El Rey Leon 1080p Latino Film
Abdul Soumphonphakdy
Guests are invited to a reception before viewing "The Butch and the Baby Daddy/La marimacho y el papá del bebé" a short film by directors Karleen Pendleton Jiménez and Barb Taylor, and feature films, "Sublime" by director Mariano Biasin and "The Pool of the Nobodies" by director José Luis Solís Olivares.
The following nights featured movies from local Iowa filmmakers and six international films from South America and Spain. The Latino Center of Iowa hosted the event in partnership with the Chicago Latino Film Festival.
Multiple sponsors contributed to the event.The Latino Center of Iowa plans to continue hosting Latino film festivals in the coming years. The films were presented in their original Spanish with English subtitles.
Su hijastra Elena dijo que ya ha aprendido mucho sobre las diferentes comidas, música y bailes latinos. Los restaurantes latinoamericanos de la zona instalaron puestos en el festival junto con otros vendedores.
Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.
"Struggles for Recognition, given its subject, scope, and method, will be of interest to melodrama scholars; film scholars, particularly historians; and scholars of Latin American cultural studies."
Mónica Esmeralda León (Michoacán, July 20, 1991[3]) is a Mexican film actress, producer and director. León is also the founder of Ave Fenix Pictures in Chicago and Los Angeles, and created La Raza filmmaking concept.[4][5]
León wanted to show the beauty but also the violence inside her neighborhood through the medium of film.[6] León became the executive producer of Adios Vaya Con Dios, which incorporated gang members and street artists into the filmmaking process. León dedicated the director title to the community using the term La raza.[7]
León worked as a music producer combining different artists from around the globe, including the United Kingdom and Mexico, incorporating them into the soundtrack of Adios Vaya Con Dios.[8] The film was first to integrate a British and Mexican rock soundtrack over a Latino urbanized film.[9] Adios Vaya Con Dios was the Official Selection at Bel Air Film Festival being Runner-up for Best Audience Feature Film, and nominations for Best Actor, Best Screenplay and Best Director. León also shared the nomination for Best Director with La raza.[10][11]
León founded the first Latino film studio in Chicago with Zachary Laoutides, called Ave Fenix Pictures.[4][1] She is also the first Latina and immigrant to found a film studio in Chicago.[12][13][14]
León's second film is Arise from Darkness. She served as the film's music supervisor and acted in the film.[15][16] It was ranked number one in the 10 Best Supernatural Horror Movies Of The Last Decade, Ranked According to IMDb Rating.[17]
In 2017, León premiered the film Black Ruby at the London Independent Film Awards. The film earned nominations in London with Leon sharing in Best Director and Best Feature Film.[18][19] She won Best Film at the Los Angeles Film Awards. The film was the first movie shot with the iPhone 7.[20]
In 2020, León's studio Ave Fenix Pictures announced the dramatic thriller Where Sweet Dreams Die, directed by Mirza Esho and featuring actors Zachary Laoutides, Jaime Zevallos, and Alexander James Rodriguez.[21] The film wrapped shooting in Chicago and New York in March 2022.[22][23][24]
We speak to New Jersey-born director Leon Gast about Our Latin Thing, a film documenting a Fania All-Stars concert and Latino life in Manhattan (New York) in 1971. The film was reissued earlier this year and is fast becoming known as THE definitive salsa documentary. In our opinion it is one of the finest music documentaries ever made, never mind just salsa.
A great film was made in New Jersey [where I was living] in Hoboken called On The Waterfront with Marlon Brando. And almost everybody had a relative, a father, a good friend, that worked somehow on that film. And I became fascinated with film-making. I went to Columbia University for one year and took various courses in film-making. This was in 1957. The class that interested me was documentary film.
Then I met Jerry Masucci and Johnny Pacheco, the founders of Fania. I had done photography work in the ad business and so I did a few album covers for Fania. The Joe Bataan Riot album cover with them climbing over a metal fence. And I did the first Fania All Stars cover Live At The Red Garter. That was 68. Three years later they wanted to do another show, and maybe film it. Larry and myself put it together. We convinced Jerry. Then he came up with the title. Our thing. Our Latin Thing. Nuestra Cosa.
Yeah, I directed it so I must have. There were five or six cameras and I shot sections of it that are in the film. The guys working on it were really good handheld cameramen, and that was when cameras were really heavy. Then we had a truck [for the sound]. It was 16-track recording. We overdubbed a little. Willie redid his trumpet solo. A few other things. That was it really.
Our Latin Thing will be screening at a couple of venues in London in November and December. You can find details of those screenings here. You can also read our review of the film here.
The film frames their lovemaking through a stylized sequence of close and unsteady shots that capture semantic parts of the homosexual subject without necessarily portraying the whole. Shots focus on the hands, the back, the buttocks, and the hair, so much so that the viewer at times forgets that they are watching two men engage in homoerotic sex.
Homoerotic sex is, as a result, haptic in the film, as the scenes of coitus are displaced from the scopophilic settings of the bedroom, the cinema, or the back alley (all spaces that invite a gaze and which are prevalent in maricón cinema) and are, instead, re-ascribed onto the tactile spaces of the beach, the sand, and the ocean. Close and tightly composed portrait shots of Santiago and Miguel after making love invite the reader to feel the textures and sounds that exist under the visual layer. In a close shot where Santiago lays naked as a wave washes over and caresses his post-orgasmic face, the viewer is treated to the cold and smooth textures of water running over the grainy sand, evocative of the macro-geography of queerness that exists right outside the heteronormative village, that is, in the desert space or in the sea.
[3] We can contrast these films with what Foster argues is the lack of a queer focus in lesbian-themed Latin American films, as what Puenzo and Solomonoff succeed in doing is going beyond the simple depiction of lesbian lifestyles. [End Page 16]
The composer Lin-Manuel Miranda is responding to criticism of his new film, "In The Heights." In a post on Twitter, he apologized for the lack of Afro-Latino representation in the movie version of the musical. This is after many people raised concerns, including our next guest, Felice Leon. She wrote about this for The Root, where she's a producer.
LEON: Correct. She's one of the leading actresses, and that was a point. And that actually - that really kind of caused me to pause for a bit. I was just like, wow, dancers - right. So background dancers, so they do not have lines. They are relegated to the background. They are, you know, sort of like a decoration. They are entertainment in that way, but they do not have a substantive storyline. And that very much felt like, you know, where - how we've seen Black and darker Latinx people, you know, as maids in telenovelas, as we've seen. And in this film also, there were, you know, Black women in the hair salon, as I'm sure you noticed if you saw the film as well.
SHAPIRO: One response to your critique has been, look, it's so hard for Black and Latinx people to find space in Hollywood. Here is a movie that centers them. This is a team that is trying to tell stories that are not often told. Why go after this film that has an almost entirely Latinx cast and is telling stories about people who are not white?
The Center for Hispanic Marketing Communication hosted students from Leon and Gadsden counties for Hispanified Day on Oct. 24. Partnered with the Cinehassee Hispanic Film Festival, the event featured a viewing of the film The Book of Life (2014) produced by Guillermo del Toro, followed by a Q&A panel with Lori Williams, the production design artist of the film.
For Ospina León, the popularity of porteño cinedrama demonstrates the ways that melodrama rendered visible the sociocultural tensions unleashed by modernization. The pathos that they generate, he suggests, is almost Brooksian in that they imbue everyday life in a postsacred world with moral legibility. However, the next set of films that Struggles for Recognition focuses on marks a significant departure from this model.
Ospina León argues that the Colombian film Garras de oro (The Dawn of Justice, P. P. Jambrina, 1926), unlike Charge, exhibits an unequivocally anti-US sentiment both in its narrative and in its visual aesthetics. By constellating the two films, the chapter highlights the complexities of transnational cultural exchange during the silent era.
Oscar De Leon is a fourth year student studying journalism and film & media studies at Northwestern University. He is a freelancer for Latino USA. Before this he wrote album, concert, and film reviews for Scene+Heard, an entertainment publication based at Northwestern.
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