Congratulations are in order for Janice Perez, a US-based Cebuana indie filmmaker. She’s now having a taste of the ongoing 62nd International Cannes Film Festival in the south of France, after her work, “Sabongero,” got admitted to the Short Film Corner of what has been hailed as the world’s biggest gathering of movies for exhibition and competition.
With a total of five official entries (including Janice’s) from the Philippines, this year marks the biggest exposure the country has seen in Cannes—ever. It remains to be seen, however, if this exposure would yield a happier ending (meaning to say, awards, foreign distribution deals, et al) and a positive trajectory for Philippine films looking to enter other international film fests in the months to come.
But back to “Sabongero’s” young director. I’ve learned that Janice’s an accountant by profession, but has been involved in the film productions of friends for three years now, right after coming out from the New York Film Academy. She is currently based in New York, but makes it a point to come home to Cebu at least once a year. “Sabongero,” which was shot in a Lapu-Lapu cockpit and harnessed local acting talents, is her directorial debut. She’s one of the founders of the first-ever IndioBravo Film Fest (www.indiobravo.org) that’s happening in New York next month. I sought out this first-time filmmaker via email for some words on her “baby project,” future plans, and of course, the whole Cannes experience.
Tell us about “Sabongero” and how this came to be.
“Sabongero” is a story I wrote over 2 years ago after a very epiphanic night while attending a panel discussion on “Making Your First Feature,” moderated by breakthrough directors Catherine Hardwicke (Thirteen, Lords of Dogtown), Peter Sollett (Raising Victor Vargas), and Dito Montiel (A Guide To Recognizing Your Saints). Dito mentioned about writing a screenplay that one had absolutely no idea about especially when making one’s first feature project. It made me recall a conversation on cockfighting I had heard in Cebu that took place between a tricycle driver and a busboy.
The biggest challenge was finding someone to fund it. I had applied a grant for it from this nonprofit in San Francisco, but was declined due to the subject of the story. Another person had come on board, but at the last minute decided not to go for it unless I rewrite the originally 30-min screenplay to an hour-and-a-half feature-length one. I didn’t want to go that route because it would mean I’d have to wait for another year again. So I ended up splicing the screenplay into another draft, with 15 minutes in length and with that drastic change, I was already able to fund it myself, which actually turned out to be just fabulous!
How is your Cannes experience so far?
I just have 2 words to say really: OH WOW! I am beyond speechless at the spectacle before me! I mean it is indeed the greatest of all film festivals in the world! Today especially, OMG, I can’t even tell you how ecstatic I am. I got to see the premiere of one of my favorite filmmakers of all time, the great Jacques Audiard and his much awaited film in competition, “Un Prophete.” I have always loved his work and this particular film just blew me away. I am having a total blast out here and it’s been good meeting a lot of other indie filmmakers, especially from the Short Film Corner as well, and yesterday I got to meet with some buyers and agents. Mostly it’s just making connections that can lead to the next project, as well as checking out all these great films before they hit wide distribution!
How’s the reception of the audience to your short so far?
When we had the first screening in New York last week, it was really great in the sense that it resulted in the scenario that I was really hoping for—“Sabongero” would facilitate dialogue among the audience. A lot of the viewers (mostly non-Filipinos) were very intrigued by the phenomenon and they kept asking me questions about cockfighting rather objectively. And that’s what I want this film to do. [At Cannes], it felt really exciting all over again to see “Sabongero” projecting on the wide screen once more. I am still bewildered to think that, “OMG. We just shot that not too long ago, 3 months to be exact, and already, it’s been shown on 3 continents!” To me, that is just beyond trés cool! Sabongero was warmly received and I was very flattered that one of the audience, Olivier, a prolific filmmaker from Paris really thought the short film rocked! And so did Guy, his composer/filmmaking partner!
After Cannes, what’s next for “Sabongero” and for you?
At one of my breakfast meetings yesterday, one of the buyers from this company in Russia invited me to submit it to their own international competition. [Still] I honestly don’t know what’s next for “Sabongero.” I’ve reached the point of my life where I don’t make plans anymore, so I’ll just let the story take me to wherever instead of the other way around. But yeah, everybody’s been inviting me to submit it to all these other film festivals, which I’ll probably do. But more than anything, what I really want to do is work on my next short and feature-length story projects. But with what I’ve learned from “Sabongero,” I know by now that it will happen all in its own good time.