1 00:00:00,760 --> 00:00:03,360 Speaker 1: Like a new phrase that I hear now that I 2 00:00:03,400 --> 00:00:06,040 Speaker 1: didn't hear when we first started, was this refrain is like, 3 00:00:06,120 --> 00:00:10,320 Speaker 1: don't tell stories about us without us that I was 4 00:00:10,400 --> 00:00:13,400 Speaker 1: not hearing when we first started. You know, there's a 5 00:00:13,480 --> 00:00:16,720 Speaker 1: reckoning happening. But I think it's gonna be important for 6 00:00:16,720 --> 00:00:19,480 Speaker 1: people who are traditionally shut out to be able to 7 00:00:19,800 --> 00:00:22,959 Speaker 1: express ourselves at the highest level, because it feels like 8 00:00:23,040 --> 00:00:36,000 Speaker 1: something's changing. Finally, after twenty years. 9 00:00:32,200 --> 00:00:36,200 Speaker 2: From Futuro Media and PRX, it's Latino usay, I'm Maria 10 00:00:36,240 --> 00:00:41,280 Speaker 2: Inojosa today. An intimate conversation between Christina Ibarra and Alex 11 00:00:41,440 --> 00:00:46,600 Speaker 2: Rivera to Latino independent filmmakers and the first married couple 12 00:00:46,960 --> 00:00:50,920 Speaker 2: to each receive the MacArthur Genius Fellowship. At the same time, 13 00:00:57,760 --> 00:00:59,880 Speaker 2: you could say there was a lot going on in 14 00:01:00,120 --> 00:01:05,319 Speaker 2: the world when filmmakers Alex Rivera and Kristina Iberra started 15 00:01:05,440 --> 00:01:08,120 Speaker 2: making films in the mid nineteen nineties. 16 00:01:09,640 --> 00:01:13,200 Speaker 1: For me, film really was a way to translate this 17 00:01:13,400 --> 00:01:16,680 Speaker 1: growth in the way that I was thinking about systems 18 00:01:16,760 --> 00:01:17,360 Speaker 1: and the world. 19 00:01:17,680 --> 00:01:21,120 Speaker 3: It was a very exciting, contentious and fraught time to 20 00:01:21,160 --> 00:01:22,240 Speaker 3: start making work. 21 00:01:22,760 --> 00:01:26,880 Speaker 2: The US Mexico border wall was just being constructed, under 22 00:01:27,040 --> 00:01:31,959 Speaker 2: Operation Gatekeeper, created by Bill Clinton in nineteen ninety four. 23 00:01:32,760 --> 00:01:36,760 Speaker 2: NAFTA had just gone into effect that same year, prompting 24 00:01:36,920 --> 00:01:41,000 Speaker 2: a massive wave of Mexican migration to the United States, 25 00:01:41,400 --> 00:01:46,040 Speaker 2: and the Sapatistas emerged in southern Mexico with a new 26 00:01:46,160 --> 00:01:51,480 Speaker 2: vision of indigenous movements under globalization. It was in this 27 00:01:51,600 --> 00:01:57,040 Speaker 2: landscape of violence and resistance that Alex and Christina were 28 00:01:57,280 --> 00:02:00,560 Speaker 2: finding their own voice as artists. 29 00:02:01,280 --> 00:02:03,440 Speaker 1: I was the first in my family to go to college, 30 00:02:03,680 --> 00:02:06,400 Speaker 1: and so I was really stumbling. I remember being the 31 00:02:06,400 --> 00:02:09,799 Speaker 1: only Chicana in my film class and the only one 32 00:02:09,800 --> 00:02:13,000 Speaker 1: interested in social issues, having to go and dig up 33 00:02:13,040 --> 00:02:16,400 Speaker 1: these early Chicano cinema films and discover them myself. 34 00:02:16,680 --> 00:02:20,440 Speaker 2: Born and raised in El Paso, Texas, Gristina would go 35 00:02:20,480 --> 00:02:25,560 Speaker 2: on to create intimate documentary work about life in the borderlands, 36 00:02:25,880 --> 00:02:29,440 Speaker 2: from her debut film The Last Conquistador, about a publicly 37 00:02:29,480 --> 00:02:33,560 Speaker 2: funded statue in El Paso built to honor the legacy 38 00:02:33,800 --> 00:02:38,880 Speaker 2: of the Spanish colonizer Don Juande, to her award winning 39 00:02:38,960 --> 00:02:44,560 Speaker 2: twenty fourteen documentary Las Martes about Latina debutants in Laredo, 40 00:02:45,000 --> 00:02:50,640 Speaker 2: honoring Martha Washington, the wife of the first President Gristina's 41 00:02:50,639 --> 00:02:55,720 Speaker 2: work creates striking alternative portraits of the history and complexity 42 00:02:56,080 --> 00:02:57,080 Speaker 2: of life. 43 00:02:56,919 --> 00:03:01,160 Speaker 3: On the border. When I started to make this work, 44 00:03:01,200 --> 00:03:03,360 Speaker 3: it was with a dream and an impulse of like 45 00:03:03,480 --> 00:03:07,920 Speaker 3: making creative art that engaged with social realities. But it 46 00:03:08,000 --> 00:03:11,079 Speaker 3: was low gauge, it was outsider, it was punk. 47 00:03:12,400 --> 00:03:16,320 Speaker 2: Born and raised in New York, Alex Rivera works with 48 00:03:16,360 --> 00:03:21,760 Speaker 2: both traditional documentary and narrative drama to question dominant narratives 49 00:03:22,040 --> 00:03:27,239 Speaker 2: about migration, labor, and identity. His award winning two thousand 50 00:03:27,280 --> 00:03:31,080 Speaker 2: and eight science fiction film Sleep Dealer imagines a world 51 00:03:31,160 --> 00:03:34,280 Speaker 2: where the US Mexico border has been shut down and 52 00:03:34,400 --> 00:03:41,000 Speaker 2: Mexican workers transmit their labor through futuristic internet cables. In 53 00:03:41,120 --> 00:03:44,880 Speaker 2: twenty nineteen, as Christina and Alex prepared to have their 54 00:03:44,920 --> 00:03:48,520 Speaker 2: first child, the couple decided to formally collaborate on a 55 00:03:48,560 --> 00:03:52,120 Speaker 2: film for the first time. The twenty nineteen docu thriller 56 00:03:52,240 --> 00:03:56,880 Speaker 2: called The Infiltrators, about a group of undocumented activists who 57 00:03:57,040 --> 00:04:02,080 Speaker 2: infiltrate a detention center in order to organized detainees from 58 00:04:02,120 --> 00:04:08,880 Speaker 2: the inside. Both filmmakers have had prolific award winning careers, 59 00:04:09,280 --> 00:04:13,480 Speaker 2: but their twenty twenty one Award would make history. Gristina 60 00:04:13,560 --> 00:04:16,560 Speaker 2: and Alex were each awarded one of the most prestigious 61 00:04:16,560 --> 00:04:20,599 Speaker 2: fellowships in the US for creators, the MacArthur Fellowship, making 62 00:04:20,640 --> 00:04:24,000 Speaker 2: them the first married couple to receive the award at 63 00:04:24,000 --> 00:04:27,719 Speaker 2: the same time. Today, Gristina and Alex reflect on each 64 00:04:27,760 --> 00:04:31,400 Speaker 2: other's work as filmmakers and share a glimpse of their 65 00:04:31,440 --> 00:04:37,320 Speaker 2: life as collaborators, partners, and parents. Here's Cristina Ibarra and 66 00:04:37,600 --> 00:04:40,599 Speaker 2: Alex Rivera. 67 00:04:40,800 --> 00:04:45,560 Speaker 1: My name is Christina Ivarra. I'm a documentary filmmaker. I'm 68 00:04:45,600 --> 00:04:49,680 Speaker 1: from Atbaso, Texas. Even though I'm living in LA I 69 00:04:49,720 --> 00:04:52,480 Speaker 1: still consider myself a Borderland baby. 70 00:04:52,920 --> 00:04:56,280 Speaker 3: My name is Alex Rivetta and I'm from New York City, 71 00:04:56,320 --> 00:04:59,720 Speaker 3: a different kind of Borderland. I'm a filmmaker and sometimes 72 00:04:59,760 --> 00:05:02,920 Speaker 3: did media artists. Through our work, we kind of knew 73 00:05:02,960 --> 00:05:04,599 Speaker 3: of each other and had been in touch. 74 00:05:04,800 --> 00:05:08,640 Speaker 1: And then I remember that I had a job that 75 00:05:08,720 --> 00:05:11,400 Speaker 1: took me to chiat Us. So we ended up in 76 00:05:11,680 --> 00:05:15,279 Speaker 1: chat Us together working on a documentary about Pan American 77 00:05:15,320 --> 00:05:17,160 Speaker 1: indigenous relations. 78 00:05:17,880 --> 00:05:19,600 Speaker 4: And that's where. 79 00:05:19,400 --> 00:05:24,040 Speaker 1: I remember walking down those cobblestone streets with you, hearing 80 00:05:24,120 --> 00:05:29,080 Speaker 1: about your visions of how to impact the culture through 81 00:05:29,120 --> 00:05:32,080 Speaker 1: your work. That was like I think when I fell 82 00:05:32,120 --> 00:05:32,400 Speaker 1: in love. 83 00:05:32,680 --> 00:05:35,760 Speaker 3: Yeah, I got romantic in San Cristo de las Casas 84 00:05:36,000 --> 00:05:39,960 Speaker 3: in nineteen ninety nine. And again this was in early 85 00:05:40,080 --> 00:05:44,080 Speaker 3: days of Zapatismo, and we ended up in dialogue with 86 00:05:44,160 --> 00:05:47,440 Speaker 3: the Sapatistas. At a certain moment, we were actually threatened 87 00:05:47,480 --> 00:05:50,000 Speaker 3: by the Mexican government. They thought we were meddling in 88 00:05:50,040 --> 00:05:53,479 Speaker 3: Mexican politics. Foreigners aren't allowed to. They were like, you 89 00:05:53,560 --> 00:05:56,240 Speaker 3: might get deported. So that was like by day, but 90 00:05:56,320 --> 00:06:00,360 Speaker 3: by night we were just going around San Cristoba, ddibly 91 00:06:00,360 --> 00:06:03,719 Speaker 3: beautiful city in the mountains, and then I started to 92 00:06:03,720 --> 00:06:06,120 Speaker 3: feel like this might be the person who want to 93 00:06:06,160 --> 00:06:07,200 Speaker 3: spend my life with, you know. 94 00:06:07,760 --> 00:06:10,760 Speaker 4: Yeah, yeah, it was tense. I remember you guarding the footage, the. 95 00:06:10,760 --> 00:06:12,599 Speaker 1: Tapes, you know that we had, and it's like, oh no, 96 00:06:12,640 --> 00:06:14,240 Speaker 1: what if they come for them because we had to 97 00:06:14,279 --> 00:06:14,880 Speaker 1: split up at. 98 00:06:14,800 --> 00:06:18,760 Speaker 4: A certain point. It was just felt like revolution and romance. 99 00:06:20,760 --> 00:06:23,720 Speaker 3: If there was a genre in Hollywood of the Chicano 100 00:06:23,760 --> 00:06:28,159 Speaker 3: filmmakers falling in love against the backdrop of the Zapatista uprising, 101 00:06:28,680 --> 00:06:32,040 Speaker 3: this would be that film. But that genre does not exist, 102 00:06:32,120 --> 00:06:32,560 Speaker 3: but it should. 103 00:06:32,600 --> 00:06:33,240 Speaker 5: It's up to us. 104 00:06:33,640 --> 00:06:35,800 Speaker 3: We have to do it. 105 00:06:37,560 --> 00:06:41,920 Speaker 1: I remember when I first thought about media as a 106 00:06:41,960 --> 00:06:43,800 Speaker 1: form of expression for myself. 107 00:06:43,760 --> 00:06:45,760 Speaker 6: This is a story of the men who came to 108 00:06:45,839 --> 00:06:49,360 Speaker 6: work in a foreign land, a story that has never 109 00:06:49,400 --> 00:06:49,960 Speaker 6: been told. 110 00:06:50,400 --> 00:06:53,960 Speaker 1: I was watching a film made by Hector Galan called 111 00:06:54,080 --> 00:06:54,920 Speaker 1: Los Mineos. 112 00:06:55,920 --> 00:06:57,720 Speaker 4: When I finished the film, I learned. 113 00:06:57,480 --> 00:07:00,919 Speaker 1: A lot about, you know, the mining and just in Arizona. 114 00:07:01,279 --> 00:07:04,080 Speaker 1: But I also thought to myself, wow, I have never 115 00:07:04,160 --> 00:07:07,760 Speaker 1: seen Mexican Americans on film before. 116 00:07:08,120 --> 00:07:13,760 Speaker 3: And sandom Manos, not scay. We thought they saw us 117 00:07:13,840 --> 00:07:15,320 Speaker 3: as human beings. 118 00:07:15,080 --> 00:07:21,320 Speaker 1: Marsolo gari, but they only wanted our sweat and labor. 119 00:07:21,760 --> 00:07:24,559 Speaker 1: And I went home to talk to my parents about 120 00:07:24,560 --> 00:07:26,280 Speaker 1: it and told them, hey, you know, I just saw 121 00:07:26,320 --> 00:07:28,440 Speaker 1: this film and told them what it was about. And 122 00:07:28,440 --> 00:07:34,520 Speaker 1: then I discovered that my own a was aminetto in Arizona. 123 00:07:34,880 --> 00:07:35,760 Speaker 4: I had no idea. 124 00:07:36,200 --> 00:07:38,120 Speaker 1: Things started to make sense for me, and I realized 125 00:07:38,320 --> 00:07:42,920 Speaker 1: there's a power in storytelling and connecting you to your past, 126 00:07:46,480 --> 00:07:46,680 Speaker 1: you know. 127 00:07:46,720 --> 00:07:48,280 Speaker 3: For me. When I went to college and I went 128 00:07:48,360 --> 00:07:51,440 Speaker 3: to study music and politics, there weren't a lot of 129 00:07:51,440 --> 00:07:53,640 Speaker 3: classes on that, but there was a lot of classes 130 00:07:53,680 --> 00:07:57,520 Speaker 3: on media and politics and visual culture and society, and 131 00:07:57,520 --> 00:07:59,560 Speaker 3: so I took those kinds of classes, and so I 132 00:07:59,600 --> 00:08:03,480 Speaker 3: was looking at artists like Marlin Riggs, a black queer 133 00:08:03,960 --> 00:08:08,800 Speaker 3: militant artist out of San Francisco, talking about questions of identity, history, 134 00:08:08,880 --> 00:08:12,320 Speaker 3: power in the context of the AIDS epidemic. My good, 135 00:08:13,600 --> 00:08:17,720 Speaker 3: do you know? I roam alone at night? Lord of 136 00:08:17,720 --> 00:08:22,720 Speaker 3: this Portillo Chicana documentarian also from the Bay Area, using 137 00:08:22,760 --> 00:08:28,680 Speaker 3: this kind of wild, transformal language to tell personal stories. 138 00:08:28,920 --> 00:08:34,000 Speaker 3: Giermo Gomez Pana performance artists sort of hijacking language, and 139 00:08:34,200 --> 00:08:36,040 Speaker 3: that was what fed me. I didn't go to a 140 00:08:36,160 --> 00:08:39,800 Speaker 3: traditional film school, and like watch Citizen Kane. Now to me, 141 00:08:39,920 --> 00:08:42,720 Speaker 3: my Citizen Kane was tongues untied, it was a devil 142 00:08:42,800 --> 00:08:46,640 Speaker 3: never sleeps. It was Gomez Pania's performance art. All of 143 00:08:46,679 --> 00:08:48,960 Speaker 3: that inspired me and made me feel like I could 144 00:08:48,960 --> 00:08:51,640 Speaker 3: do it, and so I started to make experimental films. 145 00:08:51,679 --> 00:08:54,679 Speaker 3: Back then, in the mid nineties, I didn't have fantasies 146 00:08:54,720 --> 00:08:57,080 Speaker 3: of a career. It was punk, it was fun, and 147 00:08:57,120 --> 00:08:59,800 Speaker 3: there were cool people to meet and so like For example, 148 00:08:59,800 --> 00:09:02,400 Speaker 3: my first film was called Papa Papa. 149 00:09:02,400 --> 00:09:05,920 Speaker 4: The Potato, bland, starchy basic. 150 00:09:07,240 --> 00:09:09,840 Speaker 2: I wanted to find out where the most common vegetable 151 00:09:09,920 --> 00:09:11,480 Speaker 2: came from and where. 152 00:09:11,320 --> 00:09:13,679 Speaker 3: It was going and tells these two sort of twin 153 00:09:13,840 --> 00:09:16,600 Speaker 3: stories of the history of the potato and my father 154 00:09:16,679 --> 00:09:20,920 Speaker 3: who's Peruvian. The Papa and my Papa two beings from 155 00:09:20,920 --> 00:09:23,280 Speaker 3: Peru that end up in the US, both have to 156 00:09:23,320 --> 00:09:27,880 Speaker 3: face colonization, assimilation, and so it was like a real 157 00:09:27,960 --> 00:09:30,760 Speaker 3: reflection on history and politic but it was also weird 158 00:09:31,000 --> 00:09:36,760 Speaker 3: and fun and now live from the panoramic Andean Highlands 159 00:09:37,000 --> 00:09:40,679 Speaker 3: in scenic Peru, Inca Cola, the Golden Cola is proud 160 00:09:40,760 --> 00:09:44,800 Speaker 3: to present the eighth annual Culinary Conquest Games. In this 161 00:09:44,920 --> 00:09:48,360 Speaker 3: year's contest, competing potatoes will sever their roots as they 162 00:09:48,400 --> 00:09:50,640 Speaker 3: do battle for a slice of the American dream. 163 00:09:50,920 --> 00:09:55,600 Speaker 1: I remember watching Papa Papa at Cina Festival in San Antonio. 164 00:09:55,679 --> 00:09:59,319 Speaker 1: It's the longest running US Latino film festival in the country, 165 00:09:59,440 --> 00:10:01,840 Speaker 1: and Alex's film really stood out. 166 00:10:02,080 --> 00:10:04,000 Speaker 4: It just cracked me up so bad. 167 00:10:04,600 --> 00:10:09,120 Speaker 1: Like I remember the scene where he meets his grandmother 168 00:10:09,240 --> 00:10:12,240 Speaker 1: for the first time since he was a baby, and 169 00:10:12,559 --> 00:10:14,800 Speaker 1: he's talking about what it felt like to meet her. 170 00:10:15,559 --> 00:10:17,480 Speaker 3: The first time I saw her, she hobbled up to 171 00:10:17,520 --> 00:10:20,640 Speaker 3: me across the airport floor. She was small and wrinkled 172 00:10:20,640 --> 00:10:23,240 Speaker 3: and I had been watching the Star Wars movies too much. 173 00:10:23,520 --> 00:10:25,559 Speaker 3: My first thought was that she looked like Yoda. 174 00:10:25,480 --> 00:10:28,800 Speaker 1: And then we see her face morph into Yoda, just 175 00:10:28,920 --> 00:10:33,320 Speaker 1: on the floor dying like the When I saw that, 176 00:10:33,360 --> 00:10:35,959 Speaker 1: it just really impacted me. I was just thought to myself, 177 00:10:36,120 --> 00:10:37,800 Speaker 1: I want to do that, you know, I want to 178 00:10:37,840 --> 00:10:40,040 Speaker 1: go home and I want to talk to my family. 179 00:10:40,120 --> 00:10:43,000 Speaker 3: And you know, I think my films, in my opinion, 180 00:10:43,040 --> 00:10:44,640 Speaker 3: I think they tend to be a little more heady, 181 00:10:44,800 --> 00:10:47,200 Speaker 3: like these are kind of things that maybe you think about, 182 00:10:47,320 --> 00:10:49,920 Speaker 3: maybe they make you laugh, but your films have always 183 00:10:50,000 --> 00:10:52,320 Speaker 3: actually hit me in my guts, in my heart, and 184 00:10:52,440 --> 00:10:56,000 Speaker 3: like Dirty Laundry, your first film, it actually makes me cry. Okay, 185 00:10:56,040 --> 00:10:58,360 Speaker 3: it's embarrassing to say, but it is true. 186 00:10:58,480 --> 00:11:04,439 Speaker 6: You know, Sandra ring Aya Now, But mommy, why because 187 00:11:04,440 --> 00:11:06,160 Speaker 6: I said so theater, it's help. 188 00:11:06,600 --> 00:11:09,200 Speaker 4: The party is tomorrow. 189 00:11:09,520 --> 00:11:11,960 Speaker 1: I needed to explain to my parents there was value 190 00:11:12,000 --> 00:11:14,560 Speaker 1: in making films, and the way I decided to do 191 00:11:14,600 --> 00:11:16,680 Speaker 1: that is to bring them into my process. So I 192 00:11:16,720 --> 00:11:19,080 Speaker 1: went home and asked them if they could be in 193 00:11:19,120 --> 00:11:21,920 Speaker 1: this film, and I told them what it was about. 194 00:11:21,960 --> 00:11:27,360 Speaker 1: And my dad says, demna, ma, dad, because it's about 195 00:11:27,400 --> 00:11:32,160 Speaker 1: a young woman who discovers masturbation the day before she's 196 00:11:32,160 --> 00:11:35,000 Speaker 1: supposed to appear in her cousin's kin signetta and in 197 00:11:35,040 --> 00:11:37,760 Speaker 1: a Mexican style consigneta. There's a part of it where 198 00:11:37,800 --> 00:11:39,920 Speaker 1: there's a Catholic mass and you have to go and 199 00:11:40,160 --> 00:11:41,160 Speaker 1: confess your sins. 200 00:11:41,400 --> 00:11:44,599 Speaker 3: Everyone in the party has to confess and take the host. 201 00:11:46,040 --> 00:11:48,640 Speaker 1: But there are some things I don't want to confess, 202 00:11:50,880 --> 00:11:53,520 Speaker 1: like this new feeling I found while doing the laundry 203 00:11:53,520 --> 00:11:54,120 Speaker 1: the other day. 204 00:11:54,360 --> 00:11:55,440 Speaker 4: So it's it's a reverence. 205 00:11:55,600 --> 00:11:58,920 Speaker 1: It's funny, my first kind of attempt at hybridity in 206 00:11:58,920 --> 00:12:02,240 Speaker 1: a sense, because I have these tele novelas that my 207 00:12:02,320 --> 00:12:05,600 Speaker 1: mom and I used to watch together. There's a novelas, 208 00:12:05,640 --> 00:12:09,320 Speaker 1: there's commercials, there's my own fiction that we shot with 209 00:12:09,400 --> 00:12:12,440 Speaker 1: sixteen milimeter, and then home movies that I appropriated, and 210 00:12:12,440 --> 00:12:15,920 Speaker 1: I told a news story but using images of our 211 00:12:15,960 --> 00:12:23,560 Speaker 1: own family, My world, the Border starring me standum, the hero, 212 00:12:25,720 --> 00:12:28,600 Speaker 1: my mom. 213 00:12:27,320 --> 00:12:28,840 Speaker 4: And her cell phone. 214 00:12:29,520 --> 00:12:34,800 Speaker 1: Oh yeah, there's gotten Lakin Sea and. 215 00:12:34,880 --> 00:12:37,120 Speaker 3: Introducing the Catholic Church. 216 00:12:37,800 --> 00:12:39,400 Speaker 1: So it was really fun and I learned a lot 217 00:12:39,440 --> 00:12:42,599 Speaker 1: about storytelling there, and I also got to laugh a 218 00:12:42,640 --> 00:12:43,880 Speaker 1: little bit with my family. 219 00:12:44,760 --> 00:12:47,439 Speaker 3: What hits me in my guts always is the end 220 00:12:47,440 --> 00:12:51,280 Speaker 3: of that movie where our young heroine has managed to 221 00:12:51,480 --> 00:12:53,920 Speaker 3: not take the ostia. She kind of fakes it and 222 00:12:53,960 --> 00:12:56,400 Speaker 3: takes a little cracker and hides it. 223 00:12:56,600 --> 00:12:59,480 Speaker 1: Just because I didn't take the ostia doesn't mean it 224 00:12:59,520 --> 00:13:00,400 Speaker 1: should go to waste. 225 00:13:01,200 --> 00:13:04,360 Speaker 3: And our hero she hands the ostia the little cracker 226 00:13:04,440 --> 00:13:08,000 Speaker 3: to her her little cousins that are kids who take 227 00:13:08,080 --> 00:13:10,480 Speaker 3: it and go hide under a table and just start 228 00:13:10,480 --> 00:13:13,199 Speaker 3: to eat it and are laughing. And the kids are 229 00:13:13,200 --> 00:13:17,319 Speaker 3: like eating the ostia. In this party environment, our young 230 00:13:17,400 --> 00:13:21,560 Speaker 3: teenage heroine is out becoming a woman. There's a woman 231 00:13:21,679 --> 00:13:25,960 Speaker 3: Mariachi singer belting out a beautiful corrido, and it's this 232 00:13:26,480 --> 00:13:33,200 Speaker 3: just generations of women navigating and asserting themselves and celebrating 233 00:13:33,840 --> 00:13:39,400 Speaker 3: and it's everything. It's life. They kept their tradition and 234 00:13:39,559 --> 00:13:41,280 Speaker 3: I kept my jury laundry alone. 235 00:13:42,720 --> 00:13:46,760 Speaker 2: Coming up on Latino USA, Christina Ibarra and Alex Rivera 236 00:13:46,880 --> 00:13:50,600 Speaker 2: talk about their own creative process and their decision to 237 00:13:50,760 --> 00:13:56,600 Speaker 2: codirect the twenty nineteen documentary hybrid film The Infiltrators Stay 238 00:13:56,640 --> 00:14:54,400 Speaker 2: with us, Hey, We're back. Before the Break, Christina Barra 239 00:14:54,600 --> 00:14:59,200 Speaker 2: and Alex Pribera were in conversation two LATINX filmmakers and 240 00:14:59,280 --> 00:15:02,680 Speaker 2: the first married couple to win the MacArthur Genius Award 241 00:15:02,960 --> 00:15:03,920 Speaker 2: at the same time. 242 00:15:04,440 --> 00:15:04,600 Speaker 1: Now. 243 00:15:04,680 --> 00:15:07,880 Speaker 2: Christina and Alex talk about the obstacles they face as 244 00:15:07,960 --> 00:15:11,640 Speaker 2: independent artists in the film industry and what it was 245 00:15:11,720 --> 00:15:14,360 Speaker 2: like to collaborate on their first film together. 246 00:15:16,160 --> 00:15:19,200 Speaker 1: When I think about the kind of work that you do, 247 00:15:19,920 --> 00:15:22,200 Speaker 1: one of the things that really stands out for me 248 00:15:22,600 --> 00:15:27,760 Speaker 1: is how strongly you can stand up to authority. And 249 00:15:27,800 --> 00:15:30,080 Speaker 1: it's not like the kind of oh, you know, I'm 250 00:15:30,120 --> 00:15:33,760 Speaker 1: such a rubble without a cause. It's more about breaking 251 00:15:33,800 --> 00:15:37,520 Speaker 1: down systems. You get to have feelings and an emotion 252 00:15:37,720 --> 00:15:41,200 Speaker 1: and really connect with someone, but you also get to 253 00:15:41,400 --> 00:15:45,600 Speaker 1: understand that the challenges are not just inner, but they're systematic. 254 00:15:46,320 --> 00:15:49,560 Speaker 1: I remember, you know, when you were planning Sleep Dealer 255 00:15:49,640 --> 00:15:51,240 Speaker 1: and putting it all together. 256 00:15:52,400 --> 00:15:57,000 Speaker 5: Alas pets sleep Dealers handle. 257 00:15:58,640 --> 00:15:58,720 Speaker 1: So. 258 00:15:59,080 --> 00:16:03,000 Speaker 3: Sleep Dealer is a science fiction film kind of cyberpunk, 259 00:16:03,400 --> 00:16:06,640 Speaker 3: set mostly on the US Mexico border. It tells the 260 00:16:06,680 --> 00:16:09,920 Speaker 3: story of a young man named Memo Cruz, who is 261 00:16:10,640 --> 00:16:14,080 Speaker 3: a migrant from southern Mexico heads north for work. 262 00:16:15,000 --> 00:16:16,880 Speaker 7: Based its. 263 00:16:19,080 --> 00:16:19,960 Speaker 1: Religious loc c. 264 00:16:24,960 --> 00:16:28,440 Speaker 3: So we slowly kind of reveal a new world order 265 00:16:28,560 --> 00:16:33,400 Speaker 3: in which workers around the planet transmit their labor into 266 00:16:33,440 --> 00:16:37,720 Speaker 3: the US remotely to be manifested by machines here, so 267 00:16:37,760 --> 00:16:41,720 Speaker 3: that the United States economy gets all the labor without 268 00:16:41,760 --> 00:16:45,480 Speaker 3: the workers. The idea came to me in nineteen ninety 269 00:16:45,520 --> 00:16:50,320 Speaker 3: seven when I was reading Wired magazine and reading about telecommuting, 270 00:16:50,360 --> 00:16:52,360 Speaker 3: and they were saying, in the future, everyone's going to 271 00:16:52,440 --> 00:16:55,520 Speaker 3: work from home. And whenever I see that word everyone, 272 00:16:55,600 --> 00:16:58,280 Speaker 3: I sort of jam my family into it. I have 273 00:16:58,400 --> 00:17:03,640 Speaker 3: undocumented family members working in landscaping or working in kitchens 274 00:17:03,680 --> 00:17:06,719 Speaker 3: and working in construction. So I had this idea of like, 275 00:17:06,920 --> 00:17:09,920 Speaker 3: could they work from home in this future internet? And 276 00:17:10,160 --> 00:17:13,120 Speaker 3: that was where the idea came from, was this sort 277 00:17:13,160 --> 00:17:17,040 Speaker 3: of nightmare dream of a world of telecommuting immigrants. 278 00:17:17,480 --> 00:17:19,879 Speaker 1: The scene that I remember the most is definitely the 279 00:17:20,000 --> 00:17:23,080 Speaker 1: dam breaking when Memo thre's the rock at the damp. 280 00:17:27,760 --> 00:17:28,840 Speaker 4: But the scenes that. 281 00:17:28,840 --> 00:17:30,840 Speaker 1: I find really exciting too is I remember it was 282 00:17:30,880 --> 00:17:33,080 Speaker 1: the first time I had seen a love making scene like. 283 00:17:33,040 --> 00:17:37,480 Speaker 5: That she does, but. 284 00:17:39,160 --> 00:17:42,159 Speaker 4: With like these like wires. 285 00:17:41,720 --> 00:17:44,399 Speaker 1: Dicking out of people, and I don't know it was 286 00:17:44,480 --> 00:17:47,000 Speaker 1: it was. It was creepy and beautiful at the same time, 287 00:17:50,880 --> 00:17:53,359 Speaker 1: but now it's like I get it when our friends 288 00:17:53,400 --> 00:17:57,520 Speaker 1: call you the Peruvian Nostro Damis because all of the 289 00:17:57,560 --> 00:17:59,600 Speaker 1: things that you said would happen in that film have 290 00:17:59,640 --> 00:18:00,280 Speaker 1: come to true. 291 00:18:03,000 --> 00:18:05,639 Speaker 3: When I made Sleep Dealer, there had been really no 292 00:18:06,400 --> 00:18:11,720 Speaker 3: films about the future made. Looking at Mexico, Brazil, India, 293 00:18:12,440 --> 00:18:15,800 Speaker 3: various countries in Africa, the kind of global South was 294 00:18:15,840 --> 00:18:19,680 Speaker 3: totally outside of the future. In the history of science 295 00:18:19,680 --> 00:18:24,240 Speaker 3: fiction film, Hollywood has produced so many visions of the 296 00:18:24,240 --> 00:18:27,199 Speaker 3: future without our people in it. That's violence and it 297 00:18:27,240 --> 00:18:30,400 Speaker 3: needs to be stood up to. And that's always been 298 00:18:30,440 --> 00:18:32,480 Speaker 3: a fun thing to do. It's always been a motivation. 299 00:18:32,600 --> 00:18:34,520 Speaker 3: It's like, if I'm going to put all this life 300 00:18:34,640 --> 00:18:37,320 Speaker 3: energy into a work, I'd love it to do something 301 00:18:37,400 --> 00:18:46,439 Speaker 3: that has never been done before. So Christina, you you 302 00:18:46,440 --> 00:18:49,280 Speaker 3: know you've been at this for twenty plus years and 303 00:18:49,600 --> 00:18:53,560 Speaker 3: your work is really varied. I'd say one thing, I like, 304 00:18:53,640 --> 00:18:55,280 Speaker 3: it's not in all the work, but it's in a 305 00:18:55,320 --> 00:18:58,520 Speaker 3: lot of it. Not only are you bringing like women's 306 00:18:58,520 --> 00:19:03,200 Speaker 3: stories front and center, but Latina stories front and center. 307 00:19:03,320 --> 00:19:07,000 Speaker 3: And in Las Martha's I love that film. It's a 308 00:19:07,119 --> 00:19:12,280 Speaker 3: ninety minute film about the US Mexico border, about ritual 309 00:19:12,920 --> 00:19:13,880 Speaker 3: about history. 310 00:19:15,000 --> 00:19:18,160 Speaker 4: My mom belongs to the Society of Martha Washington. 311 00:19:18,000 --> 00:19:21,840 Speaker 7: My grandmother portrayed with Martha Washington. I am this year's 312 00:19:21,920 --> 00:19:24,480 Speaker 7: guest representing Nolao da Malipas. 313 00:19:24,760 --> 00:19:28,520 Speaker 1: I have putting together Las MARTA's. The process started for 314 00:19:28,600 --> 00:19:32,159 Speaker 1: me with asking questions. In this case, I went to 315 00:19:32,200 --> 00:19:36,760 Speaker 1: visit my cousin Godla, who moved to Ledo, and I 316 00:19:36,880 --> 00:19:40,600 Speaker 1: noticed that on the covers of all of the local 317 00:19:40,680 --> 00:19:45,280 Speaker 1: magazines you saw these Latina young women who were dressed 318 00:19:45,320 --> 00:19:49,119 Speaker 1: like Marie Antoinette. So I was captivated by that, and 319 00:19:49,160 --> 00:19:51,240 Speaker 1: I was started asking questions, and I realized, Oh, these 320 00:19:51,280 --> 00:19:54,640 Speaker 1: women are portraying figures from George Washington's era. They're celebrating 321 00:19:54,680 --> 00:19:58,880 Speaker 1: his birthday, and they're all guests at this event in Laredo, 322 00:19:59,359 --> 00:20:04,120 Speaker 1: where surprisingly you have the country's largest celebration to George Washington. 323 00:20:04,880 --> 00:20:08,440 Speaker 1: And it was just about going there and building access, 324 00:20:08,600 --> 00:20:12,159 Speaker 1: talking to the dressmaker, really like figuring out how to 325 00:20:12,160 --> 00:20:16,520 Speaker 1: frame the story and seeing the symbolism behind this heavy gown. 326 00:20:17,160 --> 00:20:19,960 Speaker 1: These are one of a kindreds and least dressed. 327 00:20:20,040 --> 00:20:23,119 Speaker 5: I can weigh up to one hundred pounds. 328 00:20:24,560 --> 00:20:28,840 Speaker 7: The average gown costs around fifteen thousand dollars, but a 329 00:20:28,880 --> 00:20:31,760 Speaker 7: few girls spend us not just thirty thousand dollars on 330 00:20:31,840 --> 00:20:33,840 Speaker 7: the gown, and that's really a lot, considering that the 331 00:20:33,880 --> 00:20:38,840 Speaker 7: medium income in Naredo is around forty thousand dollars. 332 00:20:38,880 --> 00:20:42,280 Speaker 3: People come to the border with ideas already formed, Whereas 333 00:20:42,400 --> 00:20:45,439 Speaker 3: I think, because you grew up there, your formed idea 334 00:20:45,760 --> 00:20:49,720 Speaker 3: is that people live here. You know, that's your fretty. 335 00:20:49,560 --> 00:20:51,159 Speaker 4: Idea, pretty big, sentimental. 336 00:20:51,400 --> 00:20:56,080 Speaker 3: But that's like actually revolutionary within American media culture. 337 00:20:58,080 --> 00:20:59,920 Speaker 4: So I stand against something too. 338 00:21:00,080 --> 00:21:03,440 Speaker 1: I stand against the border narrative that we're so used 339 00:21:03,440 --> 00:21:06,800 Speaker 1: to seeing, like that dominant border narrative that is so 340 00:21:06,960 --> 00:21:11,199 Speaker 1: divisive that separates people. We need a new one, a 341 00:21:11,240 --> 00:21:15,760 Speaker 1: new border narrative that brings communities together, that shows people 342 00:21:16,040 --> 00:21:19,720 Speaker 1: loving each other and growing up. And there's this way 343 00:21:20,040 --> 00:21:21,880 Speaker 1: when you grow up along the border, there's this way 344 00:21:21,920 --> 00:21:25,399 Speaker 1: of thinking that things are not worth it. There's this 345 00:21:25,520 --> 00:21:30,800 Speaker 1: unspoken feeling of being disposable. All I wanted to do 346 00:21:30,880 --> 00:21:33,679 Speaker 1: when I was growing up was leave the border, and 347 00:21:33,720 --> 00:21:35,879 Speaker 1: now all I want to do is go home. And 348 00:21:35,960 --> 00:21:39,159 Speaker 1: it does feel in a sense that I'm creating my 349 00:21:39,280 --> 00:21:46,159 Speaker 1: new homeland through border cinema. As I come up with 350 00:21:46,200 --> 00:21:49,160 Speaker 1: these ideas and these questions. I'm writing them out, trying 351 00:21:49,200 --> 00:21:52,320 Speaker 1: to figure out is there something here. One of the 352 00:21:52,320 --> 00:21:55,640 Speaker 1: wonderful things about I guess living with another filmmaker such 353 00:21:55,720 --> 00:21:58,919 Speaker 1: as yourself is that I just have to open my 354 00:21:59,000 --> 00:22:01,600 Speaker 1: door and walk a couple of steps to go and. 355 00:22:01,560 --> 00:22:03,840 Speaker 4: Say, hey, what do you think about this? Some thinking 356 00:22:03,840 --> 00:22:04,720 Speaker 4: about this right now. 357 00:22:04,840 --> 00:22:07,720 Speaker 1: And what's really I'm not sure if it's good or bad, 358 00:22:08,359 --> 00:22:11,080 Speaker 1: is how it just seems like there are no boundaries 359 00:22:11,160 --> 00:22:14,240 Speaker 1: or borders between us. Like we're talking about film while 360 00:22:14,240 --> 00:22:16,720 Speaker 1: we're sitting in front of our daughter having dinner, and 361 00:22:16,760 --> 00:22:18,240 Speaker 1: I'm just like, is that healthy? 362 00:22:18,280 --> 00:22:20,400 Speaker 4: I don't know that's what we do? 363 00:22:21,119 --> 00:22:21,760 Speaker 3: Yeah, exactly. 364 00:22:21,800 --> 00:22:21,840 Speaker 2: No. 365 00:22:21,920 --> 00:22:23,560 Speaker 3: I think our house definitely has like a kind of 366 00:22:23,720 --> 00:22:27,000 Speaker 3: creative lab vibe to it in terms of like always yeah, 367 00:22:27,040 --> 00:22:29,720 Speaker 3: trying to give feedback, get feedback. But in terms of 368 00:22:29,760 --> 00:22:31,800 Speaker 3: like our day to day it's been a grind. I mean, 369 00:22:31,840 --> 00:22:34,600 Speaker 3: it's just the fact is that we have mostly done 370 00:22:34,600 --> 00:22:38,560 Speaker 3: our own distribution, mostly do our own booking of our 371 00:22:38,680 --> 00:22:41,880 Speaker 3: speaking gigs, mostly right our own grants. We have had 372 00:22:42,040 --> 00:22:45,520 Speaker 3: wonderful and talented people work around us at different moments, 373 00:22:45,560 --> 00:22:48,280 Speaker 3: but we've never reached a moment where we can really 374 00:22:48,320 --> 00:22:51,240 Speaker 3: have like a staff and an office or anything like that. 375 00:22:51,359 --> 00:22:53,919 Speaker 3: Not at all. And to me, that's really in the 376 00:22:53,960 --> 00:22:59,960 Speaker 3: context of the systematic attack and exclusion of Latino voice 377 00:23:00,480 --> 00:23:03,600 Speaker 3: and talent from Hollywood. Despite like we've been at it 378 00:23:03,640 --> 00:23:05,359 Speaker 3: for two decades and we have a lot of like 379 00:23:05,480 --> 00:23:08,720 Speaker 3: awards and blah blah blah, it's like it has historically 380 00:23:08,760 --> 00:23:12,840 Speaker 3: been constant panic and hustle. I see the consequences of 381 00:23:12,880 --> 00:23:17,160 Speaker 3: the lack of Latino inclusion in our industry. I think 382 00:23:17,240 --> 00:23:19,800 Speaker 3: we feel that. I feel it like every day. 383 00:23:20,160 --> 00:23:22,879 Speaker 1: Yeah, Like a new phrase that I hear now that 384 00:23:22,960 --> 00:23:25,440 Speaker 1: I didn't hear when we first started was this refrain 385 00:23:25,560 --> 00:23:29,400 Speaker 1: is like, don't tell stories about us without us that 386 00:23:29,560 --> 00:23:32,119 Speaker 1: I was not hearing when we first started, you know, 387 00:23:32,600 --> 00:23:36,320 Speaker 1: So I think, you know, there's there's a reckoning happening. 388 00:23:36,600 --> 00:23:39,200 Speaker 1: But I think it's it's gonna be important for people 389 00:23:39,200 --> 00:23:42,480 Speaker 1: who are traditionally shut out to be able to express 390 00:23:42,480 --> 00:23:45,640 Speaker 1: ourselves at the highest levels, because it feels like something's 391 00:23:46,080 --> 00:23:48,560 Speaker 1: changing finally after twenty years. 392 00:23:48,800 --> 00:23:53,600 Speaker 3: Yes, it might finally, after four decades of being the 393 00:23:53,640 --> 00:24:01,680 Speaker 3: decade of the Latino this might finally be it doing 394 00:24:01,720 --> 00:24:05,320 Speaker 3: work around questions of borders and immigration for many, many years, 395 00:24:05,840 --> 00:24:08,639 Speaker 3: the question emerges sort of naturally, like is this ever 396 00:24:08,720 --> 00:24:10,760 Speaker 3: going to change? Is it always going to just keep 397 00:24:10,800 --> 00:24:14,720 Speaker 3: getting worse for our people? And in twenty ten, I 398 00:24:14,720 --> 00:24:17,320 Speaker 3: felt like I started to see an answer to that, 399 00:24:17,480 --> 00:24:25,720 Speaker 3: which was the Dreamers. Yeah, there was this kind of 400 00:24:26,320 --> 00:24:30,520 Speaker 3: rebellion of undocumented youth who, for the first time my 401 00:24:30,600 --> 00:24:34,440 Speaker 3: understanding in world history, were doing civil disobedience, coming out 402 00:24:34,440 --> 00:24:37,879 Speaker 3: of the shadows, proclaiming their status, getting arrested in the streets, 403 00:24:38,359 --> 00:24:40,920 Speaker 3: and risking their own deportation as part of an act 404 00:24:40,920 --> 00:24:44,760 Speaker 3: of political protest and act of self liberation. And so 405 00:24:44,880 --> 00:24:47,160 Speaker 3: I started to film with this group called the National 406 00:24:47,200 --> 00:24:51,200 Speaker 3: Immigrant Youth Alliance, And at first they were doing normal 407 00:24:51,280 --> 00:24:54,400 Speaker 3: sit ins, like in a street or in a government office, 408 00:24:54,880 --> 00:24:57,280 Speaker 3: but they started to escalate. 409 00:24:58,119 --> 00:25:02,160 Speaker 5: We came out of the shadows, a few deportations, our 410 00:25:02,160 --> 00:25:07,200 Speaker 5: own the new plan, get into the Barrower Detention Center 411 00:25:07,640 --> 00:25:08,600 Speaker 5: and get people out. 412 00:25:10,840 --> 00:25:14,360 Speaker 3: And Christina and I were talking and I was sort 413 00:25:14,359 --> 00:25:16,560 Speaker 3: of lost, like, how could I make a film out 414 00:25:16,560 --> 00:25:18,520 Speaker 3: of this? It's so big? Am I doing a film 415 00:25:18,520 --> 00:25:21,560 Speaker 3: about the whole movement, A film about everything, A film 416 00:25:21,600 --> 00:25:24,040 Speaker 3: about which carry I was just so deep in it 417 00:25:24,320 --> 00:25:26,440 Speaker 3: and shared the material with Christina. 418 00:25:26,880 --> 00:25:28,160 Speaker 8: My name is Marcos Savedra. 419 00:25:28,400 --> 00:25:30,040 Speaker 7: I am undocumented and I'm afraid. 420 00:25:30,640 --> 00:25:33,600 Speaker 3: I am originally from Mohaka, Mexico, across the border at 421 00:25:33,600 --> 00:25:36,240 Speaker 3: the age of three through the Sonoran Desert. 422 00:25:36,560 --> 00:25:39,440 Speaker 1: Yeah. I remember you were working on a testimonial and 423 00:25:39,680 --> 00:25:42,399 Speaker 1: there was this young woman who was speaking directly to 424 00:25:42,440 --> 00:25:44,920 Speaker 1: the camera saying, Mommy, buppy, if you're watching this, it's 425 00:25:44,960 --> 00:25:46,080 Speaker 1: because I have been arrested. 426 00:25:46,119 --> 00:25:48,080 Speaker 4: And I just stopped in my. 427 00:25:48,080 --> 00:25:50,359 Speaker 1: Tracks and it really moved me because I was thinking 428 00:25:50,359 --> 00:25:53,879 Speaker 1: about my dad and how he was undocumented at that age, 429 00:25:53,920 --> 00:25:55,960 Speaker 1: that same age that she was, so she was about 430 00:25:56,000 --> 00:25:59,560 Speaker 1: to go into one of these civil disobedience actions and 431 00:25:59,680 --> 00:26:02,680 Speaker 1: didn't know if she would come home, and I just thought, Wow, 432 00:26:03,000 --> 00:26:05,680 Speaker 1: what if my dad was around this kind of feeling 433 00:26:05,760 --> 00:26:08,600 Speaker 1: this environment where it's like it's okay to come out 434 00:26:08,760 --> 00:26:13,080 Speaker 1: as undocumented, And seeing you working with this material, I 435 00:26:13,160 --> 00:26:15,960 Speaker 1: was captivated and was very interested in the questions that 436 00:26:16,000 --> 00:26:17,399 Speaker 1: you were asking the people you were meeting. 437 00:26:18,680 --> 00:26:22,160 Speaker 3: So we filmed together this real world action, this real 438 00:26:22,200 --> 00:26:25,280 Speaker 3: world kind of heist of going into attention to get 439 00:26:25,280 --> 00:26:28,560 Speaker 3: people out, and we filmed that material in real time, 440 00:26:29,280 --> 00:26:31,040 Speaker 3: but We didn't really know it would be a film 441 00:26:31,119 --> 00:26:33,720 Speaker 3: until a couple of years later when we looked at it. 442 00:26:33,840 --> 00:26:37,239 Speaker 3: We were having a kid at the time, and so 443 00:26:37,280 --> 00:26:39,280 Speaker 3: we looked at this material and we're like, you know, 444 00:26:39,359 --> 00:26:41,239 Speaker 3: what would be interesting would be if we told the 445 00:26:41,280 --> 00:26:44,000 Speaker 3: story of this group with the real footage that we had, 446 00:26:44,320 --> 00:26:46,560 Speaker 3: but when they go into the detention center where we 447 00:26:46,560 --> 00:26:50,520 Speaker 3: were denied permission, we recreated that part inside the detention 448 00:26:50,680 --> 00:26:53,960 Speaker 3: center with actors. And so we started to dialogue with 449 00:26:54,000 --> 00:26:55,920 Speaker 3: each other like what would that be like a film 450 00:26:55,920 --> 00:27:00,439 Speaker 3: that's half documentary, half with actors, but where like you 451 00:27:00,520 --> 00:27:03,160 Speaker 3: meet the person in the documentary layer and then when 452 00:27:03,160 --> 00:27:06,040 Speaker 3: they get taken by border patrol, you flip them and 453 00:27:06,080 --> 00:27:08,400 Speaker 3: turn them into an actor and then they can pick 454 00:27:08,480 --> 00:27:13,719 Speaker 3: up the phone. Hi, do you know the guy named Markup? 455 00:27:14,680 --> 00:27:16,600 Speaker 3: He said, I should call you and I tell you 456 00:27:16,600 --> 00:27:19,879 Speaker 3: I'm a drumor at Proward and call the documentary layer 457 00:27:19,920 --> 00:27:23,359 Speaker 3: on the outside. And it was both like exciting and weird, 458 00:27:23,400 --> 00:27:25,359 Speaker 3: and we really, I think needed each other to just 459 00:27:25,400 --> 00:27:28,480 Speaker 3: talk it out as terms like what would be possible? 460 00:27:28,880 --> 00:27:30,760 Speaker 1: Both you and I remember were just like, we don't 461 00:27:30,800 --> 00:27:32,800 Speaker 1: want to make an art film. We want our families 462 00:27:32,800 --> 00:27:34,119 Speaker 1: to be able to watch this film. 463 00:27:35,080 --> 00:27:37,440 Speaker 3: It's like and they had to make an experimental film 464 00:27:37,440 --> 00:27:40,040 Speaker 3: because we had to, you know. But the film finally 465 00:27:40,119 --> 00:27:43,560 Speaker 3: it premiered at sun Dance in twenty nineteen. 466 00:27:44,320 --> 00:27:47,080 Speaker 6: This is a film that aspires to break some rules 467 00:27:47,320 --> 00:27:51,040 Speaker 6: and maybe some boss and to get it done, we 468 00:27:51,080 --> 00:27:53,040 Speaker 6: needed more than a group of collaborators. We needed a 469 00:27:53,040 --> 00:27:56,159 Speaker 6: real group of some persons, people that were willing to 470 00:27:56,760 --> 00:27:59,440 Speaker 6: take a big risk, jumping beyond don with us. 471 00:27:59,640 --> 00:28:02,280 Speaker 3: We show up there. We really felt like coming out 472 00:28:02,320 --> 00:28:04,720 Speaker 3: of a lab like scientists with like we put these 473 00:28:04,720 --> 00:28:08,159 Speaker 3: two things together in this Bunsen burner and here in 474 00:28:08,200 --> 00:28:10,159 Speaker 3: front of you audience, we're going to light it and 475 00:28:10,200 --> 00:28:13,080 Speaker 3: we don't know if it's going to explode or what's 476 00:28:13,080 --> 00:28:14,960 Speaker 3: going to happen. And we put it up on the 477 00:28:15,000 --> 00:28:18,560 Speaker 3: screen in front of the audience and it was a 478 00:28:18,600 --> 00:28:22,080 Speaker 3: standing ovation and people were crying. It was like a 479 00:28:22,160 --> 00:28:32,240 Speaker 3: dream after six or seven years of work. And then 480 00:28:32,520 --> 00:28:36,120 Speaker 3: two weeks later, one of the main characters in the film, 481 00:28:36,280 --> 00:28:39,560 Speaker 3: a man named Claudio Rojas, he went to an ice 482 00:28:39,760 --> 00:28:42,880 Speaker 3: check in. This was under the Trump administration, and they 483 00:28:42,920 --> 00:28:45,440 Speaker 3: detained him and he was supposed to be with us 484 00:28:45,440 --> 00:28:49,280 Speaker 3: at the Miami Film Festival, and instead he spent that 485 00:28:49,480 --> 00:28:52,880 Speaker 3: night in detention in the Chrome Detention Center in South Florida. 486 00:28:53,760 --> 00:28:56,360 Speaker 1: Yeah, and I remember driving to Chrome to go and 487 00:28:56,480 --> 00:28:58,600 Speaker 1: visit him. He was supposed to walk the red carpet, 488 00:28:58,600 --> 00:29:01,240 Speaker 1: and instead I had to go and see him, you know, 489 00:29:01,320 --> 00:29:04,360 Speaker 1: in his jumpsuit at Chrome. And I remember when I 490 00:29:04,440 --> 00:29:06,880 Speaker 1: visited him, he showed me this piece of paper and 491 00:29:06,880 --> 00:29:09,880 Speaker 1: he said, these are the people who shouldn't be in here. 492 00:29:10,600 --> 00:29:15,280 Speaker 1: He's still organizing even then. He believed so much in 493 00:29:15,600 --> 00:29:17,880 Speaker 1: what he was doing. He was just a natural organizer, 494 00:29:18,080 --> 00:29:22,000 Speaker 1: you know, a leader. It was tragic for us. The 495 00:29:22,040 --> 00:29:24,120 Speaker 1: film was attacked by ICE. 496 00:29:30,160 --> 00:29:33,040 Speaker 3: The message of our film, which was you can fight 497 00:29:33,120 --> 00:29:37,960 Speaker 3: a deportation that undocumented folks organizing is a path, deliberation 498 00:29:38,520 --> 00:29:41,160 Speaker 3: and empowerment. All of that that's in the film was 499 00:29:41,240 --> 00:29:46,760 Speaker 3: also attacked. And obviously I felt guilty and messed up 500 00:29:46,840 --> 00:29:50,280 Speaker 3: because the appearance was that he was detained by ICE 501 00:29:50,320 --> 00:29:53,680 Speaker 3: in retribution for speaking up. Because he had been checking 502 00:29:53,720 --> 00:29:57,000 Speaker 3: in with ICE without incidents for seven years. For two 503 00:29:57,040 --> 00:29:59,520 Speaker 3: years under the Trump administration, his case seemed to be 504 00:29:59,520 --> 00:30:02,040 Speaker 3: going good, and then all of a sudden, after he's 505 00:30:02,080 --> 00:30:05,200 Speaker 3: in the news Bam, they lock him up and deport him. 506 00:30:05,200 --> 00:30:08,040 Speaker 3: A month later, we went from like a type of 507 00:30:08,080 --> 00:30:11,040 Speaker 3: heaven at the Sundance premiere to a type of hell 508 00:30:11,600 --> 00:30:16,120 Speaker 3: and started this two year long campaign working with coalition 509 00:30:16,200 --> 00:30:18,920 Speaker 3: of activists, raising money and trying to figure out how 510 00:30:18,960 --> 00:30:24,840 Speaker 3: to get him back and change play up in front 511 00:30:24,840 --> 00:30:25,600 Speaker 3: of peers for one. 512 00:30:25,520 --> 00:30:26,560 Speaker 2: Under Shandle. 513 00:30:28,640 --> 00:30:32,560 Speaker 3: And then finally in the summer of twenty twenty one, 514 00:30:33,040 --> 00:30:37,400 Speaker 3: incredibly this whole movement succeeded and we actually managed to 515 00:30:37,400 --> 00:30:42,400 Speaker 3: bring Claudio back through a mechanism called humanitarian parole. It 516 00:30:42,520 --> 00:30:48,200 Speaker 3: was just an incredibly joyful moment to help put back 517 00:30:48,240 --> 00:30:51,920 Speaker 3: together what never should have been torn apart. So we're 518 00:30:51,920 --> 00:30:56,360 Speaker 3: asking for deferred action for Claudio Rojas still, but at 519 00:30:56,440 --> 00:30:59,560 Speaker 3: least he's he's home with his wife, with his extended 520 00:30:59,600 --> 00:31:03,000 Speaker 3: family here. When we figured out this mechanism to bring 521 00:31:03,040 --> 00:31:07,360 Speaker 3: Claudio back, this humanitarian parole mechanism, we took it. I 522 00:31:07,360 --> 00:31:08,240 Speaker 3: guess a step. 523 00:31:08,000 --> 00:31:12,560 Speaker 1: Further, Yeah, well, then it was a way to bring 524 00:31:12,560 --> 00:31:15,480 Speaker 1: my own deported family back home. One of my uncles, 525 00:31:15,520 --> 00:31:19,920 Speaker 1: Vitia Rafael, after being separated from his family for fifteen years, 526 00:31:20,000 --> 00:31:23,040 Speaker 1: from his immediate kids and grandkids and great grandkids. 527 00:31:23,280 --> 00:31:25,600 Speaker 4: We were able to bring him back home. 528 00:31:31,960 --> 00:31:32,440 Speaker 7: To get. 529 00:31:33,760 --> 00:31:38,840 Speaker 1: Year, but he's here temporarily. He's here through humanitarian parole. Yeah, 530 00:31:38,880 --> 00:31:46,320 Speaker 1: what i'd probably in my duo. 531 00:31:47,240 --> 00:31:48,640 Speaker 8: Komonda India Maria Ya. 532 00:31:50,560 --> 00:31:50,760 Speaker 3: Yeah. 533 00:31:51,960 --> 00:31:56,120 Speaker 1: So I'm interested right now in following that limbo that 534 00:31:56,120 --> 00:31:59,080 Speaker 1: he's in right now for a year as he's struggling 535 00:31:59,120 --> 00:32:00,200 Speaker 1: to figure out how to stay. 536 00:32:01,280 --> 00:32:03,040 Speaker 4: For the first time, he has hope. 537 00:32:03,160 --> 00:32:04,960 Speaker 1: He had given up, he threw his hands up in 538 00:32:05,000 --> 00:32:07,479 Speaker 1: the air, and now he has this renewed hope and 539 00:32:07,520 --> 00:32:10,600 Speaker 1: he's a fighter now. And it reminds me of the 540 00:32:10,640 --> 00:32:13,120 Speaker 1: power of film, the power of what happens when you 541 00:32:13,120 --> 00:32:15,760 Speaker 1: tell your stories and how it can actually have long 542 00:32:15,960 --> 00:32:19,560 Speaker 1: lasting consequences and impact on what you do, like who 543 00:32:19,640 --> 00:32:22,160 Speaker 1: you are and how you see yourself in the world. 544 00:32:22,240 --> 00:32:25,800 Speaker 1: And I love seeing this spark in meet the Orbiod's eyes. 545 00:32:25,880 --> 00:32:28,120 Speaker 4: Now you know that he's just like, maybe there's a 546 00:32:28,160 --> 00:32:30,120 Speaker 4: shot here, maybe I can stay. 547 00:32:34,040 --> 00:32:36,400 Speaker 3: So it was in this moment when when Claudio was 548 00:32:36,440 --> 00:32:39,280 Speaker 3: coming home, and when Christina's uncle was coming home and 549 00:32:39,400 --> 00:32:41,720 Speaker 3: this sort of trauma I guess that we had all 550 00:32:41,800 --> 00:32:45,960 Speaker 3: gone through was twisting and changing that we got this 551 00:32:46,280 --> 00:32:50,000 Speaker 3: invitation from the MacArthur Foundation from one program officer there 552 00:32:50,080 --> 00:32:52,640 Speaker 3: to have a zoom call to talk about the state 553 00:32:52,720 --> 00:32:56,400 Speaker 3: of Latino media. They kind of punked us, they tricked us, 554 00:32:56,840 --> 00:32:59,120 Speaker 3: and so we got on the zoom call with one 555 00:32:59,160 --> 00:33:02,800 Speaker 3: of the program officers there and she was just asking us, so, 556 00:33:02,840 --> 00:33:04,880 Speaker 3: what is the state of Latino media? What do you 557 00:33:04,920 --> 00:33:06,600 Speaker 3: see in the field? And we were, you know, we 558 00:33:06,640 --> 00:33:10,680 Speaker 3: each have different answers for that, but basically we were complaining. 559 00:33:11,080 --> 00:33:14,480 Speaker 3: And then she goes, well, I'm going to bring in 560 00:33:14,520 --> 00:33:16,600 Speaker 3: some more of my colleagues to talk about this, and 561 00:33:16,640 --> 00:33:19,080 Speaker 3: the zoom call all of a sudden populated with like 562 00:33:19,160 --> 00:33:22,840 Speaker 3: fifteen people from the MacArthur Foundation. And Christina looked at 563 00:33:22,880 --> 00:33:26,960 Speaker 3: me like what did I say? She thought we were 564 00:33:26,960 --> 00:33:29,200 Speaker 3: in trouble, you know. Then it turned out that they 565 00:33:29,240 --> 00:33:33,280 Speaker 3: were calling regarding a MacArthur fellowship and we were both 566 00:33:33,720 --> 00:33:36,680 Speaker 3: almost fell out of our chairs. But like a cat 567 00:33:36,760 --> 00:33:38,640 Speaker 3: with a mouse, they played with us and made us 568 00:33:38,640 --> 00:33:43,080 Speaker 3: think it was a fellowship, which would be incredible. Then 569 00:33:43,200 --> 00:33:45,680 Speaker 3: after about five minutes of that, they revealed it was 570 00:33:45,680 --> 00:33:48,720 Speaker 3: actually two fellowships, one for her and one for one 571 00:33:48,760 --> 00:33:51,800 Speaker 3: for me. At that point, we were I think like levitating. 572 00:33:51,880 --> 00:33:53,280 Speaker 3: It was like what is this? 573 00:33:53,440 --> 00:33:53,640 Speaker 7: Is this? 574 00:33:53,680 --> 00:33:54,760 Speaker 3: How can this be happening? 575 00:33:54,920 --> 00:33:56,960 Speaker 4: I feel like I was looking over my shoulder, like 576 00:33:57,320 --> 00:33:59,040 Speaker 4: are you sure you know you're talking to. 577 00:34:02,440 --> 00:34:04,880 Speaker 3: And so it's like a super beautiful thing for us 578 00:34:04,920 --> 00:34:09,280 Speaker 3: to have this recognition. We also know so many people 579 00:34:09,280 --> 00:34:12,319 Speaker 3: in our generation deserve it, and it's also something we 580 00:34:12,440 --> 00:34:16,520 Speaker 3: view in the context of the under investment and the 581 00:34:16,600 --> 00:34:21,440 Speaker 3: exclusion of our generation of Latino filmmakers in these different 582 00:34:21,480 --> 00:34:24,200 Speaker 3: systems of support. So we're trying to figure out how 583 00:34:24,239 --> 00:34:26,400 Speaker 3: to navigate in a way where we can use this 584 00:34:26,520 --> 00:34:29,520 Speaker 3: to accelerate our work, but ideally to build up you know, 585 00:34:29,520 --> 00:34:32,799 Speaker 3: we're basically interested in starting a film fund that could 586 00:34:32,880 --> 00:34:36,960 Speaker 3: really invest in mid career LATINX filmmakers. 587 00:34:37,320 --> 00:34:40,719 Speaker 1: We have access to folks who have the skills, Now 588 00:34:40,800 --> 00:34:44,360 Speaker 1: let's build access to people who can support those those folks. 589 00:34:44,600 --> 00:34:48,440 Speaker 3: Yeah, So we're trying to like feel happy and celebrate 590 00:34:48,520 --> 00:34:51,440 Speaker 3: this moment that we're living through, but really carry it 591 00:34:51,480 --> 00:34:53,360 Speaker 3: as a responsibility and see if we can build up 592 00:34:53,400 --> 00:34:57,000 Speaker 3: something that can create many positive, empowering ripples out into 593 00:34:57,040 --> 00:34:57,480 Speaker 3: the field. 594 00:35:01,200 --> 00:35:05,759 Speaker 1: Our day to day life as a filmmaking family is 595 00:35:05,800 --> 00:35:06,839 Speaker 1: actually quite. 596 00:35:06,600 --> 00:35:08,840 Speaker 4: Boring, you know. 597 00:35:08,920 --> 00:35:11,480 Speaker 1: It's like you still have to do the dishes and 598 00:35:11,520 --> 00:35:15,080 Speaker 1: the bed and do bedtime routines and just juggling at 599 00:35:15,080 --> 00:35:18,880 Speaker 1: all with someone who is also a filmmaker. When I 600 00:35:18,880 --> 00:35:21,400 Speaker 1: think of it, it sounds like, oh, that could be so romantic, 601 00:35:21,520 --> 00:35:23,320 Speaker 1: so like two filmmakers and one family. 602 00:35:23,600 --> 00:35:25,360 Speaker 4: But it's really challenging. 603 00:35:25,040 --> 00:35:27,719 Speaker 3: Because you know, I know a lot of couples where 604 00:35:27,719 --> 00:35:29,759 Speaker 3: there's like there's the crazy person in the couple and 605 00:35:29,760 --> 00:35:31,560 Speaker 3: then there's this sort of sane person in the couple, 606 00:35:31,640 --> 00:35:34,280 Speaker 3: and I think that's a dynamic that really works. We're 607 00:35:34,320 --> 00:35:40,120 Speaker 3: like two crazy people together, like two totally unemployed, self 608 00:35:40,120 --> 00:35:43,960 Speaker 3: employed independent filmmakers trying to carve it out, and that's 609 00:35:44,160 --> 00:35:45,200 Speaker 3: fun and challenging. 610 00:35:45,440 --> 00:35:48,399 Speaker 1: I feel like there's constant juggling and Alex I don't 611 00:35:48,400 --> 00:35:50,880 Speaker 1: know if this is you feel embarrassed to say this, 612 00:35:50,880 --> 00:35:53,840 Speaker 1: but it's like Alex is a king with spreadsheets. 613 00:35:54,560 --> 00:35:55,920 Speaker 4: He's really good. 614 00:35:56,480 --> 00:35:58,960 Speaker 1: And it was kind of bugging me at first, you 615 00:35:59,000 --> 00:36:00,560 Speaker 1: know that he had these spreadshel It's just like, ah, 616 00:36:00,560 --> 00:36:02,600 Speaker 1: why do I have to do this? But I realized 617 00:36:02,640 --> 00:36:06,240 Speaker 1: when I didn't have the spreadsheet that there was a mess, 618 00:36:06,280 --> 00:36:08,120 Speaker 1: Like I didn't know who was supposed to do what. 619 00:36:09,040 --> 00:36:11,279 Speaker 3: We try to be conscious of gender and stuff like that. 620 00:36:11,320 --> 00:36:14,560 Speaker 3: So like I like to make spreadsheets that where it's like, 621 00:36:14,600 --> 00:36:16,520 Speaker 3: this is how we're going to map out the delegation 622 00:36:16,600 --> 00:36:18,680 Speaker 3: of duties so that we think about it. Because if 623 00:36:18,719 --> 00:36:20,480 Speaker 3: you don't think about it and don't talk about it, 624 00:36:20,520 --> 00:36:23,960 Speaker 3: then old habits kind of are what run the day. 625 00:36:24,160 --> 00:36:25,400 Speaker 3: So we try to be deliberate. 626 00:36:25,840 --> 00:36:30,880 Speaker 1: We take turns doing the dishes, and the benefit of 627 00:36:30,920 --> 00:36:34,359 Speaker 1: all that is that I get to interrupt an edit 628 00:36:34,440 --> 00:36:37,520 Speaker 1: he might be doing the same time, or you know, 629 00:36:37,600 --> 00:36:39,319 Speaker 1: vice versa. He can come in and ask me a 630 00:36:39,360 --> 00:36:41,359 Speaker 1: question while I'm trying to, you know, put a thought 631 00:36:41,360 --> 00:36:44,479 Speaker 1: together for a treatment. And I don't know, I feel 632 00:36:44,480 --> 00:36:47,440 Speaker 1: like we don't have clear boundaries, but the spreadsheets help. 633 00:36:51,400 --> 00:36:53,880 Speaker 3: But I think for me, like being a filmmaking family, 634 00:36:54,160 --> 00:36:57,240 Speaker 3: we have a daughter, you know, just watching her consume 635 00:36:57,400 --> 00:37:02,160 Speaker 3: media and watching how it impacts her thinking about the world, 636 00:37:02,600 --> 00:37:05,879 Speaker 3: it really makes you think about how important it is 637 00:37:05,960 --> 00:37:09,040 Speaker 3: what media we create. And we live in a society 638 00:37:09,080 --> 00:37:12,560 Speaker 3: where it's so central. We've had a society that has 639 00:37:12,600 --> 00:37:16,880 Speaker 3: told stories and use narrative to normalize the military, to 640 00:37:16,920 --> 00:37:21,040 Speaker 3: normalize police violence, to normalize the centrality of white male 641 00:37:21,239 --> 00:37:25,680 Speaker 3: perspectives on every aspect of life, and that's a real attack. 642 00:37:25,960 --> 00:37:28,920 Speaker 3: So just seeing our own child how she interacts with 643 00:37:29,040 --> 00:37:32,640 Speaker 3: culture makes me feel like, man, we really have to 644 00:37:32,680 --> 00:37:35,560 Speaker 3: step it up. We need to give her a culture 645 00:37:35,640 --> 00:37:39,080 Speaker 3: that is going to help her understand why we're here, 646 00:37:39,480 --> 00:37:43,839 Speaker 3: Why is uncles and our family in prison, Why do 647 00:37:43,880 --> 00:37:47,400 Speaker 3: our communities have less wealth than others. We need a 648 00:37:47,480 --> 00:37:50,120 Speaker 3: media that engages with the real crises of our time, 649 00:37:50,719 --> 00:37:53,600 Speaker 3: but that also can compete with anything else. 650 00:37:53,719 --> 00:37:57,360 Speaker 4: You know, the stakes are high, the stakes are Yeah. 651 00:37:57,520 --> 00:37:59,759 Speaker 3: You feel it in the bedtime routine, when you're reading 652 00:37:59,800 --> 00:38:02,799 Speaker 3: a book, and you feel it on Saturday morning cartoons, 653 00:38:02,920 --> 00:38:05,160 Speaker 3: these kinds of questions, and they're not far out, they're 654 00:38:05,239 --> 00:38:07,960 Speaker 3: right inside the house. But it's so fun because I 655 00:38:07,960 --> 00:38:09,880 Speaker 3: get to show her what I'm working on, and like, 656 00:38:10,360 --> 00:38:13,400 Speaker 3: I'm developing a new Zorro movie, right It's a science 657 00:38:13,440 --> 00:38:16,239 Speaker 3: fiction Zuro film, and I've been working on a kind 658 00:38:16,280 --> 00:38:19,279 Speaker 3: of rough trailer for the movie, and I played it 659 00:38:19,320 --> 00:38:21,480 Speaker 3: for her last night, and there's a line in the 660 00:38:21,480 --> 00:38:23,839 Speaker 3: trailer where it says like I had no choice, I 661 00:38:23,880 --> 00:38:27,320 Speaker 3: had to put on the mask, and it's about Zorro 662 00:38:27,560 --> 00:38:31,880 Speaker 3: fighting ice essentially, And then I went into the bedroom 663 00:38:32,239 --> 00:38:34,160 Speaker 3: and my kid came out and she had a towel 664 00:38:34,280 --> 00:38:36,560 Speaker 3: wrapped around her head and she was like, I have 665 00:38:36,640 --> 00:38:40,440 Speaker 3: no choice, I have to put on the mask. It 666 00:38:40,680 --> 00:38:41,880 Speaker 3: was so awesome. 667 00:38:42,600 --> 00:38:45,160 Speaker 1: Yeah, you're reminding me of when she walked in while 668 00:38:45,160 --> 00:38:47,640 Speaker 1: I was editing and she said, I don't like that shot. 669 00:38:47,719 --> 00:38:50,960 Speaker 4: You need to take that one out, like oh, and. 670 00:38:51,040 --> 00:38:52,000 Speaker 1: She was right, I. 671 00:38:51,960 --> 00:38:59,759 Speaker 3: Took it out. So it's like in our house, trying 672 00:38:59,760 --> 00:39:02,919 Speaker 3: to have like a creative flow with each other. Keep 673 00:39:02,960 --> 00:39:03,880 Speaker 3: the dishes. 674 00:39:03,560 --> 00:39:07,120 Speaker 4: Clean, you know, keep the spreadsheets updated. 675 00:39:07,360 --> 00:39:10,120 Speaker 3: Yeah, you know, just just keep the house running, get 676 00:39:10,160 --> 00:39:12,279 Speaker 3: the kid to school on time. But then every once 677 00:39:12,280 --> 00:39:13,960 Speaker 3: in a while, there's moments when you think, okay, this 678 00:39:14,280 --> 00:39:17,400 Speaker 3: we're in like a little lab here where we are hoping, 679 00:39:17,520 --> 00:39:20,359 Speaker 3: you know, we can design the future pieces of a 680 00:39:20,360 --> 00:39:23,720 Speaker 3: better culture. That's kind of like home. 681 00:39:33,560 --> 00:39:37,600 Speaker 2: This episode was produced by Julia Rocha, edited by Marta Martinez, 682 00:39:37,640 --> 00:39:41,000 Speaker 2: and mixed by gabriel A Bias and JJ Carubin. The 683 00:39:41,080 --> 00:39:46,080 Speaker 2: Latino USA team includes Andrea Lopez Grusado, Daisy Contredras, Mike Sargent, 684 00:39:46,200 --> 00:39:51,440 Speaker 2: Julieta Martinelli, Victoria Estrada, Renaldo Leanos Junior, Alejandra Saarasad and 685 00:39:51,440 --> 00:39:55,400 Speaker 2: Patricia Sulbaran, with help from Traul Prees. Our editorial director 686 00:39:55,400 --> 00:39:59,000 Speaker 2: is Julio Ricardorella. Our director of Engineering is Stephanie Lbau. 687 00:39:59,320 --> 00:40:02,560 Speaker 2: Our senior and near is Julia Caruso. Our digital editor 688 00:40:02,640 --> 00:40:06,440 Speaker 2: is Louis Luna. Our fellows are Elisa Vaena, Monica Morales 689 00:40:06,480 --> 00:40:10,600 Speaker 2: and Andrew Vignalis. Our theme music was composed by Senia Robinos. 690 00:40:10,920 --> 00:40:14,040 Speaker 2: I'm your host and executive producer Mariaojosa. Join us again 691 00:40:14,080 --> 00:40:16,360 Speaker 2: on our next episode and in the meantime, look for 692 00:40:16,440 --> 00:40:19,480 Speaker 2: us on all of your social media and remember tel rides. 693 00:40:19,760 --> 00:40:21,279 Speaker 2: Note yes Yoo. 694 00:40:27,680 --> 00:40:31,600 Speaker 8: Latino USA is made possible in part by the Heising 695 00:40:31,680 --> 00:40:38,840 Speaker 8: Simons Foundation, unlocking knowledge, opportunity and possibilities. More at hsfoundation 696 00:40:39,080 --> 00:40:43,319 Speaker 8: dot org, the Ford Foundation, working with visionaries on the 697 00:40:43,360 --> 00:40:47,400 Speaker 8: front lines of social change worldwide, and the John D. 698 00:40:47,680 --> 00:40:51,239 Speaker 8: And Catherine T. MacArthur Foundation. 699 00:40:53,360 --> 00:40:58,160 Speaker 2: Welcome to the Great British Bake Off. I'm Maria Noojosa, 700 00:40:58,520 --> 00:40:59,960 Speaker 2: No No Wrong Show.