When Los Angeles-based entrepreneur Tomas Cookman founded Nacional Records 20 years ago, the label immediately established itself as the defining voice of Latin alternative in the U.S. Cookman's inaugural release was the luminous, self-titled solo debut by Andrea Echeverri, lead singer of Colombia's pioneering Rock en Español act Aterciopelados. He followed it up with "Tijuana Sessions Vol. 3," the much anticipated sophomore effort from Latintronica outfit Nortec Collective. (As it turns out, the band never recorded a Vol. 2.)
DaCosta's latest film, Hedda, is something more personal, a project she wrote years ago and couldn't shake. In it, she reimagines Henrik Ibsen's 1891 play, Hedda Gabler, recasting the main character as a queer, mixed-race Black woman and transporting the action to a 1950s English manor. The film tells a twisted story of jealousy and control as it follows Hedda (played by Tessa Thompson) over the course of one wild, unsettling night.
Arranged marriages generate real feelings. A human falls in love with a high lord of the fae. These are just a few of the plots readers can find in modern romance novels, which vary in tone, setting, and characters but are united by one key characteristic: a central love story that culminates in the all-important HEA (happily ever after, for the uninitiated). Everything leading up to that-the meet-cute, the first kiss, the third-act breakup-is left to the author.