A new Panamanian film chronicling the dramatic life of boxer Panama Al Brown arrives in national theaters this week. “Brown,” which began filming in 2022, will premiere on Thursday, November 27, telling a pivotal chapter in the story of Latin America’s first world boxing champion. The production represents a major cinematic undertaking for the country’s film industry, involving over 450 people between technicians and artists.
Director Ricardo Aguilar Navarro announced the release date during a press conference attended by producer Sixta Diaz and actors Gabriel Perez Mateo, Gabriela Gnazzo, and Abdiel Tapia. The film focuses on the boxer’s struggles against racism and homophobia during his career, themes the filmmakers say remain relevant today. Its domestic release follows the project’s selection for consideration at the International Documentary Association Awards.
A Champion’s Exile and Reinvention in Paris
The narrative captures a specific period after Brown was stripped of his title in a fixed fight. He subsequently departed for Paris, where he reinvented himself as the showman for a famous cabaret of the era. The Caprice Vienoise, located on the Pigalle street, became his new stage.
It was within this vibrant Parisian environment that the boxer met poet Jean Cocteau. The filmmaker was immediately captivated by the athlete. Their relationship blossomed, and Cocteau eventually convinced Brown to return to boxing to reclaim his world championship title.
“This is a story that has boxing, that has music, there are great interpretations of songs authored by Luis Carlos Perez,” said co-director Ricardo Aguilar Navarro during the press conference. [Translated from Spanish]
Aguilar Navarro expressed immense pride in the final product and the collaborative effort behind it. He highlighted a spectacular song performed by actress Gabriela Gnazzo in the film. He also noted the significant challenge taken on by actor Gabriel Perez Mateo, who portrays Jean Cocteau in his first deeply developed cinematic role after a thirty year career primarily in theater.
Recreating 1930s Paris in Panama
The film’s production required an enormous logistical effort to recreate 1930s Paris within Panama. Crews transformed a large warehouse, used as a primary studio, with more than ten different sets. These included a full cabaret, a boxing ring adapted for three different cities, Brown’s home, and the office of Madame Bijou, the cabaret’s owner portrayed by Gabriela Gnazzo.
At least a dozen external locations outside the main studio were also utilized to complete the filming. Aguilar Navarro openly admitted the scale of the work was titanic. He stated he feels profoundly satisfied and proud of the final film, crediting the entire team for their talent and dedication in bringing the project to fruition.
“We have a great film, not because we made it, but because it achieves its objective, which was to honor and recognize a Panamanian figure who carried his name, the name of Panama in his name, and made it cross the Atlantic Ocean,” Aguilar Navarro stated. [Translated from Spanish]
The director emphasized that Brown made Panama known in North America and became a champion while fighting alone against discrimination and hate. He believes the film successfully pays tribute to a man who broke barriers.
Actors Confront Complex Characters and Themes
For the cast, the project presented unique artistic challenges and opportunities. Gabriel Perez Mateo, who plays the renowned poet Jean Cocteau, described the experience as a privilege and an honor. The role pushed him far outside his comfort zone, forcing him to confront his own preconceptions about film acting versus his extensive stage background.
Perez Mateo reflected on the consistency of emotion required in theater compared to the stop-and-start nature of film production. He found the film’s treatment of the central relationship particularly insightful, noting the double standard applied to judging the same relationship from Cocteau’s perspective versus Brown’s. The actor observed that privileges have always shaped certain destinies throughout history.
“The way the story was treated with such good taste, with so much depth; the theme of photography with (Alfonso) Parra, the art design of Michael Martinez, the costumes of Jaime Avila, it was very easy to feel like you were in Paris, in the 1930s,” Perez Mateo explained. [Translated from Spanish]
He credited the production’s artistic team for creating an immersive and authentic environment that helped the performers connect deeply with the period and the difficult situations their characters faced. The detailed work made the historical setting feel immediate and tangible for everyone involved.
A Collective Passion Overcomes Production Challenges
Producer Sixta Diaz focused her comments on gratitude for the opportunity to complete the film despite various limitations. She pointed to the genuine collaboration and collective passion that fueled the large team, a dynamic she said is rare to achieve on such a scale.
Her appreciation extended equally to the directors, technical crew, principal actors, and all the background extras who displayed unique enthusiasm. Diaz also acknowledged the crucial support of the film’s sponsors, whose backing turned the ambitious project into a reality. Without their commitment, the production would not have reached audiences.
“Thanks to all of them we now have a divine film to watch, truly beautiful, truly relevant, a universal story that shows how despite so many years having passed the same prejudices and the same situation of discrimination and intolerance in the world remain,” Diaz said. [Translated from Spanish]
The producer emphasized the story’s dual significance, highlighting both the sports legacy of a champion knockout boxer and the enduring social themes. She believes the film’s exploration of identity, prejudice, and resilience gives it a powerful contemporary relevance that will resonate with modern viewers. The story of Panama Al Brown, it seems, has found its moment for a new generation.