![]() |
Pan American experiences
|
------- |

Americas |
AMERICAS ------------------------------------------727[FEATURE] | |||
“Selena and Los Dinos” - A Documentary that Rewrites the Story of the Queen of Tex-MexBy Jazmin Agudelo for Ruta Pantera on 11/22/2025 10:34:12 AM |
||||
| On February 14, 2026, Netflix will release “Selena y Los Dinos: The Home Movies,” a documentary built not on remote interviews or television archives, but on more than 400 hours of Hi8 and VHS tapes that Suzette Quintanilla, the eldest sister and drummer of Selena’s band, recorded between 1986 and 1995. For three decades, these tapes remained stored in boxes in the attic of the family home in Corpus Christi, Texas. They have now become the primary source of an intimate narrative that humanizes Selena Quintanilla-Pérez like never before. No Make Up and No Studio Lights Suzette began filming when she was 19 and Selena was just 15. The footage shows a cheerful teenage Selena rehearsing in the garage, arguing with her father Abraham about the arrangements for “Como la Flor,” trying on clothes in San Antonio shopping malls, and celebrating her 20th birthday in a small apartment with balloons and a supermarket cake. There is no professional makeup, no studio lighting, no filters — just the real Selena, with braces, ripped jeans, and a tired, breaking voice after performing at fifteen fairs in a row. The documentary, directed by Hiromi Kamata (known for “Mucho Mucho Amor” about Walter Mercado), intercuts these tapes with current testimonies from Suzette, Chris Pérez, A.B. Quintanilla, and several childhood friends. However, the true protagonist is Suzette’s camera: she films from behind the drums as Selena sings “No Me Queda Más” during a 1994 rehearsal with tears in her eyes; she records the family argument when Selena decides to secretly marry Chris; she captures the exact moment Selena whispers that she is writing “Dreaming of You,” thinking about her future as a mother. | ||||
|
|
“You Can Handle this, and More” The most impactful fragments are those that show the bond between the sisters. In a 1993 scene, Selena and Suzette are in the Astrodome dressing room minutes before the historic concert. Selena is nervous; Suzette holds her hand and tells her: “You can handle this and more. I will always be back there playing for you.” That same night, 65,000 people chanted her name, but on the tape, you only hear Selena’s heavy breathing and her sister’s calm voice. That phrase, unheard until now, is repeated throughout the documentary as a leitmotif. Another revelation is the amount of material that contradicts long-standing myths. Contrary to the image of absolute control that Abraham Quintanilla projected for years, the tapes show open discussions where Selena defends her creative and personal decisions. In a 1994 recording, the 23-year-old singer tells her father: “I’m not a child, Dad, and this music is mine too.” The documentary includes that full conversation for the first time, providing a clearer understanding of the maturity Selena had reached before her death. The technical quality of the tapes is another achievement. Although they were home recordings, Suzette had a keen eye: close-up shots, direct sound from rehearsals, and a natural sensitivity for capturing gestures. Netflix’s restoration team worked for eighteen months digitizing and stabilizing each frame. The result is so sharp that in some moments it feels as if Selena is singing today. It Was Time to Show the Human Selena The documentary also addresses grief from Suzette’s perspective. She stopped playing drums after March 31, 1995, and stored the tapes because “watching them hurt too much.” Thirty years later, she decided to open the boxes because she felt it was time to show the human Selena, not just the legend. “The world remembers her singing at the Astrodome in the purple bustier,” Suzette says in the trailer, “but I remember her laughing in pajamas while we ate cereal at three in the morning.” “Selena y Los Dinos: The Home Movies” does not aim to be a complete biography, but rather an intimate portrait built from the closest vantage point possible: the gaze of a sister who never stopped filming, even when the world was falling apart. When the final scene ends — Selena and Suzette hugging after a concert in 1994, unaware that it would be one of their last — many viewers will understand that Selena’s real story wasn’t on the stages, but in those everyday moments that only a sister could keep for thirty years. | |||
|
Click on images to enlarge:
|
||||
|---|---|---|---|---|
| |
|
|
|
|
×
|
||||
Please leave a comment about this article: 727 |
|
| Enter your email address: |
Your email will not be displayed. |
| Your nickname: | |
| Your comment: | |
| Was this article helpful to you? | |
|
|
|
Articles about exciting travel experiences in our hemisphere.


