Andrea Porras Madero is a migrant and filmmaker from Torreón, México. She holds a BFA in Film & Television Production from the USC School of Cinematic Arts, where she was awarded the Cohen Scholarship and co-founded Acción Latine, SCA's first Latinx student organization. Andrea’s work spans both narrative and documentary, often exploring themes of coming-of-age, family dynamics, identity, and social justice. Andrea has produced over ten short films, including Sweet Potatoes, which won a Student Academy Award in 2021, and most recently her first feature film Vainilla, which received support from Cine en Construcción in Toulouse, Impulso Morelia, GLAFF WIP Latino, and Ventana Sur. Andrea has also worked on series for Apple TV+, Netflix, Amazon, Hulu, and Marvel. She’s passionate about telling stories with a focus on underrepresented communities, and remains committed to bridging talent across North and Latin America.

Karla Luna Cantú is a Mexican filmmaker born and raised in Monterrey, N.L. In 2018, she graduated from the USC School of Cinematic Arts and was recognized by The Hollywood Reporter as one of the year’s most promising film graduates. Shortly after, she joined acclaimed director Alejandro G. Iñárritu as his personal assistant, and a couple of years later, went on to executive produce her first feature film, BARDO, False Chronicle of a Handful of Truths (2020), directed by Iñárritu.
In 2023, Karla completed production of Vainilla, a generational biopic following seven women living under one roof in 1980s Mexico. The film received support from FOCINE and was selected for several prestigious work-in-progress platforms, including Impulso Morelia, GLAFF’s WIP LATINO, Ventana Sur, and Cine en Construcción in Toulouse. Vainilla was recently spotlighted in Variety for its distinctive storytelling and highly anticipated debut. The film is currently in post-production and is scheduled for release at the end of 2025. Simultaneously, Karla served as executive producer on Bandidos, an ambitious action series for Netflix. She is currently developing new projects with REDRUM, one of Latin America’s leading production companies, and serves as Head of Development and Producer for Alejandro G. Iñárritu.

 

What first sparked both of your interests in filmmaking?

AP: My interest in filmmaking started when I was young. I always knew I wanted to be part of the arts, even if I wasn’t exactly sure what that meant at the time. I grew up in Northern Mexico, and after moving to California, I joined a video production class where I finally had access to equipment and the chance to create projects from start to finish. That experience opened the door to storytelling for me—lots of trial and error, but also a lot of discovery. I also spent a lot of time watching all kinds of movies with my mom, and seeing her and my dad get emotional during a film made me curious about what went into creating something that powerful.

KLC: For me, a major influence in choosing filmmaking was my culture and the way I grew up. Every Sunday, without fail, my family would go to the cinema. It became almost a religious ritual for us. None of my family members work in the film industry; they're mostly engineers, doctors, or business professionals, especially for the town where I grew up. But despite that, we all shared a love for movies. At the time, filmmaking felt like this distant, almost abstract world. I couldn’t quite wrap my head around the idea that there were actually people who made the movies we watched. It wasn’t until eighth grade that it really clicked for me. One of our teachers assigned us a project to create a short film about World War I. It was a wild assignment and even though I didn’t love history, which usually felt like memorizing endless dates and names, I absolutely loved this project. I went all in: I held casting sessions, wrote a full script, scouted locations for battle scenes; I took it way more seriously than the assignment probably required. And for the first time, I got a perfect score in history, from one of the toughest teachers at my school. That moment made something clear to me: this is what I wanted to do. I told my parents I was going to become a filmmaker. They laughed a little but told me that if I could figure out how to make it happen, they'd support me. Of course, the path wasn't always easy. There were a lot of ups and downs along the way. But eventually I learned about USC, my dream school, and made it my goal to get there. Looking back, I’m really grateful for how everything unfolded.

Was attending SCA always part of your plan?  

AP: For me, the journey was a bit different. I migrated with my family when I was young, and being the oldest, it was definitely challenging. We didn’t know the system, and none of us had any connections to the film industry. Honestly, we were just trying to figure things out and survive. Film became an important creative outlet for me in high school. After graduating, I went to community college in Orange County, not far from Chapman University. I was lucky because that proximity allowed me to work on a lot of student films there — I did everything I could, from PA work to any opportunity that came my way. I also took every film class available at my community college. At a certain point, I started doing more research and realized, "Okay, there’s USC, Chapman, NYU, some of the top film schools." I thought, why not just try? I had nothing to lose. I applied without having visited most of the campuses — the only one I had seen was Chapman because it was so close to me. When I got into USC, I actually visited for the first time after being accepted. They offered me the largest scholarship, and that ultimately made the decision for me. Looking back, I have no regrets. I loved my time there. I remember walking onto campus for the first time and thinking, Wow, this is real, this is happening.

KLC: I touched on this a little in my previous answer, but yes, once I started doing my own research, I realized how different the process was compared to what I was used to. In my high school in Mexico, there wasn’t really any guidance around applying to international universities. The typical expectation was that you would attend a local university in your town; it’s just a different system, and moving away for school isn’t as common. So it was a lot of learning on my own. I had never visited any of the universities I was looking into, but after spending time researching and seeing photos of USC and Chapman, I knew USC was my dream school, it became my number one choice. After I got accepted, I convinced my whole family to visit the campus with me. I still vividly remember those first moments, walking through the hallways and the courtyard, and just feeling this overwhelming sense of awe. It felt like such a big dream come true. That feeling is so special, and honestly, it's something that can fade as you get older and start working and moving through the day-to-day. So it's really nice to reconnect with that memory now. Even seeing your background today brings up a lot of nostalgia for me.

Were there any classes, professors, or moments during your time at SCA that had a lasting impact on you? 

KLC: I honestly don’t know where I would be without USC. I’m incredibly grateful for so many of my professors and honestly, I’m a little nervous to name specific ones because I don't want to leave anyone out. But there are a few who had a particularly big impact on me. 310 was very important in shaping my foundation, and I had an amazing experience working with David, who was my production professor. I’m especially grateful to Brenda Goodman, who taught my 480 producing class. I actually took 480 twice, and Brenda became such an instrumental figure in my career, even beyond graduation.

One example that really stands out: toward the end of my time at USC, The Hollywood Reporter visited campus to shadow a few students for a feature tied to their annual film school rankings. Brenda recommended me when the reporter asked for faculty suggestions, and I ended up being selected alongside a few other students. That article opened so many doors for me after graduation, it really set off a snowball effect of opportunities. I truly believe I wouldn’t be where I am today without the support I received at USC. And even now, as we’ve all moved into the “real world,” I still feel like I can reach out to many of my former professors for advice or guidance. I’m incredibly grateful for that ongoing connection.

AP: Yeah, I definitely want to echo some of what Karla said. My experience at USC was a little different because I came in as a transfer student. I had about two years there, and then I ended up extending for an extra semester because I was double majoring. So everything felt pretty fast-paced. When I first got to SCA, honestly, I didn’t really know how the whole curriculum worked. I remember showing up to 295, and it felt like everyone else already had a handle on everything, meanwhile, I was still trying to figure things out. It wasn’t a bad thing, just a different kind of journey.

By the time we got to 310, a lot of people had already been planning ahead, thinking about their projects, getting everything lined up, and I was still very much in the mindset of, "Okay, let's figure this out as we go." David Maquiling, who we both had as a professor, made a huge impact on me. I took a few classes with him, and his support and mentorship really stayed with me. And I also have to mention Laura Serna; she teaches film studies and was amazing. Carla and I actually took her Latin American cinema class together, which was such a great experience. It really opened up my understanding of the region’s film history and just gave me a much richer perspective overall.

KLC: In Latin American film studies! Yeah, we watched so many good Latin American films; that was awesome.

AP: Yeah, it was a really great experience! It felt like it created a real sense of visibility and community. And of course, I have to mention Marcus Anderson. I'm still in touch with him, and he was incredibly supportive throughout my time at USC. I remember seeing him around campus a lot, and when I decided I didn’t want to go the traditional 480 route, I went up to him for advice. I asked, “Is there something else I can do?” And he really helped guide me through the options. He encouraged me to explore other paths, and that’s how I ended up working on a VR film with the IMGD department. It turned out to be an amazing opportunity, something I probably wouldn’t have discovered if I hadn’t had his support and encouragement. 

Can you tell us how you first met and what sparked the creative connection between you?

AP: I remember going to Marcus’s office one day with a million questions, and he said, "You need to meet Karla." I was like, "Who's Karla?" but I was immediately open to it. Marcus explained that there had been previous efforts to start a Latino student organization at SCA, but it hadn’t really taken off. He thought the two of us should connect and see if we could make something happen. I think I reached out to her, maybe sent a message, and we eventually met. It was funny because, even though we're from different cities, we’re both from Northern Mexico, which, at least back then, felt pretty rare to find at USC. I was so excited when I found that out, probably a little too excited, and I think Karla was kind of like, "Who is this person attacking me with love?" But from there, we started talking about the student organization, and we quickly built a little team and got to work. We ended up doing a lot, and honestly, I’m really proud of what we accomplished together. That's my version of how it all started, but I'd love to hear Karla’s version too.

KLC: Absolutely, I totally agree. I think the biggest takeaway from that time was how we got to know each other and built a real friendship, which led to such a great collaboration. I don’t remember all the details clearly, but I do remember meeting you and feeling so excited like, "Oh my God, there’s another person from Mexico!" It honestly felt like meeting a friend instantly. It wasn’t about networking or any formal introduction; it was like, "Hey, hermana, we’re both from Mexico, let’s do this." That connection was so immediate, and I think we were really aligned in terms of the vision we had for the Latino student organization. I’m really proud of what we built with Latinx and everything we accomplished together.

What does your collaborative creative process look like, and how do you navigate working together as a team?

KLC: We started working together at SCA, then went our separate ways after graduation. But we always talked about collaborating again. A couple of years ago, when I got attached to this project, Andrea was the first person I thought of. It turned out she already knew about it, which was a great coincidence. The synchronicity was amazing because the story of Vainilla takes place in Torreón, Andrea’s hometown. At the time, I was in Mexico City, and she was in LA, but we had stayed in touch over the years. Our professional relationship really developed two years ago, but it feels like it’s been growing since school. One thing that’s always been present is that we genuinely support and take care of each other. It’s a nurturing, transparent dynamic that has helped me grow both personally and professionally. As producers, we’re aligned in our approach; we’re deeply involved in the creative side, focusing on the vision and supporting the director. For us, it’s all about what’s best for the story, not just logistics. We’ve carried this mindset from school into our work, always protecting the heart of the film.

AP: Just building on what Karla said, I think the foundation of our collaboration started in school. At the time, I don’t think I fully realized the bigger picture of what we were doing. We were both very involved, but I was a transfer student, and Karla started as a freshman, so we came from different starting points. We connected through the student organization and worked on a few projects together, but we didn’t really grasp the full scope of what we were accomplishing. Karla and I often talk about how much we were able to do, from organizing events to securing free food, and creating opportunities for our peers. It was a lot for just a couple of semesters, but looking back, it was actually quite impressive. It’s been so fulfilling to see how much we've grown since then, both personally and professionally. What’s always stood out to me in our collaboration is how much we care for each other. It’s not just about the work; it’s also about the human connection. We understand that while we’re good at what we do, it’s the person first, and we make sure we always support each other. When we worked on Vainilla we were making a film with almost no budget, which is common for first-time filmmakers, but this project had additional challenges. It was a period film, so there were a lot of hurdles along the way. But what really stood out to me was how well we came together as a team. When one of us was struggling, the other would step in and help. The support and trust we had for each other was truly inspiring. Now, with more experience, we know exactly what works, what doesn’t, and what we want from a project. But even now, that level of vulnerability and mutual support is something really special to me. It’s been amazing to grow alongside Karla, both as a collaborator and as a friend.
 

Tell us a little more about your current project, Vainilla. What was the inspiration behind the project?

KLC: This is the director’s debut feature film. While she’s been an actress for many years, this is her first time stepping behind the camera. The story is deeply personal, drawing from her own life experiences. She grew up in Torreón, a small city in northern Mexico, in a household with seven women from different generations, each with their own distinct perspectives, ideologies, and personalities. There was no masculine figure in the household, which made her journey of self-discovery even more challenging. Many people around her viewed the women in her family as witches or "crazy," and she often felt like something was missing in her life. The film explores her processing and revisiting her childhood through the eyes of an 8-year-old girl. The story kicks off when the family receives a notice: they have only a few days to pay a debt for their home or risk being evicted. This inciting incident sets off a chain of events, with each of the women in the family reacting to the situation in their own unique way. While the young girl, Roberta, is the protagonist, the film is very much an ensemble piece. Each character is given depth, with their own story and perspective, making it a beautifully executed, multi-faceted narrative. It's a truly ensemble-driven story, where every character’s journey adds to the richness of the film.

What advice would you give future and emerging filmmakers beginning their careers in the industry?

AP: It might sound a bit cliché, but I think the key is to listen to your own voice and trust that there’s something unique in your perspective. At the same time, it’s crucial to recognize the value of collaboration and networking within your field. It’s great to be around people who’ve already made it, that’s inspiring, but don’t forget that the colleagues you’re rising with now could become the ones you work with for years to come. Approach everything with humility and openness. Understand that it’s not an easy road, no one’s handing you a million dollars to make your film, for example. Finding your community, supporting each other, and building those relationships is vital. And, of course, make sure you’re enjoying the journey and living experiences that will ultimately fuel your creativity and inspiration.

KLC: I completely agree with everything Andrea said. It’s a tough industry because there’s no clear, linear path to success; it requires a lot of flexibility and the ability to adapt, reassess, and sometimes pivot. You constantly find yourself in new, unexpected situations, which really keeps you engaged. And as you get to travel and shoot in different places, it’s such a unique experience. Like Andrea, I’d also emphasize the importance of community. Building a network of collaborators is crucial. Almost everyone I work with is part of a close-knit circle, and many of those opportunities came from people I met at USC. I remember during our orientation, someone said, "Look to your left, look to your right. These are the people you'll be working with for the rest of your life." At the time, it felt like just a throwaway comment, but looking back, it’s incredibly true. So, my advice is definitely to build your community and collaborate with the people around you.

 

What’s next?

AP: The film is set to premiere at a major festival, but I can't share the details just yet. We're in the midst of planning for that and for other upcoming festivals. On a personal level, I've discovered a deep interest in indie filmmaking and the process of getting a project off the ground without relying on big streamers or platforms. That's the journey I’m currently navigating; working with different filmmakers, exploring scripts, and figuring out how to make things happen. This feature has been incredibly helpful in that regard. We've participated in several work-in-progress sessions and labs, which provided valuable insights. It's been eye-opening to see how many opportunities and avenues exist for bringing films to life. While it’s not easy, understanding these possibilities is crucial for securing funding in different ways. The more we understand the landscape, the better equipped we’ll be to make our projects a reality. That’s where I’m at right now.

KLC: Once the press release is out about the premiere of Vainilla, I’ll definitely share it with you all, so you’ll be the first to know. As for me, in addition to Vainilla, I’m also working on a few exciting projects. I'm currently in development with Alejandro González Iñárritu, which is a whole other story in itself. After graduation, I had the opportunity to assist him for a while and worked on his previous film, so now we’re collaborating on a couple of feature films together. I’m also involved in a museum installation project with him. On top of that, I’m working on some independent projects with fellow USC alumni. It’s been a busy but incredibly rewarding time, and I’m thrilled to keep collaborating with the USC family.

Story by Emily Tutnick