A memory of Direk Francis

with Direk Francis during the GenSan Summer Film Camp, May 2013

   In his young and successful career as a Filmmaker, it was shocking to know that Francis Xavier Pasion passed away. 

   I first got acquainted with Direk Francis during the first GenSan Summer Film Camp organized by SalaMindanaw Asian Film Festival (formerly SalaMindanaw International Film Festival) in the summer of 2013. Like any other neophyte student of filmmaking, I immersed myself into it. The intense and hands on film workshop was overwhelming yet very enlightening. Along with other participants, we immersed ourselves in the world of cinema by learning, feeling and breathing films for five days. As what Gutierrez Mangansakan II, the Workshop Director, said: “In the end, we don’t want to be merely FILL MAKERS – we want you to become thinking FILMMAKERS. 

   As one of the mentors of the film workshop, Direk Francis shared his experiences in filmmaking. He told us how hard to make a film and also points out its rewarding part. He also shared some tips in story development, as he said, “In making films, the story should be base in the real world – that you have a connection with the story – a story that you are familiar with.” One thing I would never forget about his lesson was the word “bali”. This “bali” is important in developing or writing screenplay. This word aids me to be critical about my stories. 

   Even though we did not have a long one-on-one conversation, I cherish those moments where he taught us valuable lessons in filmmaking. His lessons as well as his filmography are consciously and subconsciously embedded in our minds. In his brief yet meaningful stay on Earth, I am thankful that I was his student and he was my teacher.

   Thank you Direk Francis. 

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Bryan Wong’s ‘Hulugway sa Mamumuno’ and his image of creativity

   When I first heard the name of Bryan Wong, I thought he was a six generation Hong Kong/Taiwanese Film Director. When I got the chance to meet him in person, I am amazed on how this guy manages to shoot his first film using only one camera. If you watch his Hulugway sa Mamumuno (Portrait of the murderer), you will get amaze of its technical aspects knowing that he has no background in filmmaking. Along with our conversation, he shares many great stories that can contribute to the peace development here in Mindanao.

   Bryan Glenn Wong or simply Bryan is a multi-talented artist that has lots to offer. Aside from being a filmmaker, he is songwriter, composer and a singer who likes to share his talents for the glory of God. His first project was the Magandang Umaga SOCSKSARGEN jingle of ABS-CBN GenSan as recommended by his friend, Joey C. He also composed the official theme song of Glan entitled Lungsod sa Glan. He is also a member of Filipino Composers Development Cooperative (FILCOMDEC) and participated in the KBP’s Pop Music Festival. 

   Since the municipality of Glan loves his works, he was commissioned to make the centennial song of the municipality. He wrote and directed the music, lyrics as well the music video of the 100 years centennial song of Glan. “I am thankful that the people loved it. They express their appreciation thru sharing the music video in different social networking sites,” Bryan says. 

   Bryan has no formal training in making music video or film. He makes time to do his research and watch tutorial videos in Youtube. “When I made the two music videos, it has only minimal (or without) cost and a DSLR camera. The help and support of my friends also contributes to the success of the two music videos. I made those music videos for the love of Glan.”

   He describes himself as “one man army”. He is the Director, Writer, Cinematographer, Editor and Musical Scorer/Composer, Singer and Actor of his works. Most of his promotional projects in Glan have no compensation. He helps promotes the municipality without asking for any monetary return. 

   During the ‘Gabi ng Parangal’ event of the municipality’s centennial anniversary last year, Bordee Carillo, the festival director of Lantawan SOCSKSARGEN Film Festival (LSFF), saw his works playing in the projected screen. Bordee loved it, and he encouraged Bryan to join the film festival. “At first I was hesitant to join because I do not have the knowledge as well as the experience to shoot a film,” as he recounts. “But later on I realize that I should give it a try. It was a blessing in disguise.” 

The car scene from 'Hulugway sa Mamumuno'
Photo by Bryan Wong 

   The concept of his film was derived while he's driving. “When I was driving to Glan, I was thinking that what if you hitch someone that has crooked mind. Before you realize it, it’s too late for you to escape. It’s a hitchhiking gone wrong,” says Bryan. 

   Bryan also encountered challenges in making his first film. “We encountered many challenges before and during the shooting of my first film. Just what I said, I do not have idea or training in filmmaking. Some people said that it is difficult for me to shoot a film if I do not have a camera. But I did not mind them and continue to shoot my first film. When I won in LSFF, they were shock because I successfully surpassed all the challenges in filmmaking and I got the major awards,” Bryan says. 

   Through his genuine passion, unique vision as well as faith in God, he proves that he can make a good film. “I am really blessed by our Almighty God,” says Bryan. “I felt like it was an easy task to do.” 

   Bryan did not expect the reaction of the audience during its premiere in LSFF. “I am thankful that many viewers appreciated my film. I did not expect that they loved it. Some of the filmmakers got amazed because I only used one camera in the film. They thought I have many cameras since I shot the car scene in multiple angles.” 

   Because of this, he receives lots of praises from the audience. “I am not used to praises. I am just a neophyte. I just gave my best.” Moreover, he feels honored that the juries of the said event recognized his efforts. “I feel fulfilled when LSFF recognized my efforts. I am glad that they appreciate my work. For me the awards that I got from the film festival were just a bonus. The important thing is that, I share my talent in a positive manner and make the people entertained.” 

   He also dedicated his Best Director award to his fellow filmmakers in the event. “I did not consider my fellow filmmakers in LSFF as competitors. I treat them as my brothers and sisters,” Bryan stresses. “Let’s create films for the benefits of our society.” 

   Before these recognitions came, he experienced the life that has no clear direction. He was drunkard and always party a lot. He does not take full responsibilities of his action and has no communication to God. “All of these events in my life change when I get diagnosed with Ulcer. It’s a turning point of my life. I realized many things and I reconnect to God.” 

   Bryan is a good man now with a clear purpose in life. He is active in his church and created a band to sing the words of God. Most of his works benefits the people he helped. “I usually create songs, music videos and films that are sensible and can enrich the lives of the people,” Bryan says. 

   Bryan is a fighter and a risk taker. He is not afraid to gamble in life’s opportunities. “The more difficult the task or project, the more I get challenge. There is always something that we can do.”

   In the near future, he would like to make more films that are entertaining and at the same time have lessons embedded in it. His second short film will be an action thriller based on real events. 

   “It’s not a hindrance if you do not have resources or equipment. As long as you have the passion, the vision and a positive mindset, you will be successful in making films,” as he advice.

His first short film garnered the Best Director, Best Editing, Best Sound and Best Production Design
in the 1st Lantawan SOCSKSARGEN Film Festival held last year in GenSan.

Originally posted in Yadu Karu's Blog 

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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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8 Things About Salamindanaw

The second edition of SalaMindanaw International Film Festival starts tomorrow, November 27. Here are eight things you need to know about the Festival.

1. The redesigned Festival logo features the durian –an enduring cultural symbol in Southeast Asia— with eleven protruding spikes representing the countries of the region. SalaMindanaw envisions to be an important platform in the development of regional cinema in Southeast Asia.

2. For its sophomore edition, the Festival theme shall be ‘Deconstructing Cinematic Space.’ As it continues to celebrate the development of regional cinemas across Southeast Asia, the Festival attempts to veer away from the traditional space of film screening, that is the movie house, and explore alternative and non-traditional screening venues like buses, parks, markets, and barangay centers to bring films closer to the people. The Festival’s main screening venue is in a university because SalaMindanaw recognizes the educational and cultural value of cinema. 

3. The Festival will launch a film magazine, The New Durian Cinema, which is devoted to the discussion of regional cinema in Southeast Asia. It is not enough that we show films, cinema must also become part of a critical consciousness. The magazine hopes to help in the formation of such consciousness.

4. The Festival boasts of the quality and integrity of its film programming. This year, more than 30 films of various lengths, genres and genres will be presented in the Festival. Films will vie for the Golden Durian Award in the Asian shorts and Mindanao shorts category. A Festival prize shall be bestowed to the breakthrough film in the new Philippine Next Cinema section. 

During its inaugural run, the Singaporean film Sayang Disayang (dir. Sanif Olek) had its world premiere in the Festival. It won the jury prize in the Festival. The film is Singapore’s official entry to the Oscars in 2015. Other notable films in the Festival last year include By The River (dir. Nontawat Numbenchapol) which won a special mention at Locarno, Liberta (dir. Kan Lumé) which bagged a special mention in CINDI (Seoul) while War is a Tender Thing (dir. Adjani Arumpac) took home a special mention from Yamagata.

5. Relying on its vision and integrity, the second edition of SalaMindanaw is crowdfunded which means that much of its funding is in the form of donations from its supporters all over the world. 

6. The Festival is a cultural investment for the development of the people of Gensan and the region. The aim is expose more people to diverse cinema as well as educate and provide them the opportunity to better understand the world they inhabit. For this reason, all screenings and parallel activities are free to the public.

7. It is helmed by one of the most important filmmakers in Southeast Asia – Teng Mangansakan. The Festival’s respectability and integrity partly come from who is running it. The vision of the Festival is built upon clear goals and objectives borne out of the Festival Director's instinct, experience and foresight, and the trust and confidence of the Festival Team.

8. The Festival is advised by some of the most distinguished personalities and brilliant minds in world cinema such as Philip Cheah, vice president of NETPAC (Network for the Promotion of Asian Cinema) and past consultant of the Dubai International Film Festival and Directors Fortnight at Cannes; Paolo Bertolin, Venice International Film Festival delegate for Southeast Asia and consultant of the Doha Film Institute; and Sherad Anthony Sanchez, creative consultant of Cinema One Originals.

This blog post is originally posted in Morofilm by Teng Mangansakan 

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Pepe Diokno visits GenSan

   The GenSan Tourism Council in partnership with the Local Government of General Santos and the Department of Education (DepEd) conducted a filmmaking lesson last November 25, 2014 to the aspiring filmmakers in the city. The tourism council invited Pepe Diokno, an award winning film Director, to share his knowledge and experience in making films. 

   The said activity is part of Visit GenSan, Learn in GenSan campaign of the Tourism Council. It is a Mayor’s Lecture series that aims to enhance the knowledge and skills of the ‘Generals’. “The series of lessons that we have conducted is part of ‘Learn in GenSan’ activities,” said Phillip Pabelic, the Vice President of GenSan Tourism Council. “GenSan aims to be the learning hub of Region XII.”

   “This lesson helps cultivate the talents and skills of the ‘Generals’,” Mayor Ronnel Rivera said. “It helps to discover new talents or artists from GenSan. This will able to produce great filmmakers in GenSan.”

   Most of the participants of the said activity are students who want to learn more about filmmaking. 

   During the lesson, Pepe Diokno shared about his latest film ‘Above the clouds’ to the young aspiring filmmakers of GenSan. He also talked about his first film ‘Engkwentro'and his experience in Venice Film Festival. “It’s not about the budget or the equipment,” said Diokno. “It’s the story that matters.”

   Most of the Filipino audiences today have this notion that Filipino movies are “baduy” or “not good” in their taste, that’s why they are not watching and patronizing it. “Is Philippine Cinema dead?” as he asked the participants. The film industry is struggling due to lack of support of the Filipino audience. 

   In the past years, there’s a significant decline of Filipino films being produced in the country. As Diokno explained, its primary reason is more on the economic side of making films. “Before, our government charged 30% amusement tax for movies plus 12% VAT, so the remaining 58% will be divided between the Producer and the Theater owner(s). Fortunately, in 2009, our government lowered it into 10%. In the following years, it slowly gained the confidence of the Filipino Producers and Filmmakers to make films.”

   Pepe Diokno compared the film industry of South Korea to the Philippines. “South Korea invests on their film industry. Their government created Korean Film Council because they know that film is an important cultural and economic resource of their country,” Diokno explained. “They use films to sell their country.” 

   He also emphasized the bad effects of patronizing foreign films. “If you watch too much foreign films, it's slowly changing our sense of identity.” He pointed out that if we watch too much foreign films, we tend to forget who we are as Filipinos. For example, we desire to be white because that’s standard of beauty based on what we see in the movies (or in the media in general). 

   He also talked about the Golden Age of Philippine Cinema. He also shared that the Philippine film industry is considered one of the oldest in the world. “Films are not only for entertainment. It’s a record of our history. It’s a record on who we are,” Diokno asserted. 

   “Please watch Filipino films. Please make Filipino films. Please tell Filipino stories,” as he pleaded. It is important to support our own filmmakers because they are the cultural worker of our country. 

   “Read, Travel and Get Hurt,” as he advised. “The best way to learn how to make film is to make a film.” 

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'Jamir' teaser pt1

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SalaMindanaw unveils 2014 line up, shifts focus on SEA regional cinema

   SalaMindanaw International Film Festival has announced the official line up of their second edition from November 26 to 29, 2014 in General Santos City.

   The Festival will open with The Sermon of the Contemplative Sinner, a dance film produced by SalaMindanaw in collaboration with Teatro Ambahanon.

   Eleven films will vie in the Asian shorts competition. The films are After The Winter (Jow Zhi Wei, (Singapore-Taiwan-France), Auntie Ma’am Has Never Had a Passport (Sorayos Prapapan, Thailand), Chicken Curry (Lwin Ko Ko Oo, Myanmar), Cita (Andi Burhamzah, Indonesia), Dindo (Martika Escobar Ramirez, Philippines), Geography Lessons (Petersen Vargas, Philippines), Qafas (Prateek Srivastava, India), Somewhere Only We Know (Wichanon Somumjarn, Thailand), Stopping The Rain (Aditya Ahmad, Indonesia), Talking To My Best Friend (Le Nguyen, Vietnam) and Wan An (Yandy Laurens, Indonesia). With the exception of India, all films in the line up are from Southeast Asia.

   “Our programming this year reflects the vision of SalaMindanaw, which is to make the Festival a platform for Southeast Asian cinema,” festival director Teng Mangansakan revealed. SalaMindanaw is the first and only international film festival in Mindanao, the southernmost region of the Philippines closest to Malaysia, East Timor, Brunei, and east Indonesia.

   Mangansakan added that Southeast Asian cinema is particularly thrilling now because of the development of film movements outside of the capital. Indonesia is represented in the Festival by three films made in the Sulawesi city of Makassar east of Jakarta while one of the Filipino entries is a film from the northern province of Pampanga. “It is an exciting time to be Southeast Asian and a regional filmmaker at the same time,” Mangansakan noted.

   Meanwhile, the Mindanao shorts competition line up comprise of Abakada ni Nanay (Joni Mejico, Ipil in Zamboanga Sibugay), Apasol (Ryanne Murcia, Zamboanga), Cresilda (Art Orillanida, Gensan), Dead Stars (Amaya Han, Gensan), End of War (Joe Bacus, Cagayan de Oro), Good Morning, Joey (Monalyn Labado, Davao), Inukban (Lew Avila, Davao), Jamir (Genory Vanz Alfasain, Sarangani), K’na (Anjeilee Pacuin, Gensan) and Sap’ng (Rahil Maningcara, Gensan).

   A new section called Philippine Next Cinema seeks to introduce new voices and visions in the host country’s cinema. The line up is composed of Bastes, May Anne M (Bebe Go), Magdalena (Anna Isabelle Estein), Sonata Maria (Bagane Fiola) and The Unforgetting (Carl Joseph Papa). A fifth title shall be announced in the coming days.

   The Gensan Screen Lab, an intensive workshop intended to develop and cultivate new filmmakers in Mindanao, will culminate with the screening of six short films.

   In commemoration of the fifth anniversary of the Maguindanao Massacre and the little know Martial Law that followed, the Festival will present a special non-competitive section Cinema and Remembrance. The films include Maliw (Rob Jara), Missing (Zig Dulay), Pieta (Herwin Benedictos Cabasal) and the recipient of this year’s Golden Leopard at Locarno Mula Sa Kung Ano Ang Noon (Lav Diaz).

   The four-day Festival will close with Little Azkals, a documentary by Babyruth Villarama-Gutierrez whose film Jazz in Love won the NETPAC Prize for Best Asian Film in the inaugural edition of SalaMindanaw.

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13 participants attend film workshop in GenSan

   The Mindanao Center for Moving Image (MCMI) with the support of GenSan Tourism Council conducted a two day film workshop to the 13 aspiring filmmakers last October 18-19 at Veranza Conference Room. The said workshop aims to teach the fundamentals of feature/narrative filmmaking as well as to raise the consciousness of the people of its importance for cultural regeneration.

    “Film is about feeling it,” as Teng Mangansakan, the workshop director said. “There are lots of individuals who can make a video or short film because of the democratization of technology today. You can watch and upload videos in Youtube and other video related sites. What will make you set apart is how you tell your story.” 

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SalaMindanaw IFF 2014 to be held in two cities

The second edition of SalaMindanaw International Film Festival (SIFF) will be held simultaneously in the cities of General Santos and Cotabato.

“SalaMindanaw is expanding this year to cater to more artists, peace advocates and film lovers in the region,” Festival Director Teng Mangansakan announced.

The opening and closing ceremonies will be held in General Santos and Cotabato respectively, in recognition of the importance of the two cities in the educational and commercial development of SOCCSKSARGEN region. 

“For its sophomore edition, the Festival theme shall be ‘Deconstructing Cinematic Space.’ As we continue to celebrate the development of regional cinemas across Asia, we also attempt to veer away from the traditional space of film screening, that is the movie house, and explore alternative and non-traditional screening venues like buses, parks, markets, and barangay centers to bring films closer to the people,” Mangansakan added. 

SIFF features competitive sections for Asian full-length films, Asian short films, and Mindanao short films, as well as exhibition sections that present the richness and diversity of form and expression in Asian cinema. Submission of entries is open to narrative, documentary and experimental films made in the last two years. Deadline of entries is on October 25.

As the first and only international film festival in Mindanao, SIFF remains strongly committed on its mission to raise awareness and promote international cinema with emphasis on strengthening the cultural ties between Mindanao and its Southeast Asian neighbors, to support the nascent film movement in SOCSKSARGEN and its neighboring regions, and to engage the public in both popular and critical discourse on art and cinema and their transformative power to shape ideas about society, thus encouraging cultural diversity and the plurality of creative expressions.

The second SalaMindanaw International Film Festival will take place from November 26 to 29, 2014. 

For updates, go to the Festival’s Facebook page http://facebook.com/salamindanaw

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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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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.

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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!

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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

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SanSwê: The Challenge of Encroaching Culture

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

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