Evelyn Lorena on Directing Gabriela: A Powerful Exploration of Identity, Resilience, and Representation

Evelyn Lorena: One of the things I’ve come to value as I’ve dealt with things in the industry, or with my health, has been finding ways to cultivate an inner spiritual fortitude. You have to have a thick skin to move around in the world but you also have to stay open. I think the thing that has helped create that has been a mixture of strong family ties and self-acceptance. I don’t just mean blindly accepting everything you do as a person, but being able to look in the mirror and value what you see regardless of what anyone else thinks. That's very difficult to do and it's a process of practice, but it's what I tried to portray in the film with Gabriela constantly looking in the mirror and evaluating herself. I wanted that process to feel a little messy, anti-climatic, and not as neatly tied up in a box, because that’s life. You aren’t ever really settled as a person I don’t think, at least in the sense that you have everything 100% figured out. You’re always discovering new things about yourself, but I do think there are moments you have with yourself when you can say, “hey I can move forward with a little more confidence now.” There’s always a little uncertainty in everything one does I think, but there’s always hope underneath it all too. I tried to infuse that into Gabriela’s journey by the end of the film.

PH: The film highlights the journey of a young undocumented Guatemalan woman. What inspired you to tell Gabriela’s story, and what message do you hope viewers take away from her journey?

Evelyn Lorena: I’m fascinated in general with bringing new perspectives to people who often get “othered.” I don’t really believe in stereotypes and having reductive ideas of people as I think people contain multitudes. So it was interesting to me to take someone like Gabriela, who did not have documentation and might otherwise be invisible, and make her visible to an audience and even to herself. I also hadn’t seen many stories about the undocumented community told in a cinematic or empathetic way. Up until that point, I had only seen stories that were told from an almost documentary-lens or from the point of view of crossing the border, and I was more interested in being able to tell an inner-life story, a story which I think could have a lot of humanity and nuance behind it. People’s inner workings feel deeply interesting to me. For Gabriela, her big complication was self-discovery, which thematically is even more interesting and universal to me.

PH: In your view, how does "Gabriela" speak to larger social issues around immigration and the experiences of marginalized communities, particularly within the Latino and Indigenous populations?

Evelyn Lorena: I try to look at things as objectively as I can and I know that immigration is a hot topic for many in the country right now. As a result, there can be a lot of unfortunate social scapegoating that I think is a little unfair. There is a lot of generalization that happens when in reality, there are so many hard-working people simply looking for opportunity, like Gabriela and Alma. I find it odd that people are quick to jump to judgment when anyone placed in dire situations or survival situations will do anything to find ways to survive, including migrating to a new place. I really empathize with that. I can’t pass judgment on policy or how to navigate that exactly, but I do hope that we can continue having these discussions with empathy or creating stories that place humanity at the forefront, so that we CAN craft common sense policy that takes into consideration the complicated factors that surround immigration. I hope “Gabriela” can contribute positively to that. The power of story can be amazing and I hope that the universality of it can reach across boundaries to a variety of people. I also want to acknowledge the variety of immigrants within the Latino community: coming from the various countries, backgrounds, and indigenous communities. So many get displaced and are looking to call America home, and I think the film shows how Gabriela and her mother live between two worlds and call two places home. That ends up influencing culture and the nuance of who you are, which in the end I think affects policy because we can’t just have a heavy-hand on things like that. They require nuance in the solution as well.

PH: The film explores generational reconciliation and self-acceptance, themes that are deeply meaningful in Latino and Hispanic heritage. Can you tell us how you approached portraying these nuances in the relationship between Gabriela and her family?

Evelyn Lorena: I’ve spent my whole life hearing certain Latinas, including myself, say that they may not feel “latin enough,” or have been made to feel they are not “latino enough” – something I find comical because how can you not be enough of yourself? How can you be anything but yourself? And I feel like that remark comes from the outside world more than it does from the people themselves, right? It’s remarking on what people “think” a Latino should act, look, and feel like, as if they’re a commodity. But that is sourced from stereotypes, right? So in the story, I wanted to approach the unfolding of the story the same way: the story plays on the downtrodden immigrant stereotype in the beginning and as it unfolds we reveal in a deeper way a really beautiful person who also comes to value herself – just as she is. That’s something I wish for all of us in our community: to embrace yourself and embrace your heritage. I think that becomes part of the reclamation process too, especially for the pieces that have become lost over time to assimilation or colonization. Reclaiming your essence, and crafting a sense of confidence in that, whatever that means to you, helps you move through the world more powerfully, I think. I hope the story relays that without words.

PH: What role does "Gabriela" play in broadening the narrative around immigrant stories, and how do you hope it can foster greater understanding and empathy for immigrants worldwide?

Evelyn Lorena: I wanted people to identify and see themselves in Gabriela, regardless of who the audience was. I think that’s really powerful because if you can begin to see yourself in someone who was once maybe seen as “other” to you, it bridges those gaps and breaks down prejudice too. I think it also expands what it means to be a Latina. Like I mentioned earlier, I think sometimes society has a very particular idea of what that looks like, of what a Latina is supposed to look like, or act like. But really, we contain multitudes and come in all shapes and sizes, and I wanted “Gabriela” to contribute to that vast catalogue of stories, not only by being as authentic as possible, but as complicated and interesting as possible, while still staying true to the story. Because really? All of our stories as Latinas are just that: complicated, nuanced, and deeply human.

PH: You faced significant personal health challenges while making "Gabriela," including waking from a coma and undergoing dialysis. How did you channel those experiences into your work on the film? How did they shape your perspective on the themes of resilience and overcoming obstacles?

Evelyn Lorena: I’ve read so many different accounts of people, whether in jail or having a near-death experience or dealing with a really traumatic event, and a lot of them talk about having to find an inner strength that would create an inner sense of peace and personal freedom. I was really drawn to that in relation to feeling tied down to a hospital bed or potentially limiting parts of my life due to what I was facing health wise. Spiritually, it was really transformative to understand that concept: that you can source your own validation and inner freedom for yourself. I think up until that point, like Gabriela, I had been searching for external validation in the world. I think finding that strength of character or spiritual fortitude is something we all have to go through to accomplish anything in life, and I wanted that process and journey to be embodied in Gabriela.

PH: Filming a story about self-determination while facing such adversity must have been an intense experience. How did the challenges you were facing off-camera deepen your connection to the central message of the film?

Evelyn Lorena: Like I said in the previous question, I think facing myself and beginning my own journey to self-acceptance just naturally found its way into the story because, well, it had to. And I really wanted that meditation on personal freedom to infuse itself into the story because I felt it would make the story that much more empowering. I can’t think of a stronger way to spiritually portray the American Dream than to craft a sense of self-acceptance and confidence that allows you to tackle your dreams and fulfill your destiny. I feel that whether you’re an immigrant or not, that’s what all of us want and why so many move to the U.S. Adversity becomes a part of life, but it can also help you find yourself.

PH: The short film has screened at over 50 festivals and won prestigious recognition, including the Netflix and Latino Film Institute's Indigenous Latino Fellowship. What does this recognition mean to you, especially considering the personal and professional hurdles you've overcome?

Evelyn Lorena: Honestly, it was such a pleasant surprise to me at the time since I didn’t know where I was heading in my life. I was recovering from a near-death, life-threatening illness, and I was contemplating how my life would now look when the fellowship came along. It was an extremely validating moment because part of me was unsure if I would get to continue doing anything in the industry I loved, and thankfully, that was a little shining beacon of hope and the push I needed to continue on - not only for myself, but for this story.

PH: "Gabriela" has been praised for its empowering portrayal of a Latina character. As a Latina filmmaker, how important is it to you to have your voice and perspective reflected in the stories you tell?

Evelyn Lorena: It’s really humbling that people have been able to see that way because it's truly the only thing I can hope for! I just like the idea of options and diversity of voices in any medium, so the more we can tell a variety of kinds of stories, the better. There’s no one way to be human and so it was important and validating to be allowed to craft and tell this story, a story that came from so many personal elements in my life. It’s like every time you allow someone to tell a story, you’re creating space to validate their existence - both for the characters in the story and for the authors of that story. I think in spaces where maybe there’s been a lot of blonde blue-eyed people on screen, it’s refreshing to see other types of people and perspectives on screen. (Why would we only want to see one group of people on screen when the world has so many different types of people and experiences?)

PH: Through the work of The Blended Future Project, which produced the film, you’re dedicated to spotlighting marginalized communities. How does "Gabriela" fit within the broader mission of the project, and what role do you see the film playing in advancing the conversation on race, identity, and social justice?

Evelyn Lorena: I think Maris over at BFP is really into the idea of people travelling between two worlds. “Gabriela” the story also exists between two worlds and she is constantly navigating and reconciling that. Like “Gabriela” I also grew up reconciling two cultures and two worlds constantly. But, the more Maris and I dove into “Gabriela” the more we realized, everyone is reconciling aspects of themselves and that’s what makes the story relatable. Like I said earlier, I think the more we as humans relate and empathize with each other, the harder I think it is to dismiss someone or scapegoat them for the world’s problems. I think that’s where a story can be powerfully impactful on a larger scale. I’m not sure I agree that art or film is propaganda, but I think there does have to be a human aspect – an undeniable human aspect – and within that, something that connects to the audience in a deeply human way. Connection, I think, is the salve.

PH: You’ve had a significant impact on the representation of underrepresented communities in film. Where do you hope to take your career from here, and how do you plan to continue creating meaningful stories that challenge societal perceptions and open minds?

Evelyn Lorena: I would like to continue telling more nuanced stories. That’s my M.O. I don’t believe anything is black & white and most things carry deep complication, even if it feels simple. I think the way to continue addressing the idea of underrepresented communities is probably to just keep telling the truth about who we are, whatever that looks like. We’re not “underrepresented” within ourselves. You know? Whatever we have to reconcile for our communities comes in the telling of the story and in experiencing the story. We, as the audience, get to make up our minds about how to move forward and what resonates with us, which is a beautiful thing. But we have to tell the story or make the art. So as an artist, I want to keep telling the truth. Truth finds a way to communicate itself in a loud way, so there isn’t much for me to do except to create the conditions for that to come through. I’m hoping that makes sense …

PH: After everything you've been through, both personally and professionally, how has your view of success evolved? What does success mean to you now, especially as you reflect on the journey of making "Gabriela"?

Evelyn Lorena: Hmm. It’s probably gotten stronger on the spiritual side. As in: I’m less concerned about material things or superficial validation. I wasn’t very much concerned with it before. For instance, I was asked in high-school what I wanted for myself in ten years, and while everyone else answered things like, have money, a house, or a car, I simply answered to be happy doing what I love. I don’t think that my measure of success has changed as much, as it has become increasingly clear to me that the spiritual things in life matter to me the most. How much you validate yourself or what you think of yourself or even the values you come to find yourself with is more interesting to me or a better measure of success than how much money you’ve made or how shiny your car is. All of that can be really empty and could have come about in unethical ways too. (Don’t get me wrong though! Money can be nice …)

PH: As a director, what do you believe is your responsibility in creating films that empower communities and give voice to underrepresented stories? How do you ensure authenticity in your storytelling?

Evelyn Lorena: Gosh, I don’t know if it's my responsibility or not to change the world or to empower. I say that with a grain of salt and to mean that empowerment is such a personal journey and what will empower one person may not empower another or vice versa. I can say I do feel a responsibility to the truth. I think the truth speaks volumes, and often without words, and within that, people find things that resonate that then will have an impact. So I suppose if anything, I am committed to the truth. If something is truthful, it can’t help but be moving. Truth and authenticity stir people in ways that can’t be described. I was really committed to “Gabriela” feeling truthful in all aspects, especially in terms of representation, because I didn’t want to risk the notion of stereotype or tokenizing the story for an audience. That would not feel real or truthful to me. I often find, for financial purposes, companies may be looking to quickly brand a narrative and have it be appealing to a wider audience by tokenizing it. However, I actually don’t end up connecting with those stories or that “content” because something about it is always going to feel the littlest bit false. And then you’re just removed from it and can’t connect. 

PH: Looking back, what has been the most rewarding aspect of making "Gabriela" – both as a filmmaker and as an individual?

Evelyn Lorena: Being able to make a film is a miracle. Not just the production itself, but the fact that I get to do this. I find myself hard pressed to complain these days, but that could be just from everything I’ve faced recently and just feeling immense gratitude for it all. I think if I had to sum it all up as to what was most rewarding, it’s probably just being able to make it and discovering that I can direct and still wake up to do this.