Feeling Intimidated by Film Culture? Start Here.

For a lot of teens who love movies, film culture can feel intimidating. There’s pressure to know every director, every reference, every “important” movie before you’re even allowed into the conversation. But according to Saila Reyes, that mindset is exactly what spaces like Vidiots are trying to change.

Saila Reyes, who works in programming and audience outreach at Vidiots, joined the organization before its theater had even opened. After years of delays caused by the pandemic, part of her job was convincing people that the space would actually become real.

“I joined Vidiots before the building was complete,” Reyes said. “My job was to bring awareness that we existed and that we were going to open.”

At the time, many people were skeptical. The organization had announced plans to open in 2020, only for the pandemic to shut everything down. Reyes said her role became not only building excitement, but also building trust.

When the theater finally opened, her focus shifted toward creating programming that could bring audiences in while also introducing them to films they might never have discovered otherwise.

“We’re gonna show Speed, Point Break, Face/Off — movies people already know and love,” she explained. “Then when we start throwing deeper cuts in, people might still show up because they trust the programming.”

That trust is especially important for repertory cinema, which focuses largely on older films rather than new releases. At Vidiots, the programming team, made up entirely of women, curates more than 60 titles every month. Reyes described the process as both intentional and incredibly difficult, especially when representing communities that have historically been excluded from film history.

“There’s a dearth of movies directed by women, especially women of color,” she said. “There’s a dearth of queer films by queer people of color. So sometimes we’ll show newer films because those stories simply didn’t exist in earlier decades.”

Still, Reyes believes accessibility matters just as much as representation. Through partnerships with organizations like TeenTix, Vidiots offers discounted tickets for younger audiences. Programs like Movie Den give teens access to screenings, free popcorn, filmmaker Q&As, and behind-the-scenes tours for only a few dollars.

“We heard a lot from teens that going to the movies regularly just isn’t affordable anymore,” Reyes said. “So we’re trying to make it possible for someone to come every weekend if they want to.”

But beyond affordability, Reyes says Vidiots is trying to create something many young film lovers struggle to find online: a space free from judgment.

“A lot of younger people are crippled by fear of voicing an opinion,” she said. “Internet culture makes people feel like if they say the wrong thing about a movie, they’ll immediately get shut down.”

Reyes knows that feeling personally. Before joining Vidiots, she worked professionally as a writer in the entertainment industry but eventually left because of what she described as toxic environments that damaged her mental and emotional well-being.

“I was wildly unhappy,” she said. “I quit on Christmas Day.”

Not long after, she was asked to help Vidiots as the organization was still being built. What started as temporary work quickly became something much more meaningful.

“I dedicated my life to this place because I wanted to help build a space where the things that hurt me in the industry don’t exist here,” she said.

For Reyes, one of the most rewarding parts of the job is watching younger audiences discover movies and themselves in the process. She recalled meeting a teenager who came alone to a screening of Y Tu Mama Tambien without knowing anything about the film.

“I gave him a hot dog and was like, ‘Buckle in,’” she laughed. “Those are the moments where I’m like, this is the point.”

She believes repertory cinema is especially important for young artists because it allows them to trace inspiration backward through film history instead of only consuming what is current.

“If you love Kill Bill, go watch Lady Snowblood,” Reyes said. “Go watch the filmmakers who inspired the filmmakers you love. That’s how you develop your own voice.”

Throughout the conversation, Reyes repeatedly returned to the idea that no one should feel like they have to “earn” the right to enjoy movies.

“Everyone has gaps,” she said. “I watch over 300 movies a year, and I still have gaps. You don’t need to compete. Just chase what you love.”

For teens interested in working in film, writing, or arts programming, Reyes’ advice was direct: start now, wherever you are.

“If you want to be a writer, write,” she said. “If you want to program films, invite your friends over and curate a movie night. Start where you’re at.”

Most importantly, she encouraged young creatives not to wait for permission from anyone else.

“Are you trying to get a seat at someone else’s table,” Reyes asked, “or are you going to build your own?”