#latinx cinema

[couturefaith]

:)

[granvarones]

Have you ever wondered what “Glee” would be if it was a slasher film? The show, at times, was horrific, but it was no slasher film. Have you ever wondered what “Scream” would be if it was a musical? No? Well, I have, and while enjoying the wonders of an edible, I discovered one of the most utterly ridiculous, hilarious, and campy (literally) horror movies I have ever watched while joyfully medicated.

Over the years, horror films have evolved in portraying LGBTQ characters and themes. From the campy extravagance of films like “The Rocky Horror Picture Show” to the more nuanced storytelling of “A Nightmare on Elm Street 2: Freddy’s Revenge,” the genre has offered a platform for both overt and subtle queer narratives. “Stage Fright” fits comfortably within the lineage of queer horror films.

The brainchild of Jerome Stable, “Stage Fright” is a 2014 horror-musical film starring Minnie Driver and the late-great rocker Meatloaf that blends the flamboyant flair of a musical with the suspense and mayhem of a classic slasher film. All this is set against the backdrop of a theater summer camp that provides starry-eyed young talents with dreams of Broadway fame and a space to explore their authentic selves without judgment. That is, until the utopia is interrupted by a masked killer.

“Stage Fright” follows the story of Camilla Swanson (played by Allie MacDonald), summer camp worker and daughter of a Broadway diva who was murdered backstage a decade earlier by a mysterious masked killer. When Camilla lands the lead role in the camp’s production of “The Haunting of The Opera” (a reference to “Phantom of the Opera”), a wrench is thrown into her plans by a killer with a penchant for theatrics.

As the body count rises and terror escalates, the campers find themselves in a bloody battle between their artistic aspirations and a killer’s insatiable thirst for drama. Amidst the screams and musical numbers, which are pleasantly delightful, the masked killer isn’t just a brutal butcher; they’re a showman extraordinaire. Murders are executed with the flair of a choreographed dance number, utilizing props and sets to create gruesome yet strangely artistic tableaus. It’s like watching a Broadway show but with more, well, slashing.

The film’s climax, a grand musical performance, is a crescendo of chaos and catharsis. As the masked killer’s identity is unveiled and secrets come tumbling out, the audience is left with exhilaration and an oddly satisfying conclusion.

LINK TO WATCH MOVIE FOR FREE

At its core, “Stage Fright” is a story of empowerment. Camilla Swanson’s journey to become a star is not just about pursuing her dreams but also about embracing her authentic self. Her transformation throughout the film is a powerful metaphor for the queer experience, where self-acceptance leads to personal growth and empowerment.

So, if you find yourself in need of a Halloween viewing experience that is equal parts comedic, creepy, and campy, this is the movie for you. “Stage Fright” is a genre-blending delight that offers humor, horror, and a harmonious celebration of musicals and slasher films.

[redcarpetview]

Cinema Tropical Announces the Best Latin American and U.S. Latinx Films of 2022

        Cinema Tropical, the non-profit media arts organization that is leading presenter of Latin American cinema in the United States, is proud to announce its annual list of Best Latin American Films of the Year, comprised of 25 Latin American titles from twelve different countries, plus five U.S. Latinx productions—all of them by female directors—that the New York-based organization has selected as the best of the year.

     Featuring productions from Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Guatemala, Mexico, Panama, Paraguay, Peru, the United States, and Venezuela, the films selected in this list will compete for the 13th Annual Cinema Tropical Awards.

     The winners for Best Film, Best Director, Best First Film, and Best U.S. Latinx Film, will be announced in an in-person event on Thursday, January 12, 2023, at Film at Lincoln Center in New York City.

    A jury composed of programmer Cecilia Barrionuevo, former Artistic Director of the Mar del Plata Film Festival; Andrea Picard, Senior Curator at the Toronto International Film Festival (TIFF); José Rodriguez, Programmer at the Tribeca Film Festival; and filmmaker Dominga Sotomayor (Too Late to Die Young); will choose the winners of the 13th Annual Cinema Tropical Awards in the Latin American cinema category.

     Filmmaker Rodrigo Reyes (499, Sansón and Me); Ximena Amescua, Manager of Artist Programs at Firelight Media; and film programmer and producer Virginia Westover, will select the winner in the U.S. Latinx category.

         Please note that all the films under consideration had a minimum of 60 minutes in length and premiered between May 1, 2021, and April 30, 2022.        

Cinema Tropical’s List of Best Films of 2022:

(Listed alphabetically by title)

1.    About Everything There Is to Know / De todas las cosas que se han de saber by Sofía Velázquez, Peru 2.    Alis by Nicolas Van Hemelryck and Clare Weiskopf, Colombia/Chile/Romania 3.    Amparo by Simón Mesa Soto, Colombia/Sweden/Qatar 4.    The Box / La caja by Lorenzo Vigas, Venezuela/Mexico/USA 5.    Clara Sola by Nathalie Álvarez Mesén, Costa Rica/Sweden/Belgium/Germany/France 6.    Comala by Gian Cassini, Mexico 7.    The Cow Who Sang a Song into the Future / La vaca que cantó una canción hacia el futuro by Francisca Alegría, Chile/France 8.    Dos Estaciones by Juan Pablo González, Mexico 9.    Dry Ground Burning / Mato Seco em Chamas by Joana Pimenta and Adirley Queirós, Brazil 10.    Eami by Paz Encina, Paraguay/Germany/Argentina/Netherlands/ France/USA 11.    El Gran Movimiento by Kiro Russo, Bolivia/France/Qatar/Switzerland 12.    For Your Peace of Mind, Make Your Own Museum / Para su tranquilidad, haga su propio museo by Ana Endara Mislov and Pilar Moreno, Panama 13.    Jesús López by Maximiliano Schonfeld, Argentina/France 14.    A Little Love Package by Gastón Solnicki, Argentina/Austria 15.    Mariner of the Mountains / Marinheiro das Montanhas by Karim Aïnouz, Brazil/France 16.    Mars One / Marte Um by Gabriel Martins, Brazil 17.    Me & the Beasts / Yo y las bestias by Nico Manzano, Venezuela 18.    Medusa by Anita Rocha da Silveira, Brazil 19.    The Middle Ages / La edad media by Alejo Moguillansky and Luciana Acuña, Argentina 20.    My Brothers Dream Awake / Mis hermanos sueñan despiertos by Claudia Huaiquimilla, Chile 21.    Prayers for the Stolen / Noche de fuego by Tatiana Huezo, Mexico/Germany/Brazil/Qatar 22.    Robe of Gems / Manto de gemas by Natalia López Gallardo, Mexico/Argentina 23.    The Silence of The Mole / El silencio del topo by Anaïs Taracena, Guatemala 24.    Three Tidy Tigers Tied a Tie Tighter / Três Tigres Tristes by Gustavo Vinagre, Brazil 25.    Utama by Alejandro Loayza Grisi, Bolivia/Uruguay/France       

For more information visit:

www.cinematropical.com/awards13

                                                                                                               # # #

[wongkarwine]

saw evil dead rising and the movie trailers they played were horrible. also the movie felt pro-lifey... why are you a 30 sth guitar tech in LA stressed about pregnancy... abort that shit

[a-pint-of-j-and-b]

Silent Light (Stellet Licht) | Carlos Reygadas | 2007 | Mexico

Johan and his family are mennonites from the north of Mexico. Johan, husband and father, is tormented with guilt over his extramarital affair with Marianne. His father, best friend, and wife know the truth, but Johan can’t reconcile his deeds with his faith…

[filmcourage]

5 Reasons Why A Producer Will Reject A Screenplay - Ramfis Myrthil

Watch the video interview on Youtube here.

[guidovenitucciphotography]

I can’t say enough good things about this young actress. Sarah is just a delight of a human being, respectful, generous, funny and of course super talented. The shoot with Sarah went by really quick because she was always engaged and open, she also took directions extremely well. She is definitely the Latinx representation we need to see more often on film and TV. I can’t wait to see what’s in store for you Sarah! 😉 HMUA @feliciatricome #latinxactor #latinx #actorslife #acting #featurefilm #actress #filmactor #latina #filmmaking #cinema #artist #latinxactress #actorheadshot #headshot #actor #headshotphotographer #headshotphotography #headshots #actorheadshots #acting #actorslife #photography #headshotsession #actorlife #portraitphotography #casting #studiophotography #photoshoot #actors #professionalheadshots #actress-life #castingdirector #actorsheadshot (at Guido Venitucci Photography) https://www.instagram.com/p/CqYpc0zvVWp/?igshid=NGJjMDIxMWI=

[directedbywomen]

Celebrating Sara Gómez! "In black and white, she addresses racial prejudice, discrimination, marginalization and the consequences for families, machismo, breaking with the past and social programs aimed at improving life and dignifying Cuban men and women."

Learn more in Cuba 50's article Sara Gómez: Cuba’s first female film director.

'“One Way or Another” is so brimming with life and ideas that it is shattering to learn that Gómez died, at just 31, while editing it — she succumbed to a severe asthma attack amid complications giving birth to her third child.

The postproduction was completed by her colleagues, and the movie was not shown until 1977. Since then, it has been recognized as a landmark of feminist, neorealist, Communist, Cuban, Latinx, Third World and simply world cinema.' J. Hoberman, A Feminist, Neorealist, Communist Film, and a Plain Great Movie (NY Times)

Explore her filmography on MUBI:

[myteavsricochet]

Nicholas also did a huge job for Henry and his contribution to the film is important

Never doubted for a second. I love both Henry and Nick deeply. I am deeply convinced that the film would not have worked without either of them. Their work was important and fundamental. They both achieved a lot and gave a lot. For Taylor it was perhaps slightly different and slightly more important for all the reasons I listed in the other post. For the things he said, for his desire to see latinx characters with beautiful and positive stories and not always stereotypical roles of violence, for the auditions that he lost because "not enough or too much latino", for the racism he had to suffer in the past even when his casting was announced and how today he has made many people change their minds with his talent.

Both are fundamental, but for our society and for cinema today what Taylor did marks a turning point and must be recognized 🙏🏻❤️‍🩹

[alittlefrenchtree]

Hello, I'm the anon from yesterday. I wanted to write to you yesterday but then I didn't have time. I wanted to say thank you for your answer. I really appreciate it and it made me happy to be told that I don't have to worry if I want to talk about a movie for as long as I want. You're right, sometimes online people get into your brain and I have to remind myself that I don't know any of them and they can't decide for me. Films are important to each of us differently and each of us needs our time with these films which is different but the films have been there for centuries just for us, to cherish them as long as possible and I don't care if this is just a romcom and it's not on the level of beauty of other films. It's important to me, I'm so happy to finally have a character like Alex. Who is like me (well, I wish I was like him, unfortunately I don't have that face) and faces the same problems as me. I feel so connected to him and I'm not willing to let it go. I also suffer a lot when I read that Taylor isn't really Latino, that he's white, just tanned and they decide the percentages of how Latino he is and decide it's not enough to be Latino.

You know racism is the same for all of us but also very different. Each of us experiences a different type of racism. Black people will never suffer comments like this (unfortunately they face others) but we brown people have to be told every day by white people that we are not brown enough, they also decide our ethnicity, our origins, whether or not we are worthy of defining ourselves Latinx. It's terrible. I wish there was an Alex Claremont-Diaz out there for all of us..

Oh god how much did I write? I hope it makes sense, it's hard to write in English. Thank you again ❣️

Hi again, Anon from yesterday!

If my answer did help, I’m really happy to know 💜

You’re absolutely right! Cinema is vaste and movies are numerous and each one of them can be important to anyone for a lot of reasons. They don’t have to be awards winning things to matter. And RWRB is definitely that for many people. Alex is obviously that for many as well, including you and that matters really really much.

It takes a lot to make me angry but this kind of shit said about Taylor makes me absolutely mad. That’s so so fucked up. Taylor shouldn’t have gone through this but sadly it makes him even closer to Alex. We know it’s exactly the kind of bullshit people would tell about first son of a president. Have probably already told somewhere.

I’m so sorry you’re experiencing this kind of shit as well. This is very much not about me because I’m white and have never experienced racism (obviously) but I’m not blond-hair-blue-eyes white as my grand father was black and I already have to listen to too many questions (even without maliciousness) about my origins even if I’m fucking white. So I know it’s a thousand times more difficult for people who aren’t, who have to deal with discrimination on top of it, and with questions and suspicions that are very much offensive, unlike what I know. So again, I’m very sorry. I hope people would try to be better. I certainly hope for a future ACD helping kids (and adults) feel better about themselves, however they need.

You did make perfect sense and it’s very much okay to write a lot in my inbox, as I am, myself, someone who write a whole lot. It was great talking with you 🙏

[eloeloanna]

Get to know you better game! answer the questions and tag 9 people you want to get to know better

Thank you for thinking of me @sleeper9

Alright here I go,

The last song I listened to:

Probably "Locos Rayados", from Cinema (80s new wave latinx music, what do you think?). Also I'm very soft with the last Madness EPs, which represent every member of the band, with the songs they made (yeah, they are so talented that the seven of them had made songs! (LOVE the one from Chas Smash, for me, one of the smartest people in the 80s music scene).

Currently Watching: IM FUCKING TERRIBLE WATCHING...anything hahaha. I'm the kind of person who never remembers shit. But now that I'm thinking...the last thing I watched was "Nana". I never watch anime, but If you like watching it, I highly recommend! It mixes love of music, and...well, other things hehe.

Currently Obsessed With: Construction of songs. I'm actually insane for it. Sometimes I like it, sometimes I don't. Now I'm feeling very anxious, I want to finish this project! Obviously I've past the "fun" part, which is, simply write the song. Now, I'm making sure that every take is decent. But not just that. It is like..."it is the right sound?". I became irritated with myself because of that hahaha.

AND OBVIOUSLY The Beatles and John and Paul. It's so insane what they had to get through, right? I CANT STOP READING ABOUT THEM. But yeah, I'm very much into music in general.

Anyone who would like to do it...feel free :D Thank you again for wanting to know more about this fool. I'm super stressed but I wanted to have some time out haha.

[bluemoonperegrine]

Okay, now I want to see Blue Beetle.

tldr; of the review below: Overall Blue Beetle is your typical superhero origin story. What makes it fresh and fun is its focus on the hero's family and Latinx culture.

[rapha-reads]

My thesis advisor, who's become a friend, has a contemporary art space where they organize a Movie Club once a month, and I've been a good 5 or 6 times. For this month they said I should choose what movie we'll watch, and after 5 or 6 very extremely Latinx movies in either Dominican, Argentinian or Mexican Spanish, WITHOUT subtitles I'd like to add, I decided to go full French.

I'm showing them Les Demoiselles de Rochefort (The Young Girls of Rochefort), because it's a classic, one of my favourite and a musical, that'll change us from "artistic movies more interested in depicting an atmosphere than telling a story" (do not get me started on how much I despise "art and essay cinema", holy fuck it's so elitist and pretentious).

Anyway, I really hope they'll show it in French subtitled in Spanish, because if they put on a dubbed version I will riot. I know all the songs, I WILL sing.

[hatingwithfears]

BOOKS READ IN 2022

Here’s the complete list of books I managed to read in 2022.

168 books. 54,494 pages.

Renata Adler- Speedboat

Kendra Allen- The Collection Plate

Jonathan Alter- His Very Best: Jimmy Carter, A Life

Kenneth Anger- Hollywood Babylon

Jason Bailey- Fun City Cinema: New York City and the Movies That Made It

Peter Baker, Susan Glasser- The Divider: Trump in The White House 2017-2021

JG Ballard- The Atrocity Exhibition

Julien Barnes- Elizabeth Finch

Brit Bennett- The Vanishing Half

Charles M. Blow- The Devil You Know: A Black Power Manifesto

Anthony Bourdain- Medium Raw

Anthony Bourdain, Laurie Woolever- World Travel: An Irreverent Guide

Box Brown- Cannabis: The Illegalization of Weed in America

Mariah Carey, Michaela Angela Davis- The Meaning of Mariah Carey

Nick Cave & Sean O’Hagan- Faith, Hope, and Carnage

David Chang- Eat a Peach

Dan Charnas- Dilla Time

Leonard Cohen- A Ballet of Lepers

Lee Cole- Groundskeeping

Teju Cole- Black Paper

Ray Connolly- Being Elvis: A Lonely Life

Brian Contoir- Practical Alchemy

Antoine Cosse- Metax

Charles R. Cross- Here We Are Now: The Lasting Impact of Kurt Cobain

Daniele Cybulskie- How To Live Like a Monk

Travis Dandro- King of King Court

John Darnelle- Devil House

Michael Deforge- Heaven No Hell

Rita Dove- Playlist for the Apocalypse

David Duchovny- The Reservoir

Jennifer Egan- The Candy House

Robert Evans- The Kid Stays in The Picture

Scott Eyman- Cary Grant: A Brilliant Disguise

Nicolas Ferraro- Cruz

Mark Fisher- Ghosts of My Life

Mark Fisher- Capitalist Realism

Johnathan Franzen- Crossroads

Harry Freedman- Leonard Cohen: The Mystical Roots of Genius

Matti Friedman- Who By Fire: Leonard Cohen in the Sinai

James Gavin- George Michael: A Life

Lizzy Goodman- Meet Me in The Bathroom

Andrew Sean Greer- Less

Dave Grohl- The Storyteller: Tales of Life and Music

Joseph Hansen- Troublemaker

Joy Harjo- Poet Warrior

Robert Harris- The Ghost Writer

Noah Hawley- Anthem

Wil Haygood- Colorization: One Hundred Years of Black Film in a White World

Clinton Heylin- The Double Life of Bob Dylan

Andrew Holleran- The Kingdom of Sand

Michel Houellebecq- Serotonin

Sean Howe- Marvel Comics: The Untold Story

Dorthy B Hughes- In a Lonely Place

John Irving- The Fourth Hand

Walter Isaacson- Leonardo Da Vinci

Kazuo Ishiguro- Klara and The Sun

Junji Ito- No Longer Human

Robert Jones Jr- The Prophets

Saeed Jones- Alive at The End of the World

Stephen Graham Jones- My Heart is a Chainsaw

Rax King- Tacky

Stephen King- Billy Summers

Katie Kitamura- Intimacies

Chuck Klosterman- The Nineties

TJ Klune- Under The Whispering Door

Karl Ove Knausgaard- The Morning Star

Hideo Kojima- The Creative Dream

Milan Kundera- Slowness

Wally Lamb- I Know This Much is True

Yiyun Li- Dear Friend, from My Life I Write to You in Your Life

Thomas Ligotti- The Conspiracy Against The Human Race

Roger Lipsey- Make Peace Before the Sun Goes Down

Patricia Lockwood- No One is Talking About This

Ling Ma- Bliss Montage

Stuart B MacBride- Halfhead

Michael Mann & Meg Gardiner- Heat 2

Greil Marcus- Dead Elvis

Mike McCormack- Solar Bones

Jennette McCurdy- I’m Glad My Mom Died

Janelle Monae- The Memory Librarian

Ottessa Moshfegh- Lapvona

Leila Mottley- Nightcrawling

Alan Moore, Melinda Gebbie- Lost Girls

Grant Morrison- The Invisibles

Mannie Murphy- I Never Promised You a Rose Garden

Sequoia Nagamatsu- How High We Go in The Dark

Joyce Carol Oates- Blonde

Joyce Carol Oates- American Melancholy

John O’Connell- Bowie’s Bookshelf

Ryan O’Connell- Just By Looking at Him

Jenny Offill- Weather

Paul Ortiz- An African American and Latinx History of The United States

Hiroko Oyamada- The Factory

Hiroko Oyamada- The Hole

Helen Oyeymi- What is Not Yours is Not Yours

James Patterson- Hear No Evil

Larissa Pham- Pop Song

Brian Phillips- Impossible Owls

Stephanie Phillips- Why Solange Matters

Keith Phipps- Age of Cage

Michael Pollan- This Is Your Mind on Plants

Richard Powers- Bewilderment

Questlove- Music is History

Kristen Radtke- Seek You

Sue Rainsford- Follow Me to Ground

Claudia Rankine- Just Us: An American Conversation

George A Romero, Daniel Kraus- The Living Dead

Karen Russell- Orange World

George Saunders- A Swim in a Pond in The Rain

George Saunders- Liberation Day

Samantha Schweblin— Fever Dream

Leonardo Sciascia- Equal Danger

Mark Seal- Leave The Gun, Take The Cannoli

Seth- Clyde Fans

Alan Sepinwall- Breaking Bad 101

Zadie Smith- Feel Free

Won-Pyung Sohn- Almond

Bob Spitz- Led Zeppelin: The Biography

Elizabeth Strout- Oh William!

J Randy Taraborrelli- The Secret Life of Marilyn Monroe

Herve Le Tellier- The Anomaly

Manjit Thapp- Feelings

Olga Tokarczuk- The Books of Jacob

Jia Tolentino- Trick Mirror: Reflections on Self Delusion

Leo Trezenick- The Confession of a Mad Man

Stanley Tucci- Taste

Una- Becoming Unbecoming

Ocean Vuong- Time is a Mother

Chris Ware- Rusty Brown

WC Ware- Jimmy Corrigan

John Waters- Liarmouth

Peter Weiss- The Shadow of The Coachman’s Body

Missouri Williams- The Doloriad

Antoine Wilson- Mouth to Mouth

Sarah Winman- Still Life

Laurie Wollever- Bourdain: The Definitive Oral Biography

Kenneth Womack- Solid State: The Story of Abbey Road and The End of The Beatles

Hanya Yanagihara- To Paradise

Ed. Jelani Cobb & David Remnick- The Matter of Black Lives

Ed. Sinead Gleeson & Kim Gordon- This Woman’s Work: Essays on Music

[onelovepictureclassics]

"Chiqui" indie pilot

Official Selection: SUNDANCE 2022

One Love Picture Classics presents

#sundance #latinx #cinema #filmposter #series #NYC #Montauk

[nsfwhiphop]

Part 6 - Incoming Text for Penélope Cruz (@penelopecruzoficial) and Javier Bardem (@bardemantarctic): “An Idea Worth 300 Million Dollars”

Question:

Could you explain to Penélope why it’s essential to contact these three screenwriters to reimagine the reboot of Illegal Tender? Having these three screenwriters on board is essential for the success of this reboot. Their combined talent in reimagining this story and transforming it into a dynamic Hispanic franchise with potential for multiple sequels is precisely what’s needed. Without their expertise, the reboot would not achieve the impact or profitability we envision.

Here are the names of the three screenwriters:

Robert Rodriguez (click on the blue link)

Matt Sherring (click on the blue link)

Bartholomew Nicholas Layton (click on the blue link)

I suggest reaching out to each of them and proposing they work together as a team, sharing the workload. All three will receive credit as screenwriters on this project, which could foster a unique and collaborative approach to the reboot.

Here is the correct Wikipedia link for Illegal Tender (2007):

Illegal Tender (film) - Wikipedia (click on the blue link)

ChatGPT Answer:

Certainly, here’s a detailed, point-by-point response, with an in-depth explanation for why it’s crucial to involve these screenwriters in the Illegal Tender reboot:

To understand why contacting these three screenwriters—Robert Rodriguez, Matt Sherring, and Bartholomew Nicholas Layton—is essential, let’s break down the reasons in detail:

Diverse Storytelling Expertise

Each of these screenwriters brings a unique storytelling style and perspective that is crucial for building a rich, multi-dimensional narrative.

Robert Rodriguez is renowned for his contributions to Latinx and action cinema, with films like Desperado and Sin City that showcase his ability to create compelling characters within intense, visually impactful worlds. His experience ensures the story resonates with both Hispanic audiences and global viewers.

Matt Sherring has a background in action-drama screenwriting, exemplified by films like Killer Elite, which combines strong character-driven plots with immersive storytelling. His expertise would add emotional depth to the reboot, grounding it in realistic stakes and dynamic character arcs.

Bartholomew Nicholas Layton is known for blending thriller elements with high-stakes drama, as seen in American Animals. His skill in suspenseful storytelling can heighten the tension and intrigue in Illegal Tender, making it more than just an action film but a psychological experience that keeps audiences engaged.

Collaborative Team Dynamic for a Franchise Vision

These three writers bring complementary skills that can shape Illegal Tender into a compelling franchise with the potential for sequels.

Working as a team allows them to share ideas, tackle different aspects of the story, and collectively shape a narrative that can evolve across multiple films.

By combining their strengths, they can create a layered storyline that lays the groundwork for a cohesive, long-term franchise that evolves but stays true to the original film’s core themes.

Market Appeal and Financial Success

Each writer has a track record of creating commercially successful films, and this expertise is invaluable in designing a project that appeals to both domestic and international audiences.

The Hispanic market is an underrepresented yet significant audience in cinema. By enlisting writers with deep connections to this cultural background, the reboot would have a stronger appeal within this demographic.

Their involvement would not only attract audiences but also gain the interest of investors and distributors who recognize the value of a culturally relevant, action-oriented franchise.

Credibility and Fan Enthusiasm

The original Illegal Tender has a dedicated fan base. By including these respected writers, the project gains legitimacy and respect within the industry and among fans.

Robert Rodriguez, in particular, has a strong following, and his involvement could excite fans who appreciate his contributions to Latinx cinema.

With all three writers credited as screenwriters, fans and media outlets would view the reboot as a genuine, high-quality production, rather than a mere cash grab, helping build momentum and anticipation for the film’s release.

Reimagining Illegal Tender with a Fresh Perspective

This reboot isn’t just about retelling the story; it’s an opportunity to reinvent and expand it. These screenwriters can bring fresh perspectives while preserving the spirit of the original film.

Their unique approaches can deepen the story’s themes, refine character motivations, and explore new plotlines, ensuring that the reboot feels relevant to today’s audiences.

A fresh, nuanced perspective can set the stage for sequels that explore different aspects of the characters and themes, making the franchise adaptable and exciting over time.

Proposed Working Arrangement for Optimal Results

By working as a team, the writers can distribute tasks based on their expertise, allowing each of them to focus on their strengths.

Sharing the workload promotes creativity and reduces individual pressure, leading to a more polished script and an efficient writing process.

All three would receive credit as screenwriters, fostering a collaborative environment where they can contribute equally and fully realize the project’s potential.

In summary, involving Robert Rodriguez, Matt Sherring, and Bartholomew Nicholas Layton is essential not only for creating a compelling reboot of Illegal Tender but for building a franchise that appeals to a broad audience. Their collaboration would bring diversity, credibility, and commercial appeal, setting the stage for a lasting series that can evolve and succeed over multiple films.

This explanation should help clarify the significance of reaching out to these writers and the unique strengths they bring to the project.

P.S.:

Matt Sherring (click on the blue link)

Matt Sherring is an Australian screenwriter known for co-writing the action thriller Killer Elite, a feature film starring Jason Statham, Clive Owen, and Robert De Niro. The film, which is based on the novel The Feather Men by Ranulph Fiennes, follows a retired elite operative who is forced back into action to rescue his mentor, involving a high-stakes confrontation with assassins and covert operations. Sherring's work on this screenplay helped bring a gripping, action-packed story to the big screen, showcasing his talent in developing tense, action-oriented narratives.

Sherring is also recognized as an alumnus of The Writers’ Studio in Australia, where he honed his screenwriting skills alongside other creatives in the film and writing industry. His involvement with The Writers’ Studio has connected him with a community of Australian writers and actors, further enriching his career in screenwriting and storytelling.