In 1994, dozens of mostly Mexican immigrants turned an empty lot in South Central Los Angeles into a farm that fed hundreds. Until the owner of the lot asked for his land back.

The movie The Garden documents what happened next: the legal fight, the political struggle and how the future of Los Angeles will be shaped by Latinos, Blacks, developers and residents finding a common cause.

We chatted with director Scott Hamilton Kennedy about the racial divide in L.A., how he discovered the farm and what he hopes to achieve with The Garden.

How did you first find out about the South Central Farm? What inspired you to document it in this film?

It was through my good friend and co-producer, Dominque Derrenger, who saw a PBS piece, on the show "Life and Times," about the garden. We had been looking to do a project together, and he said, ‘I think we’ve found something here’, and he was absolutely right. It had so many elements of a great story. He sent me a transcript, and even with that you could see so many elements. I was on a plane and got off in LA, and went right to the garden, and we started shooting the next day. So I guess you could say that there was no pre-production on this film.

Did you encounter resistance from the farmers or from local government? Did anyone try to stop you from making this film?

I had to establish trust with the farmers, and everyone involved in the story. In terms of resistance there were several people who turned me down for interviews like: Ralph Horowitz and Antonio Villaraigosa. And after my first interviews with them, Jan Perry and Juanita Tate stopped talking to me as well. But no one tried to stop me from filming, as far as I know…

Many people believe there is a racial divide (black vs. brown) in Los Angeles. Did you observe this while working on your film?

I wouldn’t refer to it as a ‘divide,’ but people in lots of communities all over the world get in to struggles when one ‘group’ (racial, ethnic, neighborhood, class, religion) is looking out for the interests of their group at the expense of another group. Often because they feel that group has either done the same or will do the same given the opportunity.

Your movie shows both blacks and Hispanics working together and against each other as they jockey for position in their communities – is there a happy ending?

For me, that question is so large and open ended, it is way beyond my ability to answer. That said, I hope there are glimpses of a happy ending. Are things perfect amongst all races in the world? Of course not, and the same thing is true in South Central, but I saw people from so many different racial, religious, political and financial backgrounds come to and support the garden, which made me believe it is not about race, it's about people supporting something they believe in. Fighting for a way of life they feel is important.

What did you discover about the people working on the farm?

I discovered many things, like they were extremely hard working, excited to learn as best they can how the system of politics and power worked, and try to get their voice in that game – but at the same time I don’t want to speak in generalizations: so of course there was more shades of grey than the above two lines can get across.

Who did you envision as your audience?

Would I sound crazy if I said all humans? Just kidding, of course, but in all honesty, I didn't try to make the movie for a particular audience. I hope most anyone could sit down and be caught up in this complicated, fascinating story.

What would you like a young Latino to get out of this movie?

Again, I don't mean to be coy, but I don't think I am in a position to distinguish between one audience members reaction and another. I hope it reaches people, moves people, speaks to people. And that it makes people see that they can have a voice in this thing we call democracy, and even if you don't win every battle, fighting for justice and what you believe is right for the world is always worth the fight.

The Garden is currently showing in Los Angeles and is scheduled for release in San Francisco, New York City, Washington D.C.

Melissa "Melly" Trochez isn't the only "shy girl" in Los Angeles but she's probably one of the few to have made a career out of it.

A second generation Honduran-American, Trochez uses words like "paranoid" and "detached" to describe her childhood. But rather than withdrawing into herself as a teen, she began drawing herself out into the world – as an artist. Now 30 years-old and a rising star in the art world, Trochez still mostly paints herself, doe-eyed and a bit tragic.

But behind titles like "Diary Series" and "Beautiful Sadnesss," her work is fiercely energetic and as varied as her influences: Rembrandt, Van Gogh and Frida Kahlo. Like the best record producers, Trochez is able to mix up styles without missing a beat. In one painting, she squares off two Puma sneaker-wearing female boxers and adorns them with classical gold leaf. There's just enough going on to keep your eye dancing but not so much as to tire your brain out.

Trochez claims her paintings give her "the power to speak without having to use... words" and she's got plenty to say. She unveils new paintings this September at the Frank Pictures Gallery in Santa Monica, California.