As I delve deeper into the world of cinema and its impact, I find myself increasingly captivated by the stories that not only entertain but also shed light on pressing societal issues. The tale of Alonso Ruizpalacios’ “Todo Lo Demás” is one such narrative that resonates profoundly with me.


Elizabeth Woodward spotted a chance in the independent film sector and seized it. As the founder and CEO of production company and distributor Willa, Woodward is set to venture into larger projects with Alonso Ruizpalacios’ “La Cocina,” which Willa will release on October 25 in New York and Los Angeles. The movie will expand to the top 10 markets on November 1, followed by a nationwide launch on November 8 in over 75 locations across the country.

The movie reflects Willa’s goal of discovering impactful content with a social message and planning its distribution not just for attracting viewers but also for resonating deeply with them via film-related events. For “La Cocina,” shown in the Berlinale competition, this approach is driven by the sense of urgency stemming from ongoing election campaigns, encompassing both national and local races.

Woodward aims to create films that touch people deeply, given that she entered the film industry during a period of change and evolution. This has required her to tread a fine line between adhering to established routes and grasping the dynamics of key players, all while steering clear of bureaucratic hurdles and seeking innovative paths ahead.

In 2023, Willa released the movie “You Resemble Me”, which had its premiere in Venice. This film delved into the topic of radicalization and told a true story about a woman who was wrongfully accused of being Europe’s first female suicide bomber. The film garnered numerous awards, resonated deeply with viewers, and boasted Spike Lee, Spike Jones, Riz Ahmed, Claire Denis, and Alma Har’el as executive producers. However, Woodward expressed that the distribution deals they received felt more like a burial than a release. This prompted him to realize that the market wasn’t just letting us down, but was failing many contemporary filmmakers as well. Consequently, he decided that they needed to take matters into their own hands, as they didn’t want “You Resemble Me” to become another groundbreaking film that never got off the starting block.

In my personal perspective, I’ve grown quite intimate with the film’s director and immersed myself deeply into the cinematic universe that this movie offers. Needless to say, I wholeheartedly recommend it for any cinephile seeking a unique, engaging experience.

We contacted partners who supported our project financially, as we had both philanthropic and investment funding. Some of these partners were also eager to discuss the topics presented in the movie, so we tailored our distribution plan to address the questions and potential impacts that the film might provoke.

From there, it kick-started its journey. It premiered in 85 U.S. cinemas for its initial run, secured distribution agreements and was screened globally, eventually reaching a social media audience of approximately 62 million people.

Willa organized “pay-as-you-wish” showings for the movie, and these turned out to be quite profitable, actually earning more than conventional box office receipts, as she points out.

The strategies for distributing content within the Willa model, which include “working collaboratively (yet selectively) with filmmakers, leveraging the power of grassroots campaigns for insights into the distribution blueprint, embracing innovative experimentation, and engaging specific audiences directly.

During her time at the Sundance Catalyst Fellowship this year, Woodward notes that she was able to thoroughly analyze and clarify the structure of the Willa model, including its business plan and business strategy. She attributes the catalyst community as being instrumental in the formal launch of Willis’ distribution division.

Her strategy involves blending business and philanthropy. Here’s a simpler take: “I found that independent films often rely on philanthropy for development, production, artist support, and impact campaigns. However, we often neglect distribution, which is crucial for the film to be seen. Philanthropy already funds the creation of these stories to bring about change, but for this change to happen, the films need to be watched.

She goes on to say, “From our case studies of past releases, I’ve observed that philanthropic funding reduces risk and allows for the innovative strategies and approaches we at Willa consider crucial during this time of marketplace transformation. This way, we can discover a route to sustainability for independent films.

Essentially, they have the flexibility to experiment with various approaches because the financial backing for the film comes from philanthropic sources that are invested in the broader independent film community. This setup allows Willa, which is a fiscal sponsor LLC, to accept charitable donations for activities that aim to create an impact and aren’t primarily focused on generating revenue. The investment portion of the funding supports marketing expenses during the distribution phase, while keeping overhead costs minimal.

“La Cocina” features Raúl Briones and Rooney Mara, portraying a busy restaurant called The Grill situated in Times Square. The Grill, a popular tourist destination, employs numerous undocumented workers, among them Pedro (Briones), a skilled chef. Despite his culinary talents, Pedro’s undocumented status limits him. The front of the house is predominantly white women, while the kitchen, or back of the house, is diverse and management often exploits its staff.

Woodward shares his admiration for Alonso, saying he’s long been a fan and appreciates his past projects. When he stumbled upon the film, it seemed tailor-made for his tastes since it not only showcases artistic brilliance with an engaging storyline, but also serves as a powerful tool to raise awareness and change perceptions about the working conditions of restaurant staff and the rights of undocumented immigrants.

Following Willa securing the rights, they collaborated closely with Ruizpalacios. “A key aspect of Willa’s approach is empowering filmmakers in the distribution phase, positioning them at the core to enable customization of the release. Additionally, an artist support grant is offered so they can devote time to this process. It may not be a significant amount of time, but we actively engaged with Alonso to understand his motivations behind the film, his aspirations, and what types of audience engagement or impactful partnerships he would find appealing,” explains Woodward.

The filmmaker revealed that both the play “The Kitchen” by Arnold Wesker and his experiences as a dishwasher at London’s Rainforest Cafe influenced him. He expressed interest in exploring the experiences of individuals who have achieved success, focusing on what life is like for them, the challenges they face, and their hopes for the future – a genre that transcends borders but is particularly intriguing to Ruizpalacios.

The Willa team constructed a campaign aimed at boosting audience engagement, with a primary focus on advocating for fair labor rights in the restaurant industry, particularly for undocumented workers. To achieve this goal, they collaborated with One Fair Wage, a nationwide organization that strives to amend sub-minimum wages and enhance earnings for restaurant workers, many of whom are both undocumented and people of color. The campaign aimed to shed light on these critical issues while also paying tribute to the hardworking individuals in the restaurant industry. What makes this film unique is its ability to portray the rich humanity behind often unseen stories and aspects of the lives of these workers.

Willa mentions her success in obtaining a billboard in Times Square through a charitable program supported by certain billboard owners. She’s particularly thrilled about this achievement. The video they’ve made for the occasion features scenes from the film and actual workers from the One Fair Wage network. On the 28th of this month, they are organizing a celebration in Times Square with the organization. During this event, they will distribute special awards such as rent vouchers and educational scholarships, courtesy of One Fair Wage. Moreover, the billboard will be displayed for 30 seconds, approximately 200 times per day, over a nine-day period.

I’ve been involved in organizing screenings of the film and press conferences nationwide, bringing together restaurant workers and advocates alike, under the banner of Will and One Fair Wage.

Additionally, we arranged a premiere for the U.S.-Mexico border at Laredo, Texas, involving numerous local stakeholders, an energetic city councilwoman dedicated to these matters, and renowned undocumented chef Cristina Martinez, who previously appeared on ‘Chef’s Table,’ as mentioned by Woodward.

Just recently, I had the pleasure of reviewing Alexandra Simpson’s film “No Sleep Till,” which made its debut at the Venice Critics’ Week and was honored with a special mention award. The movie’s distribution is indeed something worth staying awake for.

When it comes to investments, Woodward explains, we need to find ways to produce income for these films. On the philanthropic front, our goal is to measure the impact our films have, either directly or on the broader ecosystem. This means being strategic, careful, and thoroughly considering each film’s unique requirements, as well as developing the right plan, budget, and approach. It’s a time that calls for close examination of every decision and hard work.

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2024-10-24 21:20