Who Killed Philippine Cinema?: Pepe Diokno at TEDxADMU

photo by Excuse my French

Repost: "How open is the window by which we view the world? Pepe Diokno is a motion picture director, producer and screenwriter. He was awarded in the Venice Film Festival a Lion of the future award for his debut film, Engkwentro. Let's take a peek through his lens"

"He grows the nation by showing us what we need to see"

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GenSan holds the first LSFF

   The SOCSKSARGEN Center for Film Arts, Inc. (SCFA) in partnership with the National Commission for the Culture and the Arts (NCCA) and Open Space Cinema Foundation conducted the first Lantawan SOCSKSARGEN Film Festival (LSFF), last January 16-19, 2015 at the Oval Plaza General Santos City. 

   LSFF showcases different films from Region XII and other parts of Mindanao. SCFA Chairman of the Board and LSFF Director Dennis “Bordie” Carillo says, “LSFF aims at providing the opportunity for local talents to showcase their innovations, creativity, originality, but not implying an expensive production of their masterpiece, yet, demonstrating the rich ingenuity and quality use of the medium of digital filmmaking.” Further, he declares the two categories in competition: the Sine SOCSKSARGEN and the Sine Mindanaw. 

   Sine SOCSKSARGEN qualifies the filmmakers within Region 12 – the provinces of South Cotabato, Sultan Kudarat, Sarangani, and General Santos City. The entries should contain themes or topics which have relevance to Region 12 culture - the place and its people. On the other hand, the Sine Mindanaw opens the competition to filmmakers anywhere in Mindanao, except in Region 12. An added feature of the festival is the Cinema Rehiyon Reloaded, a collection of selected films from the film festivals in various regions of Luzon, Visayas and Mindanao. These films are gathered and shown for exhibition during the festival, but they are excluded from the competitions. 

   Lafis ni Efung by Jordan Manua gets the Best Film and Best Cinematography award. As the festival juries cited, "The film is awarded for its deceptively uncluttered plot in its portrayal of a young protagonist in a journey, both physical and psychological, that slowly unravels layers of meanings in a humane and simple way." 

   Bryan Wong is awarded as Best Director for his film Halugway sa Mamumuno. His film also garners Best Editing, Best Production Design and Best Sound. Angelo, Ang Batang Ama by Andriel Evidente gets the Best Screenplay. The Best Actor is awarded to Kris Evidente (Angelo, Ang Batang Ama) and Daryl John Rey Batilo (Puting Panyo) while the Best Actress is given to Christine Lapidez (Kaugmaun) and Astrid Hernandez (Mga Patay na Bitoon). Ang Pagpukaw Sa Akong Damgo by Arnel Barbarona is declared as Best Film in Sine Mindanaw category. As cited, "The film is chosen For soaring into poetic flights about love, loss and redemption, using real geographies, as well as cutting edge mobile phone technology." 

   “Through the holding of film festivals, the viewers will become aware that ours is one culture to be proud of, and we take pride of being Filipino, “Carillo adds. The LSFF belongs to one of the ten accredited regional film festivals in the country that officially receive support from the National Commission for Culture and the Arts (NCCA) every year.

Originally posted in Yadu Karu's Blog

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Winners of SalaMindanaw IFF bared

A scene from End of War by Joe Bacus 

General Santos City, PH - A film about IDPs (internally displaced peoples) won the Golden Durian Prize for best Mindanao short film at the recently concluded second Salamindanaw International Film Festival.

The End of War, directed by Cagayan de Oro filmmaker Joe Bacus, is a story of a family in Maguindanao province caught in the crossfire of a war between Philippine military and Moro rebel forces in 2008.

The jury, composed of film writer Jay Rosas and producer Liryc dela Cruz, cited the film for it “exhibits a clear vision that is matched by the courage and skill of its director. There is power to its silences and chaos, giving us an immersive and compelling experience. Despite its familiar subject matter, it doesn't descend into a mere attempt at relevance. Rather, it reminds us of the fragility of our lives and the difficulty of our quest toward a lasting peace.”

Abakada ni Nanay (Nanay's Aphabet), a documentary about a 78-year-old grandmother who returns to elementary school by Ipil, Zamboanga Sibugay native Joni Sarina Mejico, won the jury prize.

Meanwhile, a Singapore, Taiwan and France co-production bagged the Golden Durian Prize for best Asian short film. Jow Zhi Wei’s After The Winter bested ten other films “for its deliberate, subtle, and clearly cinematic exploration of stark and sublime generational and geographical gaps that separate families in modern Taiwan, which is also representative of a prevalent conflict that is evident in fastly Westernizing and modernizing Asian territories.”

Filipino film critic Francis Cruz, filmmaker John Torres and South Korean film programmer Ji-hoon Jo composed the Asian short film jury.

A special mention was awarded to the Indonesian film Sepatu Baru (On Stopping The Rain) by Aditya Ahmad. The jury lauded the film “that charmed us with its voice and humor that is so flavorfully rooted in its community. For combining a more alive Southeast Asian storytelling with enough energy so as not to feel too deliberate and safe. For blending poetry in motion with just the right hint of its politics that rings loudly where it is set.” Ahmad's film won a Special Mention earlier this year at Berlinale. 

Carl Joseph Papa became the first recipient of PH Next Cinema Filmmaker of the Future Prize for his brave and inventive approach to cinematic storytelling in his film Ang 'Di Paglimot Sa Mga Alaala (The Unforgetting).

A press release from SIFF 

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Kanulo: A conversation with Joel Aquino

photo by Joel Aquino 

   I first met Joel Aquino last year at the GenSan Summer Film Camp. If I describe him, he is silent but when you got the chance to talk to him, he speaks sensible and sometimes philosophical topics. This guy is a “sleeping giant”, waiting for the right moment to strike with his unique vision as a filmmaker. In an interview, Joel shares about his film Kanulo (Betrayal) and how he overcomes the challenges in making his first (short) film.

What’s your history as a filmmaker? 

First, let me thank you for this chance to speak about my first ever venture in filmmaking. I will say Titanic is the film that let me aspire to become a great director. I was in high school then and my classmates fell in love with it. I saw that several times already but I fell in love with the film as a whole and became interested in making one. I hope I will also have the chance to make big impact on many people as possible. 

My first exposure on how to make a film was when I joined DV8 (Deviate) filmmaking workshop. It was a project sponsored by the National Youth Commission (NYC) which aimed to promote the millennium goals. Unfortunately, I was not able to finish it. But I continued dreaming. 

It took several years before I got the chance to attend a directing workshop. I was in my late 20s already, the time that I already had the financial resource to support this dream. I attended IIFA’s (International Institute for Film and Arts now known as International Institute for Film, Broadcast and Arts) directing, basic cinematography and production management workshops as facilitated by international commercial director Crispo Mojica. Then, I was still perplexed in the process and still quite intimidated. 

Then through Facebook I discovered Film Gym and met the people who supported me on my first attempt. We were taught by commercial and legendary director Serafin Reyes (he founded Mowelfund Film Institute) whom we fondly call Surf. He taught us about visual language. There, we explored creativity and the importance of basics in filmmaking. 

While attending Film Gym, a classmate told me about GenSan Summer Film Workshop which was headed by director Teng Mangansakan. I got excited. Then, there I met you guys and I found you all to be awesome. Salamindanaw was running in my mind. The agreement that we will do a short film was exciting and at the same time, frightening. What marked in my mind was the creation of story. That was developed in me in that workshop. 

A film exercise during the GenSan Summer Film Camp last year 

After Gensan, I also attended TGT (Talento Galing Tondo) Filmmaking Workshop. It was director Tony Reyes (director of many films that made us laugh), who headed this workshop. I joined in teacher/director Gerry Jumawan’s “Luha ng Kahapon” as an Assistant Director (AD). I also supported a friend’s mini-projects as supporting actor, gaffer and producer. 

Right now, I am attending director Armando Bing Lao’s Found Writing Workshop. 

Where did your idea for Kanulo’s plot come from? 

It was sir Borgy who suggested me to do a horror film project. He said that it’s not common in film festivals. I related that to my past experience of a friend getting possessed. While developing the story I picked up a lot of cues from online resources. Pretty much it is a real life story with spices. 

A scene from Kanulo (Betrayal) 

Can you tell me the challenges that you and your crew encountered during the shooting of the film. 

This is hard to tell but I will be honest that we had encountered a great one. During the shoot we encountered heavy rains, a typhoon was ravaging Luzon. Financial constraint was also a big hindrance. I thought that it will just be a breeze filming Kanulo but it was not the case. We had to re-shoot everything because we’re changing locations. Our budget was just for 2 days but the shoot extended to 5 days and we ran out of cash. Luckily, our Production Designer Icx lent his house so we can complete the said project. Thanks Icx. 

What did you learn from this project? 

As the director of the project I had learned a lot especially dealing with people. There were personal concerns that are until now not yet resolved but I am hoping for the wounds to heal in due time. 

Kanulo is supposed to be screened last year in the 1st Salamindanaw International Film festival. Can you tell me what happened? 

It was an unfortunate situation that Kanulo did not make it for the Salamindanaw International Film Festival. I felt devastated. We had a hard time getting that edited. I just had that project edited early this year. I studied editing for the sake of getting that done but eventually I outsourced the service. Perhaps, it is really not meant to be. 

The suicide scene (photo by Joel Aquino)

I notice your film has good make up and prosthetic. How did you prepare for it? 

I would like to give the credit to Icx Icay, this guy is really talented. He was our Production Designer and special effects master in that project. He’s also part of Lav Diaz’s Norte. It surprised me that he is into Philippine mythology. It helped me channel the feel of Kanulo. Also, my Director of Photography Oliver Cruz, he contributed a lot to the Kanulo project visually. 

Describe Kanulo in one word. 

Choice. 

What’s your dream film project? 

I love to make a film as lavish as Game of Thrones and the likes of Cameron and Bay’s films. l look forward to creating an Asian film similar to Avatar. That’s my visual preference. I understand Filipinos delve more into real life stories, I think I will veer away from that. For now, I can’t really tell and I am about to discover more. 

After Kanulo, what’s next? 

I am looking forward to getting into Cinemalaya and Cannes but much more I love my works to be seen by as many people as possible around the world. I love my name to ring in the ears of many people. I dream to capture the heart of the people through film and the like. That will be my dream. I plan to go mainstream but I am still building my portfolio. 

What advice would give to those who want to pursue filmmaking? 

It is never too late to achieve your dreams. At the age of 30, I am just getting started. Just do it. Rock on!

-KANULO (BETRAYAL)-

Synopsis: 

In life we are always posed with two choices: to gain or to lose. The story revolves around the lives of two friends who were left with a choice that matters a life and death. 

This started when a group of friends dared to call a spirit. They didn’t know that what they called was a fallen angel. This incident caused a breakup in their friendship and family. Jonas was sent to province and got renewed while Job had a hell-like life. Those who cared for him during his struggle died. This forced him to revenge on his birthday.

CAST & CREW 

Director

Joel Aquino

Producers 

Joel Aquino

Henry Iporac

Writers

Joel Aquino

Jane Mariel Andes

Asst. Director

Jennifer Dabu

Cinematographer

Oliver Cruz

1st Asst. Camera

Julienne Rei Sabiniano

Gaffer 

Eugene Adalia

Production Design

Jose Francis “Icx” Icay

Special Effects

Jose Francis “Icx” Icay

Audio

Henry Iporac

Editors 

Jillene Martin Baniqued

Regina Navarrete

Direk Teng Mangansakan

Script Consultant

Storyboard Artists 

Eugene Adalia

Jason Daño

Production Manager 

Jennifer Dabu

Location Manager 

Jose Francis “Icx” Icay

Leo Dilay

Jennifer Dabu

Behind the scenes 

Francis Lumahan

Henry Iporac

Eugene Adalia

Yul Roque

Leo Dilay

Support Staff 

Sherwin Ferrer

-Cast of Characters-

Jonas - Danilo V. Hernandez Jr. 

Job - Leonard Tabigue 

Luna - Julienne Rei Sabiniano 

Bal/Devil - Arthur P. Padillo 

Flagellant #1 - Joseph O. Moslares Jr. 

Flagellant #2 - Manny ‘Macky’ Peñaredondo 

Nona - Roan Kate Villalon 

Grandma - Rosalina Royo 

Dark entity - Jose Francis “Icx” Icay 

Pastor - Joel Aquino 

Friends - Jennifer Dabu & Rex ‘Noy’ Villadares 

-Special Thanks to: 

Jeffrey Sonora & Roxanne Roman 

FPJ Studios 

Icay Family 

Royo Family 

Dilay Family 

Meika Catog 

Chairman and Barangay Council, Barangay Onse, San Juan City 

Natividad Subd. Homeowners Association, Deparo, Caloocan City

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Laag (Stroll)

A tour around SOCCSKSARGEN. This is my 2013 year-end short film. 

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Ina-Tay: Q & A with Chloe Veloso

photo by Samantha Fe Monet Solidum

   Chloe Veloso is a female filmmaker who has powerful vision. Her films truly stand out amongst the many. When I first met her in the 6th Cinema Rehiyon last February, I easily notice her badass, tough looking style. Born in Taclabon City and now base in Cebu City, she is one of the emerging filmmakers that have this unique style and technique in filmmaking. 

   She took up BS Computer Science at the University of the Philippines in Cebu City. She is the founder of Amateur Creative Thespians of UP (ACT-UP), an avant-garde theater and film organization in UP Cebu. She is now currently taking her Masters in Cinema Studies at the University of San Carlos. Her films were screened in various film festivals in the country. Her recent film Ina-Tay is one of the finalists in the 2014 Cinemalaya Short Film Category.

   In an interview, she shares her thoughts about being a filmmaker and the concept behind her recent film Ina-Tay.

________

IGUOI FILMS: What’s your history as a filmmaker?

CHLOE: I already had acting and directing experience in theater back in elementary and high school. The first video project I was part of was when our film/theater organization in UP called the Amateur Creative Thespians of UP (ACT-UP) was tasked to make the opening AVP (Audio Visual Presentation) for the Cookout last 2004. Originally, ACT-UP was supposed to focus only in theater but after that AVP project, we found the experience fun and exciting so we decided to do both film and theater. And the rest is history.


IGUOI FILMS: Where did your idea for Ina-Tay’s plot come from?

CHLOE: “Ina-Tay” was written by Badidi Labra, one of the lead actors in the film. I also contributed in the development of the story. It’s actually inspired by Dolphy’s film “Ang Tatay Kong Nanay”, “Anak” and other famous family dramas.


IGUOI FILMS: Can you tell me the challenges that you and your crew encountered during the shooting of the film.

CHLOE: Our main challenge was the budget. We had to work with a large cast and crew and it was challenging to feed them in our 4 days of shooting. But thankfully the cast members were good friends of ACT-UP so we didn’t have to worry about talent fees because they offered to act for free.


IGUOI FILMS: Any interesting remarks from the audience members during the film screening?

CHLOE:The audience would unanimously comment on how entertaining our film is and how professional the film looked. But the biggest reward we would usually get is when the audience would laugh at the right moments where we’d expect them to laugh.


IGUOI FILMS: What did you learn from this project?

CHLOE: We learned a lot of things during this production. We made some mistakes and we vowed never to commit those mistakes again.

IGUOI FILMS: Most of your films that I have seen have this gay element. What’s your view about homosexuality? What motivates you to include this subject in your films?

CHLOE: First of all, not all of my films have gay elements (laughs). I also do other film genres. But LGBT Rights is one of my main advocacies which is why I made several films with LGBT themes. The reason is because I noticed that the LGBT community has limited representation or fall under a negative stereotype in films and we want to change that. It is our way of educating the masses about the diversity of the LGBT community and help stop homophobia.


IGUOI FILMS: Ina-Tay is one of the finalists in the 2014 Cinemalaya Film Festival-Short Film Category. What’s your feeling after you’ve known this good news?

CHLOE: Ecstatic! We didn’t expect our film to be one of the finalists considering the high standards of Cinemalaya. We’re also honored to be one of the two entries to represent Cebu.


IGUOI FILMS: Is being a female filmmaker an advantageous or disadvantageous? What’s your outlook on this matter?

CHLOE: The disadvantage is that since filmmaking is a male dominated industry, people tend to underestimate you. But the advantage is that if you actually accomplish something worthwhile people respect you more for reaching that level.


IGUOI FILMS: You are the founder of ACT-UP, a filmmakers group in U.P Cebu. Can you please tell more about this organization?

CHLOE: The Amateur Creative Thespians of the University of the Philippines (ACT-UP) is an avant-garde theater and film organization based and founded in Cebu.

ACT-UP is a cultural organization which promotes artistic self-expression among amateur film and theater enthusiasts in UP Cebu.

Through creative and resourceful means, the organization endeavors to use the performance arts as a medium for social awareness.

From the seemingly mundane, to the intensely serious, to the outrageous and wacky, the organization explores a multiplicity of views and concepts...all of which are bound by the group’s single principle of thinking "out of the box".


IGUOI FILMS: What’s your dream film project?

CHLOE: My dream project would have to be a period fantasy film with epic proportions!


IGUOI FILMS: What’s your favorite camera for shooting?

CHLOE: I’m not too keen on the type or brand of camera being used for shooting. I always focus first on the story. Technicalities like camera and software used are just secondary for me. But if you want to know the camera I have presently, unlike most filmmakers who are Canonites or Nikonites, I’m a Sonyan with my trusty Sony A77.


IGUOI FILMS: What’s your advice for those who want to make their own films?

CHLOE: First, don’t be discouraged if you don’t own a high-end camera. It’s not the camera that makes a good movie, it’s the story. The camera is just a tool in your storytelling. You can make a masterpiece in one minute with a camera phone as long as you have a powerful narrative. Second, expand your film literacy and watch a lot of films from different eras and genres. Learn from the master directors then develop your own style. Lastly, practice and shoot like there’s no tomorrow!

________

SYNOPSIS: 

A beautician named Elvis (also known as Elvira) finds out one day that he has fathered a bouncing baby boy and is left with the challenge of single parenthood. A lighthearted take on the Cebuano LGBT culture that fuses comedy and melodrama, to show that an independently-produced gay film doesn’t always have to be about discrimination and oppression.

CAST: 

Albert Chan Paran as Elvis/Elvira

Badidi Labra as Angelo/Angela

Peewee Senining as Pepsi

Van Oscar as Strawberry

Carl Balderama and Vienna Fortalejo as The Immortal Gays 

Peter Romanillos as Adonis

Jonna Mahinay as Shirley

Josh Karol Abiera as Melissa

Cham2x Sobrevilla as Young Angelo

Zeev Corpin as Baby Angelo

PRODUCTION STAFF:

Director: Chloe Veloso

Writer: Badidi Labra

Production Company: Amateur Creative Thespians of UP (ACT-UP)

Producers: Robert and Marilou Solidum / Diego and Yonkie Veloso / Erlinda Tan

Cinematographers: Chloe Veloso and Samantha Solidum

Editor: Samantha Solidum

Sound: John Diño

Creative Consultant: Diem Judilla

Script Continuity: Bin Espina, Pia Aguilos / Threyna Diaz / Dane Figuracion

Costume Designer: Peewee Senining 

Make-up Artist: Rocelle Cadavos

CREW: Rapi Sescon, Bugz Saavedra, Regil Cadavos, Tom Jopson, Ivo Monterde, Thomas Solidum, Wessui Bacareza, Mia Bultron, John Mark Maglana, Jassy Tomol, Grace Orejudo, Joshua Aquino, Feonna Tejada, Bianca Macapagal, Shaira Escuzar, Bayani Acebedo, Oyo dela Paz

like Ina-Tay's facebook fan page

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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

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Recipe No.3: The Joe Bacus Special Delicacy

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

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Cinema Rehiyon 6: Resiliency through films

I cannot believe that I am one of the delegates in the 6th Cinema Rehiyon that will be held in Cagayan de Oro City this coming February 19-22, 2014. My short film Bé is one of the films that will be presented in one of the much anticipated film events in the country. 

This year’s theme is Filming the Frontiers. The theme defines the social responsibilities of the filmmakers and their films complementary with the socio-cultural realities of our country. Cinema Rehiyon 6 will feature films that could give positive impact and transforms lives for the better. These films will educate the community about disaster risk reduction and management, climate change, environmental protection and preservation, rebuilding lives and communities and cultural solidarity and understanding. The said event will have activities such as CINETALAKAYAN – a forum on filmmaking and socio-cultural responsibilities and CINEBARANGAY – reaches the Sendong Survivors by screening inspirational films and animated films from the regions and by giving the communities multi-media forum on disaster risk management, climate change resiliency and mitigation.

The said topics that will be discussed in the event are really interesting and timely for our country. Educating our kababayans through films is one of the unique ways in propagating the message of climate change. I am very sure that I will learn a lot not only about films but also in climate change mitigation and adaptation measures. 

Cinema Rehiyon is a non-competition film festival that complements the film making frontiers of the various regions of the Philippines outside Metro Manila. Cinema Rehiyon is a flagship project of NCCA's National Committee on Cinema. The venues for Cinema Rehiyon 6 are Xavier University Little Theater and SM City Cagayan de Oro Cinema 3 and 4.

For more info please visit cinemarehiyon.com and like their facebook page

originally posted in Yadu Karu's Blog

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