After the Earthquake/Después del terremoto

A film about Central America by Lourdes Portillo and Nina Serrano

Vilma Coronado, Actor in "After the Earthquake", 1979

Vilma Coronado, Actor in “After the Earthquake”, 1979

It was sometime around 1977 or `78 when Lourdes Portillo and I saw a short documentary film about Central America showing a Mary Knoll house building project in Nicaragua filmed by Father Miguel Descoto. We were moved by the poverty and problems of Nicaragua, as we sat among a handful of viewers in San Francisco’s Mission district barrio.

As one thing always leads to another, Lourdes and I decided then and there that we needed to make a film about Central America. Ours would be about our own reality, set in the Mission District with its Central American exiles and immigrants coming to San Francisco daily. We decided to make it a fictional film and as feminists we didn’t even have to discuss the role that women would play in our film. We knew the protagonist would be a young woman immigrant working as a maid, and the film could be used as a consciousness raiser.

Lourdes Portillo

Lourdes Portillo

At the time, Latin America was in upheaval with a revolutionary civil war taking place in Nicaragua, and horrendous repression in El Salvador and Guatemala. Argentina was run by murderous generals as was Chile. Our neighborhood reflected this with the ground swell of new Latin American immigrants, especially Central Americans. We ourselves and all our friends were supporting the Sandinista led revolutionary movement in Nicaragua. It felt very natural for us to write our fictional story. To universalize the story, we created a pan-Central American identity to the characters and their lives, inventing towns, and volcanoes that could not be pinpointed to a specific Central American country. We agreed on about 14 main points we wanted to cover and met a few hours each day to develop a dramatic script and then write a proposal for grant funding for the film production.

When the proposal and script were finally ready, I picked the pages up from the typist, since this was before computers and neither of us knew how to type. I got on the BART train, which is our Bay Area Rapid Transit System, and fell asleep. I woke up quickly at my stop. As the train pulled away I realized I’d left the only copy of the script and proposal on it!

There was hell to pay. Lourdes hit the roof. Luckily, I was able to retrieve it from the BART Lost and Found Department the next day, turned in by a train cleaner. To this day I am grateful to this person. We were awarded the grant and produced the film in 1979. It was shown at many film festivals, won an international film festival award in Poland and was broadcast on countless U.S. public television stations nationally. Lourdes and I traveled by plane and train across Europe to receive that award in Krakow, Poland.

One day, decades later, we were invited to a Stanford University class studying this film. The bright young students were filled with questions. One girl raised her hand to ask, “Where did you get the idea for the TV salesman to kiss the protagonist’s hand?” I laughed, “We didn’t. It was not our idea.” We used improvisation as well as our scripted dialog. The actor was my friend, Don Norton, a notorious ladies hand-kisser, who came up with it himself. I had to smile thinking how pleased Don would have been if he had thought that one day people would take note of his hand kissing. Here is a clip of those pivotal scenes in which the protagonist, Irene, buys a TV set which triggers the rest of the film’s events. To obtain the 27 minute film go or watch it below on the Nina Serrano YouTube channel.

Posted in Blog, film and video, Film Making, media Tagged , , , , , , permalink

About Nina Serrano

Nina is a well-known, international prize-winning inspirational author and poet. With a focus on Latino history and culture, she is also a playwright, filmmaker, KPFA talk show host, a former Alameda County Arts Commissioner, and a co-founder of the San Francisco Mission Cultural Center for Latino Arts. Oakland Magazine’s “best local poet” in 2010, she is a former director of the San Francisco Poetry in the Schools program and the Bay Area’s Storytellers in the Schools program. A Latina activist for social justice, women’s rights, and the arts, Nina Serrano at 84 remains vitally engaged in inspiring change and exploring her abundant creativity. For more information go to or contact her publisher at For more detailed information about Nina see About Nina on her website.


After the Earthquake/Después del terremoto — 3 Comments

  1. Hola Nina, ojala te acuerdes de mi, yo siempre te tengo presente como admirable artista, activista y amiga en San Francisco.

    Fui alumna del new college of Ca…. y tu fuiste instrumental para mi ingreso. Después incursione en la producción de video, gracias al entrenamiento que recibí de los sandinistas, cuando estuve en nicaragua, como parte de la primera delegacion de latinos de San Francisco, que fuimos a dar nuestro apoyo a aquella hermosa revolución, que nos dejo a muchos marcados. Participe en algunos festivales en San Francisco, en el centro de la Mision, en el Shades of Power film/video festival, en Women of Color Resource Center festival, y otros. Ahora estoy de regreso en México, haciendo lo mismo, y ahora junto con otras mujeres tenemos la idea de organizar un festival de trabajos realizados por mujeres, no tenemos muchos recursos, y por eso me atrevo a enviarte este mensaje, para ver si podrias echarnos la mano.

    Nos encantaria conseguir The Making of “After the Earthquake/Después del Terremoto”
    Mucha Gracias, Saludos, abrazos Ana Bertha

  2. Dearest Nina,
    How wonderful that you have all those details that I have now forgotten. Making this film was a great adventure to embark on with you, you are a wonderfully generous person with an enthusiastic spirit that has enabled many good things to happen in our beloved Mission District.
    Much gratitude,

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