Elena Fortes, producer: ‘Diversifying the Academy also means diversifying the stories that make it to the Oscars’

The email had no urgent subject line, nor any prior warning. Film producer and cultural manager Elena Fortes, 44, learned of her induction into the Academy of Motion Picture Arts and Sciences when it was already a done deal. She had taken part in the process, yes — but she never imagined she’d be named alongside actress Adriana Paz, director David Pablos, producer Astrid Rondero, and screenwriter Julio Chavezmontes as part of the group of Mexicans who, starting this year, will vote for the films competing in the 98th edition of the Academy Awards. Five names. Five long-standing careers that have been recognized.

But Fortes didn’t reach this point by chance. For nearly two decades, she has traveled across Mexico — and other countries — with Ambulante, the documentary film festival she co-founded with Gael García Bernal and Diego Luna, driven by the conviction that real stories, if told well, can cut through the noise, spark change, and plant questions. “Documentary is the most fertile ground in cinema,” she says in an interview with EL PAÍS, with the same passion she has discussed Amublante’s screening routes through rural communities, universities, and public squares.

Fortes feels proud to represent Mexico. She speaks of the country with the conviction of someone who chose to stay when she could have left. Of someone who loves — not without criticism — a nation that never ceases to be a source of pain and amazement.

“Diversifying the Academy also means diversifying the stories that make it to the Oscars,” she says. And at a time when hate speech is resurging, access to information is increasingly fragmented, and the industry is becoming more guarded about funding, Fortes insists: “Creativity and a sense of humor overcome fear.” Even in the bleakest scenarios, Mexicans hold on to both.

Question. What would you like to contribute to the Oscar selection process in your new role?

Answer. I’m interested in being a messenger for the voices, talents, and stories that exist in Mexico and that often fail to cross certain barriers. Although there are many variables involved (award campaigns, visibility, distribution), I believe my role can help diversify the initial selection, the one that makes it to the shortlist. I will also be able to nominate future members in the documentary category, and that’s essential to me because it’s urgent to add young voices to the Academy.

Q. Ambulante is committed to bringing documentary film to all audiences, even in adverse contexts. How has this experience shaped your understanding of cinema?

A. Ambulante was my school. When we started, there was a strong bias toward documentary, but our hypothesis was clear: “There’s an audience out there, you just have to go find it.” We found that there is an interested and engaged audience, and that when you bring cinema closer to its context, the impact is greater. What I learned there is that the collective vision of a film must prevail over any other factor. If there’s an authentic vision and a commitment to the story, the audience will come. And we must dare to tell new stories, not just those we know “work,” because otherwise, the collective imagination doesn’t evolve, nor does the cultural exchange.

Q. Is it a mistake to underestimate the Latino audience?

A. Absolutely. Sometimes, due to lack of access or prejudice, it’s assumed that audiences aren’t interested in certain types of cinema, and that’s false. One of the great lessons of Ambulante was not to underestimate the audience. On the contrary, you have to take risks with the projects you want to present.

Q. You previously told EL PAÍS that “a documentary can help change the world.” What specific examples have you seen that confirm this statement?

A. The first case that comes to mind is Presumed Guilty, which had a huge impact on public debate and the push for criminal justice reform in Mexico. It wasn’t the only factor, but it certainly offered a new perspective on the justice system, showing how trials actually worked.

Another case, on a personal level, was Midnight Family, which I co-produced. When I saw the first footage the director filmed, I had no idea this was how ambulances worked in Mexico. It was a reality in my own city, one I was completely unaware of. That documentary revealed a structural situation so critical that it even prompted press coverage on the issue and regulatory efforts that, while not all successful due to lack of support, were a reflection of its impact.

Q. Hollywood is a space that has historically monopolized narratives. How can it become more open to other perspectives and realities?

A. Today, one of the main challenges is the lack of willingness to take risks. We continue to rely on tried-and-tested formulas, on stories we already know work. To make space for other perspectives, the first step is precisely to dare to tell new, different stories that are uncomfortable, that challenge, that aren’t designed solely to please the market. Another fundamental step would be to encourage international co-production because when different countries are involved from the early stages of a film — from project development, to scriptwriting, to research — other perspectives are inevitably integrated.

Q. How is that achieved in practice?

A. I think we need to create more funding opportunities, especially for the development stage, which is the most critical and at the same time the most neglected. Without the resources to write, research, or structure a solid idea, it’s very difficult to reach the production phase. It’s key to strengthen international support mechanisms that combine public funds with private investment from different countries. These types of mixed schemes can open the door to more diverse projects and facilitate their global circulation, including on platforms like the Academy Awards and the Oscars.

Q. Has the film industry been affected by the reduction in funding for international cooperation?

A. Sadly, yes. It’s worrying that many of the institutions that have historically supported documentary film and independent journalism in the United States are at risk. There are funds that could disappear, or that are being weakened precisely because critical thinking and independent creation are perceived as a threat. That’s why I believe it’s urgent to strengthen international co-production networks and collective support from other regions.

Q. With Donald Trump back in the White House and anti-immigrant policies resurfacing, what role can documentary film play in defending the rights of migrant communities and countering hate speech?

A. I think cinema, and documentary film in particular, has a fundamental role to play right now. In fact, that should be one of its main tasks: to make visible what’s happening, offer other perspectives, and cultivate critical thinking in the public. We are living in an era marked by misinformation, where many people don’t have the tools — or the time — to question the information they consume. This has facilitated the proliferation of dangerous discourses, like those we’re seeing re-emerge now in the United States. In that context, cinema can open up questions, generate empathy, and build bridges.

Q. At this juncture, what does it mean to you to represent Mexico within a space like the Academy?

A. It means, above all, a way to counteract that hate speech. Being there as a Mexican, with pride, is a way to showcase the wealth and talent our country has. It’s also an opportunity to connect with the Spanish-speaking communities living in the United States. I deeply love my country, and although I’ve had opportunities to live abroad, I’ve always preferred to stay because I believe there’s no end to what Mexico has to offer when it comes to is stories, its humor, its empathy, and its creativity.

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