Alex Rivera

Set in a near-future, militarized world marked by closed borders, virtual labor and a global digital network that joins minds and experiences, three strangers risk their lives to connect with each other and break the barriers of technology.

The conflict between Dole Food Company and Swedish filmmaker Fredrik Gertten unfolds dramatically in the documentary "BIG BOYS GONE BANANAS!" as the corporation attempts to suppress Gertten's earlier film, "BANANAS!"—chronicling Nicaraguan workers' lawsuit against Dole. Initially selected for the 2009 Los Angeles Film Festival, "BANANAS!" was abruptly removed from competition, followed by a negative article in the Los Angeles Business Journal and legal threats from Dole's attorneys. Gertten captures this saga of corporate intimidation, media manipulation, and legal challenges in his documentary, showcasing the struggles documentary filmmakers face and highlighting the threat to freedom of speech posed by powerful corporations protecting their reputations.

A rag-tag group of undocumented youth – Dreamers – deliberately get detained by Border Patrol in order to infiltrate a shadowy, for-profit detention center.

A new breed of labor robot works at a bar. His mission is to excel at his new job while avoiding human injury, but he soon learns that this may be impossible.

Behind the scenes of a popular deli on New York's Upper East Side, undocumented immigrant workers face sublegal wages, dangerous machinery, and abusive managers. Mild-mannered sandwich maker Mahoma López has never been interested in politics, but in Jan. 2012, he convinces a small group of his co-workers to fight back. Risking deportation and the loss of livelihood, the workers team up with a diverse crew of innovative young organizers and take the unusual step of forming an independent union, launching themselves on a journey that will test the limits of their resolve. In one rollercoaster year, they must overcome a shocking betrayal and a two month lockout. Lawyers will battle in backroom negotiations, Occupy Wall Street protesters will take over the restaurant, and a picket line will divide the neighborhood. If they can win a contract, it will set a historic precedent for low-wage workers across the country. But whatever happens, Mahoma and his compañeros won't be exploited again.

Papapapá is a humorous look at race and immigration, television and nostalgia, distance and the many ways people deal with it. Papapapá examines how bodies (people and vegetable) are remade within the new societies they encounter.

Following a group of Mexican immigrants from the tiny desert town of Boqueron who now work in upstate New York, the film documents their struggle to support themselves—and their hometown 3,000 miles to the south. To do this, the men form a 'union' that raises money in the form of weekly donations of $10 or $20 from each of its members in New York.

DIA DE LA INDEPENDENCIA is a satirical movie trailer that mimics the cinematic obsession with 'alien invasions' (Men In Black, Starship Troopers, and of course, Independence Day).

A mock promotional film unveiling the Cybracero Program, an effort that will allow Mexican laborers to tele-commute to agricultural work in the US without leaving their homes in Mexico.