Mariem Pérez Riera’s first documentary, “Cuando lo pequeño se hace grande,” about the Puerto Ricans who fought against the U.S. Navy presence in the island of Vieques, was awarded Best Documentary at various international film festivals. In 2005, she founded her own production company, Maramara Films. She co-directed and edited 2007’s “Maldeamores.”
“Rita Moreno: Just a Girl Who Decided to Go for It” is screening at the 2021 Sundance Film Festival, which is taking place online and in person via Satellite Screens January 28-February 3.
W&H: Describe the film for us in your own words.
MPR: “Rita Moreno: Just A Girl Who Decided To Go For It” tells the story of the first Latina to win an Academy Award, Puerto Rican actress Rita Moreno. It exposes the struggles Moreno faced on her path to stardom, including Hollywood sexism, sexual abuse, toxic relationships, and her continuous fight against being pigeonholed in stereotypical roles.
W&H: What drew you to this story?
MPR: This project was initiated by producer Brent Miller, who was interested in making a documentary about Rita Moreno. I knew Bent from the TV show “One Day at a Time” because my son, Marcel Ruiz, plays Rita’s grandson on the sitcom. He told me about his interest in making a documentary about Rita and I asked him to give me a chance to pitch to direct.
As a “set mom,” I had been observing Rita very closely for over a year, and I knew exactly what I wanted to show about her in the documentary.
Also, as a Puerto Rican woman myself, I have a different perspective about Rita. She is a true icon for us. She represents that community of Puerto Ricans who have left the island for a better life and as a Puerto Rican, I’ve followed her story all my life.
W&H: What do you want people to think about after they watch the film?
MPR: I want this film to inspire women to speak up and to reach their greatest freedom and happiness. Women are always fighting a silent war against insecurities that for generations have been ingrained in limiting beliefs based on a male-dominated culture.
This film shows a woman who encountered many obstacles — not only as a woman, but also as an immigrant Puerto Rican woman. Her greatest achievement is not all her accolades, but finally becoming her true self. I hope people, including men, can find inspiration in her story to embrace their true selves.
W&H: What was the biggest challenge in making the film?
MPR: The biggest challenge was to show the vulnerable Rita. Rita without makeup, without an “act” in front of the camera, but just the way she is when no one is around. I think the fact that we were able to follow her around, with a mostly Puerto Rican crew, speaking in Spanish, gave her a sense of warmth that allowed her to let her guard down.
W&H: How did you get your film funded? Share some insights into how you got the film made.
MPR: PBS’ American Masters Pictures largely funded this documentary. Brent reached out to them to make this project through their series, and they were very interested from the beginning. I feel very fortunate to have had their support in making this film the way I envisioned it.
W&H: What inspired you to become a filmmaker?
MPR: When I was nine years old, I played the lead role on a movie called “The Two Worlds of Angelita.” On the last day we were shooting a scene where the principal of the school is telling me that I cannot move to the Spanish class after I snuck in. In the scene, I’m crying and begging him.
So what happened was, the director wanted me to cry, but I didn’t want to. I didn’t believe that my character needed to cry in that situation. I was giving her a hard time and she yelled at me in front of the whole crew, insulting me and embarrassing me. Because I was only nine, I felt so embarrassed I started crying. Right when that happened, she says, “Okay, let’s roll. Action!”
I basically threw my lines; I wasn’t even acting at that point and crying because of the situation behind it. That was the last scene and the very last shot, so when I finished it I told her, you know what, one day I’m going to be a director and I will never do that to an actor. And from then on, I decided to be a director, and that’s what I studied in college.
W&H: What advice do you have for other women directors?
MPR: Trust your instinct. Trust your vision and know that the way you’re telling the story is different to the “norm,” and that is what is going to make it unique.
W&H: Name your favorite woman-directed film and why.
MPR: There are many, but I love “La Ciénaga” by Lucrecia Martel. Such a beautiful, simple movie!
The movie shows a family during a summer in their country house. Not much happens in the film. We, as an audience, are basically just spectators of the passing of time. It is very “documentary style” in the sense that there isn’t a big plot, [we just experience] the day passing by. I think it is so brave of her to make a movie without the storytelling formula! To me that is genius!
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?
MPR: I have been very creative and very disciplined in practicing meditation and other ways of going inward. I started meditating only for ten minutes, and now I meditate for one hour or more if I can! I have taken the time to get to know myself better and to recognize who I want to become, in order to be free — just like Rita!
I have also finished writing a script for a feature I’ve been dreaming of with my sister, a proposal for another documentary, and a pitch for a limited series!
W&H: The film industry has a long history of under representing people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?
MPR: I think it starts with having the underrepresented in positions of power where they can make decisions and make a difference.
I also think those who are in positions of power should really listen and take the responsibility in thinking out of the box, in being more creative, and making a difference.
