Film is an expression of society, a critique of its flaws, and sometimes even a portrayal of a reality. Some people view it as mere entertainment to escape the grueling, draining world that bombards our minds with constant unfortunate events. Others, like myself, view it as an art form, just as valuable as any other, that invites critical thinking and is part of a bonding experience with loved ones. Every person with access to a nearby movie theater or a digital device has developed a relationship with film that’s particular to their nuanced context. Puerto Rico as a whole has a deeply complex relationship with film: one that endlessly praises foreign films (particularly from the U.S., Mexico, Colombia, Europe, and East Asia) and also disturbingly and blindly denigrates local film.
While Puerto Rican music has reached a point of general acclaim, due in large part to global superstar Bad Bunny’s career (despite what you or your grandparents’ may believe), local film clashes with a stark contrast. Our music is listened to and appreciated by diverse audiences everywhere, while our films are underappreciated and largely overlooked by the general audience. As someone whose sole goal in life is to become a screenwriter and filmmaker (potentially an author of a couple of books as well), it infuriates me how much this ignorance has been normalized and passed down through generations. But, to quote the great Sam Cooke, “it’s been a long,/ a long time coming, /but I know a change gon’ come”.
Positive change is always a slow burn. And when it comes to Puerto Rican cinema, a lot of obstacles stand in its way: tight budgets from an inefficient government, spectacular talent limited by low employment numbers, declining profits, etc. These obstacles force so many talented artists to move away and seek their shot elsewhere (like the U.S., Mexico, and Spain, to name a few). However, those who stay fight for their voices to be heard by producing their own art, made on our very own land.
Introducing Gretza Merced Cruz: a University of Puerto Rico, Río Piedras alumna, actress, screenwriter, producer, entrepreneur, and co-owner of her independent film production company, Árbol de Plata. Though many of you may not have heard of her, she has a career of over 15 years spanning film, theater, and commercials; she’s also worked with the likes of Lin-Manuel Miranda, Bad Bunny, and Victor Manuelle (with an honorable mention of Ross Lynch in Teen Beach 2). Her multi-faceted talent and abilities are a reflection of her commitment to the craft. After an arduous journey of honing her craft through the works of others, she has stepped out of the shadows and into the sun as a new era begins.
On February 12th, 2026, her big break as a protagonist came in the feature-length film Hasta que la celda nos separe, directed by Mariana Emmanuelli (Till Jail Do Us Part, as translated on Letterbox’d) which premiered in 10 movie theaters. The plot is simple: two lovebirds, Liza and Joseph, are ready to get married; but, due to their financial constraints, in order to build the wedding of their dreams, they decide to commit robberies. While drawing inspiration from duos such as Bonnie & Clyde, Dick & Jane, and even Harley Quinn & The Joker, the film manages to elevate itself with a transmedia element by incorporating an app that contains a mysterious subplot, as well as trademarks of our culture embedded into the film’s fabric.
These trademarks include Las Vejigantes, a Robin Hood-esque criminal group based on the eponymous folkloric characters of Puerto Rican culture dating back at least two centuries, and the integration of the zodiac signs as a tribute to its big influence in Puerto Rico. What stood out most were its themes of love, economic crisis, and gentrification, as well as the acting from Merced Cruz and her co-star Andrés López Alicea. Merced Cruz’s range ebbs and flows between comedic timing and dramatic nuance — a joy to witness on the big screen. Everything else is for you to see for yourself, if you haven’t already.
With critical acclaim and general audience praise, many reviews pertaining to the film (from both experts and regular viewers, check out the Letterbox’d link above) have emphasized how refreshing and fun the project is. Despite competing with big studio films like Wuthering Heights at the time, Hasta que la celda nos separe returned for another run in both Fine Arts theaters from April 2nd until the 8th.
If that’s not impressive enough already, how about the upcoming release of a second film? This time, she is not only the protagonist but she’s also the co-writer and co-producer. Directed by her long-time colleague, co-writer, and cinematographer Heixan Robles, Borealis is one of the first sci-fi dystopias made in Puerto Rico by local talent and the first project by Merced Cruz’s production company, Árbol de Plata. Arriving to theaters on April 16th (and before with an early premiere at a California film festival), the film’s synopsis reads:
“A mysterious solar flare erases all human memory, Thalía wakes up with no identity but one purpose: to find her missing daughter. Her only lead is a man who claims to remember everything. But in a world without a past, trusting may be the greatest risk of all.”
Let’s be honest, the anxiety that the mystery behind this plot creates is crippling yet thrilling. Sci-fi is one of the most fascinating genres and quite beloved at the international box office. However, local films usually stray away from such genres due to numerous reasons, one of them being the limiting budget, as previously mentioned. Yet, seeing the desire for more eccentric films that invite nuanced conversations and fresh ideas, Gretza Merced Cruz has become part of the new wave of genre films that are already breaking stereotypes of Puerto Rican film. No longer can people shove Boricua films into the categories of “cheap, offensive comedy” or “low-budget quality.” Artists like Gretza have held their heads high and their hands into the mud to turn their love of art into a passion to share with the world and cement it as an industry worth investing in.
To follow her journey, don’t miss Borealis, in theaters on April 16th (tickets will be on sale soon). From the bottom of my heart, I promise all of you, dear readers, that taking a chance on Gretza Merced Cruz and the new wave of Puerto Rican cinema will be an unforgettable experience.