in a live performance of Encanto’s hit song “We Don’t Talk About Bruno”.  Featured in the live performance will be cast members Adassa, Stephanie Beatriz, Mauro Castillo, Carolina Gaitan and Diane Guerrero, along with Becky G and Luis Fonsi.

This will be the first live performance of the song written by Lin-Manuel Miranda, who is nominated for Best Original Song for “Dos Oruguitas”, also from Encanto.

The 94th Oscars will be produced by Will Packer and Shayla Cowan which will be held on Sunday, March 27, 2022, at the Dolby® Theatre at Ovation Hollywood and will be televised live on ABC at 8 p.m. EDT/5 p.m. PDT and in more than 200 territories worldwide.  American Sign Language (ASL) provided by Certified Deaf Interpreters, live closed captioning and audio description will be available during the live broadcast.

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