Ryan Rojas

Evelyn Lorena Explores Identity, Heritage, and God

An actor, writer, and director of Latina descent, Evelyn Lorena is a filmmaker who seeks to explore the largest questions of life through her art. Identity, heritage, and even God are just a few topics that the up-and-coming star explores in her new short film and directorial debut, Gabriela.

In our exclusive interview, Evelyn talks about writing and starring in her directorial debut as an indie filmmaker, as well as portraying Latino representation onscreen in an empowering light, and the underlying forces that connect us all: "I really love the idea of fully exploring the meaning of love — and I don’t just mean the proverbial getting together with someone, but what love really means beyond ourselves."

 

It’s such a pleasure to meet you, Evelyn! I’d love to learn about the origin of your new film, Gabriela. When did you conceive of this story?

Thank you, such a pleasure to be interviewed. I truly appreciate Cinemacy and I love the filmmakers you’ve been able to feature! 

I feel as if Gabriela has two origin stories. I originally wanted to see a very real-feeling film about the Latino/US immigrant experience, but with a focus on their inner life. I found the stories told about Latinos – if any – had the burden of portraying the experience of how they entered the United States. The struggle of the journey over the border — and while that is a very real part of many of those in the Latino immigrant experience, I felt the experiences of Latinos were far more vast than that, particularly when it came to the vitality and spirit within our community.

I was confused why I wasn’t seeing the more human aspects explored, the way some of my other favorite films explored their characters. I thought pushing that expectation and conventional narrative and bringing it on a journey to another place would be interesting. And the second origin came a little bit later once I began encountering some very dire health issues. At the time, I constantly contemplated the true meaning of freedom: who creates it and how we create it for ourselves, especially in systemically constricting environments. I really wanted the lead character to embody the nuance and complications that come from an experience like this. It isn’t just about the hardship, but when there is hardship, there can be a lot more beneath the surface of our perceptions, and there can be a lot of cultural and personal richness that can be overlooked because of those preconceived notions we have of others.

And it was important for me, as it is to our community, that despite appearances we find ways as humans to value ourselves and reconnect to those things. Things we are encouraged to forget or erase, like our heritage or inner lives, in order to assimilate or “fit in.” I suppose I’ve found that looking for that exterior validation can be the most toxic of things, and actually reclaiming something for yourself and cultivating self-acceptance and self-validation creates more of the personal freedom we’re all looking for.

 

What was your screenwriting process like for this film? Do you have a routine or specific method of writing that works best for you?

Hmm… I feel the routine of creating something for me goes to crafting creative spontaneity versus having a particular structure each time. I come at writing the same way I come at acting I think — because it’s the only way I know how to craft a character or story. I don’t see it that much differently, but that could be because I just see it through a performing lens. That’s how I have moved through this industry primarily, as an actor. I feel a lot of the process is intuitive if that makes sense.

(I’m weary to describe it at the risk of sounding pretentious like a faux spiritual guru or something, haha. I swear my efforts are genuine!) But, I guess for me the first step is to feel something and really try to understand a story without judgment — like truly looking at it as if it were myself in that position as if the experience were coming out of me. And, not the person that you and everyone else knows, because it’s not you, and it shouldn’t be “you,” but more as if that particular point-of-view is now yours. … then you get reminded there is no real “you” anyway … SEE? It sounds really crazy, but I also guess that’s empathy.

They have to be real people on the page first: the people you see walking around really believe the points of view they carry. I’m not entirely sure how I or anyone else achieves anything creatively. It’s a strange sort of intuitive magical exercise, and again, I hate saying that because then it feels precious or elitist — and it’s not! Art is for everyone. It’s just that you’re praying it works out or the stars align. I think the process can only be understood through the experience of it.

 

What ideas, themes, and messages did you want to ensure came through in telling this story on screen?

I really loved the idea of water as this force with many layers. Almost as if the thread of “God” is in the water. Whatever that means to someone. I feel like God has been traditionally portrayed as this force, or rather a man, in the sky looking over us — away and separate from us. But I feel like that’s a very limited idea. It can be the father figure, but it can also be many things too. Maybe another idea of God can be just the thing that holds us together. Or even inner guidance.

There’s this new concept in quantum physics that talks about an invisible layer that holds realities together and it really reminded me of what I’m talking about. I’m not trying to throw any kind of blaspheme here, just trying to expand on these conventional and at times controversial ideas. I really don’t think we have to believe something in a certain way, but I think that in the film, the water acts more as a thread for Gabriela to reconnect to those etheric forces we hold in our life: things like identity, heritage, her inner nature, or even God itself. All of that is very personal and becomes a very personal understanding of those concepts and I wanted that inspiration or reconnection to begin with the water.

 

Gabriela is such a personal story, about a young undocumented Guatemalan woman pursuing her dream of swimming in a country club swim team. Was it difficult for you to write and confront these issues of marginalization, economic status, and self-acceptance?

Marginalization is such an interesting concept to me. I’ve found when you speak to people within immigrant communities, there’s not a lot of room or time for self-pity or victimhood. Generally (or in the case of my family) they’re focused on survival and moving forward. They’re humble, motivated, resourceful … and I think that’s instilled throughout the generations. They’re not perfect, but they are human. Vastly human. So, it’s always interesting to me to hear “marginalized” because it’s really only how someone else is socially conceiving the community as “other” or less-than, but that couldn’t be further from the truth. 

I’m certainly not trying to preach, but there is so much cultural richness and capacity there. They aren’t marginalized in spirit. It’s more how society has deemed them, sometimes out of convenience, social power dynamics, or in many cases the actual law. I think that’s where part of the marginalization comes from — perception (among other things) — which to me again is sad because there is so much humanity present within the Latino & Indigenous communities.

I think that’s one of the sources of frustration for Gabriela in the film. She can’t see why there are barriers to her existence because she is just as human as anyone else. The journey is not literally about the swimming, or say, her being entitled to anything. It’s about her essentially asking for access to opportunity, to be seen as a human in all aspects of her life – even to herself. The trouble is being forced to feel less than when you aren’t. It’s a deep invalidation. I’m sure we can all relate to that.

But, I think that is what made confronting these topics and writing the story an exciting process, even if the nuance involved felt difficult to accomplish. Empowering someone who perhaps traditionally, especially in media, has been portrayed as second-class, or with throw-away humanity, and creating a story that shows otherwise. Empowering Gabriela within the story for herself and her heritage was important and very personal to me because it mirrors my own journey. I hope it can mirror the journey of others and stir something within the audiences that see the film in that same way. 

 

Along with writing and directing the film, you also star in it. When did you start acting, what do you like about performing that differs from writing and directing, and what was it like to direct yourself?

My first play was in 5th grade as Dorothy in The Wizard of Oz. Haha. But after that, I was encouraged to focus on my studies and it was a bit of a painful road to convincing my parents this was a viable thing until it wasn’t. Eventually, they understood — I think. Sometimes parents need a little reassurance because they want the best for you and don’t want to see you fail or struggle.

I love performing because you really get to express something so viscerally. It’s why I started writing because that desire to express another point of view or experience is so strong. I really love the idea of knowing what it’s like to be you. It’s interesting to me because I don’t really believe we’re all that different. It’s just identity, the packaging, that’s different sometimes.

I feel really connected to others and I suppose that’s what led me to direct as well: to connect to other people and also because I had such a specific idea of how I wanted the story of Gabriela to be told. It didn’t feel too odd to direct myself, because I think on some level actors have to learn to self-direct whether it be in auditions or otherwise. You end up having a grasp of directing, so it was about translating that process to set.

That is absolutely not to say that directing is easy, or a throw-away, or that anyone can do it. I have so much admiration for directors that it still feels difficult to call myself that because I’ve seen the work it takes to make a great film, and of those I admire, it still feels like a mystery to me. 

 

What was the rehearsal process like, as well as shooting? Did you discover anything new about the story, your character, or yourself while working with your actors?

The right actor can really understand your words. I felt so fortunate I found the people and the actors I got to work with. I had a really specific idea about the dynamic of the relationships — and of course, you don’t want that to close yourself to other ideas, but I was floored at how Maria and Viktor were able to express that so specifically and seamlessly. It was so wild, especially since I hadn’t worked with them before. Production can carry so many variables and technical difficulties on its own, so having them understand their characters so well was just beautiful. I’m really grateful to them for their talent.

 

What obstacles did you face throughout making the project? What was the hardest challenge to overcome, and what was your most unexpected breakthrough?

Creating the water sequences. Not only because it was a limited budget, but the specificity of the water had to be shot in a way we could control it, so we opted for the dry-for-wet setup. I absolutely love what our resourcefulness came up with. I have to thank the stunt coordinators Brett Copes and Constance Palmer, alongside the Grip & Lighting Team of Ben Davis & Bean Brambell, and production designer Emily Marquet, as well as the former Screen Gem Studios. Without them, it really wouldn’t have been possible.

I guess the second biggest challenge was also being mindful of my health while shooting and shooting the water sequences because I was undergoing some medical treatments alongside filming. That was a novel challenge.

 

Is there any scene in particular that you are most proud of, or think back on fondly?

I love the ending beach moment. It really captured for me this idea of generational reconciliation not just for Gabriela but for her family, her people — and trying to express that through a simple and singular image of them standing together. I have to give additional credit to my director of photography Xenia Patricia. She was crucial in that with me.

 

What was it like to win the Netflix and Latino Film Institute’s Indigenous Latino Fellowship?

Oh, it was so beautiful and a welcome surprise. I wasn’t sure what my next move in the industry was. In fact I was contemplating leaving because so many personal things were happening that I needed to take care of and I was just going to overwhelm myself continuing, but then this was almost like a divine intervention.

I am really grateful to the Latino Film Institute and Pete Corona, the fellows, and all the mentors who championed our films. My relationship with my fellow filmmakers feels like a family and the guidance I received made this film what it is.

 

What takeaway do you hope audiences will have after watching your film?

I really want them to take whatever they want from it. It feels almost like it’s no longer my film! I can’t and wouldn’t want to dictate what should be taken from it. But, I suppose if I had to narrow it down, crafting more empathy and understanding of another person. We’re all human and I find it strange that we can look at other humans differently than the grace (or lack of grace) we give ourselves. 

 

Let’s get to know you better. Where are you from, and where do you reside?

I’m originally from Wilmington, NC where Gabriela takes place. I go between LA and Atlanta now since the industry moved everything down there. I really enjoy being able to travel, it’s one of my loves in this industry. The people and places you get to know. 

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Lars Von Trier, Sophia Coppola, Paul Thomas Anderson … Gosh, there are so many, to be honest. I value and love cinema so much, it doesn’t necessarily have to be someone seasoned. Right now my favorite film is Phantom Thread. So I suppose it would be lovely to have tea with Paul Thomas Anderson. (But I feel like that’s everyone’s answer.)

 

What is one thing you’ve learned as a filmmaker that other filmmakers would benefit from knowing in starting their careers?

Gabriela is my directorial debut, but my advice would be to watch great films over and over. No matter the genre. I was watching Jurassic Park the other day, and action isn’t usually my first aesthetic, but the film is just so well done. It’s beyond an action film. Down to every detail. I really admire being able to be that focused on detail and also still achieve the bigger picture. It’s really masterful.

I cry when they’re leaving the island, and leaving behind the majesty of the whole thing — and you’d think I’d hate the island experience because it’s done so much damage, but you also see the conflict of leaving behind this epic beautiful thing the park tried to achieve. It’s so good! I’ve seen it so many times.

 

What is the future of this film? Do you have any future creative projects?

I am working on a couple of things at the moment — I don’t like speaking too much on something before they’re finished, but I am really moved by the subject matter in and the capacity for nuance in them. I hope others will be as well. Gabriela is screening at more festivals over the summer and you can follow the film page (@gabriela_film) for more updates. We have a screening I also can’t announce yet coming up in August that I am absolutely thrilled about.

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

I really love the idea of fully exploring the meaning of love — and I don’t just mean the proverbial getting together with someone, but what love really means beyond ourselves. Spiritually, existentially, through our communities, or even in the moments we place strong boundaries because of love. It’s what creates empathy too. It’s everywhere. It’s the fabric and the thread throughout our existence ... I may have just understood another layer to Phantom Thread! (You’ll have to see it.)

 

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by Ryan Rojas

Laura Waters Hinson and Claudia Myers Put Themselves To The Test

The Test follows the story of Eric Frimpong, a Ghanaian immigrant who works as a maintenance worker at a large retirement center. Eric dreams of bringing his wife and three children to the US, as he hasn’t seen them in eight years. The final obstacle to their long-awaited reunion is passing the U.S. Citizenship test. An elderly couple, Jill and Carl, journey alongside Eric to tutor him to pass the 100-question test that will define his future.

Directed by Laura Waters Hinson and Claudia Myers, The Test is a short film that will tug at your heartstrings and bring a tear of heart and hope to your eye. In our exclusive interview, the filmmakers discussed the inspiration behind making the film, collaborating as co-directors, and ways that you can get involved in supporting legal immigration.

 

The Test is a short documentary that follows Eric Frimpong, a Ghanaian immigrant who works as a maintenance worker at a large retirement center as he studies to pass the U.S. Citizenship test. It’s an incredible story, and so touching that by the end I fully teared up. How did you both find this story? What did each of you connect with when deciding you wanted to make this film?

Claudia: The idea came from reading an article in the Washington Post. It was about the success of a volunteer tutoring program at a Virginia retirement community to help their staff members. Many of whom come from other countries become US citizens. This was in 2021 and there weren’t many feel-good stories at the time. Laura and I were moved by the way this story brought together two seemingly disparate groups:  immigrants and the elderly. And, how each one provided a sense of purpose, belonging, and connection to the other.  

Shortly after reading the article, I reached out to the retirement community (Goodwin Living) in the hopes of interviewing residents and staff members in their citizenship program. Truth be told, I started in search of a story to adapt as a screenplay. But in speaking with various people about their experiences, I became convinced the story didn’t need any fictionalizing. It was plenty powerful in reality, as a documentary. In this new form, I felt I would benefit from working with a collaborator. Since most of my work is in fiction, I reached out to my friend and American University colleague Laura Waters Hinson. Not only does she have an impressive career in documentary, but we share a similar sensibility. Laura had read the same article and been deeply moved by it, so very quickly we decided to work together. 

 

What were the earliest conversations that you both had with each other regarding how you wanted to approach the storytelling, themes, and overall tone?

Claudia: We were on the same page from the start. Both of us are drawn to stories about groups that are often underrepresented or misrepresented in the mainstream media. In this case, it was immigrant workers and US retirees. Notwithstanding their differences, we wanted to highlight aspects of their shared experience. Both groups often feel marginalized while sharing the same need to be valued and accepted.

When we started, we weren’t just looking for compelling subjects, we specifically wanted to highlight the reciprocity in the relationship between retirees and staff members – where each provides a sense of purpose, belonging, and connection to the other.  Ultimately, we knew we wanted to tell a hopeful and emotional story. We hoped that in some small way, it could counteract the prevailing negativity surrounding perceptions of immigration and aging in America.

 

 

Were there any obstacles you both faced at the upfront or creative problems you had to solve while beginning pre-production? What were the first steps you took to begin making this from a logistical level?

Claudia: The biggest question we grappled with in the beginning was about the scope of the story. Initially, we wanted to make it a feature documentary within the retirement community. Such as, following staff members and their volunteer tutors as they prepare for the US citizenship exam. This was nice in theory but logistically and financially challenging. We also wondered about being able to sustain dramatic tension over the length of a feature. After weighing our options and speaking with several residents and staff members, we decided to narrow our focus to a single story and make it a documentary short. Keeping the film intimate and personal felt like the best way to get to the emotional heart of the story. 

 

Seeing that you both share co-director credit on this film, what responsibilities did you both end up having? How do you find that you best collaborate?

Laura: Claudia and I worked closely together on all aspects of the film. We had a very similar vision for the storyline, which made it a really fun and collaborative process. We found that two brains were better than one at thinking through all aspects of the vision – casting, production, and editing process. In particular, it has been really helpful having two of us tackle various aspects of our education and outreach campaign, as well as dividing up travel and speaking engagements related to the film festivals we’ve attended.

We’ve been accepted at 16 festivals and counting, and I’ve loved having a co-director to share this journey with. At the end of the day, Claudia and I trust each other’s creative instincts and have a genuine blast working together, which has made co-directing a wonderful experience!

 

 

The main subject, Eric Frimpong, is such a great, good-hearted person and subject to follow. When did you decide he would be the film’s main subject? What was it like meeting him? Did you have any reservations or conversations about shooting him during such a stressful time of his life?

Claudia: We were immediately taken by Eric’s quiet confidence. He was also extremely open and honest – about the sacrifices he’s made, the challenges of staying connected to his wife and children while being apart for eight years, and the high stakes of acquiring US citizenship. Eric felt the pressure while also exuding a sense of calm. He was proud to share his story. The day we first met, I remember he offered to call his wife Sandra on WhatsApp to introduce me to her and his children. Their family bond was incredibly strong despite the years spent being apart. It was touching, and also inspiring.

 

The other subjects, Jill and Carl (Eric’s devoted tutors and retirement center seniors), are equally important in the film, both playing such a big part in Eric’s story. How did you meet them, and what conversations did you have about also including their stories on the screen?

Laura: We met Jill and Carl at the same time that we met Eric. They were a big reason that we chose to tell Eric’s story. Jill and Carl are simply the most lovely, kind, and generous people. And we knew their warmth and love would shine through in the film. They were also keen to tell the story on camera, as their relationship with Eric was deeply meaningful to them both. The fact that they had become “family” with Eric was such a beautiful testament to the power of the citizenship program, and we knew we had to make them part of the film.

 

 

What were the most challenging parts of making this film that you both faced?

Laura: Like many filmmakers, the most challenging aspect of making this film was funding. Because Eric, our main participant, was in the middle of the citizenship process, we knew we didn’t have time to wait for traditional funding methods, like film grants, to come through. So, we worked with several talented graduate students in our graduate film program at American University and self-funded much of the film. 

 

Did you have any new revelations about the film during editing, or once you finished, and shared the film with audiences?

Claudia: I don’t know if it was a revelation, but it has been thrilling to see how moved people are by Eric’s journey and his relationship with Jill and Carl. There’s nothing better as a filmmaker than knowing you told a story that resonates deeply with the audience.

 

What takeaway do you hope audiences will have after watching your film?

Claudia: I have many hopes for the film! That it will move people, that it will spark conversation, that it can help reframe the immigration debate in a positive light. Most importantly, I hope the film inspires some people to take action. Other retirement and assisted living homes could so easily replicate the citizenship program in the film. The sense of community, purpose, and belonging that the process creates is invaluable. This type of program offers a real-world, inexpensive solution to the loneliness epidemic among immigrant workers and older adults. It could also be a powerful tool in addressing the workforce shortage in aging services in America. I’ll just finish by saying, if people want to see all the ways they can take action after watching the film, they can visit our website: testdocumentary.com

Laura: I hope that viewers of The Test walk away with a newfound faith in humanity. The people portrayed in the film are some of the best human beings we’ve ever met in our lives. Their love for one another and their country is contagious. And we hope your heart lights up when you experience their story.  

 

 

What is the future of this film, and do you have any future creative projects?

Laura: Our vision is that the film can serve as a bright spot here in this season of division, and political upheaval, and be a reminder of the power of the American Dream and the best of what it means to be a citizen in America. The film is currently on the film festival circuit, and it’s won best short documentary at two festivals already. We hope to continue to show the film far and wide through the film’s national outreach campaign, which we recently launched.  Our goal is to start conversations about the loneliness epidemic in the US through creative means like the Goodwin House Citizenship program. We also hope the film can remind people of a positive story of legal immigration. A few ways that people can involve themselves are:

• Host a screening in your community!
• Start conversations that change perceptions and stereotypes around aging in America and legal immigration.
• Support Goodwin Living’s existing program or start your own!
• Learn more at: testdocumentary.com

Claudia: I’m very excited about the launch of our impact campaign to see how many people we can reach. In terms of future projects, I plan to return to fiction for a while. I’m currently developing several feature films and a TV drama about restorative justice.

 

What is one message that you would like to share with audiences about your filmmaking, and general outlook on life?

Claudia: In addition to being a filmmaker, I’m proud to be a faculty member in American University’s School of Communication film program. The motto in our division is “Media That Matters.” It’s something I strongly believe, in and try to impart to my students. I hope to tell stories that will impact and inspire people. As well as foster the idea that we are fundamentally interdependent and interconnected.

Laura: My leadership at American University’s Community Voice Lab informs much of my creative work. The Lab elevates the voices of marginalized community storytellers through collaborative filmmaking endeavors. It's a vehicle for engaging students in my creative scholarship and is a vital aspect of my role as an educator. I’d love for people to check out my additional films on my website (www.LauraWatersHinson.com). As well as the Community Voice Lab site: https://www.american.edu/soc/community-voice-lab/

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by Ryan Rojas

Laura Plancarte Lives, and Creates, The Dream

When setting out to create her next feature film, director Laura Plancarte had three clear goals: to portray a strong woman breaking stereotypes about femininity, return to her roots in Mexico, and challenge clichés about the dreams and capabilities of impoverished women. It's safe to say that her new film, Mexican Dream, does exactly that. A hybrid documentary/narrative film that tells the story of a woman who flees to Mexico to avoid abuse, regain custody of her children, as well as undergo IVF, the film speaks to the strength of women worldwide.

Related: 'Mexican Dream' Review: A Tale of Heartache and Second Chances

In our exclusive interview, director Laura Plancarte discusses the inspiration behind making Mexican Dream. Further, she talks about working with her main lead, the responsibility she felt portraying Latina women onscreen, and her hopes for future films: "Things that from the outside seem inexplicable, when you go deeper you find clues, sometimes answers, sometimes a certain hidden truth."

 

Cinemacy: Your new film, Mexican Dream, follows a woman named Malena fleeing to Mexico after enduring an abusive relationship and custody battle for her children. I understand that the film initially started as a documentary before it turned into  a hybrid doc-narrative film. What was the original idea for this project? How did you find Malena, and what about her did you connect with when deciding you wanted to tell her story?

Laura: After completing my last film, Non Western, I had three clear goals for my next project: I wanted to portray a strong woman breaking stereotypes about femininity, return to my roots in Mexico, and challenge clichés about the dreams and capabilities of impoverished women.

With the help of a friend who participated in my first film, I reached out to women in Mexico, inviting them to join me for a Zoom call to discuss the possibility of creating a documentary about their lives. The day I met Male, the protagonist of Mexican Dream, I knew it was her who I was looking for. Not only did her strength and charisma come across straight away, but her desire to have another child through IVF, despite her complex relationship with her teenage children and financial hardships, intrigued me. I realized she could challenge audiences to see a different side of a Mexican woman who comes from poverty, breaking stereotypes and shedding light on the complexities of femininity, motherhood, and Mexico's unjust social structure.

Her strength inspired me deeply. It drove me to create a film that could inspire and support other women who have faced similar experiences.

 

 

We see that Malena endures much hardship in her life, surviving an abusive relationship with her ex-husband to whom she loses custody of her children, and undergoing IVF. What ideas, themes, and messages did you want to ensure came through in telling her story on screen?

I've witnessed it first-hand time and again: women are consistently at the back of the line in discussions to promote fairness. Our society remains deeply patriarchal. While progress has been made over the past 50 years, there's still much work to be done. We've all internalized patriarchal norms to some extent, which is why the fight must continue. In Mexican Dream, I aimed to ensure that the audience could witness the multitude of roles and expectations placed on women. From being mothers to breadwinners, and caregivers to the glue holding families together, women are expected to excel in every aspect. Yet, if they fall short, they're often labeled as bad mothers or selfish individuals. I wanted to make a portrait of femininity. Not only with the Male’s story, but with the stories of all the women that appear in the film. 

I’m not a mother myself, and I find it incredibly unfair that society still expects mothers to be a sort of saintly figure. There's no rulebook dictating that becoming a mother means sacrificing one's individuality. While caring for children is crucial, we must recognize that mothers are individuals with their own needs and aspirations. By creating a society that supports rather than impedes mothers, we can strive towards a more balanced and equitable world. With Male’s story, I wanted to reach to the audience and say: ‘Yes she’s not perfect, no one is, but she’s pretty great.’ She has never settled, she fights and works relentlessly. While her relationship with her children is complicated, a society that prioritizes support over punishment could significantly improve their dynamic.

 

What was your approach to working with Malena as the project began? I can only imagine collaborating was tough, given she has lived a hard life. 

Since the beginning, I knew I wanted to make a film in collaboration with Male. Through making observational documentaries previously, I learned that participants can be disappointed in the way they’ve been portrayed, even though I aim for honesty and sensitivity without sensationalism. We all have idealized self-images. So, I searched for a method where I could authentically tell Male’s story. Also, while giving her agency in the way she was going to be represented. I sent Male an iPhone with accessories so she could film herself and I could blend material filmed by her with material filmed by me. It was challenging because soon after I met her in late January of 2020 the pandemic hit. During our first year of collaboration, we met via Zoom for one-and-a-half-hour sessions on Mondays, Wednesdays, and Fridays.

When lockdowns eased, I traveled to her hometown to film her and her relatives and when we were apart, she filmed herself and I directed remotely. It was challenging but an incredible experience. In a way our Zoom sessions became like a recorded diary of what was happening in her life, what she felt, thought, and desired. 

 

How did the decision to turn the documentary into a hybrid film (co-written by you and Malena) come about? What were the first steps you took to transform it into a written feature film?

After a year and a half of filming together, Male regained custody of her teenage children. While this was great news, it posed complications due to the fragile nature of their relationship and the vulnerability of her children. Therefore, our working method evolved into writing together instead of filming together. This way Male could protect her relationship with her children, and it would also give her children agency in the way they were going to be represented. It’s very different to be caught on camera than to re-enact an event or show how you feel or think about something. I’m very happy that we took this route, as it has been a great pleasure to collaborate with all the participants instead of just observing and filming them. 

Whether through a pure observational documentary or a hybrid film created in collaboration, both approaches can unveil a certain truth, shaped by the director's perspective. I believe that the way Male represents herself in front of the camera carries a greater sense of power compared to the footage captured earlier when we were both filming her story. It may seem unconventional, but the footage filmed after our writing collaboration, reveals deeper truths than our earlier material.

 

 

What obstacles did you face throughout making the project? What was the hardest, and what was the most unexpected?

The biggest challenge in the making was navigating the delicate dynamics of her relationship with her teenage children. When Male regained custody of her kids, I interviewed her son Jhovani. Even before I could ask a question, tears rolled down his cheeks, revealing his vulnerability. It became evident to me that while Male chose to work on a film with me, her son didn’t. At that point, I realized that we needed to find a different approach. It wasn’t worth taking chances and risking her children getting hurt. When I proposed to Male to shift our collaboration from filming together to writing together, Male initially felt disappointed. She enjoyed the process of filming herself with the iPhone and recording sound. However, when she realized how this would protect her children and their dynamic, she embraced the idea. 

The hardest moment to film was the scene where Male's daughter, Fátima, rejects her. It was particularly challenging, as it required them to re-enact painful past experiences. Despite the difficulty, Male shared that on the day after the shoot, she and her daughter engaged in an open conversation about unresolved issues between them. And, that she was pleased. This was rewarding to both them and me. 

 

Is there any scene in particular that you are most proud of, or think of fondly?

It’s difficult to name one scene, so I’ll tell you my favorites: The scene where the Male and the group of women gather for a BBQ, sharing their experiences in motherhood, was a moving moment for me and it was eye-opening.

My favorite scene visually is when Male and Edgar are in their bedroom. The curtains cast a pink-red hue, enveloping the space in a warm glow, and we can witness authentic intimacy between them. 

The closing scene at the bar, with Male, Carla, and Juanito singing, was loads of fun. They are some of the most vibrant and enjoyable people I've met. While filming their conversations I often struggled to contain my laughter. Making the film was quite a rewarding experience.

 

What takeaway do you hope audiences will have after watching your film?

I hope the film challenges the notion that individuals from impoverished backgrounds have limited dreams, or that aspiring to bigger dreams is foolish. 

My aim for the film is to spark conversations about the societal expectations placed on mothers. I also hope to convey that there are always choices available to women. Being a mother is a significant responsibility and it's not a path for everyone. Women should have the freedom to choose whether to have children or not, without feeling pressured by societal norms.

 

 

Let’s get to know you both better. Where are you from, where do you reside?

I'm originally from Mexico but have been living in London since 2009, something I didn’t expect or planned. In Mexico, I worked as a visual and performance artist. In 2008, I started seeking opportunities to grow in my career. It was a surprise when I received a grant to study for a Diploma in filmmaking in London. However, because I made video art, it made sense. I fell in love with both filmmaking and London, nowadays, film has become my primary medium of expression.

 

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Since working as an artist, films have always been my creative references. I've had many love affairs with films and filmmakers. When I was 20, Pedro Almodóvar enamored me. Particularly, his film 'Tie Me Up! Tie Me Down!' As I entered my 30s, it was David Lynch and 'Lost Highway' that captivated me. I admire the works of Chloe Zhao and Hirokazu Kore-eda. Recently, I found myself obsessed with the French film 'Full Time.' Each phase of life brings new cinematic loves and inspirations.

 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Don't believe that one mistake will ruin your chances. If you work hard and you push a door will open bringing a new opportunity. Don't give up when things get tough; the industry is full of ups and downs. Enjoy the journey because awards and recognition are temporary.

 

 

What is the future of this film? Do you have any future creative projects?

Mexican Dream just got Distribution in Spain through DocsBarcelopna’s distribution company Planeta. They promised at least 60 cinemas, plus TV and VOD and I’m very happy about this. Now at HOT DOCS where the film is having its international premiere, I have meetings with Canadian and American distributors, and with broadcasters and VODs. Fingers crossed; I think more good news will arrive soon. It’s a film that touches on very universal topics.

I'm currently working on a film about an interracial French boxing couple living in London. George and Sonia are both passionate Muay Thai fighters and the proud parents of a beautiful two-year-old boy. They are incredibly charismatic. And they are set to challenge the audience's preconceptions about fighters, gender roles, and the motivations behind their choice to risk it all in the ring. They are both successful, own their own boxing gym, share a deep love, and are great parents. So, why risk it all? With this film I want to delve into our societal obsession with achievement and our addictions, exploring the psychological journey behind our relentless need to prove ourselves, whether as exceptional athletes, filmmakers, scientists, or in other pursuits.

 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

My passion has always revolved around working with real people. I believe there is nothing more potent than reality itself. And I love meeting people and learning about worlds different to mine. In a way, it's like reading a book where you get to meet the characters. I think it's a real treat. Since working as an artist, I’ve been trying to find answers to existential questions, and I’m fascinated by human behavior. I’m interested in exploring why we choose the things we do. Things that from the outside seem inexplicable, when you go deeper you find clues. Sometimes answers, sometimes a certain hidden truth.

I feel very blessed to get the opportunity to do what I love and to be able to share it. I want to open conversations and portray that things and people are complex. That there is no easy solution. Things aren’t black or white. I’m very grateful as I have had great adventures in all my films. And I have fallen in love with all my characters. I think it wouldn’t be possible for me to do it otherwise, as I spent at least three years with them, watching them every day either in person or in filmed material. And receiving emails from audience members sharing how my films have impacted them is a full-circle moment for me.

To learn more about Laura Plancarte, visit https://www.lauraplancarte.com/

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by Ryan Rojas

Bhavana Goparaju Brings Third-World Stories To the Forefront

Bhavana Goparaju didn't always know she wanted to be a filmmaker. But after a chance encounter where someone asked her to write a story after reading her poems, she realized filmmaking's power to tell stories. Now, an accomplished producer, Bhavana has made multiple films that have debuted in such prestigious film festivals as Berlinale and Busan International Film Festival. Now, she's ready to share those stories.

In our exclusive interview, Bhavana discusses growing up in India and how she got her start in filmmaking, as well as the humanist stories she's drawn to telling while continuing to spotlight third-world people and stories.

 

Cinemacy: It’s my pleasure to meet you, Bhavana! Where were you born, where did you grow up, and where do you reside?

Bhavana: Likewise! I was born and brought up in the city of Warangal, Telangana, in India. I currently currently live in Minneapolis, Minnesota.

 

Cinemacy: Did you always want to make movies when you grew up? When did you know you wanted to be a filmmaker?

Bhavana: Actually, no. I never thought I would be a filmmaker. I wanted to capture and tell stories, and learn and explore life in general (that of different strata of people). But I never thought I would be a filmmaker until someone in the industry read my poetry and short stories on social media and suggested I write a story for them.

The whole process of learning to write a story, logline, and script was so mesmerizing. Since that experience and after thinking deeply about how filmmaking is a powerful tool to tell stories, I decided to pursue life as a filmmaker.

 

Cinemacy: What was the first film project you worked on?

Bhavana: I worked as a lyricist first in a Telugu film. Then I worked as part of a writing team in a Hindi movie while trying to write lyrics in between. Then, after some struggles getting to write the kinds of stories I wanted to make, I moved into producing. I observed the power that producers had in controlling which movies could be made. According to my scenario and skillset, I strongly felt that producing was the way to go.

 

Cinemacy: What have you found are the most important qualities to have as a producer?

Bhavana: Finding solutions no matter what, being committed to the film's vision, and having a combination of creative spirit and strategic soul.

 

 

Cinemacy: You've made an impressive amount of movies to date, having produced films that have played globally. What have been the most challenging moments you’ve had to overcome in your career? What have been your proudest?

Bhavana: I feel like the challenges increase with every next movie I make, which I also feel is a sign of progress. Every film I make is one step further either in the budget, the vision, the team, etc. The most challenging so far was making In the Belly of a Tiger. Investors backed out during COVID-19. And even after figuring that out, because we shot in a village in the northern part of India which our crew weren't familiar with, a lot of line production fell out of place.

Also, because of the budget constraints in independent cinema, every day was a problem-solving day. I had sleepless nights figuring out how every day would go as planned and making sure not to distract the director and let the final output go as planned, which was very different from other projects. The series of events that happened in this film made it feel more challenging.

 

My proudest moments are of course going to Berlinale, and Maadathy’s North American screenings. Maadathy premiered at Busan Film Festival in October of 2019 and went on to have a Latin American premiere at Cartagena, but COVID-19 happened.

It was a huge setback for an independent film that was doing so well getting right into COVID-19. That also got us thinking about what to do from there, to which we thought of independent individual screenings, which became like a tour. Watching people watch the film, hearing what they had to say, and the audience coming to talk about unseeable caste when it became a conversation initiator on caste-based atrocities in India felt good.

 

Cinemacy: In the Belly of a Tiger World premiered at Berlinale this year–congratulations! What was the reception like for the film, and where can audiences see it?

Bhavana: Thank you! It was great. We had sold out shows in Berlin. Audiences and Critics who saw the film had all great things to say. So, it’s good! Now, we are focusing on premiering in other premiere film festivals in North America and Asia. After that, we want to go to the public releasing in theaters/OTT streaming.

 

Cinemacy: Can you tell us more about the production company you founded, Jeevi Films? What is the company’s mission, and what are some of your fondest memories and proudest moments?

Bhavana: Jeevi means "living being" ("human being" in my mother tongue, Telugu). The mission of Jeevi Films is to tell humanistic stories, especially those of third-world cinema, and bring them to the world, find audiences, and create spaces for such stories for the sake of the world itself. The first production from Jeevi Films is In the Belly of a Tiger. Every moment making this film and since Jeevi Films was established is a revelation and a learning experience for me. Working with as passionate a team as one can be one can be will always come first in the list of fondest moments.

My proudest moment is that the first production of Jeevi Films premiered at Berlinale 2024. I am also personally proud of the Jeevi Script Fund, which will be unveiled to the world soon.

 

 

Cinemacy: What have you learned about working in indie filmmaking that more aspiring filmmakers would benefit from knowing?

Bhavana: Make sure you can narrate the story behind the story of your film. Only boundaries or limitations are what we create in ourselves. If you think we need this person for our film or a certain thing for our film, go make it happen. Don’t hesitate to approach anyone. Only crazy people can do and be magical.

 

Cinemacy: Who are your filmmaking heroes and dream collaborators? Do you have any next projects that you’re excited about?

Bhavana: I would say Charlie Chaplin, Ava Du Vernay now. I wish Charlie Chaplin was alive now, but want to work with Ava and Anurag Kashyap. I had an actor Irrfan Khan who I wanted to work with but (he passed). I also really wanted to work with The Daniels of Everything Everywhere All At Once. I want to pick their brain on the screenplay and visual miracle that they created on the screen through their film.

Yes, I have a project which is in the later stages of development that I am excited about.

 

Cinemacy: What messages and themes are important to you that you wish to explore in your future work?

Bhavana: I am also exploring the social care systems in the USA and homelessness which got to me since I have been in the USA. Also the contradictions, and complexions of the third world in the first world.

Also, as a nature lover, I have been exploring to experiment on over layering of scientific biological systems on the social systems we built. But I am assuming it might take more time than I am anticipating right now.

 

Cinemacy: What do you hope audiences take away after seeing your films?

Bhavana: There is life that can be unknown and new to us, but there is life, love, fight, and hope in every form. All we need to do is look at it and learn from an empathetic perspective. And, if all life seems hopeless around us, we need to be that hope. 

 

You can follow Bhavana Goparaju on her Instagram, Jeevi Films Instagram, Facebook, Linktree, and Jeevi Fillms website.

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by Ryan Rojas

Derek Franzese Spotlights The Beauty of Underrepresented People

With global conflicts, the rise of AI, and underrepresented people continuing to be marginalized, the world can be an overwhelming place. Some people can even become paralyzed with fear and cynicism. Or, if you're Derek Franzese, you choose to tell stories that illuminate the best of people and life.

Related: Review: 'When Unfettered' Challenges the Divisive Perception of AI

In our exclusive interview, Derek discusses his short film, When Unfettered, which tells the story of an AI humanoid who discovers what it means to feel emotion after encountering and befriending a special child. The director and co-writer talks about his inspiration behind the story, what he wants people to know about working in indie film, and his goal of spotlighting underrepresented communities onscreen.

 

Cinemacy: It’s a pleasure to meet you, Derek. First off, your short film, When Unfettered, is a wonderful, heartwarming, and profound look at humanity. It also explores how life will change with the growing technology of AI. What was the original idea for this story?

Derek: Christopher Dick (producer and co-screenwriter) has been working with a company that is involved in AI for quite some time. We started discussing that most films, books, etc. show AI as this kind of evil. Even if it decides to help humanity, it generally decides the best thing for humanity is to eradicate it. So we wanted to go in this direction of showing that not all humans are awful, and perhaps when this being becomes sentient, it does so by seeing love.

So I went with the idea that the android, for lack of a better term, comes to feel her first emotion, love, by befriending these innocent kids. That she could see this immense compassion in communities that I don’t feel we as people give enough credit to.

 

Cinemacy: You co-wrote the film with one of the film’s producers, Christopher Dick. What was your writing process like? What ideas or themes did you want to ensure were in the story? And, were there any breakthroughs or discoveries when writing?

Derek: The process was essentially, we came up with the idea of AI learning to feel love, and then I ran with it. I’d send him drafts and he’d give notes but we were pretty aligned from the beginning so if I was stuck on something we’d quickly chat and we got the writing done pretty quickly. 

As far as themes, I wanted to use Ash as a metaphor for so many of the issues in our world right now. It’s about immigration, racism, prejudice, being different than others, and how that affects us. As well as fearing things we don’t understand, innocence, the beauty of underrepresented people, and art and dance as something we should find our humanity.

 

 

Cinemacy: When Unfettered follows a wide range of thoughtful emotions, such as grief when losing someone, anxiety over a technologically advanced future, and the feeling of connection with people. How did you set the various tones on set while shooting each of these different scenes?

Derek: We used the lighting in the opening scenes to establish this cold, sterile cool tone which I felt was a bit more of a representation of what we generally see as the future. A little more gloomy I guess but the scene where the father passes away I wanted to make sure was a little more of a serene time even though it’s still this empty room. 

We kept the set while filming at the house more peaceful and a little more somber to help the actors and when we did the death scene, we cleared most everyone out and let Carly and Natalie just go with what they felt. Once Ash left the house, we tried to just have fun, create some things for her to discover, and keep it bright. We started the shoot filming the scenes with the kids so that was easy for us to make enjoyable. 

 

Cinemacy: The film’s main character is an AI named “Ash,” played by Ashley Whelan. What was the casting process like? What direction did you give her for this character, and was there anything you discovered in the performance she brought to it?

Derek: Ashley and I have known each other for so long and we’d always wanted to work together so Chris and I had envisioned her in this role while writing it. We did our due diligence though and had a casting director help us get audition tapes from all over the US. We wanted to make certain. Probably watched more than 100 and Ashley was still the role. 

One of the directions I gave was watching videos of what the “perfect” walk for a human would be since most of us walk improperly. We watched a lot of stuff from doctors and physical therapists so she could focus on that, to begin with. 

Then we talked about micro-expressions but I’d been sharing the script drafts with her and she was already creating this character by the time she put herself on tape so I didn’t have to do much directing. She was just wonderful in how she showed this dryness but you cared about her. Not an easy character. 

 

 

Cinemacy: I noticed that the film has a warm, inviting, and optimistic view of AI when some feel a bit more anxious about what that will mean for humanity. Do you feel more optimistic about AI versus pessimistic?

Derek: I don’t feel optimistic, honestly. I’m nervous about it but I wanted to show that maybe twenty years from now there will still be beauty on this planet, that we can still be wonderful as humans. That we won’t completely destroy all the plants and maybe the earth won’t be some nuclear wasteland. I think there may be some benefits for us with AI but When Unfettered, in my mind, really isn’t a comment on the positivity of AI. Ash is simply a representation of another thing humans will be frightened by and the prejudices of today. 

 

Cinemacy: The film is beautiful, with two distinct looks: more formal, muted color shots in the opening scene of the home versus handheld, colorful images in the park. What direction did you give your director of photography, Joe Simon, to create these worlds?

Derek: Exactly what you just said. Let’s make the house more rigid and less welcoming. Everything should be more perfectly placed, cool blues. Since you have such a compact amount of time in a short film, we shot the house as if it were a character. "Sterile" was a word I used a lot. 

 

 

Cinemacy: You also feature kids of underrepresented communities, including disabled people in key roles. What was that like to write as well as shoot on the day?

Derek: Great. All around great. Filming with the kids was so much fun. We really just gave them an area and said let’s have a party. Some of them knew each other and some didn’t so we just followed them getting to know each other. It was authentic and I barely had to direct anything. 

Writing was unique because I don’t have a lot of family with cerebral palsy or Down syndrome so I relied on friends with kids with those special abilities and I’d send the script to them and they’d tell me if I was far off in how they interact. Then one friend would ask if she could share the script with parents in the community. I’d change the little phrases but ultimately it became this collaborative film and that never changed. I felt it was so important for the families and kids to tell me what they wanted to do and I adapted to it. 

 

Cinemacy: What do you hope audiences will take away after seeing this film?

Derek: Compassion and this understanding that even if we come from an underrepresented community, we still harbor prejudices and we all have work to do. The answer to so many of our issues is simply love. 

 

 

Cinemacy: Let’s get to know you more. Where are you originally from? Where did you grow up, and where do you currently reside?

Derek: I moved around quite a bit as a kid, from Orlando to DC to Columbus, Ohio but mostly I grew up in Cleveland, Ohio then went to high school in Houston, TX. My father was from Brooklyn so I spent a lot of my childhood going to New Jersey and NYC. My heart has always belonged in New York though I only lived in Brooklyn a year. 

I live in Austin, TX now. I split time in LA because it’s one of those things you kind of have to do in the industry but Austin is home. 

 

Cinemacy: What have been your most formative moments in filmmaking to date? Proudest?

Derek: My day job is that I’m an assistant director so I’ve been pretty lucky to work with a lot of really talented filmmakers and learn from them. One of the jobs that I was an AD on where I got to learn was Alita: Battle Angel. It was incredible to watch the filming processes of something with so many VFX shots.

As for my own work, When Unfettered, has been something both formative and proudest of. We shot with lots of kids and animals in parks and downtown so just accomplishing that is crazy in itself, much less during the summer of 2021 while the pandemic was still going on. It was also the first time I really had to trust other people as far as VFX or a composer after the shoot. Generally, I would just film things that I was capable of doing myself or have a song in my head that I knew we could license. I can’t do VFX myself so there was this unease about making things like that. 

 

 

C: Who are your filmmaking heroes and dream collaborators? Do you have any next projects or ideas in the early stages that you’re excited about?

Derek: So many heroes, Akira Kurosawa, Fellini, Scorsese, John Huston. 

I really, really want to work with Robert De Niro. He was probably the most profound influence on my seeing how powerful film can be when I saw Awakenings around 12. He’s been my favorite ever since then. 

 

C: What have you learned about working in indie filmmaking that more aspiring filmmakers would benefit from knowing?

Derek: Just make stuff and try your best not to be discouraged. Make mistakes. Be bold. 

I wish more established filmmakers were honest with aspiring artists about the reality of this industry and the film festival circuit. It really is rigged against you. It’s a circle and it’s designed to mostly keep you out. Some of these big festivals will never say it aloud but they may be taking two films a year that are from blind submissions. The agencies, studios, established filmmakers independent producers, etc. are all vying for the slots and there really just isn’t a large place for many unknowns at those festivals. Then you have festival distribution companies, aggregators, reps, and so many people who already have a foot in these circles.

So if you submit to those few dozen fests and you’re turned down, keep moving forward. Try the regional festivals. There are so many great festivals that are looking for less connected new voices. 

 

C: What messages and themes are important to you that you wish to explore in your future work?

Derek: I adore anything that’s going to have any kind of poignancy. I’ve always wanted to make things that allow people to feel something and in general, what I write, tends to be something sociological. I’m fascinated with our relationships as humans amongst each other. 

 

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by Ryan Rojas