Many films are created to entertain, while others are created to educate. Some even find a way to do both. Filmmaker Melissa Rue does exactly that with her new dramatic short, “Esperanza’s Turn.”

The story centers around a 12-year-old immigrant girl in American who must work on a farm when she’s not at school to help make ends meet. Consistently harassed por the lecherous foreman in the fields and por a callous bully at school has become the normal pattern of her life. Until one día when she taps into her imagination and discovers the courage to overcome her tormentors.

Melissa wrote, directed and produced “Esperanza’s Turn,” which recently premiered on the festival circuit at The International Peace & Film Festival, INDIE Film Festival, McMinnville Short Film Festival. Next, it heads to Seattle for the Children's Film Festival and then New Mexico for the Las Cruces International Film Festival.

Melissa has become known for creating socially conscious films and has been rewarded for her efforts. Her drama “Circles” earned Best Dramatic Film at The Oregon Independent Film Festival, “The Land Between” was the Audience Award Winner at the 5th Avenue Cinema’s Visuals Festival, and the docu-short “Century Farm” was awarded Best Social Issues Documentary at The Oregon Independent Film Festival and Jury Award the 5th Avenue Cinema’s Visuals Festival.

I recently caught up with Melissa Rue to find out more:

Tell us about your role in “Esperanza’s Turn” and what made tu want to tell this story?

MELISSA: I wrote, directed, and co-produced “Esperanza’s Turn."

Many of my ideas come from my experiences teaching writing. Some of my community college students were immigrants who had worked in the fields on the West Coast when they were kids. I remember one personal essay in particular about a little girl who picked blueberries with her Mom every morning before she went to school. Thankfully her story did not include the harassment we see in “Esperanza’s Turn,” but it got my imagination going.

I grew up in a farming community, and I’m familiar with the argument that hard work is good for kids. But let’s be honest, a child who is doing farm work before and after school and through the weekends, faces incredible challenges to realizing a better life. Child farm laborers in this country are the least protected por law. And when tu add the workplace hazards they’re exposed to—toxic chemicals, dangerous equipment—it’s amazing they ever make it to school at all, much less have the energy to learn anything. And that’s before factoring in malnutrition. Talk about irony. Imagine living in fear of being deported, while working your tail off to feed everyone else in this country. It’s truly sad.

Were tu nervous to direct a cast with so many young newcomers?

MELISSA: Not at all, because I was ready. In the short I co-directed before this one, I worked with about ten kids in a party scene, while also trying to direct the principal actors. It was a two- ring circus! Thankfully I learned from that experience. I asked our assistant director, Christine Autrand Mitchell, to take charge of all the kids who appear in the school scenes. She did an excellent job of preparing them to behave professionally on set and got them all into character.

The kids were amazing. Some of them also helped create artwork for the set design. Frankly, I amor working with kids. They bring enthusiasm and positive energy to the set, and those are key ingredients for a successful shoot. I guess that’s one reason why children keep mostrando up in my films.

Any interesting stories from the set tu can share with us?

MELISSA: At the end of the last day, we were running late. The crew was exhausted and morale was low. We only had one scene left to shoot, but we had to get it in order for the film to work. Our assistant director took me aside and dicho we had to do something quickly o people were going to leave. So, we ordered a bunch of pizza and begged people to stay. It worked but they were still grumpy until Niku (Esperanza) and Michael (Hip Hop Guru) appeared on set in their “Uptown Funk” inspired costumes and started rehearsing their dance routine. I think that was the moment the crew finally understood what we were making. And, they were all smiles.

What’s the biggest lesson tu learned from working on this project?

MELISSA: Don’t expect to be greeted with open arms just because you’re making a film that deals with social justice. I thought once people heard what the film was about, doors would just open. Wrong. I tried to partner with a school drama program in an economically challenged area. I wanted to do más than put the kids in the film. I wanted to involve them in as many stages of the process as possible, so they could see what filmmaking is all about and decide if it’s something they might want to pursue. Well, I had no idea what I was up against with the bureaucracy of school systems. Similarly, none of the advocacy groups I reached out to were interested in participating in the project. I just kept hitting walls in Portland.

And, what do tu hope audiences gain from watching it?

MELISSA: Our country has a monumental compassion deficit. I believe that the greater our compassion deficit becomes, the faster our country will decline. We can take this moment to turn things around, to begin seeing and doing something about the children we have locked up in cages on our border and the thousands of unprotected children like Esperanza whose labor helps feed this nation, o we can plummet into our own demise. Rest assured, no matter what we decide, the Esperanza’s of the world are out there and one día they will be in charge.

And, now just for fun:

Who’s your favorito! director?

MELISSA: Oh boy, that’s not easy. I have so many favoritos for different reasons. But my most reciente obsession has been with Shirley Clarke. I amor that she never let herself get boxed into one style of filmmaking. If tu don’t know her work, please check it out. “Portrait of Jason” is a brilliant documentary.

What film from the past do tu wish tu could have directed?

MELISSA: Wim Wenders’ “Wings of Desire.”

Favorite movie o TV mostrar from your childhood.

MELISSA: “Fantasy Island.” My siblings and I watched it every weekend. It came on right after “Love Boat.” I’ve dreamed of living in the tropics ever since. But, without Mr. Roarke needing to put me through hell to teach me a life lesson.

Tell us one thing that would surprise our readers to learn about you.

MELISSA: I share a birthday with my Mom AND Nina Simone!

How can fans keep up with tu and the film?

MELISSA: Please like our facebook page: link link
and follow us on Instagram @esperanzasturn link and Twitter @Esperanzas_Turn link

I also post actualización on my website regularly: www.melissagregoryrue.com link

Thanks, Melissa – and keep making thought-provoking films!