The Cinemalaya Independent Film Festival returns from August 6 to September 5, and once again, its online edition will showcase short films for its main competition! From over 200 entries, thirteen finalists were chosen to compete for the prestigious Balanghai trophies.
Through a series of email interviews, we had the opportunity to ask the filmmakers about their respective entries for Cinemalaya. Here, they explain their inspirations, messages for the viewers, and more! Check out their answers below:
‘An Sadit na Planeta’
An Sadit na Planeta is a short film by the award-winning Bikolano filmmaker Arjanmar H. Rebeta, also known as AstroNoy. The film is about a man named Arjan who wakes up on a small planet called Planet I, and explores it in the next 40 days. According to Rebeta, what he wanted to convey with his film is that instead of the world controlling us, it is us who gets to control our world– a timely message amid this pandemic where many of us feel helpless due to an external force we seemingly have no control over.
“Lahat tayo nakaranas ng pagliit at pagtigil ng mundo natin subalit tayo rin muli ang magpapa-ikot nito,” stated Rebeta. “Hindi tayo nakadepende sa mundo natin. Ang mundo natin ang umaasa sa atin. Gagalaw lang ito kapag gumalaw na tayo. Tayo rin mismo ang magpapaliit o magpapalaki nito. Ang sarili natin ang sukatan ng ating buhay.”
Rebeta’s previous short films have been selected and awarded in different film festivals here and abroad. For the filmmaker, a film cannot be solely defined by its length. What’s important is its message.
“Gumagawa naman ako ng pelikula, short man o full length dahil gusto ko itong gawin. Passion ko talaga ito para mailabas ang nasasaloob ko. Pagpapalaya ng sarili. Kahit naman makagawa na ako ng full length, mukhang di pa rin naman ako titigil sa paggawa ng short films,” Rebeta said. The filmmaker also shared that he is currently developing a full-length film.
‘Ate OG’
Ate OG is a lockdown story made during the lockdown. The short film tells the story of an aging house help who struggles with the day-to-day depression brought by the home quarantine. According to filmmaker Kevin Mayuga, since it was the height of the lockdown, he had to work with what’s readily available for the film.
“I first wanted to make my younger siblings the main characters of the film, but after interviewing our maid and getting to know her life story, I thought it would be much more interesting from her perspective,” shared Mayuga.
“Ate Merlee Cahilig has never had any acting experience, so it was important for me to really get to know her to have a good connection and working relationship with her. After she shared with me her life story for 4 hours (with crying), I felt that I had a lot more empathy for her as the lead actress and character. She was actually surprisingly good at her takes and came out as photogenic on the camera.”
For Kevin Mayuga, what he really wants to convey with his film is “the message of kindness and equal treatment to people, regardless of their social class or whatever we’re going through.”
“I really felt a lot of guilt of privilege in the pandemic,” shared the director. “While people outside were starving and dying, I was here at home, comfortable with my family and maids. The guilt made me realize the humanity in everyone going through this deeply troubling pandemic, and to just be a little kinder.”
‘Looking for Rafflesias and Other Fleeting Things’
Director James Fajardo’s short film follows the tikbalang Gubat who transforms into a teenage boy to investigate the killings in the mountains that are wrongfully attributed to his kind. During his search for answers, he meets Darren, an American botanist looking for rafflesias.
For filmmaker Fajardo, the film is his way of capturing that fleeting feeling he has experienced when he was in an exchange program in Europe and met different people for only a short period of time. As to why the tikbalang, the director says it’s because of the forbidden love the mythical creatures are known for.
“Aside from its political commentary towards state-sponsored killings, the film, in its basic form, teaches us to accept others’ unique characteristics,” explained Fajardo. “The film hopes that one day, when a tikbalang gets married, it will not rain anymore and that heaven will no longer be opposed to the kind of love that they have – this transcends to same-sex marriage which is still not legal in our country.”
‘Ang Pagdadalaga ni Lola Mayumi’
Shiri De Leon’s Ang Pagdadalaga ni Lola Mayumi is about a town’s old virgin who finally gives sex a try by hiring a callboy to spend the night with her. De Leon is still a student pursuing her degree in film, but this didn’t stop her from making this movie during the pandemic.
“I believe that despite the limitations brought by the pandemic, the film would not be what it is if we shot it before the pandemic. The limitations challenged me, the crew, and the cast to creatively make it work and maximize whatever resources that we had,” shared the filmmaker.
As for the purpose of the film, De Leon said she wanted to touch on the issue of sex here in the country. “Despite it being shunned by our culture, the irony of sex being so sought-after, heavily exploited in films and music and how people also choose to bully or pressure people who have chosen to abstain themselves from it, just really angered me as a young woman,” shared De Leon.
“Sexual abuse is absolutely no joke, but it is often off daily conversations because of it being a taboo topic, despite it affecting so many people regardless of gender and age. Witnessing firsthand how its abuse affects people greatly, I decided to culminate all of that and I wrote Ang Pagdadalaga ni Lola Mayumi, where Mayumi is the living embodiment of the reality of these issues and it answers the question on what Ang Pagdadalaga really means and what is the definition of a true woman,” explained the filmmaker.
‘The Dust In Your Place’
This short film is based on a play, and it centers on the discussion between a comic artist and her writer, who just had an awkward fight with his girlfriend. For director David Olson, he often finds his mind working the most when he’s watching something that carries itself on conversation. “Good conversations paired with good visuals is a dream you don’t wanna wake up from,” stated Olson.
Asked how he wants the audience to receive his film, Olson stated: “I expect relativity and comparison from this film. I expect some of the audience to compare it to their own life experiences. I expect some of them to picture themselves in the character’s shoes. Imagining new endings and alternative scenarios, or repeating similar arguments you can only win in your mind while showering.”
The writer of The Dust in Your Place, Joem Antonio, shared a similar sentiment.
“It depends on how the audience relates to the situation. Have they been in a situation similar to the characters? Or have they, like me, seen or heard situations like these unfold in front of them? Either way, I believe that a situation presented in The Dust in Your Place will have different people have different takes on the matter, and conversation on this matter is healthy. When the conversation begins, then I think I’ve done my job,” Antonio explained.
‘Crossing’
Driven by desperation, a security guard plans to rob a bus. But two other robbers beat him to a punch. Will he become the hero of the story or will he fall victim to the robbers as well? This is the story of ‘Crossing’, a short film by Marc Misa.
“Crossing is an ode to the anti-hero protagonist, a character role that makes the audience think and question morality,” the filmmaker explained. “It is also the story of the lower-middle class Filipino who is being driven to desperation by his oppressive and impoverished environment.”
According to Misa, the story of Crossing was supposed to be a part of something bigger– a full-length film or a series. But when writer LC de Leon pitched the story, the filmmaker saw its climax’s potential as a short film in itself and decided to produce it.
Asked what the relevance of their short film is to today’s society, Misa recalls how his three-year-old daughter would go through a picture storybook where the ‘good guys’ would always look cute or attractive, while the ‘bad guys’ are depicted as ugly characters.
“I worry she might grow up afraid of ugly people so I try to explain to her that good and bad has nothing to do with how someone looks. So far it has proved to be a more complicated concept to grasp when compared to how heroes and villains are usually portrayed in cartoons, movies, and storybooks,” stated Misa.
Misa also believes that children aren’t the only ones who are vulnerable to these kinds of portrayals of who’s good or bad. “I suppose there always was and always will be propaganda out there, but it is on an all-time high right now in this age of social media where it’s all about image. Labels are being tossed around, truths are being twisted, even history is being changed according to those who could afford it.”
“The simple solution to this is simple research; get to the source of an article before believing it; find out more about the motivations and actions of a person, before coming to any conclusions,” the director added.
‘Beauty Queen’
This short film is based on the true story of Remedios Gomez, a beauty queen who also joined the Hukbalahap resistance during the Japanese invasion in 1940. Filmmaker Myra Aquino shared that her close friend, Kay Gomez, is the great grand-niece of Remedios and was the person who told her about the former beauty queen and war hero.
“From a storytelling and filmmaking standpoint, I felt her story had the potential to become a film because she had to overcome so many obstacles– her father’s death, leaving her family behind, the limiting perception of women during those times– to eventually become the Kumander Liwayway that we know today,” Aquino said.
Aquino also pointed out how most war stories are told from the perspective of men, particularly those from the Western hemisphere, and that it’s also important for these stories to be told from the point of view of a Filipino woman.
“Aside from the fact that she was a former beauty queen, the image that struck me the most about [Remedios Gomez] was the fact that she would put on lipstick, do her nails and hair, and put on a dress before every battle. It was such an unforgettable image and I wanted to learn more about the kind of woman who would do something as boldly feminine like that,” shared the filmmaker about her film’s protagonist.
Asked what she wants to communicate with her audiences through the film, Aquino answered: “The central message I want to convey with this film is that, like Remedios Gomez, and regardless of gender, ordinary people under extraordinary circumstances are capable of doing extraordinary things. I want the film to be a reminder that we all have the grace and courage within ourselves to do what is necessary for others and for ourselves, without ever giving up who we truly are.”
‘Ang Mga Nawalang Pag-Asa at Panlasa’
Directed by Kevin Jay Ayson and written by Mark Moneda, Ang Mga Nawalang Pag-Asa at Panlasa is a short documentary that centers on Ilocano food entrepreneurs who have to face the challenges brought by the pandemic.
“As Ilocanos, we’ve always wanted to highlight the beauty and richness of our culture, and for us, the local cuisine is one of the main elements of it,” said Moneda, adding that besides being filmmakers, he and Ayson also consider themselves as food buffs. “We love to eat and explore, that’s why this project is such a breath of fresh air and so much positivity. And we also wanna share that positivity with the audience. So we made this film as festive and as colorful as possible to at least help them divert their attention from the present situation that we are in.”
Moneda also noted that besides the entertainment factor, they also made sure that the film conveys societal issues through hidden metaphors lying behind ‘every food’ being served.
Meanwhile, for director Kevin Jay Ayson, this short film is another way of giving voice to the people that deserve to be heard. Ayson also works as a cinematographer and video editor in the wedding industry, and he admits that he’s more drawn into telling real-life stories than fictional ones.
“Because I believe that in our society, everyone has their own voice,” stated Ayson. “And these voices cannot be heard unless someone has the gut to ask and to write it down. For me, these are the voices that really matter.”
‘Namnama En Lolang’
Director Jonnie Lyn Dasalla also made her film Namnama En Lolang during the height of the lockdown, when the feeling of hopelessness and anxiety was too prevalent. According to the director, she made the film “with the heart of sending a message of hope and comfort during these trying times, wherein we can face this pandemic together with our loved ones and still keep our faith above all.”
Shot with a mobile phone and with a cast that mainly consists of her family members, Dasalla admitted that making the film was challenging but using her limited resources also had its silver lining. “The low production quality of using a phone is also noticeable compared to DSLRs or any high-end cameras. However, the good side of it is that it gives an added texture to the film,” said Dasalla.
“Overall, it was a humbling experience because I was able to materialize my vision despite the limitations. I hope it inspires young and aspiring filmmakers that it is possible to reach big by starting small, maximizing what you have, and believing that God has entrusted you with skills for a purpose,” the filmmaker added.
‘Kawatan Sa Salog’
The short film Kawatan Sa Salog follows Santi, a mischievous boy who steals a toy dinosaur. After angering his father, the young boy runs and drowns in the river, only to wake up on a mysterious island with odd customs.
According to director Alphie Velasco, who also wrote the story of the short film, he was driven by a peculiar curiosity about human behavior. “Our minds are ever so radical and adaptive to nature,” stated Velasco. “It’s what makes us become visionaries and dauntless beings regardless of how our society evolves. Although I didn’t put anything psychological into my short film, I did instill that same sense of tragedy from the artworks that I loved. It’ll always feel so blissful and unrestrained to cram some of my ideas into my writing.”
Asked what the main message of his film is, the filmmaker said: “The film tells us of regret and how feeble existence is. It may help us realize to genuinely cherish everything life has offered.”
‘Maski Papano’
Maski Papano centers on a discarded facemask that turns into a living being, seeking its new purpose. According to filmmakers Glenn Barit and Che Tagyamon, the facemask was used as a parallel to how workers are treated as disposable, which was prevalent during the start of the pandemic– when there were mass layoffs and unemployment.
The entire film was shot with a Xiaomi smartphone. For Barit and Tagyamon, filming was “challenging but very convenient because we’re able to bring it around with no hassle, especially since we shot around Manila in guerilla-style.” They added that the decision to use puppets as their main characters for the film was done for safety precautions.
‘Out of Body’
Out of Body is a suspenseful fifteen-minute film that centers on the young model Elle. After arriving at the set of her first commercial, the director and crew begin to act strangely making her suspect that something wrong is afoot.
For director Enrico Po, the best films are those that feel truthful and compelling, hoping that his short film would have the same effect on the viewers. Asked what his inspiration was for the film, Po revealed that the idea for the film came to him randomly.
“The general idea came from stories, experiences, things I’ve seen, just general life,” explained Po. “But if I’m being perfectly honest, the idea for the film itself came on a random November day while I was watching The Mandalorian. Inspiration can strike at any moment, and most especially when you least expect it.”
‘Kids on Fire’
Kyle Nieva’s dark comedy film is about the prepubescent boy JC who discovers his role in the impending apocalypse. During his time at a religious camp, the boy is torn between his sexual fantasies and his divine calling.
Nieva’s script for Kids On Fire was written in 2017, when the government warned us about the massive earthquake called ‘The Big One’. He recalled how such catastrophes have been linked to the Apocalypse before and how such ‘prophecies’ fascinated and horrified him as a kid.
“Some people would attribute such catastrophes to the Apocalypse or to retribution for the sins of humanity, so I was then reminded of the signs of the end times which I learned from Sunday school as a kid,” shared Nieva. “The Bible includes earthquakes, along with famines, epidemics, and wars, in the signs of the Apocalypse–events we are no longer strangers to. As an impressionable child, this whole doomsday prophecy not only fascinated me but also horrified me for a long time. A few years after writing this film, the themes it touches on could not be more apt in the present times.”
“The film tackles Christian doctrines, eschatological concepts, as well as sensitive topics like sexual awakening and children’s psychosocial development,” explained Nieva. “Consequently, I thought it would be best to use dark humor to make our material more accessible and eventually open up discourse on otherwise taboo subjects.”
Watch the thirteen finalists of the Cinemalaya Independent Film Festival when it starts streaming this August 6 on KTX.ph via pay-per-view. The films for the main competition are divided into two bundles, with each bundle available for only P150.
For more information, click here. You can also visit the CCP and Cinemalaya websites.
