15th Annual Latino Film Festival

The festival’s huge success in attracting visibility to Latino films in spite of some hard economic times, is an achievement in itself.
By LENIKA CRUZ, UCLA Daily Bruin

LOS ANGELES, CA -- On Sunday night, filmmakers and cinema enthusiasts gathered at the Egyptian Theatre in Hollywood to begin celebrating one of the summer’s biggest quinceañeras, kicking off the 15th Annual Los Angeles Latino International Film Festival.

The nine-day event, which opened with a birthday gala and a screening of the comedy “Aquí Entre Nos,” will feature a total of 76 films – including shorts, features and documentaries – from 14 different countries.

Official festival selections include “Without Men,” “A tiro de piedra (A Stone’s Throw Away),” “¿Alguien ha visto a Lupita? (Have you seen Lupita?),” “Granito: How To Nail A Dictator” and “Capsules.”

“When we first started, there was an initiative for the city of Los Angeles to create a festival that could cater to a fast-growing Latino community. Now we’re no longer a minority,” said Marlene Dermer, LALIFF’s co-founder and programmer.

According to Dermer, Latino filmmakers have risen to earn Academy Awards and direct critical smash hits such as “Y Tu Mamá También,” as well as Hollywood favorites such as “Harry Potter and the Prisoner of Azkaban.”

“I think these amazing creative artists have proven to the industry that … we are part of world cinema,” Dermer said.

Dermer also said that the festival’s huge success in attracting visibility to Latino films does not obscure the fact that simply reaching 15 years of putting on the festival, in spite of some hard economic times, is an achievement in itself.

The festival will close with the highly anticipated summer blockbuster “Cowboys & Aliens,” directed by Jon Favreau (“Iron Man”) and co-written and co-produced by Mexican-born Roberto Orci. However, for the most part, the films shown at LALIFF do not yet have Hollywood exposure, much less Hollywood funding.

“(LALIFF) gives the Los Angeles public the chance to see films they would otherwise not have the opportunity to see,” said Randal Johnson, interim vice provost of international studies at UCLA, former director of the UCLA Latin American Institute and professor of Brazilian culture and film. “It’s difficult for foreign films to enter the exhibition market in the U.S. so festivals become important as venues to see films that might otherwise not be available.”

Though this year will mark Johnson’s first absence from the festival since its inception in 1997, his connection and esteem for LALIFF remain strong, he said. Two years ago, Johnson served on the jury that pronounced “Sons of Cuba” best documentary. The film – which follows the training and lives of three young Cuban boxers with their eyes on the Olympics and national glory – went on to win several awards at festivals across the world, spurred on by its initial success at LALIFF.

Johnson said he admired the film so much, he brought it to UCLA for a screening. He also said that resources and inspiration are abundant at LALIFF and UCLA students who are interested in meeting creative film minds merely need to have the confidence to ask.

While LALIFF primarily focuses on Latino artists and themes, Johnson said it does not do so at the expense of cinema’s ability to provide a collective, transcultural experience.

“The best Latino filmmakers tell stories about Latino culture and society, but in a way that also expresses universal values,” Johnson said.

According to Dermer, the festival, while prefixed by the filter “Latino,” offers a visual collection that spans genre and subject matter.

“From historical movies to little independent films, to those dealing with transgender issues, comedy, films about surfing in Cuba … there really is a little bit of everything for everyone,” Dermer said.

She also said that LALIFF owes a great deal to the UCLA community, which has not only screened and held discussion panels on the festival’s films, but also provides the hands and hearts that fuel it. Every year, UCLA students and alumni join the LALIFF team that hangs lights, fields media requests and directs the films that make it to the festival screens.

The films at LALIFF may evoke a sense of cultural pride for L.A.’s Latino community, but they are also a chance for visitors to become open to the experiences of others, said Glenn Dicus, a UCLA alum and a production assistant at LALIFF.

“When you watch a Latino film, usually they don’t have a big $200 million budget, but they do have the stories, and that’s most important,” Dicus said. “That’s why we go see the movies in the first place.”

Enjoy the following promotional video:

Comedic actor reaches out to Latino audiences

Will Ferrell to Star in Spanish Speaking Role ‘Casa de Mi Padre’

Comedy actor Will Ferrell will be starring in a new movie being filmed in Spanish, including all his lines, with English subtitles.  Entitled “Casa de Mi Padre” (House of My Father), the film takes a swipe on both Telenovelas and the drug problems now confronting many South American countries.  Ferrell plays a common rancher named Armando who goes against a powerful drug lord (Mexican award winning actor Gael Garcia Bernal) for the love of a woman.  The film is produced by Gary Sanchez Productions and is being directed by Matt Piedmont.  

Will it work in both markets?  You be the judge - check out the trailer:

Latino filmmaker tells about historic account

The Story of a GI, the American GI Forum and Civil Rights

By Adrian Perez, Publisher

Pvt. Felix Longoria

Mexican Americans have been in the forefront of the civil rights movement since the 1940’s and 50’s, yet little is known about how exactly they were involved.  In the new documentary film “The Longoria Affair,” veteran writer-director John J. Valadez captures the series of incidents that lead up to the signing of the historic Civil Rights Act of 1964, from a Latino perspective.  Although the events took place over sixty years ago, the feelings and reactions to “The Longoria Affair” are still very much alive today.

“The Longoria Affair” actually tells the story of the evolution of the American GI Forum through three distinct sub-stories that changed the course of American history. It chronicles the series of events that brought justice to a Latino veteran who gave his life for his country; the actions taken by a Latino civil rights leader; and, the effect it had on a Texas Senator who would become President of the United States.

The film begins by telling viewers about Felix Longoria, a resident, husband and father from Three Rivers, Texas, who was killed in action during World War II in the Pacific.  His remains were returned to his family for burial, but the only funeral home in town refused to hold a wake because, as his widow was told, “The whites wouldn’t like it.”  This brought rage among Latinos living in Three Rivers, and Longoria’s wife was told to contact Dr. Hector P. Garcia.

Dr. Garcia was a physician who practiced medicine in Corpus Christi, Texas, many times donating his services to the needy.  A World War II veteran, Garcia made a name for himself in Texas as a fighter for the rights of Mexican American veterans whose government benefits were denied because of discriminatory practices.  Garcia established an organization called the “American GI Forum,” which grew into a network for Mexican American veterans, fighting for their rights.  Upon learning about the incident at Three Rivers from Longoria’s widow, Garcia took immediate action ensuring full media coverage and requesting the assistance from Senator Lyndon J. Johnson.

Senator Johnson had taught elementary school in a town near Three Rivers and was very much aware of the poverty and discrimination Mexican American families endured in that region.  In response to Garcia’s request, he arranged for Felix Longoria to be given a full military burial in Arlington, W. Virginia, and although he was there, the Senator from Texas was absent from all print and film news clips.  He feared being seen by his support base in Texas, which consisted of many who discriminated against Mexican Americans. 

The film shows viewers the love-hate relationship that was established between Johnson and Garcia, especially after the American GI Forum delivered the Mexican American vote to elect John F. Kennedy as President.  What happened next was a surprise that teaches viewers a different perspective of what lead to the Civil Rights Act of 1964 and the appointment of Mexican Americans to federal posts.

John J. Valadez

In creating the story, writer and director, John J. Valadez, uses news clips and interviews that shape a different perspective on that period of American history.  A founding member of the National Association of Latino Independent Producers, Valadez has a string of films to his credit, including:  The Chicano Wave (PBS, 2009), The Last Conquistador (P.O.V., 2008), High Stakes (CNN, 2005) Matters of Race (PBS 2001), and Passin’ It On (P.O.V., 1994).

“Since we showed the film, some of the residents from Three Rivers have sent me emails denying that this was an accurate account of what took place,” says Valadez.  “I do ask the viewers to please share their comments with us once they see the film.”

“The Longoria Affair” is scheduled for broadcast on November 9, 2010 on PBS.  Check your local listings for specific times.

Latino millionaire now producing films

Software Millionaire turned filmmaker,

David Mendez

Dr. Al Carlos Hernandez, Herald de Paris (Edited by Susan Aceves)

 

     David Mendez is an American original. As a youthful software engineer and entrepreneur he became a dot-com millionaire, then decided to change his trajectory in life and has reinvented himself as an owner of the motion picture company Monterrey Pictures. He is a former venture capitalist and Silicon Valley entrepreneur. After years at DuPont and General Electric, Mendez co-founded Supplybase Inc, funded by New Enterprise Associates (NEA), which was sold to i2 Technologies in 2000 for over $200 million. Mr. Mendez recently founded Monterrey Pictures Entertainment to develop and package feature and documentary films. Since 2000, Mr. Mendez has advised numerous companies in the areas of corporate development, sales, business development, finance and operations.

     Mendez’s film work includes executive producing high-profile remakes of The Blob and Toxic Avenger (all currently in pre-production), and the documentary series Fearless Genius (based on Doug Menuez’s book of the same title).  Mendez’s “executive producer” role involves putting the financing together for these projects and does not require day-to-day production or operational responsibilities.  Mendez is also producing his own projects: 700 Hill and The 88^th State. David currently serves as President of Mendez Archive Projects, a boutique stock photography company based in New York City. Mendez is an active member of The National Association of Latino Independent Producers.

     He was born in Jackson, Michigan and grew up in Cincinnati, Ohio. His mother is of Irish descent, his father Mexican. Once, while visiting with his family, he located a written family history outlining his great-grandfather. It was Sebastian Mendez's life story. David said, "I was so intrigued by his story. It was an epiphany." He discovered that Sebastian immigrated in the 1920's from a small Mexican village. Mendez envisioned a fictional account of his family's story coming to life in a movie. The business acumen he learned at UNC and throughout his career became a critical part of bringing the project to life. He said, "Business school catapulted me with the confidence to start my own business. All the business skills I learned in corporate America, and starting and selling my own company, were very helpful in trying to be a film producer. The goal is the ultimate in entrepreneurship. Every film is like a new company.”

     The story of his Family is entitled 700 Hill, named after the West Virginia mining housing community where Sebastian settled. Mendez hired a screenwriter and the two travelled to Mexico and West Virginia to retrace Sebastian's journey. With the 700 Hill script finalized, Mendez anticipates the movie will be into production soon. David says, "My family's story is an immigration story that people don't know about. When people think of Mexican immigration, they think of the past 20 years, but it's not a new phenomenon. These immigrants helped build this country. We're part of the American fabric. I'm an American first and the descendant of Mexican ancestors second."

Herald De Paris Deputy Managing Editor Dr. Al Carlos Hernandez was introduced to Mendez by his good friend the "Original Boulevard Knight" - Richard Yniguez  http://www.heralddeparis.com/richard-yniguez-the-original-boulevard-knight/45228

After our conversation, I believe that there is no doubt that David Mendez will become an innovative force in the film industry.

AC: Did your ethnicity color your perspective in any way while you were growing up? Do you consider yourself Hispanic or Irish or both? Was race an issue?

DM: While I was growing up in a suburb of Cincinnati, Ohio in the 1970's, my ethnicity played a very small role in my perspective. My father had moved away a decade before from West Virginia, and away from our Mexican relatives there, because he married a woman of Irish/German descent. We weren't exposed on a daily basis to the limited Mexican ethnic traditions and culture that my family in West Virginia had maintained. We did attend family reunions almost every year in West Virginia, and it was during those visits that I would be exposed to the Mexican foods and other cultural elements.  I consider myself Hispanic, as I've taken it upon myself in the past 20 years (I'm 45 now) to learn more about my Mexican heritage, to learn the language as best I can, and to understand the landscape and impact of Hispanic immigration and culture in the United States. However, when I was growing up, I didn't really consider myself anything except just  American as I had a very limited view and understanding of my ethnic heritage.  When I was growing up, race was not an issue. As I grew older and went into high school, there was definitely more awareness that I was Hispanic. I'd get the occasional joke and name calling: "Wetback" "Spic" etc. - but it was not that regular. Back in 1970's Ohio there were very, very few Mexicans or Mexican-Americans in that region, aside from some migrant workers that we'd sometimes see. Therefore, I don't think that most people were even aware that I was Mexican, believe it or not, even though my last name was "Mendez."

AC: Did the community in the Mid-West, where you grew up, view your parents as a bi-racial couple?

DM: I don't believe they were viewed this way. Perhaps I was ignorant of what other adults thought of my parents, but I never remember anyone referring to my parents in this way, nor do I remember my parents ever discussing it.    

AC: Did you always want to be an entrepreneur? What did you want to be when you grew up? What are the good and bad about your childhood that made you the man you are today?

DM: I think that I always had the "entrepreneur bug" in me from an early age and I've always been a very creative person, which sometimes goes hand-in-hand. However, when it came to school and my early career, I was always very disciplined and focused and followed the rules. Because of that I excelled academically and got an engineering degree,and went to work for two of the largest corporations in the U.S.: DuPont and General Electric. Even after my MBA, I stayed in the corporate world.  When I was a child, I really had no idea what I would "be" when I grow up ... I do remember having an interest in architecture. I grew up in a very traditional suburban environment where you basically followed the rules and didn't cause trouble. I did, however, have the freedom to explore my interests and creativity as long as I stayed focused at school. The GOOD part was that my parents never told me, "YOU WILL BE THIS AND DO THAT" and they always allowed me and my siblings to explore what interests we had. They were however very strict, though, and insisted that if we started something, we had to finish it. We weren't allowed to move from one thing to the next but I don't remember that being a problem. The BAD part of how I grew up was that I really wasn't exposed to a diverse group of role models. Most of the adults I was exposed to worked at major corporations, were middle class, and led similar family lives to what we experienced. I had very little exposure to people of different ethnicities, religions and nationalities, or people that were artists or had other diverse professions. Once I became an adult, there was so much that I was interested in learning about and exploring, which definitely shaped the man I am today in terms of my interests and what I spend my time doing.

AC: Why engineering in college? Did you consider yourself a nerd?

DM: I chose engineering simply because I was strong in math and science and I knew that it would be a great starting point to whatever career I would choose. It came fairly easy to me and I believe that a creative mind and an engineering mind are very well connected. A lot of science and math studies have to do with finding creative solutions to a problem.  I did not consider myself a nerd at all. Most of my friends in college were not in engineering and some didn't even know I was an engineering student. When they found out, they typically would be impressed versus thinking I was a nerd. In high school, even though I was very strong academically, I also was on the swimming and water polo teams, was on student council, and participated in a lot of other extra-curricular activities. I had a large group of friends and was never considered nerdy.
 

AC: Like many of the rock stars I've interviewed, you had tremendous financial success at an early age. When did you realize that you had lots of money and what are some of the eccentric things you did with the money in the beginning? (Greg from Santana told me he bought an exotic sports car in cash)

DM: I had financial success in my mid-30's so I wasn't too young. The most eccentric thing I did with my resources was to travel to places I wanted to explore, like Spain, Mexico, and other European destinations. I bought some real estate, which is less eccentric, but instead of buying one piece of real estate on the coast, I bought three!!!! That's a bit eccentric and, in retrospect, was not a good financial decision! I also did spend resources and time on my photography hobby which I still participate in, and this hobby can be expensive.  

AC: What are the pressures endured by a young dot-com executive that most people may not be aware of?

DM: A lot of people who have not ventured into the "startup" world don't truly realize what it takes to be a successful entrepreneur.. Most people think that a lot of the successful dot-com executives were "lucky" and aren't really that talented or smart. I completely disagree with this, having lived in this startup world now for almost 15 years. It takes a lot of guts to leave the comfort of a corporate job to start your own business. It also takes a lot more than luck to be successful; it takes persistence, endurance, leadership, and a mature ego.  The pressures of a young entrepreneur are tremendous, especially when they receive funding from outside investors and start hiring employees.They are solely responsible for the employees' lives/careers as well as being responsible for the investment money they've received. It's the most humbling experience that anyone can go through. Even those that end up hugely successful have struggled through the beginnings of what they wanted to accomplish.  Of course "luck" and "market timing" are significant parts of a successful venture, but it takes those who put themselves out there to be there to capture that luck. I have so much more respect for a successful entrepreneur than I do for someone who reaches a CEO position at a major corporation. Not to say those people don't deserve respect, but a successful entrepreneur has overcome so many more obstacles and hurdles.

AC: Tell us why you went to live in Spain and Mexico for a while. What did you learn about yourself there?

DM: I lived in Madrid after I left my job with a venture capital firm in 2002. I was already in London for the firm during that period so I decided to immerse myself into Spain for a few months to learn the language. It was a great experience and it did help me with my language skills. I felt that the Spanish people, and Latino people in general, have a flavor to them that I connected with. In Spain, however, the ethnicity is much different from that of Mexico, where I am most similar. In Mexico, where I've traveled several times but never lived, the people are much more similar to me in terms of ethnicity. My ethnicity is more "native" than European Mexican. While in Mexico I also connected with the lifestyle and culture and feel, again, like most Latinos. Their "passion" for life is authentic. I share that passion.

AC: You mentioned that luck is 50% of being a successful business person. Why did you decide to try your luck in the film industry?

DM: I had always been interested in film from a very early age and entering into the film business was like any entrepreneurial venture. I had to network, learn about the industry and also decide "how" I would enter it. I came to the conclusion that entering the business from a financial perspective was my best path - versus attempting to be a creative producer or director.   Any film is like a startup. Each is its own venture requiring a plan, investors, human resources and a market to sell to. This was all familiar to me, except in a very different industry.  As far as luck is concerned, the film industry is just like any other business. Until that film is released there is no guarantee of success. The "luck" part has to do with how the film resonates with the public or its target market at that given time. But the other components need to be there, i.e., a good story, a quality production, credible performances, and it must entertain. The latter is in the control of the filmmaker and producer, but the former is not. Just like in a software business, the software must work, it must be a quality product and bug-free, and it must solve a problem. Having everything in place gets you to market, but market acceptance and timing is a function that is out of the company's control.

AC: Which films have inspired you? What types of films are you doing and what types do you want to do?

DM: Films that inspire me are ones that not only have a great story, but that bring out basic human emotions such as fear, sadness, happiness, excitement. I love a film that makes me very sad just as much as I enjoy a film that is thrilling and exciting. I enjoy films of all shapes and colors, from the big blockbusters to the small foreign independent. I don't think either have a lock on creative genius.   The types of films I'm doing are varied. Films that I'll "executive produce" are ones that, I believe, make good business sense, period. These are films that either I have invested in or am raising funding for, and it's likely I'll have no creative control or input. Films that I'll "produce" are ones were I am passionate about the content. These are films I'll be involved with at every level, including writing and creative control. Ultimately, I'd like to focus on "producing" the films that I'm passionate about but I'll always "executive produce" films that make good business sense and that will produce financial returns..

AC:  I'm told you are re-doing The Blob with Rob Zombie. Why? What is your expectation for that project?

DM: I am executive producing The Blob alongside some credible producers who brought Zombie into the project. It's an exciting title that can be revived into today's world and I believe that The Blob can be symbolic to the paranoia that we live in today in terms of having some external force. It coul be religion, the environment, or some nasty disease that could take us over and change the world in which we exist. This paranoia is as strong today as it was in the 1950's. Zombie is a great choice as he will have a very creative way of presenting this paranoia represented by The Blob.

AC: Tell us about some of the projects you have in the works. Why are you compelled to do a film about your familial roots?

DM: I am also executive producing the remake to Toxic Avenger, which was a cult favorite from the 1980's. The new version will be scaled-up from its more humble and cultish beginnings to more of a "green superhero" take. The films I'm producing include 700 Hill, the 88th State, and a documentary called Fearless Genius.  700 Hill is the story based on my familial roots. I co-wrote the story and script and am slowly putting the pieces of the production together.. I was compelled to do a film on the subject when I learned more about my family's history years ago and the elements of history that surrounded the true story, as well as the elements of culture, religion and passion that was apparent in the story.   The 88th State is a futuristic political thriller I've created that will play on many themes apparent in today's society. I am in the process of writing the script for this film.  Fearless Genius is an exciting documentary project based on the photojournalistic memoir of the Silicon Valley by famed photographer Doug Menuez. I currently work with Doug on a media venture and we are working on this documentary based on his never-before-seen archive of material from the 1980's and 1990's.The documentary will focus on this recent era of American history when we truly led the world in innovation.

AC: Where do you see yourself and you company in ten years?

DM: Because I still work in technology businesses, as well as in film, I see myself being involved in both - moving forward. I see myself as part of several technology businesses that are somewhat centric to media, while blending my film productions into the media industry as it continues to evolve. 

 

AC: How would you like history to remember you?

DM: I would like history to remember me as someone who explored my interests and was not afraid to try, to fail, to succeed, to learn, and to never quit.

Hispanic filmmaking training offered in N.M.

Redford collaborates on New Mexico film program
By SUSAN MONTOYA BRYAN, Associated Press

SANTA FE, N.M. — Actor and director Robert Redford and New Mexico Gov. Bill Richardson unveiled details Friday of a collaboration that will expand training opportunities for Native Americans and Hispanics interested in filmmaking, the arts and the environment.

Redford and Richardson first announced the "Sundance in New Mexico" idea last spring. In recent months, it has evolved and been given a new name — "Milagro at Los Luceros" — to better reflect that the institute will be a product of New Mexico, rather than just an offshoot of Redford's Sundance Institute in Utah.

"It's a name that reflects the spirit of the land and the passion of its people," Richardson said at a news conference.

The project will be based at Los Luceros, a state-owned hacienda and complex of buildings along the Rio Grande north of Espanola. Besides the historic buildings, the state will use $750,000 in federal stimulus funds to build a series of eco-friendly lodges where aspiring filmmakers can stay while attending workshops.

Redford and Richardson signed an agreement to formalize the partnership. Redford said he has been committed throughout his life to enabling "underrepresented voices" — particularly those of Native Americans and Hispanics — to tell their stories.

Growing up, he said, he watched films that misrepresented American Indian culture and vowed that if he could ever do something to change that, he would.

"What I would like to see in Los Luceros is these cultures telling their stories in their own way, on their own turf," Redford said. "They're not over at Sundance telling these stories. They're here where their cultures were raised. This environment, I think, is very important."

Milagro at Los Luceros will be like a work-study program.

Participants won't have to pay for writing workshops or actors' labs, but they will be required to give back to the community in some way, whether by fixing fences at the property or encouraging local elementary students through classroom visits.

Beginning in the spring, Los Luceros will host a series of workshops and discussions as well as free screenings of Redford's "The Milagro Beanfield War," which he filmed in northern New Mexico in 1988.

There will also be an actor's lab designed specifically for Native American and Hispanic actors who will be chosen by a panel of professionals after audition workshops around the state. Officials said it will be the first lab of its kind and used as a national training model for diverse populations.

Richardson described the partnership with Redford as rare.

"It's extraordinary for a person the caliber and stature of Bob Redford to collaborate with state government to create a new kind of initiative that will address film and film arts as they relate to jobs and jobs training," Richardson said. "It's a great gift from Bob Redford to the state of New Mexico."

Redford said establishing Milagro at Los Luceros is not unlike the beginnings of the Sundance Institute.

"We're starting in a very humble way and we'll let it grow," he said.

Tech Museum to host Latino Film Festival

Bay Area's Premier Latino Film Festival Launch hosted by The Tech Museum
Mercury News

This Veteran's Day heralds the official launch of the Bay Area's Premier Latino Film Festival. El Acuarelista, an art lovers dream, hits IMAX for its West Coast premier at The Tech Museum of San Jose. Daniel Ro, an emerging revolutionary filmmaker from Peruvian cinema will be in attendance. Reception to follow with open bar courtesy of Isa Tequila which also makes its public debut on 11/11. Read more….

Latino film festival comes to Hollywood

Latino International Film Festival Announces Lineup
Century City News, 10/02/2009

The 13th Los Angeles Latino International Film Festival (LALIFF) will present the best of Latino filmmaking from October 11-16 at the Mann Chinese 6 Cinemas in Hollywood. Opening with Pedro Almodóvar’s Broken Embraces, LALIFF’s cinematic journey will continue with award-winning and sure to please films from emerging and established filmmakers from around the world including Argentina, Bolivia, Brazil, Chile, Colombia, Denmark, Spain, United States, México, Panamá, Peru, Puerto Rico, Japan and Uruguay.

Depicting the diversity, creativity, innovation and sometimes, provocative, Latino experience, LALIFF’s lineup includes Gigante (Uruguay), winner of the Alfred Bauer and Best Debut Film Awards at the 2009 Berlin International Film Festival; Down for Life (USA) named “the biggest surprise” at the recent Toronto International Film Festival; La Nana(Chile) winner of the World Cinema Jury Prize at the Sundance Film Festival, Don’t Let Me Drown (USA) and the documentary Sin Mapa (USA).

Established in 1997, LALIFF was co-founded by director, actor and activist Edward James Olmos; producer Marlene Dermer, and film and music producer George Hernández with the mission to support the development and exhibition of diverse visions by Latino filmmakers. Dermer, who also serves as the festival’s director and programmer says, “the Latino artistic spirit seems to remain unscathed, even though we continue to live in uncertain times. This year’s rich and diverse films will undoubtedly demonstrate the splendor of Latino cinema with stories that enable us to come together and embrace one another.”

LALIFF is pleased to present the World Premieres of Anita (Argentina),a story about a Jewish girl with Down syndrome in a conflicted Buenos Aires directed by Marcos Carnevale, LALIFF’s 2006 Audience Award Winner for his critically acclaimed film Elsa and Fred, and Grado 3(Chile), a riveting comedy about relationships by promising director Roberto Antiagoitia.

USA Premieres include Down for Life(USA) directed by Alan Jacobs, which was named “the biggest surprise of the festival” at the recent Toronto International Film Festival, starring Laz Alonso, Calvin Broadus, Kate del Castillo, Elizabeth Peña, Emily Rios with Danny Glover and introducing Jessica Romero. The film is based on a New York Times article that depicts a single, fateful day in the life of a 15-year-old Latina gang leader in South Central Los Angeles, played by newcomer Romero. In addition, El Premio (Peru)by well known Peruvian director Alberto "Chicho" Durant; Amar (To Love, Mexico) directed by Jorge Ramirez Suarez starring Maria Aura, Bruno Bichir, Tony Dalton, Pedro Damian, Luis Ernesto Franco, Diana Garcia, Javier “Chabelo” Lopez, and Adal Ramones; and the award-winning film Retorno a Hansala (Spain) directed by Chus Gutierrez, inspired by the real-life tragedy about a shipwreck of Moroccan migrants in which 37 drowned, 13 of whom were from Hansala.

West Coast Premieres include sci-fi romantic comedy Santos (Spain/Chile) directed by Nicolas Lopez starring Javier Gutierrez, Elsa Pataky and Leonardo Sbaraglia; Paraíso (USA) directed by Leon Ichaso (El Cantante, Piñero) which explores the generational and class divides within the exiled Cuban community; and Spoken Word (USA),directed by Victor Nunez (Ulee’s Gold, Ruby in Paradise) with Kuno Becker and Rubén Blades starring as son and father struggling to reconnect, and Miguel Sandoval. In a special screening, LALIFF will also present Gigante (Uruguay), the directorial debut of Adrian Biniez, who won the Alfred Bauer and Best Debut Film Awards at the 2009 Berlin International Film Festival.

Los Angeles Premieres include the recipient of the World Cinema Jury Prize at the 2009 Sundance Film Festival, La Nana (Chile) from director Sebastian Silva, an intelligent microcosm of Latin social hierarchy through a maid’s journey to free herself from a mental servitude of her own making; Sólo Quiero Caminar (Spain) directed by the acclaimed Spanish filmmaker Agustín Díaz Yanes starring Diego Luna, Victoria Abril, Ariadna Gil, Pilar Lopez de Ayala and Elena Ayala; El Lince Perdido (The Missing Lynx, Spain), winner of the 2009 Goya Award for Best Animated Film, directed by Manuel Sicilia and Raúl García; and El Cuerno de la Abundancia, (Horn of Plenty, Cuba) directed by Juan Carlos Tabio, a wonderfully crafted comedy that reflects on the socio-economic difficulties of contemporary Cuba starring Jorge Perugorria, Paula Ali, Mirtha Ibarra, Laura De La Uz, Enrique Molina and Yoima Valdes.

LALIFF will also present a special screening of the heartfelt family drama La Mission(USA), directed by Sundance Film Festival veteran Peter Bratt (Follow me Home) starring Benjamin Bratt, Jesse Borrego, Jeremy Ray Valdez, Max Rosenak, Patrik Shining Elk, Erika Alexander, Christopher Borgzinner.

Films competing in the Opera Prima Category include the USA Premiere of Morenita (Mexico) the award-winning film by Alan Jonson Gavica, recipient of the Best Director Award at the Huelva Latin American Film Festival. The film tells the story about a man who, in a desperate attempt to save his family from a notorious drug dealer, causes absolute pandemonium when he kidnaps Mexico and Latin America’s most adored religious icon, the Virgin of Guadalupe. Additional films in the category, include the West Coast Premieres of El Regalo de la Pachamama (Bolivia), a beautiful spiritual tale by Japanese director Toshifumi Matsushita; Cinco Días Sin Nora (Five Days Without Nora, Mexico)the internationally acclaimed dark comedy written and directed by Mariana Chenillo, and Don’t Let Me Drown (USA) directed by Cruz Angeles, which follow two Latino teens in a post-September 11 world, starring E.J. Bonilla, Geendilys Inoa, Gina Torres, Ricardo Antonio Chavira, Yareli Arizmendi and Damian Alcazar. The winner of the Best Film Award by the Jalisco Academy of Motion Pictures and Visual Arts at the 2009Guadalajara International Film Festival, Amar a Morir (Mexico/Colombia) directed by Fernando Lebrija will have its Los Angeles Premiere after a successful box office run in Mexico. This film was conceived and written by two filmmakers who met when they participated at the 7thedition of LALIFF.

Ranging from social and political films to personal journeys, this year’s Documentary Category include Sin Mapa (USA) directed by Marc De Beaufort, an insight into the internationally renowned Latin urban alternative duo, Calle 13, as they choose to disappear from the map after winning six Grammys to embark on an exploration through Ecuador, Peru and the Amazon to connect with thepeople and cultures distant from their fans. In addition, making their directorial debut, Luis Rincón brings El Arbol Olvidado (The Forgotten Tree, Mexico), and John Urbano with the documentary Beauty of The Fight, (Panama/USA), winner of the Best Documentary Award at the 2009 Athens International Film and Video Festival. Also in the category, Pachamama (Brazil) directed by Eryk Rocha, gives a voice to the otherwise silenced inhabitants of the Brazilian rain forest and Stages (USA) directed by Meerkat Media Collective, an unlikely, though moving and surprisingly funny collaboration between young and old.

The vitality of Cuba is present in two documentaries: Titón, de La Habana a Guantanamera (Titón, from Havana to Guantanamera, Spain) about the life of acclaimed filmmaker Titón, Tomás Gutierrez Alea, directed by actress and Titon’s wife, Mirtha Ibarra; and the highly anticipated Sons of Cuba (Cuba) directed by Andrew Lang, which gives a glance into the reclusive and prestigious Havana Boxing Academy, the boarding school that hand picks 9-year-old boys to turn them into the best boxers in the world and has made Cuba a dominating force in Olympic boxing for the past quarter of a century.

LALIFF is also presenting a documentary selection from Latino Public Broadcast (LPB), including the winner of the Freedom Award at the 2009 Al Jazeera International Documentary Film Festival in Doha, Qatar, New Muslim Cool (USA) directed by Jennifer Maytorena Taylor. The film chronicles the life of Hamza Pérez, an American of Puerto Rican heritage who was a gang member and a drug dealer before converting to Islam. Other documentaries include Children of the Amazon (Brazil) directed by Denise Zmekhol; Latin Music USA: Bridges–Chicano Wave (USA) directed by John Jay Valadez and Latin Music USA: Bridges–Divas and Superstars (USA) directed by Adriana Bosch.

The Academy of Motion Pictures Arts and Science recognizes LALIFF as a qualifying festival, making the winner of its Short Film Category eligible for Oscar® consideration. LALIFF is proud to present exceptional films that hail from all over the world making this year one of the most competitive and exciting programs ever. From immigration, family drama, to comedies and love stories, LALIFF’s Shorts Program titles will be presented as follows:

BORDER STORIES:
Amanecer (Colombia/Australia), dir. Álvaro D. Ruiz; Braceros (USA/Brazil), dir. Belinda J. Carreño; The Book of the Border(USA/Mexico), dir. Andrés Torres-Vives; Niña Quebrada (USA) dir. Jen Kleiner, and Tijuanerso (USA/Mexico) dir. Paul Bodadilla.

COMEDY:
El Tío Facundo (Mexico/Cuba), dir. Alejandro Cachoua; No se Preocupe (Spain) dir. Eva Ungria Lupiani; Porque hay Cosas que Nunca se Olvidan (Spain) dir. Lucas Figueroa; El Trip, (USA); Ventura Montoya; El Tux, (USA) dir. Paco Farias; Twilight Tango (USA) dir. Jason C. Sting, and The Last White Dishwasher (USA), dir. Claudia Duran.

LOVE STORIES:
Amor Crudo (Argentina) dir. Martín Deus and Juan Chappa; Prayer in the Night (Denmark) dir. Inma Carpe; La Nostalgia del Sr. Alambre (Mexico) dir. Jonathan Ostos Yaber; Cómo Conocí a tu Padre (Spain), dir. Alex Montoya, and Red Mesa (USA) dir. Ilana Lapid.

CITY STORIES:
El Muerto (Puerto Rico) dir. Williamson Quintero; Pim, Pam, Pum (Spain) dir. Andoni De Carlos, Asier Urbeita; Hermanos (USA) dir. Maria Biber-Ferro; Quase Todo el Día (USA) dir. Gandja Monteiro; Rising Up (USA) dir. Eduardo Letamendi; Tag (USA) dir. Henry “Heno” Fernandez, and Little Village (USA) dir. David Priego.

DRAMA/FAMILY:
Inocente- (Brazil) dir. Beto Schultz, Thiago Luciano; Marina la Esposa del Pescador (Spain) dir. Carlos Hernández; Socarrat (Spain) dir. David Moreno; Cleats (USA) dir. María Agui Carter; La Guerrera (USA) dir. Erika Cohn, and Death Rattle (USA) dir. A.J. Garces.

DRAMA/LOSS:
El Descubrimiento (Mexico) dir. Alonso Álvarez Barreda; El Viejo (Mexico) dir. Gabriela Paciel; Abuelo (USA); dir.Mary Ann Kellogg; Hacia la Vida (USA/Mexico) dir. Fidel Arizmendi; The Memory of When (USA) dir. Gary Pérez; Tango (USA) dir. Allan Girón, and Welcome to Paradox (USA) dir. Archie Hernández.
[Arancele (Brazil) dir. Melo Viana will be screened with Titón, de la Habana a Guantanamera]

Pedro Almodóvar’s Broken Embraces (Spain) will have its West Coast Premiere during the festival’s Opening Night and GABI Lifetime Achievement Award Galaon Sunday, October 11 at the Grauman’s Chinese Theatre(6925 Hollywood Blvd., Hollywood, CA). Written and directed by Almodóvar, the film stars Penélope Cruz, Lluís Homar, Blanca Portillo, José Luis Gómez, Rubén Ochandiano and Tamar Novas. Almodóvar will also be honored with the GABI Lifetime Achievement Award.

LALIFF’s screenings will take place at the Mann Chinese 6 Cinemas at 6925 Hollywood Blvd. Los Angeles, CA 90028-6103. The Closing Night and the Award Ceremony & Gala will take place on Friday, October 16 at Paramount Theatre at the Paramount Studio Lot, 5555 Melrose Avenue, Hollywood, CA 90038.

For more information LALIFF, festival screenings and to buy tickets, please visit: www.latinofilm.org.

Latino brings film to Gainsville

'Sleep Dealer' being shown today, a highlight of Latino Film Festival
By Dante Lima, Gainsville.com, October 2, 2009

What: 5th Annual Gainesville Latino Film Festival presents "Sleep Dealer" with presentation by director Alex Rivera
When: 2 p.m. today
Where: Harn Museum of Art's Chandler Auditorium
Cost: Free. For more information, go to www.harn.ufl.edu

His father crossed several to get from Peru to the United States, his protagonist in the feature film "Sleep Dealer" uses an Internet portal to get from Mexico to the U.S. and his idol Pete Seeger blew them away when he used music to protest social and political injustices.

To Rivera, boundaries mean something has to be a certain way, and he says blending is what he does best. That's why the Latina Women's League invited him to speak Saturday for the screening of his socio-political, science-fiction feature as a part of Gainesville's ongoing Latino Film Festival.

"To tell a story about a culture, films don't just need to be dramas," Rivera said. "They can be musicals, or comedies or science fictions. We can and should have a film culture that can use the art form in its full potential."

That was the goal of "Sleep Dealer," to tell a story that bridged comedy, drama, politics and technology in a way that could touch on the complexities of modern life.

The movie's main character, Memo, is an uprooted Mexican villager who attempts to migrate north to the U.S. He finds the border has been built and sealed, denying a passageway to better opportunities. Through the use of the Internet, he connects his body to a computer that allows him to cross the border electronically and control machines on the other side.

Rivera said the movie is a culmination of what he's been thinking about.

"It looks at technology and the sense that our world is getting more connected, yet in some instances we feel more alienated from each other," he said.

Rivera uses the film to comment on current issues of immigration and border policy, as well. Immigrants offer a look at different worlds and cultures, and they are fascinating, essential educational tools, he said.

"You can see the whole world in an immigrant's life. If you listen to them, you can hear stories of the Third World, and then they come to the U.S. and end up in a metropolis like New York or Miami and they give you the First World perspective, too," he said. "It just seemed like a rich, exciting and controversial way to tell stories."

Even as the U.S. Hispanic population hovers around 47 million, Latino cinema is lacking in Rivera's eyes. The stories are there, often ripe with the political, social and economic complexities that filmmakers like Rivera seek, but they aren't being told, he said.

"(Latinos) are a huge part of the country. We are a huge part of Florida. But unfortunately we aren't a huge part of cinema," he said. "There are few feature films that address the issues of the global Latino community, and I am interested in contributing to that."

"Sleep Dealer" premieres today at the Harn Museum of Art's Chandler Auditorium at 2 p.m. The film has also played at the Los Angeles, San Diego and San Francisco Latino Film Festivals and the Sundance Film Festival.

U.S. Latina actor to make Mexican movie

Eva Longoria to act in Spanish in Mexican movie
The Associated Press, Aug. 19, 2009

MEXICO CITY -- Actress Eva Longoria Parker will act in Spanish for the first time in a Mexican film about kidnapping.

Film producer Leopoldo Gout says Longoria Parker's character will be crucial to solving the mystery at the heart of the film, which is called "Day of Grace."

Gout doesn't want to reveal any other details but says the "Desperate Housewife" actress "read the script and loved the characters and the story's depth."

Gout told the Reforma newspaper that the movie is being filmed in Mexico City. Its release date is not yet known.

Latino film festival in NY marks 10th Anniversary

New York International Latino Film Festival celebrates 10th Anniversary
Nicaila Matthews, Examiner, July 22, 2009

The New York International Latino Film Festival (NYILFF) premieres in the city on Tuesday, July 28 and runs through Sunday, August, 2, 2009. Launched in 1999, NYILFF is the premier Urban Latino film event in the country. With a mission to celebrate the diversity and spirit of the Latino community, NYILFF showcases the work of emerging Latino filmmakers in the U.S. and Latin America.

In celebration of the 10th anniversary of the HBO sponsored Film Festival, this year’s schedule includes over 100 films and eleven special event screenings featuring the stars of the film and panel discussions. Acclaimed actor John Leguizamo will also be honored with the Tres Generaciones® COA Award, a special award that recognizes outstanding achievements in Latino filmmaking. Also new this year, the Festival debuts in two venues; the Clearview Cinemas Chelsea 9 and the School of Visual Arts Theater.

Much talked about film La Mission premieres on Opening Night of NYILFF. Starring Benjamin Bratt, Jesse Borrego, Erika Alexander, Jeremy Ray Valdez and Talisa Soto Bratt, La Mission is writer-director Peter Bratt's rich and powerful story of one man's journey toward redemption through his struggle with violence and homophobia.

Other major stars set to ignite the screen during this year’s festival include Andy Garcia, Ruben Blades, Vin Diesel, Christina Milian, Ray Liotta, Kerry Washington and more.

To learn more about La Mission and other 2009 NYILFF offerings, check out the festival schedule here.

NY Latino Film Festival
July 28-August 2, 2009
Tickets: Reg $12, Matinee $9
Tickets for Films and Special Events are on sale now at the festival’s box office at Clearview Cinemas Chelsea 9 or online
For More Info: nylatinofilm.com/index.html

Border Wall film to premiere in Texas theater

Border wall film premieres at historic theater
By ANA LEY, The Monitor, July 18, 2009

McALLEN — The scene at Cine El Rey on Friday evening was all too collegiate.

Dozens of political activists, professors and 20-somethings gathered there to watch the premiere of The Wall, a documentary about the border fence being erected along the U.S.-Mexico border.

The film, directed by California native Ricardo Martinez, chronicles the effect of the barrier’s construction on border towns. Most of the film, Martinez said, was shot in the Rio Grande Valley — so it only made sense to show the film at the historic Cine El Rey.

"Symbolically, the theater is a perfect location," Martinez said. "We wanted to show it where people were most impacted by the fence."

Congress authorized the fence in 2005 to help secure the border and deter illegal immigration. Lawmakers also gave the U.S. homeland security secretary the power to waive federal laws when erecting the barrier. President Barack Obama, as a senator, voted in favor of the project.

For the past three years, Martinez and his crew have interviewed U.S. Border Patrol agents, illegal immigrants and residents directly affected by the fence.

The film also follows two illegal immigrants from Mexico who eventually end up in Brooklyn and Tennessee.

"The story just kept going and going," said Martinez, a production editor for ABC. "It was so hard to explain all this stuff."

Martinez said past projects have included a documentary he made when he was 16 about graffiti and a collection of short educational films.

"I hope the film will show how lives are endangered by the wall," said Emmy Perez, a poetry professor at the University of Texas-Pan American. "It’s harmful in so many ways."

Jose Rodriguez, a McAllen resident pursing graduate studies at Binghamton University in New York state, said he had a special interest in the film because, like many Valley natives, he has family ties to Mexico.

"Historically, walls have never worked," Rodriguez said. "We’re one as a community on both sides."

Stefanie Herweck, co-founder of the No Border Wall group, hoped to catch a glimpse of herself and fellow group members at the screening — Martinez interviewed some of them for the movie. The South Texas organization protests the federal government’s construction of the security fence.

"It was a good opportunity for local activists and political people to give their message," Herweck said.

A Latino love affair with scary movies

The Horror, The Horror: The Latino Love Affair with Scary Movies
Daniel Cubias, Huffington Post, July 14, 2009

Some of my posts may have given the impression that I base everything upon logic, and disdain the supernatural or unexplainable. That's not true, of course, because I love a good ghost story.

I just don't love them as much as my mom does.

For proof, I refer to the time my mother and I got into an argument at the video store. It was the mid- 1980s, and the selection was sparse in those pioneering days of the VCR. Still, it was a little odd to see me, a sullen teenager, arguing to rent "Raging Bull" while my mother insisted on getting "The Omen 3."

You see, my mother - a tough Latina and the pride of San Vicente, El Salvador - has very definite ideas about what constitutes fine cinema. By her criteria, a great film must include at least one of the following elements:

A chase scene featuring a drooling monster in hot pursuit
An unstoppable killer robot/android/cyborg
A hidden door leading to a hellish parallel dimension
A good-looking vampire
A winged demon ripping people's souls out through their chests

These are pretty great standards, of course, and I have no issue with them. But at one point, I thought they were a little too restrictive. Could a great movie also feature subtle character development, dramatic perspectives on another era, or startling insight into the human condition?

Well, my mother would point out that such factors only slow down the movie and delay getting to the really good part where that slimy alien creature devours the lead astronaut's head.

In a way, she's correct.

Horror movies have been unfairly maligned as empty, moronic time-wasters - the creepy third cousin at the cinematic family reunion. Even mainstream comedies get more respect.

But films of this genre are often the cultural barometer of where we stand. In addition, they can serve as a cathartic release for our fears and pain. This may especially be true for those of us who have witnessed violence or suffered through the abrupt departure of loved ones, like my mother has.

The history of Latin America, in truth, has been one long horror movie for some time. I don't know if we Hispanics are more likely to embrace scary movies, but I wouldn't be surprised if this were true.

For example, one of my friends, a man who is originally from my family's home country of El Salvador, has a vast treasure trove of horror movies. His wife, born and raised in America, tolerates his fascination and puts up with the overflowing boxes of tapes and discs, all of which offer some kind of gruesome imagery.

With so much real-life horror in our backgrounds, we seem well-suited to fictional depictions of terror. Perhaps this is why my mother constantly overrode my fledgling attempts at film snobbery when I was younger.

More than once, she would arrive home from a hard day of work to announce that she had stopped at the video store on the commute. Then she would enthusiastically proclaim, "I picked up the 'Seven Doors of Death'!"

But let me be clear. She actually has good taste, singling out classics like "Rosemary's Baby" and contemporary masterpieces like "The Descent" for high praise. She dismisses substandard fare with a direct "That is not scary" - the ultimate insult for a horror film.

Maybe because I grew up on them, or because I'm Latino, or because movies like "The Others" are so damn cool, I still love these kinds of films. Our joint appreciation for terrifying spectacles is one of the things my mother and I have in common.

For this reason, I have never understood my friends who say they don't know what to do for entertainment when their parents visit. When my mom drops by to see my wife and me, we can always just pop in a DVD of "The Thing."

Latino fest celebrates 10th Anniversary

NY Latino fest celebrates 10th anniversary
Hollywood Reporter, July 1, 2009

The New York International Latino Film Festival, which runs from July 27 to Aug. 2, will kick off with Peter Bratt's "The Mission," starring Benjamin Bratt; include a tribute to John Leguizamo; and conclude with John Cotten's Mexican crime drama "La Linea" (The Line).

Celebrating its tenth anniversary, the fest will utilize a number of new venues in New York City like the Clearview Cinemas Chelsea 9 and the School of Visual Arts Theater.

"The NYILFF began as a dream to showcase our talent and to empower Latinos," fest exec director Calixto Chinchilla said. "We've been fortunate to have grown in size and stature. This year, we have everything; highly anticipated Hollywood premieres to independent films from filmmakers across the globe, industry forums, music showcases and free outdoor events for everyone."

"La Mission," the opening night film, is set in San Francisco's Mission District and stars Benjamin Bratt as a reformed inmate and recovering alcoholic who discovers his son is gay.

For the Leguizamo tribute, the performer will be honored with the Tres Generaciones COA Award, which recognizes outstanding achievements in Latino filmmaking. The evening will include the screening of the actor's 2007 film "Where God Left His Shoes," directed by Salvatore Stabile.

"La Linea," the closing night film stars Andy Garcia, Ray Liotta, Esai Morales, Armand Assante, Bruce Davison, Jason Connery, Michael DeLorenzo, Joe Morton, Valerie Cruz, Jordi Vilasuso, Danny Trejo, Kevin Gage and Gary Daniels.

The fest also will host a Dominican night, screening Cruz Angeles' "Don't Let Me Drown."

The fest will feature several premieres, among which are: the music compilation film "Calle 13: Sin Mapa"; the short "Los Bandoleros/Fast & Furious"; "Red Apples Falling," a look at the music of Harlem rap star Jim Jones; "Life is Hot in Cracktown"; the sports documentary "Assault in the Ring"; and the cheerleading movie "Bring It On: Fight to the Finish."

Hispanic filmmaker tackles immigration

Illegal immigration
By JENALIA MORENO, Houston Chronicle, June 8, 2009

Lugging little more than their clothing, four Hispanic children rushed toward a green 1978 Bonneville to continue their race across Texas. They were evading immigration and law enforcement authorities for fear of being separated from one another and their only caretaker, an adult brother who is also an illegal immigrant.

And then the director shouted, “Cut!”

It was another scene in Pasadena resident Baldemar Rodriguez’s first feature film, El Nacional. He is the director, a lead actor, co-producer and writer of this movie that follows siblings running from the law after their undocumented parents are arrested.

Rodriguez hopes the movie provides a glimpse at how immigration laws affect families trying to shield relatives from authorities, and that’s a secret many of his neighbors keep.

The passionate subject of immigration is not just fodder for blogs, columnists and activists any more. In the long tradition of art imitating life, immigration is now increasingly a story line playing out on the big screen.

From big studio flicks to smaller award-winning movies, the films are projecting sympathetic portrayals of illegal immigrants. Crossing Over recently starred Harrison Ford as an immigration officer in Los Angeles who sympathizes with immigrants he helps capture and award-winning La Misma Luna, or Under the Same Moon, which featured a Mexican mother and her son trying to reunite across international borders. Smaller budget films, like El Nacional, are also honing in on the topic.

That’s in part because there’s a demand.

“The audience for films in the U.S. is becoming increasingly diverse,” said Charles Dove, director of Rice Cinema at Rice University. “Hispanics are the ones that are overwhelmingly attending films,” Dove said.
U.S.-born children

Hispanics bought 11 tickets to movies per person in 2007, up from 9 tickets in 2006, according to the Motion Picture Association of America. By comparison, whites and blacks each bought nearly eight tickets per person.

Most of these new movies will be pro-immigrant because of their audience, Dove said. It could also reflect Hollywood’s more liberal tilt.

Immigration reform is already a hotly debated issue but what to do about the U.S.-born children of undocumented immigrants is even more controversial.

Between 1998 and 2007, more than 100,000 undocumented immigrants whose children are U.S. citizens were deported, according to the Department of Homeland Security.

That dilemma has attracted some local figures, such as former KTRK (Channel 13) news reporter Elma Barrera, Harris County Commissioner Sylvia Garcia and Sheriff Adrian Garcia to act in the film. Adrian Garcia plays a police chief but did not return phone calls.

“No matter what reforms are done at the national level, we need to make sure that families are not torn apart,” said Sylvia Garcia, who plays a police officer in the film.
Persuasive instructors

For his part, Rodriguez wasn’t planning on making an immigration movie until he attended the National Association of Latino Independent Producers academy. Instructors convinced him the subject could make a good story and make it to the big screen.

“You’re going to see a lot of these projects coming to light, and I’m glad I’m one of them,” said Rodriguez, who hopes the film premiers next year. “There’s a great chance that it will get to theatrical distribution because of the subject matter.”

It wasn’t the subject matter that attracted Connie Hill, who also worked on August Evening, another immigration movie shot in Texas. It was released to theaters last year and follows an elderly undocumented farm worker and his widowed daughter-in-law.

“It’s not necessarily immigration that I’m seeking out but good stories,” said Hill, who works as El Nacional’s script supervisor and a producer.

Those financially supporting the film do care about the issue.

“This is an important topic,” said Michelle Fraga, customer service manager of Tejas Office Products, the film’s first investor.

She said it was important to contribute to the film’s production because her ancestors hail from Mexico.

jenalia.moreno@chron.com

Hispanic filmmakers to learn from Robert Redford

Redford teams up to train minority filmmakers
Associated Press

SANTA FE, N.M. (AP) — Robert Redford is collaborating with the state of New Mexico to expand training for Native American and Hispanic filmmakers.

The program, "Sundance in New Mexico," will be based at Los Luceros, a state-owned historic home along the Rio Grande. It will be used for programs and workshops.

The actor and director, who puts on the yearly Sundance Film Festival, says the program grew out of his long-standing love for the state and his commitment to furthering opportunities for American Indian and Hispanic filmmakers.

The collaboration begins this weekend with a panel discussion featuring director John Sayles and others in Santa Fe.

Orlando to host Hispanic film festival

Hispanic film festival issues call for entries, submission rules
TC Palm, May 11, 2009

ORLANDO — The Orlando Hispanic Film Festival announces a call for entries for the 2009 Hispanic Film Festival slated for Sept. 16-20.

The festival is open to U.S. and International films in five categories: Features, Shorts, Documentaries, Short Documentaries, and 3-D Animated Shorts. The film must include at least one cast or crew member of Hispanic descent or have a film with Hispanic-themed subject matter.

All films submitted must be in the NTSC format, DVD-R, or VHS and meet the length duration requirements. Films submitted in Spanish are strongly recommended to have English subtitles and films in English, Spanish subtitles.

Regular entry deadline is May 19, extended deadlines run through July 3.

For further details, log on to www.ohfilmfestival.com.

Latino film festival at UCLA

Film Festival captures look at film-making
By Bethany Powers, Today UCLA, May 12, 2009

Festival looks at Latino roles over 80 years of film-making
Chon Noriega, an award-winning professor of cinema and media studies at UCLA, has a major role in a film festival that lets viewers look broadly at how Latino characters were portrayed over eight decades of film-making.

chon-noriegaNoriega, director of the Chicano Studies Research Center, put together the lineup of 32 movies that are being shown on Turner Classic Movies as part of the Race & Hollywood: Latino Images in Film Festival that is taking place throughout May.

To assemble this series of movies that feature Latino characters in significant or leading roles over the last 80 years in Hollywood, Noriega spent countless hours over the last eight months viewing film after film.

"It's interesting to go back and see how Latinos have been portrayed in film," said Noriega, who is the author of "Shot in America: Television, the State, and the Rise of Chicano Cinema" and editor of nine books dealing with Latino media, performance and visual art. "Although you may not agree with the portrayal, it's good to see how they were used."

Appearing with co-host Robert Osborne, Noriega introduces viewers to each film and provides background information on the lineup.

What makes this film festival even more remarkable is that many of the movies he chose are being seen for the first time since their original release. Noriega said that although he identified roughly 70 films that could have been included in the festival, some, it turned out, were harder for him to track down in order to obtain rights.

Among the classics are "Ramona" (1910) and "The Mark of Zorro" (1920). Also included in the lineup are such contemporary films as "The Milagro Beanfield War" (1988), "La Bamba" (1987), "The Mambo Kings" (1992), "Stand and Deliver" (1988), "The Ballad of Gregorio Cortez" (1983) and "Lone Star" (1996).

screen2
Teacher Jaime Escalante (Edward James Olmos) nurtures self-esteem among his gang member students in "Stand and Deliver" (1988).

"The series looks broadly at the role of Latino characters in the history of film," he said. Hollywood directors generally chose to portray Mexican-American, Puerto Rican or Cuban-American characters in their movies so these three major ethnic groups are primarily seen in the festival.

But although the characters are Latino, nearly one-third of the movies in the festival featured white actors playing these roles. Noriega noticed that it wasn't until the 1980s when Latino producers began to become more prominent in film-making, and more Latino actors began appearing in significant roles.

screen1
in "Mexican Spitfire" (1940), actress Lupe Velez used her talent for comedy to break through the stereotypical Latina role.

To add context to the films, Noriega did considerable homework — researching the actors, gathering reviews of the movies when they were first released and tracking down original sources to get a firsthand connection to the films.

The films are being shown 8 p.m. on Tuesdays and Thursdays throughout May. They are grouped together by theme or genre. For example, on some evenings, boxing movies or comedies will be screened. Each night's programming will center on a particular theme, such as images from the silent era, views of border towns, interracial relationships and Latino representations in past and current westerns.

One of Noriega’s favorites among the films he chose was once titled "And Now Miguel," made in 1953. He knew it was a quasi-documentary, but it wasn't until he did more research that he realized the film was based on a real person, who is still alive today.

For a schedule of the movies being shown throughout the month, go here. To see trailers and film clips, go here.