Reyes, Cruz the Winners of Heineken VOCES Grant to be Honored atTribeca Film Festival

"I strive to partner with institutions that are going to respect my vision and point of view; otherwise you do a disservice to the ideas that initially bring about a project," commented filmmaker Rodrigo Reyes. "The Heineken VOCES Grant supports creative, bold films, while also setting a high expectation for filmmakers to deliver on their vision."

Reyes and Yolanda Cruz are the 2014 recipients of the Heineken VOCES Grant. Both filmmakers will be honored April 17 at a private event hosted by Heineken during the 13th Annual Tribeca Film Festival (TFF), which began April 16th and will continue through April 27th, in New York City. This year the company, which has been the official beer sponsor of TFF for the past six years, is also offering many enriched event experiences. Read more.

The Tribeca Film Institute (TFI) and Heineken established the Heineken VOCES Award in 2012. The award is part of the Latin America Media Arts Fund and provides two grants to Latino filmmakers (over the age of 21) who live and work in the U.S. The goal is to encourage each to create unique stories that reflect their U.S. Latino cultural perspective. In addition to cash prizes, the winners receive year-round project support from TFI.

Rodrigo Reyes (photo provided)

Reyes received the grant to work on his documentary, Sanson and Me, which is described as a coming-of-age story focusing on two Mexican immigrants with parallel lives. The filmmaker, who was born in Mexico City, explained the documentary was inspired by a deep, personal connection with his friend, Sanson. He's also appreciative of his experienced team:

I feel lucky to be a part of his [Sanson's] life and to be able to delve into his story and my own. What lies at the heart of my inspiration to make Sanson and Me is the process of grappling with the anxiety and emotional roller-coaster of having a bond with someone who is incarcerated. I'm also fortunate to have an experienced team that believes in the film and urges me forward. Since early on, producer's Su Kim and Inti Cordera have been enthusiastic supporters who have helped me organize and get the film moving. I'm also grateful to director Alan Berliner who encouraged me to embrace the ups and downs of the process; to be patient and allow the story to grow.

Cruz' film La Raya is a narrative. As she says, "...there are some stories that can only be told in a narrative format." The film, about how the mysterious appearance of a refrigerator in the outskirts of a remote village in the mountains of Oaxaca, Mexico -- La Raya -- promises business, money and success for 11-year-old Papio, is inspired by her family's stories and adventures when moving to Oaxaca. They had dreams of one day owning a refrigerator. The filmmaker, who earned an M.F.A. from the UCLA School of Theater, Film and Television and founded Petate Productions in 2000, explained what led her to apply for the grant:

Yolanda Cruz (photo provided)

I developed the script for La Raya at the Sundance Directors and Screenwriters Lab in 2011, but since La Raya is a personal story about migration, set in a small village in Oaxaca, Mexico, Hollywood didn't come knocking at my door. In 2013, I met Rachel Miller at the Morelia Lab, and she mentioned the projects Tribeca Film Institute was supporting and that the Heineken VOCES Grant was specific for Latinos living in the U.S. I knew my project would be a good fit. Right about the same time, I met with Pablo Cruz, from Canana Films, and he agreed to come on board as my producer. Now, six months later, I'm packing my suitcase to go to New York to meet industry professionals, fellow filmmakers, and watch some films.

Reyes, who attended college at U.C. San Diego, also in Madrid and Mexico City, earned a degree in International Studies. In 2012, he was selected to the IFP Documentary Independent Filmmaker Labs with his documentary, Purgatorio. He said winning the Heineken VOCES Grant helped motivate his team, enabling them to build their production. He also said TFI is the first organization to bet his film.
  "Receiving their support at this early stage, when we are still in development, created tremendous potential for the project," Reyes said. "TFI has an incredible track record of films that have gone through its programs, and we are benefiting from all their expertise in order to nurture Sanson and Me."
  Cruz offered similar thoughts on TFI.
  "The projects that have come out of the Tribeca Film Institute program are of high quality, so having the TFI team advising, encouraging and guiding me while I prep La Raya is a great honor," she said.
 Cruz also mentioned that over the next couple of months, the grant will allow her to shift the focus from financially supporting herself and her project to the creative side of film making.
   Both filmmakers offer advice to other up-and-coming Latino filmmakers who also want to tell important stories.
  "Don't give up on your dream, work hard on honing your skills, and tell stories that your mother, brother, grandma, sister and father would be proud of and enjoy," Cruz said.
  "We are not campaigners, we are artists, and that means that we should consider how our stories touch people in a universal way," Reyes said.  "Consider that your background, culture and personal history are assets that should help your work gain depth while touching on universal, human themes."
 Click for here more information on the Tribeca Film Institute.

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I've Got 'Pi' on My Mind

It’s been more than 12 hours, yet I still can’t stop thinking about Pi.
I’m not a mathematician; I’m a moviegoer who’s got the fictional story of a 16-year-old boy, the only human survivor of a sinking freighter traveling from India to Canada, on my mind.

Last night I attended an advance screening of "Life of Pi" at the Regal Royal Palm Beach Stadium 18 in West Palm Beach, Fla. The film is directed by Ang Lee, director of Academy Award-winning films "Crouching Tiger, Hidden Dragon" (2000) and "Brokeback Mountain" (2005), and distributed by 20th Century Fox. Based on and using the same name as the 2001 novel by Yann Martel, the film centers around the journey of Piscine Molitor “Pi” Patel as a 16-year-old, played by Suraj Sharma. As I stated, he is the only human survivor. A hyena, orangutan, a zebra and a Bengal tiger that were a part of his family’s zoo being shipped on the freighter also managed to get into the lifeboat.  However, in a short period of time due to animal instincts, it was just Pi and the tiger, Thirsty a.k.a. Richard Parker, navigating the deep, blue sea for 227 days.

Recently I’ve seen films using 3D technology, which really did not enhance the product at all, only hiked the ticket price. That isn't the case with this film. As soon as “Life of Pi” began, sitting with my 3D glasses on, I was whisked away into a zoo in Pondicherry, India with exotic and beautiful animals -- stunning. We then begin to hear Piscine as an adult (played by Irrfan Khan) living in Montreal, Canada, tell his remarkable story to a writer.

Piscine called “Pi” for short is named after a swimming pool in France by his father who lived life by scientific reason, which is the opposite of Pi’s mother, who raised Hindu, had a strong spiritual foundation. As a teen, Pi begins to explore spirituality outside of his Hindu roots leading him to Christianity and Islam. Because of his profound love of God, he decides to try and incorporate all three religions in his life. 

In my opinion, the story offers that different religions are really not that different as the goal of all is to lead one to enlightenment and a closer relationship with God. For Pi, elements of Hinduism, Christianity and Islam offer him the wisdom and guidance to survive losing his family and more than half a year on a lifeboat with Richard Parker. And it is through dealing with an often tumultuous tiger, he would learn courage and hear echoes of the lessons his father taught him.

The scenes with Pi and Richard Parker on the lifeboat are compelling, and sometimes had me at the edge of my seat.  There are so many scenes that affected me through the visual aspect, the acting or both. From the vicious storm that causes the ship’s demise to jellyfish glowing in the night sea to Pi making a plea with God during a thunderstorm, all unforgettable. I think the directing by Lee, cinematography by Claudio Miranda, Sharma’s acting skills and the apparent talent of everyone involved makes this film an absolute triumph. It’s hard to believe this is Sharma’s debut; he seems like a pro. I highly recommend this film.

“Life of Pi” is rated PG for the emotional content and there are some frightening sequences. It opens in theaters Nov. 21.

View the official trailer:

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Film Review: 'Sparkle'

Wednesday night I saw an advance screening of “Sparkle” at the Regal Royal Palm Stadium 18 in Royal Palm Beach, Fla. I knew what to expect, and I didn’t know what to expect. Let me explain.

Produced by Stage 6 Films and released by Sony/Tri Star "Sparkle," directed by Salim Akil ("Jumping the Broom"), is a remake of the 1976 film by Sam O’Steen inspired by The Supremes, starring Irene Cara and Philip Michael Thomas.  I expected to see the story of main character, Sparkle and her two sisters, Sister and Delores, attempt to pursue a music career amongst the pitfalls of the entertainment industry. Being a remake I expected there might be changes to the storyline. For example, the 1976 version is set in Harlem, N.Y. in the 1950s, the 2012 version in an affluent area of Detroit, Mich. during the Motown era in the 1960s.  And the soundtrack, with the songs composed and produced by Curtis Mayfield, also included new music, much by R. Kelly, the executive music consultant. 

In the 2012 version, I did not know what to expect in terms of the performances of the two headliners, one’s first and the other’s final performance. “Sparkle” is the late Ms. Whitney Houston’s final film performance, and “American Idol” winner, Pop/R&B singer Jordin Sparks’ first performance in a lead role in a feature film. 

Houston, who died Feb. 11, 2012 at the age of 48, hasn’t been seen by audiences on the silver screen since her role as Julia Biggs in “The Preacher’s Wife” in 1996. For Houston fans, like me, “Sparkle” was to be the debut of her new life, so to speak.  To see her in her first scene in “Sparkle,” with rollers in her hair, a scarf tied around her head and in a robe and slippers opening the door to the bedroom of her daughters knowing they were up to shenanigans, made me gasp and say softly, “I miss you, Whitney.” Since her death, especially right afterwards, we have seen constant images of the multiple Grammy Award-winning artist and actress from her triumphant recording years, to images taken during her struggles with addiction. Seeing her in a film she was excited about and even serving as executive producer, was like seeing her without a filter of controversy.

She is convincing as Emma, a strong-willed religious single mother who wanted to steer her daughters in the right direction, keeping them away from the perils of the entertainment industry, ultimately not wanting them to make the same mistakes she did. Houston has “the look” down pat. As the daughter of a black mother, I know the look well; the look, which speaks volumes without saying a word. Houston is not in many scenes, though, the ones where she is present, she is dominant. There is a scene where she sings the Gospel hymn, “His Eye Is on the Sparrow,” in a church, in front of the altar looking radiant in a deep purple dress and short cape around her shoulders. Houston’s voice still sent chills down my spine. She sings, “I sing because I’m happy; I sing because I’m free…” Bring a tissue for that.

Sparks portrays Sparkle, a shy songwriter who realizes she is a born performer. Her best scenes, where she appears most comfortable, are the musical numbers, and scenes dedicated to Sparkle's song writing. Sparks, who has a great voice, has more experience as a singer than an actress, so it will be interesting to see how she develops going forward with her onscreen career. Stix, "Sister and the Sister's" music manager and Sparkle's love interest is played by Derek Luke, well known for his role in "Antwone Fisher.” Luke adds genuineness to his character. He does well in making Stix very likable.

The performance by Carmen Ejogo as Sister is terrific; she kind of steals almost every scene she’s in. One of my favorite performances of Ejogo is as the late Mrs. Coretta Scott King, in HBO’s “Boycott.” It's so fascinating seeing her portray a completely opposite character.  She truly took this role, and played the heck out of it. Ejogo's Sister isn’t simply a typical “bad girl," but she gives her character depth. She's mesmerizing. A performance that surprised me, in a good way, is that of Mike Epps as Satin, Sister’s love interest, the conflicted comedian, with a dark, abusive side, which is not Epps’ usual type of role. This is a far stretch from Epps as Day-Day Jones in “Next Friday.” He does a good job.

The film also offers noteworthy performances by Tika Sumpter as Sparkle’s straight-laced no nonsense sister, Delores, and Omari Hardwick as Levi, who tries to win Sister’s love. The cutest scene between Sister and Levi is in a diner. You’ll see. And, Cee Lo Green makes an appearance in the beginning of the film as an entertainer named, Black, with waves in hair.

I enjoyed the film. It appears to be a production where everyone put in the effort, and put their best foot forward. From adding a different spin to the original story by Howard Rosenman, co-executive producer, (the 2012 screenplay is by Mara Brock Akil), to the wardrobe, cinematography, the performances of new and more seasoned actors, no one wanted this to be just another remake.

“Sparkle” (producers Debra Martin Chase, T.D. Jakes and Curits Wallace) will open in theaters nationwide Friday, Aug. 17.

Take a look at the trailer:

Greenwich Village and '7 Years Underground'

Greenwich Village or what native New Yorkers call “the Village” is well-known for being the artistic hub of Lower Manhattan going back to the 1930s, and invigorated by the “Beat Movement” of the 1950s-1960s. To this day, from fashion to art to music, many current celebrities have gotten their start there.

I can remember in the mid-‘90s going to Café Wha? on Macdougal Street one night and seeing a comedian perform.  My friends and I never heard of him, but he was pretty funny.  When the film “Half Baked” came out in 1998, I realized that comedian was Dave Chappelle.  Years later as grad student at New York University, located in the Village, I would often sit in Washington Square Park and was inspired by music of a guitar player or an artist painting. Or, I’d be sitting on a bench next to someone practicing their lines and later find out they're a Broadway actor. Lots of interesting encounters. 

So when I perused the website of the 2012 Palm Beach International Film Festival, April 12-19, the feature film “7 Years Underground: A 60’s Tale” (2011) immediately interested me.  I caught a showing April 14 at the Muvico Parisian 20 theatre at CityPlace in West Palm Beach.  It’s a documentary by Jason M. Solomon about his parents Howard and Elly Solomon, who opened Café Au Go Go in 1964 at 152 Bleeker St., Greenwich Village -- a cabaret-style venue, not licensed to serve liquor. 

Through Solomon’s interviews with his mother, Elly, who definitely would win “The Coolest Mom Award” if one existed, and previously recorded interviews of his father, Howard, now deceased; the film offers that from 1964 to 1969 Café Au Go Go was the place where careers of musicians such as Jimi Hendrix, and comedians including George Carlin and Richard Pryor, were launched. The nightclub was also the site where then popular comedian Lenny Bruce performed and was later arrested and booked for obscenity charges, resulting in a landmark case. Though, competition from other up and coming nightclubs, which did sell liquor, eventually caused Café Au Go Go to close its doors. 

I really enjoyed looking at a slice of music history through the eyes of club owners that mingled with great performers who were then disenfranchised performers.  It was the 1960s when segregation was law in many parts of the country, yet watching the film it seemed like race wasn’t an issue in the community, which showcased performers from all different backgrounds in an underground place of creative solace.  There’s a part in the film where Elly Solomon addresses drug use, as drugs were abused rampantly by musicians during that time.  She discussed how she never allowed drugs into her club.  If the performers were using, it wasn’t under her watch, and would throw out anyone ever caught using.  A poignant story is when Solomon recalled being with Janis Joplin in her dressing room.  When Joplin changed her clothes, Solomon could see the track marks from intravenous drug use on Joplin’s arms.  Solomon lamented that performers like Joplin and Hendrix had tremendous talent, but had a deep struggle between their talent and the drugs. There are so many interesting anecdotes in this film, like the Solomon’s daughter recalling being babysat by Frank Zappa. Yeah, imagine that. Through photos and audio, you also take a look inside of the Solomon family life.  

I think anyone from a former “hippie” to someone like me who didn’t grow up in the era, would enjoy learning about those who have become icons in popular American culture. If you're in the area, there’s another showing of “7 Years Underground” at 8:30 p.m. April 17 at the Cobb Downtown theatre at the Gardens in Palm Beach Gardens.

Check out the trailer:

My thoughts on 'Anonymous'

Last night at the Regal Royal Palm Beach Stadium 18, I saw a screening of "Anonymous," a film by Roland Emmerich, which opens today in theaters nationwide.

The film supports the theory that Shakespearean works were written by Edward de Vere, 17th Earl of Oxford, an Elizabethan aristocrat.  de Vere, unable to reveal he penned famous plays such as “King Lear” and “Henry V,” needs a writer to pose as the author.  That's where William Shakespeare came in. This character certainly does not reflect the Shakespeare I first learned of in high school, and grew to appreciate.  He is an actor, not a scribe, who was villainous. The film is like a Shakespearean play, with shocking elements you can find in “Hamlet.”  The screen is filled with the politics and scandals of that era.  I thought the acting was great, especially Rhys Ifans as de Vere.

I am not a Shakespearean scholar, and cannot tell you whether or not the allegations in the film are far-fetched.  What I can tell you, is it illustrates the power of the pen.  We are in the year 2011, yet a film is made discussing the relevance of writings from the 17th century, and is causing a heated debate.  I enjoyed it for that very reason. 

The film illustrates the importance and power of the written word, which I believe is starting to diminish.  We write in sound bites for social media status updates, and send text messages with sentences like, "How r u?"  Nowadays, the art of writing seems to be at risk.  Do many teens understand the power of writing as a creative force?  Will reality TV eventually overcome scripted TV? 

The passion portrayed by the writers in "Anonymous," especially through Ifans’ portrayal of de Vere, made me think of why I started keeping a journal as a teen, why I enjoy writing poetry, why I write blog entries -- because writing can incite and inspire.