Philipine cinema’s new breed

MANILA, Philippines - This year’s batch of Cinemalaya films veers further away from the stigma usually associated with “indie films.” With an impressive roster of first-time filmmakers, Cinemalaya fixtures and industry luminaries, the films of Cinemalaya 9 touch upon hot-button issues such as racism and bigotry in Philippine history (David F), the link between faith and love (Debosyon), the plight and health issues of transgenders (Quick Change), rape at a young age (Nuwebe), and piracy, voyeurism and cinema (Rekoder).

We talked to the filmmakers from the New Breed section about making their films, casting, inspirations, and establishing their foothold in the industry.

Leo Abaya (‘Instant Mommy’)

Eugene Domingo is known for a remarkable role in Ang Babae sa Septic Tank, also a Cinemalaya film. Was there any pressure on your part to give her this role?

No pressure whatsoever. As the role of Bechayda evolved by the time I reached the fifth draft, I could see Uge playing it. So naturally I asked her. I personally delivered the draft to her while she was being made up for a TV show. She texted back after a weekend. She said she was interested to play the role.

Alvin Yapan (‘Debosyon’)

Your films such as Ang Pangagahasa Kay Fe and Gayuma talk about the intersection between folklore, faith and real life. Was this something that you’ve always been interested in?

Yes, I have always been drawn to this intersection. I think folklore is a treasure trove of that unique and rich imagination we have as a culture. There’s so much mind-boggling imagery talking of the very basic issues of human life.

How much of your being a literature professor do you translate in your films?

Much of it, I guess. I believe we can only do justice to a particular subject matter when we have already dealt with it inside and out. You must have already gained some distance from it, a distance afforded by theory. My being a literature professor has given me the tools to theorize different subject matters.

Eduardo Roy (‘Quick Change’)

You worked with non-actors in Quick Change. Was this the original idea when you wrote the story?

Actually, my first plan talaga [was] I wanted to cast Eula Valdes to play the lead, but then I was advised by the Cinemalaya committee that it may be better if I cast non-actors. I was happy that they’re ok with it because before, they would look for well-known people. Ngayon sila na yung nag-suggest. Luckily, I ones I got are good since they live in performance. Artists din sila. They perform at bars, so I didn’t have trouble directing them.

Joseph Israel Laban (‘Nuwebe’)

You have a strong background on journalism. What do you enjoy about telling stories in documentary narrative format and the cinematic format?

I guess it boils down to wanting to tell stories. Creating documentaries and fictional narratives offers unique challenges, creative opportunities and insights to the human experience. I grew up watching Tagalog films with my grandfather at a second-run cinema in Marinduque. Nandoon ako araw araw kahit pare-pareho ang palabas.

Hannah Espia (‘Transit’)

Transit is your first feature film and you shot it in Israel, which is pretty challenging. How did you go through it?

I was really blessed to have an amazing team comprised of film industry veterans — my producer Paul Soriano and cinematographer Lyle Sacris, who was my teacher in UP, and a crew of promising young filmmakers. Shooting abroad meant we had to have a really small crew, and each member had to do multiple tasks. But we are grateful that we got a lot of support from the OFW community in Israel, and that really helped us a lot. We also had an Israeli production consultant, Tony Copti, who helped us get local actors and location permits.

Jason Paul Laxamana (‘Babagwa’)

Despite all the past controversies about Cinemalaya, do you think will it be a great launching pad for your filmmaking career?

In spite of all the controversies, Cinemalaya remains the most prestigious local independent film festival in the country. With its accumulated success, in spite of issues here and there, Cinemalaya has become a status symbol for most filmmakers, veterans or (newbies). Being part of it for the first time makes me feel like I have finally broken through the Philippine indie film circle. It makes me feel more sure of my chosen career path, like thinking “Yeah, I’m on the right track.”

Carlo Obispo (‘Purok 7’)

Purok 7’s characters are “mainly based on real life” and the film is shot in your hometown. Why decide to make a first feature that’s as personal as this?

I thought if I were to tell stories, might as well start with a story of my own. I wrote Purok 7 to know myself, by understanding where I come from and the people I get to interact with. But I never thought it would be as personal as this. When I decided my main characters would be children, the writing process came very spontaneously as if the characters were just waiting to be born. When I see the movie now, I can scream out “That was me!” or “No, I didn’t do that, my friend did!” The writing turned out to be my personal journey towards self-realization.

Emmanuel Palo (‘David F’)

Your first Cinemalaya film, Sta. Nina, was about religion and culture and now David F is about racism and history. Have you always been drawn to such big topics such as these?

I am drawn to such big issues, whether racism or bigotry, religion and spirituality, feudalism and the US influence over our country, etc. precisely because these are issues or themes that will never be tackled in Philippine mainstream cinema or on television. But I would want these issues to surface in my narratives through the lives of the ordinary Filipino, how they are affected and influenced by such big societal issues, and more importantly how they react, confront and struggle for or against them. The personal is more engaging and affecting. I don’t want my films to be didactic.

Mikhail Red (‘Rekorder’)

In an era of found footage films and constant recording of activities, where do you think Rekorder fits in this landscape?

Rekorder is not simply about found footage or CCTV voyeurism, it also shows how cinema has evolved and at the same time (has been) bastardized, replicated, and pirated into all these new digital formats. Rekorder tells the story of how cinema and motion picture are transitioning into the age of viral media.

Christopher Ad Castillo (‘The Diplomat Hotel’)

You grew up watching genre films. Would you like to be identified as a genre filmmaker?

Yes. I love genre films, however I also grew up watching art films so the idea is if you can combine the sensibilities of artistic filmmaking with blood, guts and action, then it would be the ultimate critical commercial smash hit like my father’s films.

As a kid, I would go to my father’s office in Escolta and he would give me money and I would watch all types of genre films such as westerns, Godzilla, vampires, and that fostered my love for it. But some of my fondest memories of him was going to the German Cultural Center with my mother and as a family, we would watch foreign and experimental films. I was too young to understand most of it, but I was amazed by the visual intricacies of what was unfolding in front of my eyes.

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