Wicked Queer - Bruising for Besos
A charismatic Xicana lesbian seduces an alluring Puerto Rican woman only to find herself recreating a tumultuous past.
Interview with Writer/Director/Producer Adelina Anthony
Watch Bruising for Besos on Prime Video
Yoli (Adelina Anthony) and Daña (Carolyn Zeller) enjoy their first night out together in public as a couple.
Congratulations! Why did you make your film?
Gracias. Yes, we wanted to make a film that tackled the difficult (still taboo) subject matter of same-sex intimate partner violence from a Xicana lesbian framework. By centering Latina lesbians in the U.S. and Queer/Trans People of Color in the film, we could explore some of the particular intersectional nuances we experience when we make familial, friendship and romantic bonds with each other. Ultimately, it's a film about healing and love not told in an obvious or expected way.
Imagine I’m a member of the audience. Why should I watch this film?
I think this film gives fresh insights into a world not yet seen in most cinema, and if you can set assumptions aside, the film takes the viewer on a journey with an aesthetic framework rooted in the themes of the film. Plus, I bet you or someone you know (queer or non queer) has been through an unhealthy relationship that they can't seem to break free from for a variety of reasons. The film is not prescriptive, but reinforces why many of us need to find the strength to confront our past, especially if it has elements of violence or trauma itself.
How do personal and universal themes work in your film?
The personal theme is very strong in my works, because I always borrow from my own life experiences. But I don't consider my work completely autobiographical because fiction clearly dominates in all of my works; my characters always have an agency of their own. I allow for the story to transform as much as it needs to, so it is my story as well as the story of others. It feels "authentic" because I have experienced and have insider knowledge of the themes I tackle.
I place authentic in quotes because I'm clear about not claiming any essentialized version of what it means to be a Xicana lesbian. If anything, many kinds of Latinas are presented in this feature. As for the universal themes: love, loss, family, friendships, forgiveness... Ultimately, I believe the wounded inner-child is something almost everyone can relate to in one way or another.
How have the script and film evolved over the course of their development?
Both the script and film evolved extensively over the years. The story came from a solo show that I world-premiered successfully at the L.A. LGBT Center's Davidson/Valentini Theater in 2009. It was directed by Rose Marcario and dramaturged/produced by Jon Imparato. Before then, the initial monologues of my protagonist, Yoli, and the very first draft, were developed by one of my former mentors, Cherríe L. Moaraga while I was a graduate student at Stanford University. The idea for the film version didn't come to me until 2011, when the Digital Revolution made it possible for indie filmmakers like me to imagine the possibility of making a low-budget indie film. (The film was made just under $50,000.)
The film preserves the heart of the solo show, but has it's very own distinct pulse.
What type of feedback have you received so far?
From our intended target audiences--Xicanas, Chicanx, Latinx, Indigenous and other queer people of color--the response has been overwhelmingly positive. Many of them have confided how this film speaks to their very lives. Many of them acknowledge it's sometimes hard to watch the film because it hits so close to home, but at the same time they acknowledge how much they appreciated the moments of levity in the film. Much care was given to the moments of respite. It's not a film for everyone, but I've never been an artist who creates work with "everyone" in mind. I'm trying to reach specific communities who have a relationship to the storytelling techniques, the aesthetics and the bodies utilized in Bruising for Besos.
Has the feedback surprised or challenged your point of view?
Not yet. I knew what areas of the film might get push back from certain audience members, but they totally have a right to their opinions. In fact, the film is intended to provoke critical dialogue.
My job is to stand behind the work once it's out in the world. I also know it's intended to be one film in conversation with other films, so I feel like I'm only beginning to explore the subject matter at hand.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We're always happy when our film finds new audiences. We're especially interested in connecting Bruising for Besos with the social justice work of domestic violence and intimate partner violence.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We need feminist, queer and social justice minded journalists from our communities to help us amplify the film's message.
What type of impact and/or reception would you like this film to have?
After every film screening we've attended, we've had at least one (usually more) people confide that this was their story, and it gave them some measure of healing. For some, it pointed them towards finding help.
We hope the impact overall is a curative one, while it entertains and provokes the heart to compassion.
What’s a key question that will help spark a debate or begin a conversation about this film?
This one: What is the film's most effective way of dealing with childhood trauma and why?
Would you like to add anything else?
I/we are just very appreciative of everyone who has shared the film with their friends and networks. We're grassroots artists, so the positive word of mouth really matters to us. So thank you for reaching out to us! We're excited to learn about your site and the work you are doing!
What other projects are the key creatives developing or working on now?
AdeRisa Productions is producing three queer short films this summer:
Ode to Pablo ( a 2017 Latino Public Broadcasting PMCF Winner/writer-director: Adelina Anthony): a story about a Queer Deaf AfroLatino teenager who must reconcile a loss with his father.
Santos (written by Marisa Becerra and directed by Adelina Anthony): A young Mexican girl defies gender roles in her traditional home.
La Serenata (Written by Ernesto Javier Martínez and directed by Adelina Anthony)- A young Mexican boy needs a song for a boy who loves a boy.
Interview: May 2018
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, scifi, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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Bruising for Besos
A charismatic Xicana lesbian seduces an alluring Puerto Rican woman only to find herself recreating a tumultuous past.
Length: 86 minutes
Director: Adelina Anthony
Producer: Adelina Anthony and Marisa Becerra
Writer: Adelina Anthony
About the writer, director and producer:
Adelina Anthony is a two-spirit Xicana lesbian artist with over 25 years of art-making practice: www.adelinaanthony.com
Marisa Becerra is the writer of the upcoming short film, Santos, and the co-founder/producer of: www.aderisaproductions.com
Key cast: Adelina Anthony, D'Lo, Carolyn Zeller, Natalie Camunas, Lawrencia Dandridge, Marlene Beltran Cuauhtin, and Kristina Wong
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Journalists
Social media handles:
Facebook: https://www.facebook.com/AdeRisaProductions/
Twitter: https://twitter.com/AdeRisaProd
Instagram: https://www.instagram.com/aderisaproductions
Other: www.bruisingforbesos.com
Funders: Marisa Becerra, Adelina Anthony, D'Lo, and AIM/Hatchfund community funders
Where can I watch it next and in the coming month?
https://vimeo.com/ondemand/bruisingforbesos
And for the first 100 readers of this article here is a 50% off rental promo code: WAMS (good until they last or expire on June 30th, 2018)