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Films, Podcasts, and other Media

31st San Diego Latino Film Festival


On Thursday, February 29, 2024, from 5:00pm to 7:30pm, attendees were treated to lite bites, drinks, and music as they gathered for a sneak peek of this year's film lineup and exciting celebrations, marking the 31st edition of the event. The occasion also offered press availability for media present, providing them with the opportunity to be among the first to interview directors, producers, guest artists, and the team behind the San Diego Latino Film Festival.

Following the festivities, a special advance screening of Julio Torres' "PROBLEMISTA," courtesy of A24, commenced promptly at 7:30pm inside AMC Mission Valley 20, offering attendees an exclusive preview of the upcoming film.

East Coast Premiere of Pandemic Bread: Unveiling a Cinematic Delight

East Coast Premiere of

Pandemic Bread:

Unveiling a Cinematic Delight


Pandemic Bread is a short dramatic film By Professor Zeinabu irene Davis about a Filipino interpreter taking an end-of-life call with a doctor and an elderly woman diagnosed with COVID in her quarantined hospital room. This is a story of resilience, agency, and hope told through the eyes of the interpreter who bakes bread during the call. The film involves a unique collaboration with the San Diego Filipino community, UCSD students, and film professionals. By coming together to creatively express COVID-related experiences, this film offers an artistic vehicle of catharsis to aid in collective healing.

Pandemic Bread made its world premiere on May 11th, 2023 at the Los Angeles Asian Pacific Film Festival to a sold out audience in downtown Los Angeles. It will be making its East Coast premiere at the Blackstar Film Festival on August 2nd in Philadelphia, PA. This is Prof. Davis’s first narrative film since her award winning feature Compensation (1999). The film is produced by graduate candidate Nicoletta Vangelisti.






Dr. Alex Fattal's latest film entitled Limbo makes its way through film festivals

20th Anniversary of Professor Zeinabu Davis’ Film “Compensation” 

San Diego Latino Film Festival Features Documentary by Communication Alumni

Caroline Collins Premieres Podcast "We Are Not Strangers Here: African American Histories in Rural California"

Alum and Postdoc Caroline Collins Premieres Six-Episode Podcast as Part of a Cal Humanities Funded Public History Project

Alumna and Bylo Chacon Postdoctoral Fellow Dr. Caroline Collins premiered the first episode of a six-part Cal Ag Roots podcast which she wrote and produced, We Are Not Strangers Here: African American Histories in Rural California, on February 9th, 2021. This series highlights hidden histories of African Americans who have shaped California’s food and farming culture from early statehood to the present.

“We’re reframing California history to more accurately represent the past. We’re discussing the events that actually took place, the people who were actually here, and the things those people did. If you represent that past accurately then you have a story that is about rootedness and groundedness. It’s about how Black people are not strangers to California.”

You can listen and share this podcast at this link. Episodes are roughly 25 minutes and premiere Tuesdays through March 16, 2021.

 Farmhand and horse standing next to a shed, c. 1908. Courtesy: Roberts Family Papers, African American Museum and Library at Oakland

We Are Not Strangers Here is a collaboration between Collins and Susan Anderson of the California African American Museum, the California Historical Society Exhibit Envoy and Amy Cohen, and the Cal Ag Roots Project at the California Institute for Rural Studies. This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities, and the 11th Hour Project at the Schmidt Family Foundation. The podcast accompanies an upcoming traveling exhibit (as well as an in-progress digital version produced in response to COVID-19 with the assistance of the California African American Museum).

“This project began as a conversation between the Executive Director of the California Institute for Rural Studies, Ildi Carlisle-Cummins, and Susan Anderson, who is a long-time public historian of African-American history in California. At the time, Susan Anderson was at The African American Museum and Library in Oakland. She and Ildi Carlisle-Cummins discussed collaborating on a public history project that would address the long presence of Black folks in California’s rural communities. The story of Black people in the state is often told through a framework that positions them as relatively recent migrants to California–and to its urban areas in particular. They wanted to reframe that common story by sharing these undertold histories.”

Photo Credit: Nine young men and women sitting in a field, Tulare County, 1912. Courtesy of Roberts Family Papers, African American Museum & Library at Oakland

“Black folks are not asking for equal rights as a new group of Californians. We are reasserting our demands.”

As a scholar who examines how the history of the American West is made and remade, particularly in California and especially in popular culture, Dr. Collins was drawn to this multimedia project. Collins drew from her doctoral research on this topic as well as from her former dissertation committee members including Professor Zeinabu Davis and Associate Professor Angela Booker and their respective work on mediating Black histories and storytelling. Collins was also influenced by her committee chair, recently retired Professor Emerita Valerie Hartouni, whose research on visual culture helped Collins navigate the often complex ways these stories are told and retold. This podcast also ties in with her current post-doc research working with former committee member Professor Patrick Anderson on his Breathable Streets police oversight project. Collins plans on incorporating research from this podcast into her second book which will chart the symbiotic relationship between whiteness and policing in California’s popular culture.

“I was also influenced by the work of Black historians like Delilah Beasley who, for over eight years, travelled all over California talking to these early African American pioneers and trying to find and document as many records as she could in archives across the state. In 1919, she self-published this really groundbreaking book called The Negro Trailblazers of California.

Even then, at the turn of the century, Beasley realized the significance of the Western ‘pioneer story’ and all of the systemic belonging and identity and authority that comes with it. She understood the rhetorical and material implications of who gets to be counted as the state’s ‘original pioneers.’ She wanted to make sure that these early Black stories weren’t overlooked.”

Collins is not only interested in highlighting these often undertold stories of California, her work also “interrogates racial formation in California through critically examining the evolving origin stories that structure popular retellings of its history.”

“Food Fights for Freedom!!!” , Charles Alston, c. 1942-1945. Courtesy National Archives, photo no. 535638.

“It’s not often discussed, but Black people have been in California longer than Anglo Americans have been here in any significant number. Since the onset of 16th century Spanish colonization, Black folks–both enslaved and free–came to California as part of Spanish colonial parties. They participated in the colonial project. Roughly half of the 18th century settlers who founded present day Los Angeles, for example, were of African descent and a few were of full Black ancestry. By 1790, one in five California residents was Afro-Latina/o. The last governor of Alta California, Pío Pico, was actually of mixed African descent. Black people from the U.S. even became naturalized citizens of Mexican California in the 19th century. Black folks mined in California’s gold fields. They homesteaded. So at each of these important moments in Californian history–from the original occupation of Native lands to continued settler colonialism–Black people were here, part of the fabric of the region.”

Collins argues that a very different story of the Black Californian experience gets told through popular culture, one that focuses more on the 20th century’s Great Migration which brought her own relatives to this state from Texas. 

“The story of the Great Migration of the 20th century is an important part of African American history in the state but it doesn’t represent the actual origins of Black folks and people of African descent in California. So as a scholar of Communication who studies California’s origin story, I’m interested in how these stories have been erased from public memory and how California has come to be read as white. For instance, one of the questions my dissertation pursued was how various popular culture products helped position Mexican Californians as ‘outsiders.’ Along these lines, this project helps me examine how and why Black Californians have been read solely as ‘late arrivals’ who came in the 20th century around World War II.” 

This podcast offers insight into current events as well. Collins sees the recent insurrection at the Capitol as reflective of these reworked narratives regarding belonging in the United States. 

“Consider a major question we’re negotiating today: How could armed insurrectionists storm the Capitol and not be immediately restrained? Among all sorts of other nuances and contributing factors, we also can’t ignore the significance of cultural narratives and how certain groups, namely white folks, have socially, economically, and politically benefited from being part of origin stories that associate them with tales of ‘strong pioneers’ and cast them as descendants of hearty folks who were allowed, and expected, to push up against the rules, to take up arms, and to carve out a nation where there was ‘none’ before. That narrative carries a cultural inheritance that justifies all sorts of actions–including those deemed necessary to pursue on behalf of securing the nation and its ownership. Those are all things I examine in my first book manuscript when I discuss what I call America’s ‘pioneer identity.’”

Portrait of Lucy Hinds with infant, Ernest L. Hinds, circa 1886. Courtesy: Roberts Family Papers, African American Museum and Library at Oakland

Using her own experiences growing up with family stories and photos of the 19th century American West that weren’t always reflected in popular culture, Collins also aims to celebrate the diverse narratives that Black communities already share through oral histories and artifacts.

“I’m also just really excited to share a narrative that’s ‘been known’ to so many Black folks already, my family included. For a lot of us stories that represent our lives in the early American West have been a part of the fabric of our everyday life. These are stories we share at family gatherings and pass down through generations. These are the types of photos we have in our family albums. At its most basic level, this is also a series for other Black people to enjoy–to just savor these stories about ourselves. It’s been a true labor of love.” 

Collins was introduced to the project by fellow graduate student Erika Ramirez-Mayoral who was already working with the California Institute for Rural Studies on a different project based in the Coachella Valley. When Ramirez-Mayoral told the Institute about Collins, who was completing her dissertation at the time, the Institute contacted Collins about joining the We Are Not Strangers Here project.

“I began with a lot of archival research–searching various state archives, in person and online, for photos and other images or documents for the Exhibit’s traveling banners. I also had the benefit of working with the project’s Primary History Advisor, Susan Anderson who is the History Curator and Program Manager at CAAM. She has a wealth of knowledge and provided me with so many valuable leads. I also searched for interview subjects and because of my past media work and my growing involvement with the research, I was asked to write and produce the project’s podcast.”

Collins and her colleagues are also amplifying narratives about rural African-American communities in California and the importance of Black farmers and agricultural achievements which are often obscured by an “inner city” narrative. 

African American boy harvesting onions in a field near Modesto, July 11, 1961. Courtesy Ernest Lowe, photographer.

“We’re also doing some important reframing around notions of Black folks and the natural world. Often ‘Black’ and ‘urban’ get collapsed on one another, right, so we go into environmental history of race scholarship in the podcast. The stories we’re sharing also counter narratives that tether Black people’s relationship to the land solely through a lens of oppression like enslavement and sharecropping. We discuss Black people’s relationship with the landscape through agricultural innovation, through homesteading, by working the land, ranching, and farming–all sorts of things that offer new understandings of race, settlement, and belonging in California. And then on top of that we look at how Black Californians in rural areas were also making all of these civic contributions to the state. That’s important because although the Civil Rights Era is certainly significant, one reason why California is known as being so progressive actually has to do with these early Black pioneers. As early as 60 years before Brown vs. Board of Education you have people like Edmond Wysinger who in 1890 fought to make sure that Black children and others like Native children could get an education in the state at a time when increased Anglo migration to California had resulted in an influx and hardening of Jim Crow. He was a rural homesteader who, when the local public high school in Visalia wouldn’t admit his son, he took on the teacher and the school district–all the way up to the California Supreme Court to secure a decision that forever altered the state. So, we can see this legacy today in the midst of current social justice activism. In many ways, Black folks are not asking for equal rights as a new group of Californians. We are reasserting our demands.”

Dr. Caroline Collins’ podcast premieres Tuesdays through March 16th, 2021. Photo Credit: @aydraj (with editing by @naliniasha_art)

Zeinabu Davis’ Films Premiere on the Criterion Channel

Professor Zeinabu Davis’ Films to Premiere on the Criterion Channel

Professor Zeinabu Davis’ collection of narrative films will premiere on January 20th on the Criterion Channel as well as an interview filmed by Communication graduate student Nikki Turner and undergraduate Moriah Hayes.

Professor Davis is a veteran of independent film and video and has produced numerous award winning works often focusing on the depiction of African American women – their hopes, dreams, past and future, diversifying the terrain of mass media, film history, world cinema, and folklore. She frequently writes and lectures on African and African American cinema as well as teaching both undergraduate and graduate media production classes.

Included in the new collection are the following films:


A Powerful Thang, 1991

Compensation, 1999


Crocodile Conspiracy, 1986

Cycles, 1989

Mother of the River, 1995

Emerging from the explosion of Black cinematic creativity known as the LA Rebellion, Zeinabu irene Davis combines narrative storytelling and a range of poetic experimental techniques to give voice to African American women’s experiences of love, joy, struggle, and self-realization. Her sublime feature Compensation—one of the most unjustly neglected works of 1990s American independent cinema—incorporates sign language and silent-film techniques as it traces two love stories involving Black deaf characters across generations. It is presented alongside innovative works like Cycles and A Powerful Thang, in which Davis employs animation and Afro-Haitian dance to lyrically portray intimate moments in the lives of Black women.


This premiere was also featured in the New Yorker’s Goings on About Town highlighting her award winning feature Compensation which was also screened in 2019 in the UC San Diego Price Center. Read more about this screening here:

Zeinabu irene Davis’s boldly original independent drama, from 1999, is a film in two parts, set at both the start and the end of the twentieth century in a Black community of Chicago. The deaf actress Michelle A. Banks stars as the earlier era’s Malindy Brown, a dressmaker who migrates from the South and is courted by a hearing laborer, Arthur Jones (John Earl Jelks)—and as Malaika Brown, a printer and artist in the nineties, who begins a relationship with Nico Jones (Jelks), a children’s librarian. Both relationships pivot on the transmission of Black American culture (the work of Paul Laurence Dunbar is prominently featured) and of deaf culture, and both involve medical matters that are central to their times—tuberculosis in the earlier episode, aids in the later one. Davis evokes history with a virtually archeological imagination, presenting the earlier story as a silent movie that seemingly brings archival photographs to life; in the later story, with a blend of drama, music, text, dance, and documentary views of modern Chicago, she portrays modern life as historical in real time.


You can learn more about Professor Davis’ films, writings, and teaching at her profile here:

Alexander Fattal: Limbo


Alexander Fattal, 2019


An oneiric journey through Alex’s life as a former FARC guerrilla leads to a reckoning with the devil inside of him. Alex tells his story of war and its legacy inside of a truck transformed into a camera obscura, a space where dreams suffuse with reality and a life in limbo is illuminated.

cover of Limbo filmFestivals and Awards

  • Sheffield Doc/Fest (Sheffield, UK)
  • BOGOShorts (Bogotá, Colombia)


  • Cinéma Du Réel (Paris, France)
  • Festival International du Documentaire Émergent (Paris, France)
  • Latin American Studies Association Film Festival
  • (Guadalajara, Mexico)
  •  Festival Internacional de Cine Documental de Buenos Aires (Buenos Aires, Argentina)
  • Muestra Internacional Documental de Bogotá (Bogotá, Colombia)
  • Panorama Du Cinéma Colombien (Paris, France)
  • Centre Film Festival (Philipsburg, PA)


  • Die Lateinamerikansische Tage Leipzig (Leipzig, Germany)