Tag Archives: festival

Cine Pobre: Where Film Isn’t About Budget

By Alicia Flores—

“Film becomes art only when its materials are as inexpensive as pencil and paper.”

The Cine Pobre Film Festival is heading into its 24th edition. At a time when most film production is tied to large budgets and industry backing, Cine Pobre focuses on something much simpler: films made independently, often with very limited resources, by people who choose to make them anyway.

The festival started in 2002 in La Paz, Baja California Sur, and relocated to Oaxaca in 2023. Over the years, it has built a network of filmmakers working outside traditional systems—people funding their own projects, working without strict formats, and often using whatever equipment they have access to.

The result isn’t a specific “look” or genre. Some films are polished, others are rough. What they share is a sense of intention. These are projects that exist because someone was determined to make them, not because they fit a market.

Working Without a Safety Net
There’s no romanticizing the limitations here—working without funding is difficult. But it does change how films are made. Smaller crews, fewer locations, simpler setups. Decisions tend to be practical, and that often leads to a more direct kind of storytelling.

Cine Pobre leans into that reality. It doesn’t try to imitate big-budget production. It presents films on their own terms, without comparing them to industry standards they were never meant to meet.

Beyond the Festival Circuit
The group behind Cine Pobre isn’t only organizing screenings. Over time, they’ve also produced and distributed independent films across Latin America, staying close to the kind of work they promote.

In 2024, they opened a small screening space in Oaxaca’s cloud forest, at about 2,400 meters above sea level. It’s not a commercial cinema—it’s a modest venue meant for small audiences, discussions, and ongoing programming.

That shift matters. Cine Pobre isn’t just an annual event anymore; it’s becoming a year-round presence.

Taking Film to Places Without It
One of the more interesting parts of the project is its outreach into rural communities. In many cases, these are places where people haven’t had much access to cinema, either as viewers or as creators.

The approach is straightforward: bring screenings, and encourage people to document their own lives. No expensive equipment required—a phone is enough.

In that setting, film becomes less about consumption and more about record-keeping, storytelling, and identity.

Cine Pobre doesn’t operate like a typical festival. There’s no focus on awards or competition. The selected films—often referred to as “the best self-funded films in the world”—are screened for their cultural value rather than ranked against each other.

The audience is just as important as the filmmakers. Screenings often take place in environments where people aren’t used to going to the movies, which changes the dynamic entirely.

The 2026 Edition
For its 24th edition, Cine Pobre will continue expanding in Oaxaca, including screenings in rancherías in the municipality of San Mateo Río Hondo.

These events are designed to be accessible—open-air or small-scale gatherings where people can watch films, ask questions, and spend time together. It’s less about a formal festival experience and more about creating a shared one.

The official selection will be announced on April 26 through the festival’s online platforms.

More than anything, Cine Pobre is a reminder that filmmaking doesn’t need to be complicated. It can start with whatever is available—and that’s often enough.

The festival is May 8th-10th, 2026 in San Mateo Rio Hondo.

More info:
https://www.cinepobre.com
Instagram:@cinepobre
WhatsApp for screenings: +52 951 148 6408

Jewish Pilgrimage Festivals in Mexico

By Marcia Chaiken and Jan Chaiken—

Among the many pilgrimages that occur in Mexico, probably the ones with the oldest historical foundations are some Jewish observances. Known in Hebrew as the Shalosh Regalim, the “three pilgrimage festivals,” the observance of these ancient practices was carried here by Jews who accompanied the Spanish conquistadors. They were practiced in secret, since the Spanish Inquisition imposed the death penalty on those who carried out Jewish observances.

Historically, the three Jewish pilgrimages occurred in the land of Israel during times when Temples existed in Jerusalem: Solomon’s Temple, between the 10th and 6th centuries BCE, and the Second Temple, between 538 BCE and 70 CE.

Three times each year, marking the beginning of the spring barley harvest, the beginning of the summer wheat harvest, and the end of the annual fall harvests, Jewish law, as written in the Torah (Jewish scriptures), commanded that members of the twelve tribes of Israel travel from their home territories, largely by foot, up to the Temple in Jerusalem carrying specific offerings.

The three pilgrimages were known by names that are still used around the world, including in Mexico today. The spring harvest pilgrimage was also known as Passover (Pesaj); the beginning of the summer pilgrimage, Shavuot; and the fall pilgrimage, Sukkot, or the Feast of Booths (Cabañuelas).

In addition to offerings of the choicest of the harvest, each of the pilgrimages required sacrifices of animals brought by the pilgrims to the priests at the Temple. The Passover sacrifice was a one-year-old unblemished male lamb. The lamb was a reminder of the sacrifice of a lamb and shared meal that took place about 3,300 years ago on the night before the Israelite slaves were freed in Egypt and began their long journey toward the Promised Land.

Shavuot involved offerings of first fruits and loaves of bread baked from the choicest early wheat, along with a diverse selection of domesticated animals. Once again, the animals were chosen from the best of the herds and flocks and examined to ensure the absence of any blemish. These sacrifices reenacted the ceremonial offerings that, according to the Torah, took place at the foot of Mount Sinai, where the Ten Commandments were given to the Israelites.

The most noteworthy animal sacrifice for Sukkot entailed seventy bulls offered over the seven days of the pilgrimage festival. Temple rites for Sukkot also involved a far less bloody ceremony: the water ceremony. Pilgrims lined the path the priests followed from the Temple down to a pool of water at the bottom of the Temple Mount.

As the priests descended to fill their ceremonial bowls and climbed back up to the Temple, the pilgrims sang and danced in joy. They continued singing and dancing as the priests poured the water, together with wine, over the Temple altar, assuring all that there would be sufficient rain to produce abundant crops in the following year.

Pilgrimage to Jerusalem came to an end in 70 CE when the Roman army besieged the Temple Mount, almost completely destroyed the Temple, leaving only the Western Wall standing, killed a large portion of the Jewish population in the Holy Land, and sent thousands more into exile. With the destruction of the Temple and the end of priestly sacrifice, it fell to the rabbis to decide how Judaism could continue without pilgrimages to the Temple Mount or flesh-and-blood offerings. The discussions and debates that followed were recorded for posterity. Although physical pilgrimage ceased, the rabbis continued to refer to the festivals as the Shalosh Regalim, and each holiday remained a hag, the Hebrew word for pilgrimage, linguistically related to the Arabic hajj.

Since the end of the Inquisition in Mexico in 1820 and Mexico’s independence from Spain shortly thereafter, the Shalosh Regalim have been openly practiced by observant (and not so observant) Jews. Passover seders, often large family and community gatherings, retell the story of the Exodus from slavery in Egypt. On the seder table, along with other symbolic foods, is a shank bone, a reminder of the original sacrificial lamb. On Shavuot, meals traditionally include grains and fruits reminiscent of those once harvested and brought to the Temple. On Sukkot, ceremonies involve four species of ancient plants. A bundle of willow, palm, and myrtle, called the lulav, when shaken produces a sound likened to falling rain. Although the water ceremony exists only in memory, Jews still sing and dance as they shake the lulav and pray for a year of sufficient rain to foster the coming crops.

As the hag of Passover ends, those gathered for seders often call out in Spanish, “Este año estamos aquí; el próximo año, en Jerusalén.” (“This year we are here; next year, in Jerusalem.”)

2026 Festival Dates
Passover begins on the evening of Wednesday, April 1, 2026, and concludes Thursday, April 9, 2026

Shavuot begins on the evening of Thursday, May 21, 2026, and concludes Saturday, May 23, 2026

Sukkot begins on the evening of Friday, September 25, 2026, and concludes Friday, October 2, 2026.

Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.

The San Miguel Writers’ Conference and Literary Festival 2026

By Pat Steele—

The San Miguel Writers’ Conference and Literary Festival began in 2006 as an event attended by just 26 people. But what a difference two decades makes. Celebrating its twenty-first anniversary next year, it now brings 1,500 visitors to the mountain town in the heart of Mexico that Travel + Leisure magazine readers have repeatedly voted the “number one city in the world.”

“Our goal is to bring together the literary traditions of the US, Canada, and Mexico,” said the organization’s executive director, Jodi Pincus. “But as we continue to grow, we also have an increasingly global outlook. We strongly believe in the power of literature to build bridges by telling people’s stories. And there’s never been a greater need for that.”

The charm, culture and people of San Miguel de Allende are all parts of the reason why world-famous authors make the trip here each year. Keynoting the 2026 conference, which will be held February 11—15 at the Hotel Real de Minas, are global superstar writers Abraham Verghese (Cutting for Stone; The Covenant of Water), Chimamanda Ngozi Adichie (Half of a Yellow Sun; Americanah; Purple Hibiscus), Rebecca “R.F.” Kuang (The Poppy War trilogy; Babel; Yellowface), Emily St. John Mandel (Station Eleven; The Glass Hotel; Sea of Tranquility), Andrés Neuman (Bariloche; Traveler of the Century; Fracture; Until It Begins To Shine) Yásnaya Elena Aguilar Gil (Ää: Manifiestos por la diversidad lingüística), Maira Kalman (The Principles of Uncertainty), and the winner of Canada’s prestigious Giller Prize for fiction (to be announced.)

Sandra Cisneros (The House on Mango Street, Woman Hollering Creek and Other Stories) and Eduardo Antonio Parra (Nostalgia de la sombra, El rostro de piedra) are two famous names among the dozens of conference faculty who will be offering lectures, advice, and hands-on courses. Attendees will be able to take workshops in everything from plotting telenovelas to writing their memoir. Other faculty members of note include Jean Kwok, Jennifer Clement, Ann Hood, Hope Edelman, Christopher Bollen, and Sara Weinman.

The conference is also a great place for would-be authors to get practical advice from experts on the business and publishing side of literature. Prominent literary agents such as Michael Carr, Anna Knutson Geller, Rita Rozenkranz, Veronica Flores, Sam Hiyate and Susan Golomb will offer one-on-one pitch sessions. Other top publishing insiders offering individual consultations include Harper Influence publisher, Lisa Sharkey. There are also parties galore, faculty readings, open mic sessions, guided local excursions, discussion groups, wellness offerings, and more.

The conference is almost fully bilingual, and many of the Spanish-langue events are free to Mexican nationals. The general director of the Spanish program is Armida Zepeda, who has been instrumental in bringing many famous writers from Mexico and Latin America to San Miguel. “As a culture promoter, I know the literary scene in Mexico, which allows me to interact with literary professionals whom I am thrilled to invite to the festival,” she said.

Prominent Mexican and Spanish-language teaching faculty next year will include Amaranta Caballero, Ana Luisa Isla, Araceli Ardón, Bernardo Govea, Marcela R. Loreto, Mónica Hoth, Rodrigo Díaz Guerrero, Josemaria Moreno, Antolina Ortiz Moore, Matthew Sanabria Stenger, and Magali T. Ortega.

Many credit the event’s president and co-founder, Susan Page, as being among the secrets to its success. “I organized my Brownie troop in the third grade and have been starting organizations ever since,” she jokes. “The Writers’ Conference has put San Miguel on the literary map of the world and brings over three million US dollars into the local economy every year. Plus, I love the experience itself: high-level thrills combined with intimate connections. It’s an enchanting week.”

Her considerable charm and commitment to literature have brought a who’s-who of famous writers to the conference over the last 20 years. Just a small selection of those names include John Irving, Margaret Atwood, Barbara Kingsolver, Cristina Rivera Garza, Silvia Moreno Garcia, Gloria Steinem, Judy Collins, Alice Walker, Scott Turow, Joyce Carol Oates, Calvin Trillin, Yuri Herrera, Rosa Beltrán, Margo Glantz, Pedro Ángel Palou, Brenda Lozano, Guillermo Arriaga, Adam Gopnik, Elena Poniatowska, Laura Esquivel, Mary Karr, Juan Villoro, Jorge Volpi, Tommy Orange, Paul Theroux, and Delia Owens. (You might also recognize Page’s name as the author of the international bestseller “If I’m So Wonderful, Why Am I Still Single?”—first published in 1988, and still going strong.)

Tom Robbins, the late counterculture icon whose novels include Even Cowgirls Get the Blues, was an early supporter, keynoting the conference in 2008. Before going home he left a testimonial for the fledgling event, which was then still only catering to a few dozen people: “If Dante had had the San Miguel experience, he would have written more about heaven and less about hell.”

For tickets and more information about the program, please visit the ‘ San Miguel Writers Conference and Literary Festival website: http://www.sanmiguelwritersconference.org