4100 Redwood Rd #406
Oakland, CA 94619

Justice for my Sister

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Images

rebeca_confronts_killer3.png
After a two-year battle, Rebeca confronts her sister's killer in court

Website

http://www.artevistafilms.com/films.html

Topics

Human Development: Children, Food, Labor, Poverty
Human Rights: Gender, Indigenous Rights
Peace and Conflict: Conflict, Peace
Politics: Activism, Corruption & Transparency, Justice and Crime

Project Geography

International: South America

Identity Niches

Children, Latino, Religious, Women, Youth/Teen

Budget

Raised to date: $35,000.00
Estimate to complete: $300,000.00
Total Estimated Budget: $335,000.00
The budget numbers above are accurate as of 09/01/2010

Status

Post Production

Media Type

Video

Project End Use

TV

Key Personnel

Kimberly Bautista
Director/Producer, Cinematographer, Co-editor

A Los Angeles-based Latina filmmaker and Princess Grace Award recipient, Kimberly Bautista’s previous work with her production company ARTEVISTA FILMS consists of 12 documentary shorts that took place in California, Ecuador, Colombia, and Guatemala around immigrant, worker, refugee, and women’s rights and identity. She has been doing work in Guatemala for three years, looking at the affects on the 36-year internal conflict. The UN Refugee Agency and the Hebrew Immigrant Aid Society used her short titled Caminos para el Futuro (2006) to secure funding with the German Government for a program benefiting Colombian refugees living in Ecuador.

Kimberly Bautista holds a Master’s in Social Documentation from UC, Santa Cruz for film production. She is currently working as Producer’s Assistant and Second Assistant Director on shows such as LATV’s American Latino TV and Lies in Plain Slight, a Lifetime movie of the week directed by Real Women Have Curves’ Patricia Cardoso.

Michael Flores
Editor, Sound recordist

Michael Flores, a Los Angeles-based Latino editor, is a previous Film Independent Program Fellow, a recipient of the Rodolfo Montes Memorial Scholarship, and a recipient of the National Hispanic Foundation For the Arts Entertainment Scholarship. His editing credits include The Cost of Living (2008 Student Emmy-winning television pilot), The Courtyard (2007), The Girls in the Band, and What On Earth? (2009). He was Assistant Editor on Jean-Michel Basquiat: The Radiant Child (Official Selection of the 2010 Sundance Film Festival) and is currently editing Renee Tajima-Peña’s feature documentary titled Más Bebes?. He holds a Masters of Fine Arts in Cinema-Television Production from USC.

 

Juan Mejia Botero
Cinematographer

Juan Mejia Botero is a Colombian documentary filmmaker currently based in Bogotá, Colombia.  His work includes Merging Voices: The Youth of El Salvador Speak, the Thomas J. Watson Fellowship-funded A Través de Estos Ojos (Through These Eyes), and the award-winning documentary film about Afrocolombian displacement, Uprooted. Mejia is currently working on his next documentary feature, The Battle for Land. He holds a Master's Degree in Social Documentation from University of California, Santa Cruz in film production.

 

Outreach/Engagement Plan(s)

Currently, Justice for my Sister is solidifying its audience-base with a website, social networking sites, and an email list. My connections with non-profit organizations such as UNIFEM, Global Fund for Women, and Peace Over Violence will connect my film to exhibition in many spaces that generally run outside of the periphery of public television and the film festival circuit. Universities such as Harvard, the Claremont Colleges, and the University of California, among others have expressed much enthusiasm in holding panel discussions in conjunction with a screening of the film. I’ve also been reaching out to church groups, cultural and activist groups, student groups, and grassroots organizations that do work in and concerning Guatemala and women’s rights. Such groups include Mujeres Inciando en las Americas (MIA), Chapinas Unidas, the Circle of Love Foundation, and the Maryknoll Affiliates. Once the film is finalized, I will work with these pre-established organizations to put together screenings, panel discussions, and to work in conjunction with the projects and movements that they already have going on to promote the exhibition of the film. In addition to collaborating with these organizations, I have constructed team of 20 volunteers that will work as my liaisons to engage the community and form the Justice for my Sister Movement. These individuals will assist me in organizing fundraising concerts and other events related to the film. Audiences can join the JFMS Movement to host screenings at school campuses, cultural centers, and NGOs and to spread the word on the issue through our social networking sites.

Ultimately, the idea is to motivate viewers to go to the website to get more information, watch the pod casts, sign a petition, and dialog about gender power dynamics. The dialog is critical, as it will direct viewers to assess their own interactions as and/or with women. A challenge we might face will be getting men to see this film, as it deals with women’s issues. I am strategizing with my team to address this possible hurtle in the publicity campaign. The goal is to encourage men to take an active role in the feminist movement as their participation is key to having a world that imposes less violence against women.

Funders

NameAmountDate
Petit Family Foundation$5,000.0008/25/2010
Individual Donors$5,000.0001/01/2010
Hispanic Scholarship Fund/McNamara Family Creative Arts Grant$20,000.0009/09/2008
Princess Grace Foundation-USA$5,000.0007/22/2008

Location

P.O. Box 91652
Pasadena, CA, 91109

Short Synopsis

A documentary film that examines the rise of violence against women in Guatemala through one woman's story as she defies all odds by pushing a machista system to demand answers for her sister’s brutal murder. 

Description/Treatment

A 60-minute documentary currently in post-production, Justice for my Sister examines the rising rate of killings of women in Guatemala through one woman’s story as she navigates a corrupt and virtually impenetrable justice system to demand answers for her sister’s death. This David versus Goliath story is shot in a gritty verite style with an on-the-ground perspective, and follows Rebeca during her two-year battle to make it to the courts. Directed by first-time filmmaker Kimberly Bautista, we are lucky to have Academy Award-nominated Renee Tajima-Peña on the advisory board, among other seasoned filmmakers. This important social issue film will be accompanied by an interactive website and a wide-reaching outreach and engagement campaign to promote dialogue and move audiences to action.

Adela Chacón Tax left home one day for work at the age of 27 and never came back. She was beaten to death by an ex-boyfriend. Her story is hauntingly familiar in Guatemala, where over 4000 women have been murdered since 2001. Adela’s sister Rebeca, 33, recalls the day she went missing. She went running through the streets of their hometown Escuintla, a humid, rural, coastal town in the south of Guatemala. Hours later, she was notified by the doctors from the morgue that Adela had appeared – battered and dead in a ditch by the side of the road some few yards from her house. She had been left so brutalized, that no one in her family recognized her.

Since the late Adela’s death, Rebeca has taken in her three children and pounds the pavement for months on end to move her sister’s case through the insufficient judicial system, all while surviving on her family’s humble tortilla business.

Rebeca is certain that the man responsible for her sister’s death is Ricardo, who she claims used to threaten Adela by phone and stalk her. Edelmira, Adela’s friend, says that Ricardo was actually Adela’s ex-boyfriend, who used to beat her. Luckily, they’re able to identify and catch Ricardo. He is awaiting trial in jail.  Rebeca struggles to maintain emotional stability for her family in the midst of Ricardo’s threats from behind bars and intensifying fear on confronting the accused in court as the one-year anniversary of Adela’s death draws near.

Rebeca has to go to the police station to get the police report. Since the trial is coming up quickly, she wants to make sure all the files are in order. Rebeca emerges from the house totally transformed in black heels and a black cocktail dress. If she doesn’t dress up to go to the police, they would not give her the time of day.

In the police station, the young nervous official looks for the file of Adela’s death, only to find that it’s missing. Rebeca leaves the station infuriated as she is confronted with the police’s negligence.

Next, Rebeca directs herself to the Public Prosecutor’s office. At least there they should have the files ready. There she meets an empty office and an exaggerated stack of unattended files, along with another survivor who lost her sister recently to murder. Rebeca tells the other survivor that she can’t rely on the Public Prosecutor and that she has to move the case herself, because ultimately the perpetrator has to pay for his crime. The young woman is moved to tears. She has already had a taste of what she is up against and she truly desires justice for her sister’s case, which feels so far away.

Just a couple days before they head to the courtroom, they receive an unexpected message from their lawyer: the case is suspended until an unforeseen dates because the judge was accused of killing his own wife.

One year after the initial trial was supposed to take place, Rebeca finally takes the killer Ricardo head-on in court. His female defense lawyers have the audacity to demean and invalidate the family’s suffering and emotional turmoil. They claim that since two years have past since Adela’s death, the family should have moved passed it already, as if that justifies letting a guilty man walk. After months of drawn-out testimonies and delayed responses, a verdict is finally reached: Ricardo is declared guilty... of manslaughter; not premeditated murder. He is let off with a minimal sentence while Rebeca and her family fear his release. As Rebeca says, referring to the judge that would doze off on the podium during the hearings, “Justice is asleep in Guatemala.”

Things intensify when Adela's 12-year-old daughter is targeted in a drive-by shooting. She escapes unscathed, but emotionally shaken and she consequently suffers health issues related to stress and depression. Rebeca resolves that her struggle is not over and she must appeal Ricardo's minimal sentence. Concurrently, Ricardo also decides to appeal the verdict – in his favor. Rebeca is in a seemingly unending battle to put her sister's case to rest.

In a time of desperation to hear when the final appeal date will be, Rebeca gains steam to make change in her community. She becomes a community leader and heads a toy drive for her neighbors and children. Rebeca says that her sister’s death and her subsequent fight for justice have transformed her involvement in the community and the way that she sees herself. It’s also transformed the way other people in her community see her. A boisterous town gossip and neighbor confides in Rebeca that she was raped three years ago. She had buried her story deep down and never spoken about it, even though it resulted in the loss of her job and a deeply engrained fear. After three years, the woman finally opens up to Rebeca and confides in her. Her story illustrates the far-reaching existence of violence against women in Guatemala, the lack of response by the state, and the deep-rooted fear that crimes like this produce to silence women.

Rebeca, while struggling to maintain momentum in her own case, has become a safe-haven in her neighborhood for other women who are in an emotional struggle to regain strength in the aftermath of abuse. Hers is an inspirational story of one woman whose exceptional courage and determination fed her drive to respond to the brutal murder of her sister with a relentless fight for justice that becomes more far-reaching than her own case. 

Click here to ask for more information about this project: