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In the mid-20th century Caribbean, cinema became a powerful tool for nation-building, education, and political messaging through two remarkable organizations with surprisingly parallel methods but divergent ideologies. Dr. Pedro Noel Doreste Rodríguez joins us for this enchanting history in celebration of Hispanic Heritage Month.

The story begins in 1949 when Puerto Rico established the Division of Community Education (DIVEDCO), creating films that taught rural communities practical skills while reinforcing cultural identity within the island's complicated relationship with the United States. Ten years later, revolutionary Cuba founded the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC), similarly using cinema to educate citizens but through an explicitly socialist lens. Both organizations deployed mobile cinema units, bringing film to remote villages alongside community discussions and educational programs. These weren't Hollywood productions seeking profit, but state-sponsored projects with clear political objectives.

Perhaps most surprising is Cuba's relationship with American cinema despite the US embargo. The ICAIC organized pirated screenings of films like The Godfather, viewing them as critiques of American capitalism rather than threats to revolutionary values. This openness to global cinema influences, filtered through a revolutionary perspective, helped shape Cuba's enduring film tradition. What can these remarkable cultural experiments teach us about the power of cinema as both art and political instrument? The answer lies in understanding how these films didn't just entertain audiences—they helped shape Caribbean identities during one of the region's most transformative periods.

Pedro Noel Doreste Rodríguez is Assistant Professor in Film Studies at Michigan State University and Co-Director of the Manchineel Project. He is a historian of Latin American, Caribbean, and Latinx film and media whose research surveys cinematic encounters between the global North and South, diasporic and exile filmmaking, and avant-garde film cultures in and of the Hispanic Caribbean. He is coeditor of the anthology "Vivirse la película: Methods in Puerto Rican Film Studies," forthcoming from Centro Press.

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Storytelling lies at the heart of Caribbean identity. Award-winning filmmaker Alyscia Cunningham joins us to unravel the power of Caribbean folklore through the lens of modern cinema. As a first-generation Trinidadian-American, Cunningham's childhood was filled with spine-tingling tales from her parents' homeland in southern Trinidad. Today, she channels those experiences into her documentary and narrative horror films, creating what she calls "impact art" – creative works designed to educate audiences and spark meaningful conversation.

We dive deep into Cunningham's filmmaking journey with Douen and Douen II, exploring why this particular folklore figure – a mischievous childlike spirit who died before baptism – resonated so strongly with her. The conversation reveals fascinating insights about the challenges Caribbean filmmakers. Beyond entertainment, Cunningham's work serves as a crucial bridge between generations, preserving cultural knowledge while making it accessible to contemporary audiences who might otherwise never encounter these traditional tales. Her approach demonstrates how Caribbean horror folklore can evolve without losing its essence, honoring ancestral wisdom while ensuring its survival. Discover how ancient Caribbean folklore finds new life on screen, and why these stories matter now more than ever.

Alyscia Cunningham is an award-winning impact artist, author, filmmaker, tactile artist, and photographer who has contributed to the Smithsonian, National Geographic, Discovery Channel and AOL. Her work focuses on women discovering their strengths and surviving challenging circumstances. Rooted in her identity as a first-generation Trinidadian American, Alyscia’s early fascination with storytelling was sparked by the tales of resilience, folklore, and life lessons shared by her Caribbean elders. These narratives of triumph over adversity and cultural heritage fuel her creative passion, driving her work in both documentary and narrative filmmaking. Alyscia is also the Founder and Executive Director of Her House Media LLC, focusing on production of documentary and horror films written and directed by women of color.

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When we lose a loved one, the stories they carried often disappear with them—unless we find ways to preserve them. This powerful truth drives creative consultant Calvin Walker's experimental audio project "Daylight Come," which traces his family's migration from Jamaica to the United Kingdom and connects deeply personal narratives to broader historical movements. Calvin walks us through his creative process, from attempts at writing and filmmaking to his eureka moment when discovering AI-generated voices could provide the emotional distance needed to tell difficult stories. What unfolds is a masterclass in cultural preservation that weaves individual experiences with pivotal historical contexts like Windrush, colonial legacies, and the formation of Caribbean communities in postwar Britain.

Most compelling is Calvin's passionate defense of documenting seemingly "ordinary" family histories: "The more stories, even if they're banal, that get put down with dates and times and facts, the harder it is to sweep them away and say it didn't really happen like that." In an era when historical narratives are contested and sometimes erased, these personal archives become powerful acts of resistance and remembrance. Have you considered documenting your own family's journey? Calvin offers practical advice for getting started with modern tools that make preservation more accessible than ever. Recording these histories builds bridges across generations and oceans, ensuring cultural legacies endure beyond individual lifetimes.

Calvin Walker is a Jamaican-born creative consultant with British and French nationalities. His work bridges visual arts, storytelling, and cultural advocacy, shaped by a background in photography and technology. After starting out as an independent photographer, Calvin moved into multimedia development and later spent twenty years at Film France, where he developed international partnerships and promoted France as a global hub for film and post-production. He collaborates with artists, filmmakers, and institutions around the world, and has contributed to major industry events such as the Cannes Film Market, FOCUS London, and Berlinale EFM. Calvin also advises art and design schools and is the creator of Daylight Come, an experimental audio project exploring ancestry, migration, and memory.

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Produced by Breadfruit Media