LatinoBuzz: Aurora Guerrero on Making ‘Mosquita y Mari’ & Challenging Hollywood’s Lack of Diverse Stories

LatinoBuzz: Aurora Guerrero on Making ‘Mosquita y Mari’ & Challenging Hollywood’s Lack of Diverse Stories

Determined to challenge Hollywood’s lack of diverse stories Aurora Guerrero set out to make a film
that reflected her own identity as a queer woman of color. The result is Mosquita y Mari a sensitive, bold, and thoughtful
portrait of two teenage Chicanas whose budding friendship begins to slowly
become something beyond just friends. For Guerrero, it’s a personal story
rooted in her own experience, “When looking back, long
before I identified as queer, I realized my first love was one of my best
friends. It was the type of friendship that was really tender and sweet and
sexually charged but we never crossed that line.”

In the film, set in Huntington Park, a predominantly Latino city
just outside Los Angeles, Mari is a rebellious bad girl who is failing math.
Straight-A student Yolanda—who Mari nicknames Mosquita because she looks like, “a pinche
to tutor her. They hang out, ride bikes, swap music, and do homework. As they
spend more and more time together their friendship subtly transforms, evoking
that butterflies-in-the-stomach feeling that only a first crush can. It’s a
beautifully told almost love story set to the music of local ska bands, the
melancholy vocals of Carla Morrison, and other genre-remixing Latino artists.

Mosquita y Mari premiered
at the 2012 Sundance Film Festival and played in theaters last summer.
LatinoBuzz spoke with Guerrero just ahead of the film’s digital release to talk
about the challenges of making and distributing independent Latino films.

Latinos are making strides in other industries there is still a lack of Latino
film directors. How did the idea of becoming a filmmaker come about? What do
you think are the major obstacles keeping young Latinos from becoming

It’s hard to grow up and not see yourself portrayed in realistic ways on
film. From a young age I was really bothered by that. When I did see a film
about Latinos I didn’t recognize my experience at all. I actually wondered if
those type of Latinos really existed because I didn’t know anyone like that.
For me becoming a filmmaker was about taking back my voice—crafting
stories that would move away from the problematic narratives that the studio
system would put out about Latinos. I think this is why people like my films.
They’re refreshing. They feel more real.

As for major obstacles keeping young
Latinos from becoming filmmakers, I think our communities are still coming into
their identities as storytellers. It’s such an important identity to reclaim—it’s
how our ancestors kept our cultures alive. But a long history of silencing,
invisibility, and marginalization has kept generations of Latinos from
believing in themselves, from seeing themselves as agents of their own lives. I
think there needs to be a focus on this aspect to help cultivate young Latinas
to see themselves as cultural producers and defenders.

money for a Latino film (or any film) is a challenge especially in this
economy. What was your budget? If you could have raised additional money and
had a bigger budget do you think your film would be much different than it is

Guerrero: We didn’t
have a big budget. We were at about 200k. Our funding was pieced together as we
went along in the process. A very successful crowdfunding campaign
(Kickstarter) got us into production and a series of grants we applied for
during production got us through post-production. I think Mosquita y Mari could have benefited from a couple more days of
shooting but it wouldn’t have changed our budget or our final film
significantly. Ultimately I feel like the budget we had pushed me and my
collaborators to be as creative as possible. It also allowed me to keep the
crew at a small size which felt manageable for me as a first-time feature

You’ve stated in a lot
of interviews that the film was inspired by your own personal experience. What
was the writing process like? Was it an emotional one since the story was so
close to you?

Guerrero: It was
definitely emotional. I was writing about feelings and experiences I had never
talked about, particularly with my BFF at the time. But it wasn’t a bad
emotional process. It felt very liberating. I think that’s what drove my
process forward. What got complicated were all the other layers that I wanted
to talk about. I had to figure out how to weave in other elements without
taking away from the girls and their growing love for each other.

Are you still in touch
with the woman whose friendship inspired this story? Did you ever worry what
she might think about it?

Guerrero: Let’s just
say that I didn’t make it for her. I made it for me.

The story is based upon
the friendship of these two girls. The success of the film obviously hinged on
casting the two leads. What was the selection process like?

Casting was intense, mainly because we had one month to find all our cast.
But I was determined and hopeful that my girls were out there. I just had to
somehow get the word out to them so they could find me and this movie. Between
my casting director putting word out to managers and agents and organizing
word-of-mouth community open casting calls we found our cast. I saw about 300
or more young Latina women for the leads and las cuatas. It was a really
validating experience. I mean to be so specific in my breakdown, “Must speak
both English and Spanish fluently. Must be open to story of two girls and their
developing feelings for each other.” It was amazing to get so many young women
identifying with the breakdown and wanting to be part of this film. I think the
hardest part was saying “no” to most of them. I had to be very picky. I had to
find girls that not only identified with the story personally but that also had
the chops to carry it on their shoulders. I was nervous going into the first
day of shooting. I wondered if I had made the right choices, especially with
only two days of rehearsal prior to shooting. But after our first day I
remember thinking to myself, “these girls are really something special.”

You grew up in the Bay
(so did I) but most of your films take place in L.A. What’s the deal? As a San
Francisco Bay Area native shouldn’t you hate L.A.? Why did you choose to set
this specific story in Huntington Park as opposed to obvious choices like S.F.
or East L.A.?

Guerrero: You’re funny. I don’t want
to take away the fact that Los Angeles has been my muse ever since I moved
there to attend film school, but I did originally set Mosquita y Mari in San Francisco’s Mission District. After putting
together an initial S.F. budget I quickly learned that I didn’t have the means
to shoot there. And I wasn’t so married to having it be the Mission. I just
really wanted it in an immigrant setting.

East L.A. has been played out so much on films. It’s gotten to
the point where people across the nation, and even the world, think East L.A.
to be the only Latino community in California. Nothing against East L.A., but I
wanted to capture a community just west of East L.A. that had its own unique
history and vibe. I want to bring Huntington Park out of the shadows.

Music is a big part of the story. In a
lot of the scenes the characters play songs for each other and hang out
listening to music. How did you choose the music?

Guerrero: I connect
to specific music early on in my process of writing. I’m constantly on SoundCloud
or Remezcla
looking to see what new music is being produced by Latino artists. I’m not
interested in producing soundtracks or scores that have been recycled in U.S.
Latino films throughout the years. I’m looking for music that’s cutting-edge
and contemporary. That’s how I see the worlds and characters that I put on
screen so the music has got to somehow add to the texture of that world.
Outside of the tracks I chose for the film I worked with a wonderful composer
named Ryan Beveridge. When we started working together I remember emphasizing
to him, “Please, no strumming guitars.” I didn’t want people to recognize the
score. I wanted it to be specific to Mosquita
y Mari
. He was wonderful. I sent him bits of music I was hearing and I was
sending him pictures of the neighborhood and he just ran with it. He created
something really unique.

There is this beautiful moment in the
film where Mosquita is riding on the back of Mari’s bike and “Esta Soledad” by
Carla Morrison is playing. There are close-ups of her face, of her hand gliding
through the air; she looks so happy and free. The song is so sad and kinda
dreamy. What made you choose it?

Guerrero: I believe
love is bittersweet, especially young love. Carla
, the score and the opening song are all meant to subtly
bring that tone to the film. When I think of Carla Morrison’s voice it feels
haunting. Her music always stirs melancholic feelings of loss in me that end up
lingering for days. For that specific scene I thought she was the perfect
choice to juxtapose Mosquita’s youthful excitement of feeling alive and in the

The word gay is never
spoken in the film. The characters and setting are Latino but no one directly
comments on being Latino, they just are. Why did you choose to tell the story
this way?

Guerrero: I think
staying away from labels is what makes this film refreshing. Audiences are
placed in Mosquita y Mari’s world—their
world is Latino, Xicana, it is immigrant. They don’t have to stop to remind
themselves of it. They have grown up bicultural. It’s their norm to go in and
out of Spanish and English without having to point it out. It’s how I was
raised and I thought it was important to depict young people comfortable in
their own skin and world. Mosquita y
s story is meant to capture
the moments that maybe down the line, maybe in college, they will come to
discover were their first moments of queerness.

y Mari
had its theatrical release last year. What lessons did you learn?
What advice would you give to other Latino filmmakers about the distribution of
Latino films?

My producer and I released the film ourselves. We didn’t have a big budget
at all to do this so our theatrical release was very very limited. I think I
learned that to open in a city like Los Angeles and New York theater houses
expect you to have a big marketing budget or they will pass on your film. We
didn’t budget accordingly because we were focusing our efforts on reaching our
audiences via social media which wasn’t going to cost us much. But I feel like
social media is something that has yet to be considered a viable platform for
marketing in the industry. I think my biggest advice to filmmakers is to look
into the many digital platforms that exist for you and your team to distribute
your film. A theatrical on a tight budget really only becomes about generating
critical reviews for you and your film, not revenue.

Latino films have had a hard time at the box office. Why do you think Latino
films haven’t vibed with Latino filmgoers in the past?

It’s interesting. I believe in Mexico there’s a big culture of moviegoing,
both studio and indie. I think here in the US that’s not the case because
Latino communities don’t have access to indie films. If you go into communities
of color you will only find the big theater chains which only play the
blockbuster genre films. So how else does our community find out about
independent film? Is it talked about in their schools? Is it written about in
their local Spanish speaking papers? Are the art house theaters hard to get to?
I think social media is starting to close this gap when it comes to learning
about films like Mosquita y Mari and
Netflix is making them more attainable, but even then I think there is a
“deprogramming” that needs to happen so Latino audiences not used to
watching indie films can appreciate more nontraditional narrative films

What’s next for you? Any new projects?

Right now I’m developing my second feature film, Los Valientes. It’s about a gay, undocumented immigrant who finds
himself caught in a web of deceit when the small, working-class town he and his
family live in purposes its own anti-immigration law. Since I’m not personally
undocumented I approached two groups, DreamActivists PA in Pennsylvania and
Dreamers Adrift/Culture Strike in the Bay Area, about becoming Los Valientes community partners.
They’ve all agreed, thankfully! Together we’re creating a path to ensure a
mutual exchange of knowledge happens between the film and the undocumented
communities the film will be set in, which in this case are San Francisco and
certain parts of Pennsylvania. We’ll be launching a website for the new project
soon and we’re hoping the fan base we’ve built around Mosquita y Mari will be excited to follow this new project. In the
meantime, we ask people to LIKE our
Mosquita y Mari
Facebook page where we’ve been posting all our
recent good news, like the screenwriting and development grants that KRF/SFFS and Tribeca recently awarded Los Valientes.

y Mari
will be available May 7 on iTunes, Amazon Instant
Video, and Vudu and June 8 on DVD.

For more info on the movie follow @MosquitayMari
on Twitter and Facebook.

Written by Juan Caceres and Vanessa Erazo,
LatinoBuzz is a weekly feature on
SydneysBuzz that
highlights Latino indie talent and upcoming trends in Latino film with the
specific objective of presenting a broad range of Latino voices. Follow
@LatinoBuzz on
Twitter and


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