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Are we living in the golden age of Tejano documentary filmmaking?

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Are we living in the golden age of Tejano documentary filmmaking?

As a passionate follower of the thriving Tejano film scene, I am absolutely thrilled by the surge of compelling stories that are breaking through hegemonic narratives and shining a light on the rich culture and complexities of the border region. Having grown up in South Texas myself, it’s heartening to see fellow Tejanos like Karen Gaytán, Carlos A. Gutiérrez, and many others making waves in the film industry with their captivating narratives.

Over the past six months, a series of documentaries highlighting the lives of Tejanos have been made available, demonstrating the richness, complexity, and entertainment value in our experiences.

In various channels, you can discover:

“Right now, you can stream ‘The In Between’, a documentary focusing on grief and reconnection, which takes place in Eagle Pass, a small border town. This production has been making rounds at film festivals and is scheduled to air on PBS in the spring. Additionally, Texas Monthly is executive producing a documentary about Johnny Canales, a renowned Tejano television host.” (Disclosure: The editorial director of De Los, Fidel Martinez, is part of this project.)

Are we living in the golden age of Tejano documentary filmmaking? ×

Growing up near the border, I’m accustomed to a particular portrayal of my homeland in movies. Therefore, the recent surge of Tejano filmmaking isn’t just impressive; it’s past due. However, one might wonder, what led us to this point?

Over the last decade, the increasing acceptance of Latino culture in the U.S. has been advantageous, as it facilitates filmmakers in persuading streaming platforms that there’s a market for their productions. Alejandra Vasquez, a proud Tejana and co-director of the Sundance award-winning “Going Varsity in Mariachi,” acknowledges that celebrities like Bad Bunny contribute to the broader trend of Latinx media consumption. However, she emphasizes that people are particularly weary of continuously hearing the same sorrowful narrative about border issues. Shows such as Disney’s National Geographic’s “Border Security: America’s Front Line” and “Border Wars,” which have been airing since 2010, typically focus on grim topics like violence, immigration hazards, and political frustrations related to the border.

Individuals who spent their childhoods close to the border, accustomed to the rich cross-cultural interactions inherent in living there, often express, ‘There’s more to this than meets the eye,’ said Vasquez. Alongside co-director Sam Osborn, they intentionally crafted a sports underdog story, but with music and sombreros replacing balls and jerseys. Their aim was to keep viewers on the edge of their seats, wanting to explore beyond the usual narratives.

Are we living in the golden age of Tejano documentary filmmaking? ×

Mario Diaz, the director of “The Chicano Squad,” acknowledges a weariness that’s developed among viewers, yet he emphasizes a simultaneous craving for engaging narratives in their entertainment choices.

According to Diaz, Latin audiences are looking for an enjoyable experience. He made efforts to blend the significant cultural aspects of Mexican immigration in Houston with a stylish detective vibe for “The Chicano Squad.

Could it be that the longstanding tale about borders, a narrative filled with sorrow and strife, has sparked an increasingly large group of movie enthusiasts who crave more complex, even entertaining, border-themed films?

Diaz expressed that it seems these particular stories haven’t had a platform to be shared until now. However, through our efforts, we are bringing these narratives out into public view.

Diaz, originally from Puerto Rico but deeply fascinated by Tejanos and their narratives (his upcoming work is also set in Texas), believes this current phase transcends a fleeting trend, rather, he sees it as an organic development of the community. Vazquez mentions that a compact group of Tejano artists have initiated an exclusive online platform to swap resources, skills, and connect specialists to expand the domain. “Nobody else is providing us with such an opportunity,” she states. “When we join forces, things take off. We’re like, ‘Alright, let’s do it, let’s go!’

I, Charlie Vela, dived headfirst into the DIY filmmaking journey alongside co-director Ronnie Garza as we brought “As I Walk Through the Valley” to life in 2017. This gritty sociological exploration delved into the pulsating history of punk rock music in the Rio Grande Valley. With no professional background in filmmaking, we embarked on this project back in 2015. Yet, our passion for the subject and a relentless spirit fueled by determination saw us through every challenge.

Are we living in the golden age of Tejano documentary filmmaking? ×

Vela mentioned that they made their movie without any financial resources, explaining further that their intention was simply to narrate a tale and provide amusement for their circle of friends. He stated that this has been his general approach to every creative endeavor he’s ever undertaken, and it has unexpectedly produced positive outcomes.

In a surprising turn of events, Vela was taken aback when his film got accepted into the South by Southwest Film Festival that year. It debuted on his daughter’s first birthday, receiving critical acclaim and widespread media coverage. Despite not finding a buyer initially, the unyielding spirit and perseverance of co-director Garza managed to secure a spot for the film on Tubi, making it accessible for millions to watch for free online.

Vela expresses his relief that it’s located somewhere easily reachable, stating, “Now, people won’t need to ask us for the link anymore.

Vela and Vasquez highlight institutions such as the Laredo Film Society and Entre, a film center based in the Rio Grande Valley, as crucial platforms for finding local crew members on projects, networking among filmmakers and artists, and showcasing diverse border stories. Established since 2015, LFS has been around for some time, while Entre was founded more recently, in 2021.

According to Entre co-founder Andres Sanchez, “We aim to provide clearer insights into tales about borders and our locality.” Many people often misrepresent the border and its community using negative language. Our goal is to portray accurately this place that serves as our residence.

As a passionate movie critic, I’ve had the privilege to witness the evolution of our industry. Karen Gaytán, a renowned filmmaker and ex-board member of LFS, emphasizes the pivotal role these spaces play in fostering and expanding the cinematic movement. However, she cautions that we are still on a journey, and while the beginning is promising, there’s much more to be accomplished. In her own words, “We’re not quite there yet, but I see a highly encouraging genesis taking shape, one that I sincerely hope continues to flourish.

In conversation with everyone, it was a consensus that while this wave of cinema has been successful, there are still numerous hurdles to conquer.

According to Vasquez, her “Going Varsity in Mariachi” crew had a stroke of luck by securing producers who backed them early on. However, they encountered difficulties when trying to market or distribute the film. The documentary, it seemed, was deemed too authentically Mexican and yet not quite Mexican enough at the same time.

She often repeated, “We’ve heard this many times as Tejanos.” Eventually, they managed to negotiate a four-and-a-half-year licensing agreement with Netflix, which Vasquez considers a tremendous blessing.

Ensuring that audiences are aware these stories exist can be quite a challenge, notes Diaz, who’s A&E series stands out as an exceptional case: a network-supported story that received a comprehensive marketing effort. On the contrary, he explains, many projects end up being published without any prior announcement or publicity. “Even when productions are receiving funding,” he adds, “it often goes unnoticed, leaving it up to the audience and the community to seek them out.

In this extraordinary era of Tejano documentary filmmaking, one might think everything gleams with gold, but it’s not entirely so. This movement, however, does seem to have a distinct label. As early as March, Carlos A. Gutiérrez, the executive director of Cinema Tropical – a New York-based nonprofit that champions Latin American cinema in the U.S. – penned an article about how several Tejano filmmakers are challenging dominant narratives. He coined this collective body of work as the “Border New Wave.

Vela explains, “It becomes clearer and clearer,” as he continues to provide numerous instances of achievement in filmmaking for executives to grasp the various shades of stories set along the border. However, it’s important to note that Tejano filmmakers are not creating these films with executives in mind. Vela expresses concern for local storytellers who may shy away due to doubts about distribution. “I don’t want someone locally discouraged by thinking ‘I’ll never get it distributed,'” he says. “If you simply wish to create, you can.

It seems there’s no better time.

Luis G. Rendon, a Tejano journalist based in New York City, focuses his writing on the food and culture of South Texas. His work has been featured in publications such as Texas Monthly, Texas Highways, and The Daily Beast. You can connect with him on Twitter @louiegrendon and Instagram @lrendon.

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2024-10-03 02:31

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