Diego Boneta challenges the “Latino” and “masculine” in “The Father of the Bride”

For the Mexican actor Diego Boneta, it is important to break with two stereotypes of international cinema: “the Latin” and “the masculine”, that is why he agreed to be part of the third version of a classic film such as “The father of the bride”.

“Neither of (those two stereotypes) is easy (to break) but in this film both are broken, that is why it is so special to me. I think it’s the first movie I can think of in Hollywood of a wedding of two Latino families, the obvious would have been a Latina and an American”, he says in an interview with Efe.

The dispute over a wedding of a Mexican family headed by Boneta and Pedro Damián against a Cuban family led by Gloria Estefan and Andy García renew the film that previously featured artists of the stature of Elizabeth Taylor in the 1950s, or Steve Martin in the 1950s. 90.

“Not because we speak Spanish we are the same, there are many similarities but there are also differences, the accent, the music, the food, etc.”, says the actor as a way of criticizing the homogeneity with which the Latino community has been portrayed in the screen.

With its feet firmly planted in 2022, the new version directed by the Mexican Gary “Gaz” Alazraki (“Nosotros los nobles”, 2013) – which premieres on HBO Max this Thursday – rethinks themes of social interest in a subtle way and from the comedy such as machismo, cultural diversity and romantic love.

Adan (Boneta) is a simple man who is vulnerable, Sofía (Adria Arjona) proposes to her boyfriend, her parents, Billy and Ingrid (García and Estefan) are going through a very strong marital crisis; while Adan’s father, Hernan (Damián) is with a young woman twice his age played by Macarena Achaga.

“Adan is a guy who is not afraid of being vulnerable, who adores his wife and supports her, he is the one who follows her so that she can fulfill her dreams and it is very cool to be able to show that side of masculinity and break with machismo,” explains Boneta.


The film also raises which traditions about the ritual are still valid in 2022 and which are not, as well as the individuality of each decision that is made in this regard.

“(I would remove) the bouquet, I don’t like it at weddings and I don’t like the garter either, I would erase that immediately, it’s like exasperating, a lot of women trying to be lucky enough to get married, to find a husband, when in truth we are clear, one does not need a man to be happy, “Adria Arjona tells Efe.

Diego, for his part, believes that it is valid to choose not to marry in the church, but there are some customs that he would leave intact.

“I would prefer that the man be the one who proposes to his girlfriend,” he says and almost without realizing it, confesses that he would like to get married “at night on the beach”, but reacts and assures that he has not thought about it that much.

Likewise, if Alazraki had to end one of these celebrations, it would be a very common song at Mexican weddings: “I would remove ‘El venao,'” the director says bluntly on the subject of infidelity.


Arjona cannot forget the scene in which Sofía dances with her father during the wedding, confessing that the connection that was formed between her and Andy was easy to achieve.

“I would like to say that it was super complicated and that I analyzed it a lot but it was super easy. Andy makes it so easy for you, he’s a great actor, all he has to do is look you in the eye and you’re already on stage, he’s an angel,” he says.

While he remembers Gloria as one of the “funniest” women he has ever met.

“I have never had an example of how a Latin icon behaves on a set and having her as an example is incredible. She never complained, always in a good mood, extremely humble (…) I can’t imagine this movie without the two of them”, adds the protagonist.

For her part, Boneta appreciates the opportunity to share the film with Pedro Damián, who was one of the great promoters of her career since the telenovela “Rebelde” (2004) and agrees with Adria with García’s professionalism.

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Diego Boneta challenges the “Latino” and “masculine” in “The Father of the Bride”