The Revolutionist: Who is Jhova Films?
Jaden Quan: Put simply, Jhova is a creative film production company. Myself and Herry Fuentes are partners in the business, which was formed after meeting in college as production assistants for CMU’s marketing department. We have people we consistently collaborate with, but we are otherwise a full-service, two-man production crew. We specialize in documentaries and promotional films. Philosophically, I think Jhova is still developing. It absolutely stems from a love for cinema, but it also represents the opportunity for independent film to flourish in places that it may not be inherently valued, (like Western Colorado). It’s why we are advocates for the growing film industry in Colorado. Not just for our personal benefit, but for the sentiment of art becoming a feasible career option for young people like us, who cannot see themselves assimilating in the traditional workforce.
TR: Why film? What about film speaks to you as a medium of storytelling?
JQ: To me, film/cinema is the highest form of art that humanity has ever devised. It’s the perfect intersection of art and science. The elegance of stage performance, the meticulousness of musical composition, and the innovation of creative technology. It’s just as much an artform as it is a working-class craft. It requires distinct expertise in so many different fields, and ultimately the pursuit of filmmaking has led to numerous instances of technological pioneering. The very nature of the craft creates infinite possibilities to tell stories. To have the honor and privilege of pursuing that craft and seeking to make your mark on that sprawling tapestry—there’s something extraordinarily special about that to me.
.TR: Tell us a bit about Jhova films and the work that you do? How’s business going?
JQ: My humble answer is that we still have our nose to the ground, but I’d be remiss if I didn’t express the pride I feel about what we have accomplished in the two years that Jhova has been operating. We’ve organized a grassroots film festival (The Junktown Film Fest), shot a musical promo in Las Vegas, independently produced two documentaries, and currently have two more in the pipeline. Not to mention the smaller productions we’ve done in the Mesa County/Eagle County areas for non-profits and small businesses. We’re very fortunate, but we still have a long way to go to meet our goals.
TR: You have tackled some tough issues in your documentaries. “The Invisible Patient” delves into our local mental health system, another tough issue. Why cover these tough stories? Why tell these difficult truths?
JQ: Again, I have to express that being able to be a full-time filmmaker as my job is a very privileged position to be in. I personally was able to secure my education in film on a full-ride scholarship. To me, to get my degree and zoom off to LA or NYC or wherever didn’t feel like the right path. I’d like to break into the “proper” industry some day, but I grew up in Grand Junction, and I’ve lived amongst drug addiction, poverty, and mental illness my entire life. These are problems I can immediately identify with, but you don’t often see these issues portrayed in media with the nuances of a semi-rural setting, or the distinct circumstances of a town situated between two major cities, and being the so-called dumping grounds for groups of people that these cities and resorts deem “unappealing.” These are the things that create untold stories, and we are in a position to shift that narrative, and shed light on the ugliest truths that are very intentionally silenced. So for me, not only is it an opportunity to leverage my abilities for something positive, but it also opens up doors for more people to have their stories told.
TR: Mindsprings’ recent closure has only further exacerbated the problem, what futures do you see for mental health services in Western Colorado?
JQ: I can tell you what I hope to see. Our research for the film was extensive, with over 20 interviews being conducted, reading books, articles, health reports, and even an academic paper that we wrote in order to assure we had a strong grasp on what is ultimately an extremely complicated subject. Despite all of that, I don’t feel that I have the expertise to tell anyone what’s going to happen next. What I can say is that our community absolutely needs an extensive wrap-around care model in order to actually start healing people. The path to that care model is tangled in a storm of red tape and conflicting interests. It would require a lot of people to get involved, and a lot of decision makers to open their minds and hearts to the people of this region. Easier said than done, but I am hopeful.
TR: We understand that one of the subjects of this film recently passed away. How did you handle this loss? How does the relationship between subject and filmmaker transcend the work? What ethical obligations does the filmmaker have to their subjects?
JQ: It was surreal, put simply. I was introduced to the film’s primary subject, John Nelson, through the provided journal entries of his mother, Diana. She had written extensively about his illness, and the fear that it created to those closest to him. Hallucinations, delusions, violent/self-destructive outbursts—the whole nine. Surprisingly, John himself agreed to sit down with us for the documentary. I had several assumptions I had made about him before the shooting day, and we wanted to be very careful about how we approached the harder questions, knowing that he could lose stability at any moment. However, I was blown away by how well-mannered, articulate, and insightful he was. As a human, I was humbled, as I realized the stigma that we intended to combat had indeed dictated my predispositions on the guy. But as a filmmaker, I was over the moon. It was precisely the kind of person we needed to speak about this. Even his natural screen presence was compelling. We didn’t need to coach him, edit him, or correct him at any point. The hundreds of collective hours we did for research was perfectly synthesized in his lived experience. When we found out he passed, it was absolutely a bullet to the chest. We attended his memorial, and at the request of his mother, screened a portion of the film that featured John’s story in his own words, and it’s haunting how much of what John predicted about his own future came true. It’s bittersweet, because I am confident that John’s story has the potential to connect with audiences. I only wish he could still be here to see that story resonate.
TR: What’s next for Jhova Films?
JQ: I am admittedly a bit superstitious when it comes to talking about projects in the pipeline, I don’t want to jinx anything. However, I can say that we currently have some options for the next documentaries we will pursue. In between, we plan on continuing work on our current projects—the 100 Year anniversary film for Colorado Mesa University (Not yet titled), as well as a documentary following the lives of the Latino community in Eagle County, and the numerous non-profit resources that are available in that region, (titled One Valley).
TR: When and where can readers catch a screening of “The Invisible Patient?”
JQ: Thursday, May 15th, at 6:30pm at the Asteria Theatre at Colorado Mesa University. Tickets are available now at Vivenu.com.
Tickets:
https://tickets.coloradomesa.edu/event/mental-health-awareness-film-screening-10gypj
In memory of:
John William Nelson
The Revolutionist 