Film
Embedded Files
A Small Concession
Short Film
Directed by Alexandru Gherman
1st AD Vivian Rubio
A struggling Miami sculptor, José María, hustles his life-size piece around town in a shopping cart and hides from his museum day job, pleading with galleries, and fending off a dealer who’ll “buy” it only if he makes a small concession. Refusing to compromise his vision, he lugs the work back to a night shift, shares a bittersweet dance with it where something happens that is mistaken for a daring artistic act and instantly hailed by onlookers and headlines. The film tracks the absurd loop between integrity and commerce as José María’s most honest moment becomes the thing the world suddenly deems valuable.
Water Bond
Marketing Campaign &
Short Film
Water Bond is a short film and social-first campaign built around real, unscripted conversations between grandfathers and granddaughters. The marketing centers on bite-size documentary reels, that spark viewers to reflect and share their own “grandparent minute.” I’m directing with a light footprint and to focus on close, human framing, natural light, and room for pauses so tiny gestures and memories lead the scene. The goal is simple to bridge the generational gap and bring attention to the family member we too often see the least.
Task Force Eclipse
Short Film
During the Harvard summer program (NYFA at Harvard, 2025), I wrote and directed the short film Taskforce Eclipse with a team of seven students. Conceived and scripted in a single day, we filmed the entire story in just eight hours. We had to move fast with tight blocking and simple setups to keep everyone on schedule and in sync. It became a crash course in ensemble filmmaking, giving each student meaningful screen time while we problem-solved, rotated crew roles, and delivered a complete, polished short under real production pressure.
Theater
The Gentle Knock
by River Iraida Estrada
The Gentle Knock is a short play, I couldn't pass on directing. River Iraida Estrada’s modern-Shakespearean verse gives actors a rigorous spine to play on. It is a musical and a muscular language that asks for precision, breath, and truth. Its intimate, three-character frame made me stage finding triangles and I was able to stage it with focus and restraint, keeping the audience eye on the raw mechanics of grief, love, and rupture.
Cleansing the Soul
by Vivian Rubio
This is an irreverent comedy that begins the moment Cleandra drops dead and wakes up in a limbo courtroom between heaven and hell. I wrote Cleansing the Soul to confront and dismantle the “Latina cleaning lady” stereotype by giving Cleandra her full, complicated humanity. Instead of a tidy archetype, we meet a flawed woman, who is contradictory, tender, angry, funny. Her choices and ghosts refuse easy judgment. The piece invites the audience to sit with her truth beyond labels, so we witness a person, not a trope, and feel the cost of reducing anyone to their job or their origin.
The House of Bernarda Alba
by Federico García Lorca
I chose to direct The House of Bernarda Alba because I’d fallen in love with Lorca’s moral chiaroscuro. Our world was stripped to blacks, grays, and whites, a palette of repression and “virginity”. Red appeared only at crucial ruptures of desire and violence. An authentic dancer threaded the piece with traditional movement while the ensemble generated the soundscape live: footsteps, breaths, doors, and the reapers’ song rising behind scenes like a communal heartbeat. The result was spare and ritualistic actors’ bodies and voices carrying Lorca’s tragedy without ornament, so the emotion had nowhere to hide.
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