For the undocumented immigrant teenagers in Martyna Majok’s unsparing, unsentimental new play, home is a heartbreaking lesson in betrayal.
In “Blue Bayou,” what begins as an affectingly unfussy immigrant story centering on a New Orleans tattoo artist — brought from South Korea to the United States for adoption as a child, but without proper paperwork, and now facing deportation in his 30s, after his citizenship status comes to light — is unable to sustain its nuanced, naturalistic tone.
The mural, spanning 150 feet across and reaching 20 feet high, is in Playas de Tijuana, next to the Mexican side of Friendship Park where the border fence meets the Pacific Ocean.
In 2013, budget horror production studio Blumhouse produced “The Purge,” a nasty, clever action/horror flick written and directed by James DeMonaco that posited the question: What if all crime was legal for one night?
The life of a migrant at the border waiting for the right moment to cross into the United States is often in flux. The New York Times tried to capture a piece of this uncertain journey by giving people a chance to convey it in their own way.
“They hate us over there.” That’s Gerardo (Christian Vázquez), alarmed to hear that his boyfriend, Iván (Armando Espitia), is thinking of leaving home and crossing over into the United States.
As a boy, even when the Salvadoran army was laying waste to his hometown and guerrilla rebels were stalking the nearby woods, José Zelaya held fast to his dream. “One day,” he told his mother, “I’m going to work for Mickey Mouse.”
The film adaptation of the musical revealed the pain of experiencing racism within one’s own ethnic communities.
Recent reports of violence against Asian Americans have drawn attention to the challenges and discrimination many Asian Americans face — especially women.
This week marked the long-awaited release of “In the Heights,” the film version of the award-winning Broadway musical by Lin-Manuel Miranda and Quiara Alegría Hudes.
