Vlog: Cinema Rehiyon 6
This video was taken during the 6th Cinema Rehiyon last February 18-22, 2014 held at Cagayan de Oro City.
Originally posted in Yadu Karu's Blog
Monday, April 21, 2014
SanSwê: The Challenge of Encroaching Culture
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| A scene in the film SanSwê |
Sarangani Province is rich in stories that are worth sharing. These stories reflect the daily lives of the people inhabiting in it. Aside from the beautiful sceneries, abundant natural resources and the rich and diverse culture of Sarangani, the stories found in this Province are interesting, enigmatic, entertaining and you can learn a lot from it.
A good friend of mine and a fellow SOCCSKSARGEN Bloggers, Ariel Lalisan, shares one of the stories of Sarangani in the SalaMindanaw International Film Festival (SIFF) last November 2013. His film SanSwê (it pronounces as Sanswa – meaning Betrothal) depicts the culture of B’laan where parents arrange the marriage of their children. It also presents the challenges face by the B’laan culture from the influence of the outsiders. His film will be showcased in the 6th Cinema Rehiyon this coming February 19-22, 2014 to be held in Cagayan de Oro City.
In an interview, he said that SanSwê is his first film. Short film for him is very challenging because he is accustomed to direct music videos (in support for local artists). I know from the very start that Ariel has potential for filmmaking. That’s why I persuaded him to join the SIFF.
“It’s basically learning by doing”, Ariel said. “We wanted to show an actual wedding ceremony of the B’laan but we did not have enough resources to rent traditional (B’laan) attire and the time to organize such an act. I had also a hard time inserting the filmmaking process in my schedule. We did not have the proper equipment like lighting, and we are all first timer. Because of constraints we are not able to follow the script in its entirety”, he added. Despite the challenges he encountered in filming his short film, he enjoyed making it. Supposed to be, I should be his Production Manager & Designer for Sanswe, but our schedule did not meet and I also help Ronald Tamfalan for the film Bé. So we shoot our own films and survive its challenges.
“Watching my film in the cinema was unbelievable for me”, Ariel said. “I never thought that one day my work would be seen by other people in the big screen. I was very nervous because I’m not confident of my output. The reaction of the people was flattering. At least there were expressions of kilig, laughter, surprise and somehow provoke their thoughts.”
The character of Mimi in the film is worth remembering. Her character epitomize the young generation of B’laans who get educated in the city and tend to forget their culture. As Ariel explained, “it is easy for them (the young B’laans) to turn their back on their traditions. Mimi embodies the challenges face by the young B’laans in modern times”. He pointed out that showcasing their stories through films may help for the preservation of the B’laan culture. It is important to document this kind of story to educate the younger generation of the importance of culture and tradition against modernization.
Ariel also shares his dream film project. He said that he wanted to make a collection of films showcasing the rich culture of the different tribes in Sarangani. He wanted to present their plight and sentiments. To make them proud of their identity and to empowered them, as well as to educate the viewers. Moreover, he wanted to tell stories that never heard before or realities that most people tend to ignore.
“If you want to create a great film, you want to harness the talent of the right people to help you carry out your vision,” as Ariel realized. “Film is a very good medium to communicate your ideologies. Sometimes a story may seem simple or complex but if you look at the symbolism and the language use in a film you will realize its richness, depending on the viewer’s interpretation”.
I really admire Ariel for sharing the stories of the B’laan tribe. It is important to showcase their stories for enlightenment. I hope the majority of the Filipino viewers will appreciate this kind of story. Enough with the teleseye type of story because too much “entertainment” will drown us to delusion. As Ariel suggests, “Look around you; immerse yourself in the community. Listen to their stories. Listen to what your heart tells you. Take everything as an opportunity to learn and to grow. Never tire to learn new things.” Ariel's advice may sound cliché but it is still worth a try.
Synopsis
Ariel Lalisan’s SanSwê (Betrothal) follows Mimi who returns to her family in remote Sitio Atnayan. Being the first in her sitio to have finished high school, Mimi’s homecoming is surely the family’s proudest moment. But not until the stark difference between the new set of norms she has acquired— after several years of living in the town—and the old traditions her B’laan family enshrines begins to turn the reunion into a mishmash of awkward realizations and heated confrontations.
Originally posted in Yadu Karu's Blog
Baybayong Birhen: Q & A with Amaya Han
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| Photographed by Melizza Baquiran |
In an interview via Facebook, Andrei Karoly Hernandez or popularly known as Amaya Han, talks about her recent film entitled Baybayong Birhen (The Virgin Shore) and her experience filming it.
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Yadu Karu: Amaya, please tell something about yourself?
Amaya Han: I’m Andrei Karoly Hernandez, 18 years old. I was born in Manila but grew up in Mindanao (General Santos and Agusan del Sur). I’m taking up Bachelor of Fine Arts major in Cinema at the University of San Carlos.
Amaya Han is a pseudonym. “Amaya” means rain in Japanese. I chose a Japanese name because my dad is part-Japanese, and I chose a name that meant “rain” because I was born on a stormy day. “Han” stands for Hernandez, Ariston, and Narciso - our family surnames.
Yadu Karu: Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life?
Amaya Han: I’ve always loved watching films and taking videos as a kid. But it was during our second year high school when we were told to make a film for our ComEd subject that triggered me to pursue my filmmaking dreams.
Yadu Karu: When did you start making films?
Amaya Han: It was in second year high school. We made a 48-minute horror film. But if we’re talking about making films as a cinema student, then it was when I was in second year college. I made a 3-minute short horror film entitled “12:23”. It was meant for a horror video-making contest.
Yadu Karu: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
Amaya Han: Both take courage. Despite all the hindrances, the only thing I had to do was to believe in myself and to believe that God will help me through it all. Everything else will follow.
Yadu Karu: What is the name of your film, what's your role and what is it about?
Amaya Han: “Baybayong Birhen” (The Virgin Shore) - It’s about a young couple who discovered a pristine beach. As naturally self-centered as humans are, the couple (especially the young man) forgot how they badly affect (or destroy) the nature, thus leading them to their punishment. In that film I’m the director, costume designer, storyboard artist, and additional sound person.
Yadu Karu: What’s the inspiration behind the film BAYBAYONG BIRHEN?
Amaya Han: It was from an observation - as someone who grew up in a less-polluted place, then having to reside in a polluted urban was like a “culture shock”. Pollution became something common that people have forgotten and neglected their duties to Mother Nature. Salamindanaw International Film Festival also inspired the making of this film.
Yadu Karu: What’s your feeling after making your short film BAYBAYONG BIRHEN?
Amaya Han: It was a feeling of relief and fulfillment. It was a “relief”, because we were able to make it to the deadline. “Fulfillment” because despite everything that has happened, we did it! As what the veterans say - sometimes it’s the lessons that you learn from filmmaking that makes it fulfilling.
Yadu Karu: Describe your state of mind when you saw your film in the cinema.
Of course, I was proud and happy that it made it to the cinemas. I’m sure my teammates were very happy as well.
Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film.
Amaya Han: There was a lot - actress backing out on the day before the shoot; bad weather and disturbingly strong waves; and time constraints due to work and school schedules. Et cetera et cetera.
Yadu Karu: Describe the BAYBAYONG BIRHEN in one word.
Amaya Han: Impressionist
Yadu Karu: When I saw your film at the SalaMindanaw International Film Festival last November 2013, I notice that you hired professional actors from Cebu City. How’s working with them?
Amaya Han: I didn’t hire them. The actor (Eli Razo) told me that he would co-produce and act for free in my film. The actress (Mutya Collander) who replaced the actress who backed out the day before the shoot is his friend; and the diwata is my older sister. Working with them was all good.
Yadu Karu: Most of your short films tackle about the importance of environment like BAYBAYONG BIRHEN, so what motivates you to insert this advocacy in your film(s)? Is that your advocacy?
Amaya Han: My motivation is the reality and yes, that's my advocacy. As much as possible I want to include these issues that we, humans, are gradually disregarding.
Yadu Karu: As a (young) female director, have you experience any advantages or disadvantages in filmmaking?
Amaya Han: Yes, I have. Trusting and expecting too much, but you learn from these “disadvantages”. At least you know what to do next time.
Yadu Karu: Any interesting comments from the audience members during the film screening?
Amaya Han: “Ngano di sila ga-istorya? Wala koy masabtan.” (Why they didn’t talk? I didn’t understand the film). It’s weird but sometimes I like it when people don’t understand my films.
Yadu Karu: What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
Amaya Han: I learn the art of Improvising. We had to remove or replace some scenes because we were running out of time (we were catching the last boat ride back to Cebu). I won’t say that it’s actually a good thing removing scenes from the original plan, but it helped.
And also I learned that it is better to get your close friends or close relatives as actors (or even as crewmembers). If you plan to get legit people, then pay. Because once you pay, some people change and work better. Never sacrifice the quality of your film.
Yadu Karu: If you are given a chance to change the ending, what would it be?
Amaya Han: Nothing. I like it as it is.
Yadu Karu: What’s your dream film project?
Amaya Han: Surreal horror films.
Yadu Karu: What advice would you give to someone who wanted to have a life creating film?
Amaya Han: I’m still new at this and I still have a lot to learn but for me, we all just have to believe in what we can do, and actually do something about it – that’s where the magic starts to happen.
Yadu Karu: After BAYBAYONG BIRHEN, what’s next?
Amaya Han: I will make a short film or two; some collaborations with my pioneering cinema-mates, and my thesis film. I really wish to shoot it in GenSan, that’s if the budget allows me. If not, then maybe next time.
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| Baybayong Birhen (The Virgin Shore) |
BAYBAYONG BIRHEN (THE VIRGIN SHORE)
Director – Amaya Han
Writer – Diem Judilla
Producer – Rachel Hernandez & Eli Razo
Cinematographer – Jay Hernandez
Editor – Jay Hernandez
Music – Michael Vincent Tuico
Sound – Jay Hernandez, Mykko Archie Zamora
Cast – Astrid Hernandez, Eli Razo, Mutya Collander
Duration – 10 minutes
Synopsis
The spirit of the Sea takes rest in human form and relaxes in the waves of special shore. A couple discovers the shore and they make it their special place. The Spirit blesses their love, until the boy, who is careless, litters the seashore. Along with the sea, the Spirit’s human form changes from pristine to polluted, decaying its benevolence into malice. When the boy finally proposes, the Spirit captures him and takes him away. Later, the girl realizes what needs to be done: the shore must return to its original state in order for her beloved to return.
Originally posted in Yadu Karu's Blog
Precy and her film’s lullaby
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| Photo by Precy Regalado |
Precy M. Regalado is a woman who can do two things at the same time. When I first met her in the summer of 2013 (The 1st GenSan Summer Film Camp) I admired her for being sincere and passionate not only for being a teacher but also for being a filmmaker.
Maam Precy (as commonly called by her students) is a University Professor in Mindanao State University- General Santos City. She is in the College of Education and teaches the subjects - Methods of Research; Education Technology; Curriculum Development; Music and Arts for Teachers; MAPEH; Ed.102; Principles and Methods of Teaching; Teaching Profession and Ed 197- Practice Teaching. These subjects are taught in her 2nd and 3rd year class. Currently, she’s taking her Ph.D in Education at Notre Dame of Dadiangas University (NDDU) of GenSan. With these heavy loads I could say that she is a superhuman.
Despite the busy schedule, Precy still manage to shoot her first film entitled HELE NI LORNA (LORNA’S LULLABY). In an interview via Facebook, Precy shares her experience in shooting her first film and impart the lessons she have learned in filming it.
Yadu Karu: Precy, please tell something about yourself?
Precy: I’m a College professor of Mindanao State University of General Santos City, I’m a Seventh Day Adventist and a proud mother of two children.
Yadu Karu: Is it hard to combine your profession as University Professor & filmmaking?
Precy: No, It’s not hard for me combining my profession and filmmaking because in the first place filmmaking is my passion. Filmmaking is part of my profession because I’m teaching Educational Technology to education students where filmmaking is one of the course highlights.
Yadu Karu: What motivates you to make or shoot a film?
Precy: [The media] and my students - because they are the first one making films under my instruction. I was challenged by their works, for I didn’t have my own to be proud of before. Then, until such time, I tried to make my own.
Yadu Karu: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
Precy: Yeah! It’s really hard because I don’t have a formal schooling on this field. I have a limited background when it comes to filmmaking. But my desire to know better helps my development in this field. And I have to balance my time with my profession, my family and filmmaking.
Yadu Karu: What is the title of your film, what's your role and what is it about?
Precy: It’s HELE NI LORNA (Lorna’s Lullaby). I am the director of this film. It’s about postpartum blues of a mother.
Yadu Karu: What’s the inspiration behind the film HELE NI LORNA?
Precy: It is based on true story. HELE NI LORNA inspires many mothers who undergone the same predicament with Lorna in the film. This tells people that there is hope in every bad situation that happens to every individual in this world, especially if it measures the love of a mother to her child.
Yadu Karu: What’s your feeling after making your short film HELE NI LORNA?
Precy: A feeling of fulfillment.
Yadu Karu: Describe your state of mind when you saw your film in the cinema.
Precy: I’m so excited with a mixture of fear and doubts, asking myself if I can really make it! But along the way, I felt the acceptance of the audience, hearing them shouting, sometimes, silence and laughing in many scenes they have seen. That was also the first time when our Chancellor told me that my film can be compared to a professional one. I was so happy because I felt that he’s proud of my work.
Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film.
Precy: There were many challenges such as the preparation of all the things needed in the story and of course, the budget. But Thank God, we have a kind director in the person of Direk Teng Mangansakan with Moises “Musoy” Charles Hollite who always there to support us.
Yadu Karu: Describe the HELE NI LORNA in one word.
Precy: Amazing
Yadu Karu: Most of your actors in HELE NI LORNA are your students and friends. How’s working with them?
Precy: They are all kind, creative and supportive, that’s why I did not find any idle moment working with them.
Yadu Karu: During the Q & A portion of the SalaMindanaw International Film Festival last November 2013, you said that your film talks about post-partum depression and partly based in your story. Is it hard to express it visually? Since it’s a personal story?
Precy: For me, I didn’t find any difficulty to express it visually because as what I have said before, it comes from a true story of my best friend and partly from my own story. It’s not hard to visualize on the things familiar to you.
Yadu Karu: What’s the usual advice that you have given to your students? Is that advice change when you made your first film?
Precy: I have been telling them that in making a film, they need to be creative, imaginative and most of all they must have patience and positive outlook that they can really make it. No, it didn’t change because based from my experienced I have proven that all instructions I’ve shared to them are true!
Yadu Karu: Any interesting comments from the audience members during the film screening?
Precy: I’ve heard them saying, it’s a beautiful film, amazing, the actors are good especially the lead actress Lorna my student and etc…
Yadu Karu: What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
Precy: I’ve learned that NOTHING IS IMPOSSIBLE if you commit everything to the Lord. He is always with me since I started dreaming this art. During the making of film, he provided me everything I need, family, mentor, actors, friends even the budget because it’s not easy to make a film especially if you don’t have budget. But Thanks to my God, many of our friends extended their help to make my film Hele ni Lorna a success!
Yadu Karu: What’s your dream film project?
Precy: My dream film project is to make a full length film of my life story about Gold mining. I know, you know that already Yads, because I already shared that during our film camp seminar.
Yadu Karu: What advice would you give to someone who wanted to have a life creating film?
Precy: My advice to those who wanted to make a life creating film is: Keep up! Keep going, whatever happens, reach your dream! Start making film from a familiar one and please, Don’t Give Up! Trust your God and hold on to His promise that whatever happens, He will never leave you!
Yadu Karu: After HELE NI LORNA, what’s next?
Precy: With God’s will, this coming summer, I’ll start making my next project. Hopefully, I can also finish my schooling before this term ends so that I can concentrate making my dream film.
HELE NI LORNA (LORNA’S LULLABY)
Director – Precy Regalado
Writer – Precy Regalado
Producer – Precy Regalado
Cinematographer – Sharla Raye Billena
Editor – Kitty Bermudez
Sound – Sem Catayoc
Music – Sem Catayoc
Assistant Director – Cyprus Cyrmith Mayormente
Production Manager – Moises Charles Hollite
Production Designer – Roderick Planos, Dannilyn Manayan, Mary Jane Espanola
Cast – Sheelou Leyva, Mercy Guilas
Production Company – Montregal Productions
Durations – 20 minutes
Synopsis
There’s no greater love on earth than that of a mother to her child. But sometimes in life, there are things that test the stability of a mother’s love. One morning, Lorna wakes up with a changed behavior, a seeming phantom engulfing her whole being, threatening to cut he bond between her and her child.
Originally Posted in Yadu Karu's Blog
Pattah Ko: Q & A with Kikko Kalabud
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| Photo by Kikko Kalabud |
An enigmatic kid - that’s what I describe Khurshid “Kikko” Kalabud Jr. He is promising and has so much to offer in terms of film. I became an instant fan of his film reviews posted in his blog and in newsdesk.asia. Kikko is currently studying at the University of the Philippines-Mindanao. He is a 3rd year BA Communications Arts. At the very young age (he’s only 18), he established a film organization called UP Salida in which he is the founder and president of it. His film influences includes Asghar Fahardi, Hong Sang-soo, Lino Brocka, Teng Mangansakan, Francois Truffaut and Luis Bunuel.
A bright boy, a fellow SOCCSKSARGEN Bloggers and Batch mate in GenSan Summer Film Camp 2013, he is truly amazing in his own right.
In an interview via Facebook, Kikko shares his experience in filming his first film entitled PATTAH KO (MY PICTURES) and how he copes up the challenges of making it.
Yadu Karu: Kikko, can you please share a bit about yourself?
Kikko: I love movies. And my real name isn't Kikko.
Yadu Karu: Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life?
Kikko: Filmmaking is not my life. It's part of it but I don't necessarily think that it IS my life.
Yadu Karu: When did you start making films?
Kikko: Last year after the film camp.
Yadu Karu: Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
Kikko: Both, I guess. I just have to fight inner demons and insecurities to keep me going. And I have to realize why I'm doing all these.
Yadu Karu: What is the name of your film, what's your role and what is it about?
Kikko: Pattah Ko is my first short. I wrote and directed it. I also spent my own money to make it all happen. I think the film is about our middle class attitude, especially the younger generations who go to these communities and do charity work just to lessen the guilt of other people's sufferings in their impoverished lives. Why not join the struggle to totally eradicate this flawed system?
Yadu Karu: What’s the inspiration behind the film PATTAH KO?
Kikko: Ewan ko lang ha. I remembered this time last Summer 2013 when a fellow delegate in an event took pictures of the kids that lived there. We were having a BMI (Basic Masses Integration) in this community. Naisip ko lang kasi kung paano kaya kung hihingi ng kopya ang mga bata pagkatapos.
Yadu Karu: What’s your feeling after making your short film PATTAH KO?
Kikko: Syempre, I was very happy and fulfilled. I've always wanted to make films and I finally had the chance to do it.
Yadu Karu: Describe your state of mind when you saw your film in the cinema.
Kikko: I was so nervous. I got to see its second run at the Salamindanaw Int'l Film Festival and there weren't a lot of people. I'm very proud of the film but I would probably cringe next time. It's all new to me.
Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film.
Kikko: Most of my crew, including myself, was still students. It was hard to schedule. Logistically, the set was so far from the city proper. And then there's the money problem.
Yadu Karu: I am aware that you shot PATTAH KO in a very challenging environment. What have you learned in filming in that kind of scenario?
Kikko: There were lots of exterior shots so it was very challenging. The weather can be so unpredictable. That’s why it was important to think really fast when shit happens.
Yadu Karu: Describe PATTAH KO in one word.
Kikko: Why?
Yadu Karu: Any interesting comments from the audience members during the film screening?
Kikko: I didn't get to ask.
Yadu Karu: What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
Kikko: Importante talaga na mabilis kang mag-isip. But not to the point na mako-compromise ang film. The weather can be so unpredictable.
Yadu Karu: To be honest I am really amazed of you being the founder and president of the UP Salida. What inspired you to establish the UP Salida in UP Mindanao?
Kikko: Film appreciation is honestly not that popular in UP Mindanao. I want people to love cinema.
Yadu Karu: This is a bit out of topic, but I’m just curious. When did you start blogging? What motivates you to blog and how did it start?
Kikko: I was motivated by Ma'am Joana Lapore to blog last 2010. But then I got busy and I lost interest in it.
Yadu Karu: What’s your dream film project?
Kikko: I want to make a full-length Tausug film.
Yadu Karu: What advice would you give to someone who wanted to have a life creating film?
Kikko: I guess these are things that I would like to tell myself though, first and foremost. I'm still new to this so I don't really know if I'm giving good advice haha.
My advice would be: always ask yourself WHY. The dream to become a filmmaker should not just surround an individualistic, careerist thinking. Films have become part of greater movements to advance struggles and ideas. Not just some hobby. That's why to become a filmmaker it's not enough to just have that interest in filmmaking. One should be able to experience life, to realize the struggles of society, to get in touch with people and their stories, especially if you're from Mindanao where the sociopolitical atmosphere is very strong. And also have a heart. It's very important.
Yadu Karu: After PATTAH KO, what’s next?
Kikko: I'm not yet sure. But I'm working on something.
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| a scene from the film Pattah Ko |
PATTAH KO (MY PICTURES)
Director – Kikko Kalabud
Writer – Kikko Kalabud
Producer – Kikko Kalabud
Cinematographer – Sharla Raye Billena
Editor – Sharla Raye Billena
Production Manager – Charles Andrew Flamiano, Moises Charles Hollite
Production Designer – Therese Calvo
Music – Enrico Sebastine Agana
Assistant Director – Abegail Espiritu
Cast – Leonard Alexander Cristobal, Jenny Pearl Bringas, Maria Teresita Garcia
Production Company – Greenvan Films
Duration – 12 minutes
Synopsis
A little Tausug girl from a fisher folk’s village is determined to get copies of her picture from the visiting young photographer from the city.
Originally posted in Yadu Karu's Blog
Recipe No.3: The Joe Bacus Special Delicacy
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| Photo by Joe Bacus |
I am proud to say that all of my batch mates in the Summer Film Camp 2013 really did a great job. Watching their films in the SalaMindanaw International Film Festival (SIFF) last November 26-30, 2013 proved their potentialities in filmmaking. One of them is Joe Bacus whose film showcases novelty and courageousness.
In an interview via facebok, Joe tells about his short film entitled IKA-TULONG PUTAHI (Recipe No.3).
[Yadu Karu] Joe, please tell something about yourself?
[Joe Bacus] This is one of the toughest questions that I can’t answer in seconds. I have to Google myself first (lol). Okay, let me introduce myself to you Yadz, I’m Joe and I love music, paintings, video games and films. I collect action figures too.
[Yadu Karu] When did you start making films?
[Joe Bacus] I guess that was in 2005. Once there was a very high-tech Sony Walkman phone that has a capability to edit a video got my attention. We started a 2 minute short film with my girlfriend then followed by semi-stop motion film using my action figures. It felt great. Then in 2009 (Devcom years) DSLR cams featured Full-HD video capability resurrected my filmmaking dream. Around 2010 we started our 10 min comedy short film with my classmates. Too bad we didn’t finish the film…hehe.
[Yadu Karu] What’s the inspiration behind the film IKA-3 PUTAHI?
[Joe Bacus] Sion Sono’s film Coldfish reminded me of something that happened around 5 years ago in our place. It was horrible. That very night after watching the film with our film batch mates (in the Summer Film Camp), I decided to share our story too.
[Yadu Karu] What’s your feeling after making your short film IKA-3 PUTAHI?
[Joe Bacus] I was a bit disappointed. Almost 50% of the final script didn’t make it. After the final cut version, I showed it to some of my friends and some scenes are effective so I said to myself – not bad at all.
[Yadu Karu] Describe your state of mind when you saw your film in the cinema.
[Joe Bacus] Watching your very own film on very wide screen is an every amateur filmmakers dream. I have watched it like a thousand times since post production at home, but the feeling watching it inside the cinema was different. I really want to enjoy my first viewing but when the audience reacted, I shifted my attention to their screams and it became more exciting. It was priceless.
[Yadu Karu] Can you tell me the challenges that you and your crew encountered during the shooting of the film.
[Joe Bacus] As early as pre-production we encountered a lot of headaches. Casting was one hell of a problem because of the script. A friend of mine had a fight with his wife after reading the script so he declined. Then some of the actresses I have invited didn’t bother to finish reading the script after sequence 4. Then during the production, two of our actors got injured while playing soccer and the other guy with vehicular accident. Our last day of shoot wasn’t easy for him. He was on crutches and we have to hide his leg during filming. Thank God he was able to act normally as if everything is normal. And lastly we have to change location for some reason. Almost everything was wrecked after that.
[Yadu Karu] Describe the IKA-3 PUTAHI in one word.
[Joe Bacus] HOT. Hahahaha!
[Yadu Karu] When I saw your film at the SalaMindanaw International Film Festival last November, I was really amazed in your make-up/prosthetics that you used in your film. What’s the inspiration behind it?
[Joe Bacus] I used to watch MOVIE MAGIC many years ago and it became a dream to make some miniatures and do make up in a film project. So in this project I will make sure that everything will appear realistic. I would like to give that credit to my partner Mr. Orpheus Nery who has done a great job.
[Yadu Karu] I heard that your film was modified so that it would appear somewhat “safe” to the general audience. Can you tell me the original scenes/story in your film?
Yes. Like I said I want to be realistic as possible but of course I have a very high respect with my cast so I’ll make sure not to cross the line. My Plan B was to insert/use body doubles like what Lars Von Tiers did in his film Antichrist. I am imagining it as an art film not a “bastos” one but we have to consider that not all audiences will embrace that kind of view. I guess I was too ambitious at that time. So to put everything fair, we have to tone down the scenes. I was surprised when I knew that the film was still rated R-18. Two organizers from different film festivals (after SIFF and MFF) frankly told me that it’s impossible for them to program Ika-3 Putahi for now and it’s totally understandable. So I asked myself – “how much more if we followed the original plan?”
[Yadu Karu] Any interesting comments from the audience members during the film screening?
[Joe Bacus] I was flattered when some of my friends and some random people from the audience congratulated me saying they like our film. I can’t believe they were so interested how we did the whole film; lots of them were so curious.
[Yadu Karu] What did you learn from this project?
[Joe Bacus] I have learned a lot of things especially when it comes to technicalities. It was so hard wearing too many hats for this project. Sometimes it’s frustrating to pursue when nobody wants to get involve in your project. Maybe because they don’t believed in what we are doing. So I really have to spend more time in learning the cinematography and the editing. Then Orpheus do the preparations, script, props, etc. We don’t have any choice but to believe in ourselves when nobody does.
[Yadu Karu] If you are given a chance to change the ending, what would it be?
[Joe Bacus] There were a lot of great ideas coming from friends how the film should’ve done, such as non-linear narrative, twisted ending, etc. and I really appreciated it. I don’t know why but I like the way it ended. I just want to follow the protagonist point of view and don’t want to make it complicated, just plain and simple.
[Yadu Karu] What’s your dream film project?
[Joe Bacus] A World War II film. I just want to share the stories of unsung heroes who fought for our freedom we enjoy today. That’s how I want to honor our forefathers. I have heard and read a lot of inspiring stories during the war that is worth filming for. I don’t know why most of the mainstream people are tireless of watching same old s*** every year.
[Yadu Karu] Any advice that you can give to those who want to make their own films?
[Joe Bacus] I just started filming too, so I don’t have that knowledge to share pa. But for first timers, just watch a lot of high rated movies and learn from the masters and study them. Shoot whatever you want with your cam and start filming with your 5-6 close friends (including 3 casts). Don’t invite more than that or hell is going to break loose ( hehehe).
IKA-TULONG PUTAHI (Recipe No.3)
Director – Joe Bacus
Writer – Joe Bacus
Producer – Joeromer Bacus
Cinematographer – Joe Bacus
Editor – Joe Bacus
Assistant Director – Orpheus Nery
Production Designer – Orpheus Nery
Camera – Marco Villanueva
Cast – Rusty Quintana, Maricar Nokom, Alfie Barba
Production Company – Imoortals Production
Duration – 20 minutes
Synopsis
William is going to take everything from Emilio – but tonight, during another drinking session, he is Emilio’s best friend, best man at his and Helena’s upcoming wedding.
originally posted in Yadu Karu's Blog
‘The Unveiling’: The Story Underneath the Veil
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Josh holding his Best Film Award during
the SIFF awarding ceremony
(photo by Haidie Sangkad)
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Mindanao filmmakers are now making their mark in Philippine cinema. Various film festivals in Mindanao are held every year to showcase their talents and creativity. Cinema Rehiyon, Mindanao Film Festival (MFF) and the SalaMindanaw International Film Festival (SIFF) are some of the venues for filmmakers to present their stories to the wider audience. This implies that Regional filmmaking is growing and evolving. It has significant contribution in Philippine Cinema.
As I notice, most of the filmmakers who are participants in these film festivals are young filmmakers. For example, Glenmark Doromal –ANG WALAY KAHUMANANG ADLAW (The Infinite Sun) – was the big winner in the recent 9th Mindanao Film Festival held in Davao City. He is only 20 years old, a college student in College of St. Benile, and a resident of Iligan City.
The SIFF held last November 26-30 proved that GenSan (or SOCCSKSARGEN in general) is not behind in terms of filmmaking. International and Filipino filmmakers joined in SIFF. According to Teng Mangansakan, the Festival Director, “the Festival is anchored on its vision to be a mirror (salamin) of peace (salam) in Mindanao, thus the name SalaMindanaw.” SalaMindanaw cannot be completed without the 1st GenSan Summer Film Camp. The participants of this workshop made films (as one of the requirements of the film camp) and submit it to the SIFF. The Workshop Category was made out of this film projects.
A friend and a fellow batch mate in the film camp - Ephraim Joshua Laudan U. Nolasco - won the Best Film (The Unveiling) for the Workshop Category in the recent SIFF. He is one of the brave filmmakers that I have known that tackles sensitive themes to open our eyes in the realities of life. His first film DUKOT was featured in the 5th Cinema Rehiyon held in Los Baños Laguna.
Josh learns a lot of techniques in filmmaking while he is working with Direk Teng in his film Qiyamah. As he said, “Direk Teng is my master. He opened my eyes in the world of cinema”.
In an interview, Josh talks about his film – THE UNVEILING – and how he came up with the concept.
Yadu Karu: Josh, tell me something about yourself?
Josh: I’m Ephraim Joshua Laudan U. Nolasco. I was on born September 10 1989, I’m 24 yrs old. I am the son of public school teachers - Ren and Gemma Nolasco. I’m a simple guy who loves to discover new things. I like sports like basketball. I have also natural inclination to arts. Before I started to do film I was once a missionary for the Church of Jesus Christ of Latter-Day Saints for two years. Then after that I enrolled again as a Mass Communication student of Notre Dame University – Cotabato. Luckily I met direk Teng Mangansakan and started working in a film production.
Yadu Karu: How did your parents take to your desire to becoming a filmmaker?
Josh: They’ve been supportive all the time. Everything that I do, they are always got my back.
Yadu Karu: What's your feeling after making your short film THE UNVEILING?
Josh: It was Unbelievable man. I mean it was a lot of pain in our butts just to meet the deadline then suddenly it was recognized by SalaMindanaw International Film Festival (SIFF) so it was really a great blessing for us (me and my crew).
Yadu Karu: What is the concept or the inspiration behind THE UNVEILING?
Josh: Ahm… actually it was based on a real incident. I was watching a movie in a cinema in our city and I heard someone was moaning. So I looked around and saw where that moaning is coming from. And when the moaning stops a girl stood up and wore her VEIL (hijab), so I was so shocked. That time I felt embarrassed, because even I’m a Christian, I know a little of Muslim culture because of my (Muslim) relatives. For me that incident was a big disrespect to their beliefs. So I decided to open the eyes of many about the reality and try to tell them that they can still change.
Yadu Karu: Are you expecting negative feedbacks, especially in the Muslim community?
Josh: Of course, I can’t avoid that. You know what I mean ;) .
Yadu Karu: Describe THE UNVEILING in one word.
Josh: Risky
Yadu Karu: Can you tell me the challenges that you and your crew encountered during the shooting of the film.
Josh: There were a lot of challenges that we have encountered while shooting this film. For example, writing the script was a big challenge due to the fact that it can make or break my career. Because of its sensitive theme, I have to be careful not to be offensive to our Muslim brothers and sisters. And also this film is new to us because we are used to make a 5 minutes (short) film. The Unveiling is a 16 minutes film, so we have to re-shoot some of the scenes because of the problems we have encountered during editing.
Yadu Karu: Describe your state of mind when you saw your film in the cinema.
Josh: It was worth it (the blood, sweat and tears). When I saw THE UNVEILING, it was amazing. I almost cried because after the long days of work it finally reaches the big screen.
Yadu Karu: Any interesting comments from the audience during the screening?
Josh: When I was going to the comfort room I heard two muslimas talking - “sana the unveiling ulit” (I hope THE UNVEILING will be shown again). As a director, that was the reward of our work.
Yadu Karu: If you are given a chance to change the ending, what would it be?
Josh: I will change nothing.
Yadu Karu: What did you learn from this project?
Josh: I’m still a beginner. I’m nothing without my crew and my mentor Direk Teng Mangansakan.
Yadu Karu: Any advice that you can give to those who want to make their own films.
Josh: Ahm.. Write a story that is close to you, and show that story. Express it the way it should be expressed. And don’t be a FILL maker, be a FILM maker.
Yadu Karu: After THE UNVEILING, what's next?
Ahm… write more scripts, research for something new. Collaborate with my other batch mates in the GenSan Summer Film camp (Batch 1 Graduates). Attend another film camp. Spend a little time with Ms. Special and other friends before another project will start. And I am hoping to have another interesting project like THE UNVEILING.
THE UNVEILING
Director – Ephraim Josh Laudan Nolasco
Writer – Ephraim Josh Laudan Nolasco
Producer- Ephraim Josh Laudan Nolasco
Cinematographer – Norhaidie “Haidie” Sangkad
Editor – Norhaidie “Haidie” Sangkad
Production Designer – Kai Matalam
Art Director – TJ Baud
Cast-
Sittie Nor-irish Zamora,
Norhaidie “Haidie” Sangkad
Aylwyn Manzan
Duration – 16 minutes
Synopsis
Wearing a hijab is a covenant for a Muslim woman. For Farishya who is raised in a cloistered Muslim family, pious as she may seem, her hijab hides mysteries even she cannot understand. What will happen if she will unveil herself?
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