Fearless and Uncontained: The Ambitious Cast of Sinepiyu XVI
Fearless and Uncontained: The Ambitious Cast of Sinepiyu XVI
Feature art by Abigail Manaluz
Sinepiyu XVI excites me for a number of reasons. Firstly, it goes without saying that student-led film festivals are momentous events, especially in shaping our local cinema. Secondly, the entries in this edition can now be seen by a wider range of audiences thanks to a partnership with the Filipino streaming platform, JuanFlix. Lastly, SINEGANG.ph had the opportunity to hear firsthand how some of these short films were born and labored over before they were released to the world to wander.
When I spoke with these four young filmmakers about their short films, most of which were thesis projects in their respective programs, I got the sense that they were trying to stretch the boundaries of their capabilities: allowing the basin of ambition and creativity to overflow; determinedly pursuing the leads that their director’s heart was telling them, no matter the risk or consequence. And if there was any trace of regret, then I didn’t hear any of it.
NOTE: An English translation for Tagalog and Taglish statements will also be provided, italicized in a dark-blue text color.
Noor Hooshmand in take me to an unbridled fury
take me to an unbridled fury
Dir. Julia Laplana
The first thing that I asked Julia Laplana in our conversation was the rationale behind her short film’s provocative title, take me to an unbridled fury. “Sakto ang title sa pelikula kasi it’s about female rage and hindi niya makontrol yung galit niya (The title fits the film because it’s about female rage and how the protagonist cannot control her anger),” she said, already alluding to the film’s caustic plot: A young dancer joins an all-female dance troupe and finds kinship among the other girls until their coach threatens to spoil their newfound sisterhood.
When I asked about her inspirations, Laplana casually cites Promising Young Woman, Black Swan, and Luca Guadagnino’s Suspiria—not a bad table to sit with, eh?
What’s your inspiration in making take me to an unbridled fury?
I was inspired after ako manood ng mga film na nagtatackle ng female rage. Pinakanag-influence talaga sa akin is si Dakota Johnson sa Suspiria. Gusto kong i-portray ang sisterhood fighting against sa patriarchal na opresyon. Gusto ko rin kasi gawin nating normal yung pagshare ng challenges lalo na sa kababaihan na hanggang ngayon hindi pa rin siya open for everyone to share.
I was inspired after I started watching films about female rage, especially after seeing Dakota Johnson in Suspiria. I wanted to portray sisterhood fighting against patriarchal oppression. I also wanted to show that it should be normal to talk about your struggles, especially among women.
Guadagnino’s Suspiria is an underrated film. And now that you mentioned it, I can see the parallels, especially with the dance aspect. Was the short film always about dance and how did you incorporate it?
Hindi lang talaga siya sa pagsasayaw, but yung sinusulat ko [yung film] gusto ko isama yung rave culture na nagiging open pa lang ngayon sa generation natin. Gusto ko i-share na ang raves ay nakakasama sa mga kabataan. May rave scenes sa film kung saan naging safe space ito para sa mga kababaihan pag nagsasama-sama sila at ina-appreciate yung pagtugtog ng mga DJ in front of the audience.
Sa sayaw gusto ko ipakita ang femininity and autonomy, sisterhood and rebellion against patriarchal oppression, and ang struggles na naexperience natin. Doon naipapakita na ang challenges ay hindi dapat tinatago, na may karapatan tayong ilabas ang boses natin at mag-unite. So nagiging collective experience siya by portraying these struggles.
It’s not just about dance, but I also wanted to incorporate rave culture, which is getting popular in our generation. I wanted to break the stigma that going to raves means you’re doing something bad. In the film, the rave serves as a safe space for the women as they commune and enjoy the music together.
Through dancing, I wanted to show femininity and autonomy, sisterhood and rebellion against patriarchal oppression, and the struggles that we experience. By highlighting these challenges, the film underscores the fact that we have the right to raise our voices and unite. Thus, it becomes a collective experience.
How did you cast the girls of unbridled fury? Did you have a specific criteria in mind?
Sinusulat ko pa lang ang film, lagi kong kinukwento sa friends ko na si Noor Hooshmand na ina-eye kung character. Makikita mo yung mukha niya pa lang na intimidating pero once na nakasama mo siya, nandoon yung comfortability and ang sarap niyang kaibiganin Si Serena Magiliw gusto ko rin talaga siyang kunin kasi ang galing niya sumayaw, and tinanggap naman niya yung role kasi gusto niya yung concept ng kwento.
While I was writing the film, I would tell my friends that Noor Hooshmand was the perfect actress to play Mabel, the main character. She looks intimidating at first glance, but when you start working with her, you get a sense of comfortability and familiarity around her like a friend. I also cast Serena Magiliw because she’s a great dancer, and she liked the concept of our story.
Can you share any highlights in making your film?
Ang pinaka highlight is dumating ako sa point na sukong-suko ako kasi ang ambitious ng pelikula, aminado ako, mga requirements pa lang sa tech ang mahal. Pero ang positive side is lagi akong kinakausap ng CP and PM ko, and may tiwala sila sa vision ko. Ayun ang naging motivation ko.
There was a point where I felt like giving up because of how ambitious this project was, the tech requirements were already so expensive. But the highlight was talking with my Creative Producer and Production Manager, and how they showed trust in my vision. And that became my motivation.
What do you want audiences to take away from your film?
Wag nila isiping tungkol lang ito sa kababaihan, but that the message and the struggle is also for and about everyone.
That this film isn’t exclusive to women’s experiences, but that the message and the struggle is also for and about everyone.
Lastly, at SINEGANG.ph we ask filmmakers to share their TAPSILOG movies: tapa = your favorite movie, sinangag = your comfort movie, and itlog = a movie recommendation.
Tapa - The Doom Generation (1995)
Sinangag - Ponyo (2008)
Itlog - The Doom Generation (1995)
The young cast of Bata, Bata Ka Lang
Bata, Bata Ka Lang
Dir. Cedrick Marquez
Cedrick Marquez is aware of the high risks of making a movie musical. But he also knows there are high rewards to be reaped. His Sinepiyu entry, Bata, Bata Ka Lang, is his thesis film, along with two other classmates, at the De La Salle-College of Saint Benilde, where it was cited as one of the three best among their batch. The film follows the young students of Barangay Malabanan who band together after hearing word that their school is closing, and thus putting an expiry date on their friendship.
“Ever since high school into musicals ako and doon ako kumuha ng motivation para sa thesis film ko na mag-musical (I was into musicals since high school and that’s where I got motivation to pursue making one for my thesis),” Marquez said.
Where did the inspiration for the story in Bata, Bata Ka Lang come from?
Yung concept [ng Bata, Bata Ka Lang] matagal naming tatlo pinag-isipan after watching Matilda the Musical last year and parang ang ganda pag mga bata bida tapos musical. Pero gusto namin very local ang story and nangyayari talaga sa Pilipinas like the reality of education in the country.
The concept [of Bata, Bata Ka Lang] came after me and my thesis mates watched Matilda the Musical last year. We thought it would be fun to create our own musical starring children. But we wanted the story to be local and relevant to the Philippines like the reality of education in the country.
How was it like working with kids?
Mahirap magpagalaw ng bata unless talaga may talented individuals ka. Pero I’m very happy sa mga nacast naming bata kasi very dedicated at passionate sila. Ang process namin sa paggawa ng film nagsimula kami sa script reading and studio recording para sa music, and then choreography rehearsals. Lahat yun ginawa sa Benilde. And bukod sa tatlong leads namin, very thankful kami kasi nakapag-secure kami ng partnership sa isang local kids dance group, ang Electro Groovers. Talagang wala na kaming problema sa performance and enjoy lang kami on set.
It’s hard to direct kids unless you have talented individuals with you. But I’m very happy with our cast since they’re very dedicated and passionate. We started with script readings and studio recordings for the music, and then moved onto choreography. We did everything at Benilde. Besides our three leads, we’re also thankful because we partnered with a local kids dance group called Electro Groovers. We didn’t have to worry about the performance, and we just enjoyed our day on set.
What were the highlights of making the short film?
The highlight would be ang makita mo yung development sa paggawa ng music. Nagsimula kami sa dialogue tapos namili kami ng sections na gagawing kanta. Iba yung feeling kapag boses namin naririnig sa draft tapos papatungan ng boses ng mga bata and kapag nakita mo na siya kasama yung visuals na shinoot, it’s very fulfilling.
The highlight would be seeing the music that we made translated on screen. We started with dialogue and then we chose which sections would be transformed into musical numbers. There’s nothing like hearing our voice drafts turn into the songs sung by the children and to see it all together with the visuals. It’s very fulfilling.
What do you hope audiences take away from Bata, Bata Ka Lang?
Ang film namin is hindi talaga political in nature. Gusto namin ipakita yung side ng mga bata na hindi lang silang mga bata. Ang premise ng film is hindi sa ayaw ipasara ng mga bata yung school hindi dahil “we fight for our education.” Wala pa sila sa ganoong level of thinking. Ang reasoning nila is friendship: ayaw nila mahiwalay sa mga kaibigan nila. Minsan hindi natin napapansin tayo ang naglilimit sa mga bata and kailangan natin sila pakinggan at maturuan na hindi limitado sa edad ang kaya mong gawin.
Our film is not political in nature. We wanted to show that kids are more than just their young age. The premise of the film is not that the students don’t want their school to be shut down because they feel the need to fight for their right to education. They haven’t arrived at that level of thinking yet. The reason is friendship: they don’t want to be separated from their friends. Often we don’t realize that we are the ones that limit these young people and need to listen to them and teach them that they are not limited by their youth.
Lastly, at SINEGANG.ph we ask filmmakers to share their TAPSILOG movies: tapa = your favorite movie, sinangag = your comfort movie, and itlog = a movie recommendation.
Tapa - A Mother’s Story (2011)
Sinangag - Resident Evil (2002)
Itlog - Tick, Tick... Boom! (2021)
Chai Fonacier in Cinebuano
Cinebuano
Dir. Joaquin Perocillo
Documentary filmmaking has always seemed like a veteran’s task or at least its demands warrant ample experience and mastery of the subject. But Joaquin Perocillo proves that just because you don’t have the years of training under your belt doesn’t mean you can’t try, especially when pursuing a consequential subject.
Cinebuano tells the rich history of Cebuano cinema through the eyes of local actors, filmmakers, and students. Perocillo, who took up film at Mapúa University, spent nearly half of his life in Cebu, and when he found out about the lack of accessibility to Cebuano films, he sought to turn his frustration into a mission, one that involves tracing and resurfacing one of the country’s long-standing traditions.
What about Cebuano cinema that made you interested in pursuing it as a subject for a documentary?
Tumira ako sa Cebu for 11 years and doon ako nag mature and narealize na gusto kong mag film in college kaya ko nagawa ang Cinebuano. Ang thriving ng Visayan music at that time and ayun ang ginamit ko before para matutunan ang language. Pero naisip ko ang interesting if manood ako ng local films to learn Cebuano. Kaso noong nagsearch ako wala ako masyado nakitang Cebuano films kaya naquestion ko talaga yung film scene ng Pilipinas.
I lived in Cebu for 11 years, and that’s where I matured and realized that I wanted to take up film in college; that’s why I made Cinebuano. Visayan music was thriving at that time, and that’s how I learned to speak the language. But I thought it would be interesting if I watched local films instead to learn Cebuano. However, I was disappointed when my efforts to search for Cebuano films yielded so-so results. That’s when I began questioning the film scene in the country.
While you were doing research for the documentary, what struck you upon discovering Cebuano cinema?
Ang nag strike sa akin is how ang creatives ang talagang bumubuhay sa film scene sa Cebu. Mga filmmakers, actors—sila ang mas nag-iinitiate na magkaroon ng film-related events. While meron naman ginagawa ang government, parang hindi siya enough. Namention sa documentary na pwedeng maging film tourist destination ang Cebu; it has the city, the beach, the forests and mountains, pero sa tingin ko hindi siya namamaximize masyado.
What struck me is how the creatives are really the ones who sustain the film scene in Cebu. The filmmakers, the actors—they really initiate to make film-related events happen. I don’t want to discredit the government, but I feel like their efforts aren’t enough. It was mentioned in the documentary that Cebu has the potential to be a film tourist destination. It has the city, the beach, the forests and mountains, but I think it’s not being maximized.
What were the challenges that you encountered while making the documentary? Did you have a hard time looking for resource people?
Nag-aral ako sa University of San Carlos (USC) and doon pa lang marami na kong connections and prospects for resource people. Natulungan din ako ni Direk Victor Villanueva kasi sa kanya ko nakuha kung paano makausap si Chai Fonacier.
I studied at the University of San Carlos (USC) and that’s how I got connections and prospects for resource people. And through the help of director Victor Villanueva, I was also able to speak with Chai Fonacier.
How about on the production side of things?
One of the challenges is sa logistics and pagplan kung kailan ang shoots kasi nakadepende talaga kung sasagot yung contact. Tapos during pre- and post-production, nag-OJT so naging obstacle din yung schedule ko.
One of the challenges is the logistics and planning the shoots since they depend on whether our contacts will respond. Then during pre- and post-production, I was doing my internship so my schedule also became an obstacle.
What do you hope audiences take away after seeing Cinebuano?
Gusto ko lang na after watching the documentary mas bigyan ng audiences ng chance hindi lang yung Cebuano cinema pero other regional films kasi marami silang namimiss kapag hindi nila pinanood ang mga ito.
I want audiences to give not just Cebuano cinema a chance, but also other regional films since they will miss a lot by not watching them.
Lastly, at SINEGANG.ph we ask filmmakers to share their TAPSILOG movies: tapa = your favorite movie, sinangag = your comfort movie, and itlog = a movie recommendation.
Tapa - Not Friends (2023)
Sinangag - White Chicks (2004)
Itlog - Bad Genius (2017)
Luigi Flares in The Reverie.
The Reverie
Dir. Rei Cordero
“Dancers are one of the hardest workers in the arts industry,” Rei Cordero told me near the end of our conversation about his Sinepiyu entry, The Reverie. A former dancer himself, Cordero describes the film as his “love letter to dance.” Moreover, he dedicates it to his dancer friends, one of whom leads this descent into the hazy world of motion and music.
But before making movies, Cordero was making dance videos, which he credits as his introduction to filmmaking. And now, in his last year as a film student at Mapúa University, he hopes to make one last dance.
How did you get into film?
Super spontaneous yung decision ko to pursue film in college kasi at the time of applications I put in Computer Science, and then sa sheet nakita ko Digital Film. Mahilig ako manood ng movies as a kid and nagkaroon ako ng phase in high school where magshoot ako ng mga comic skits with friends. That’s why I gave film a try in college and narealize ko rin na mahal ko ang paggawa ng pelikula.
My decision to pursue film was quite spontaneous because during college applications, I put in Computer Science, but then I saw Digital Film on the sheet. I loved watching movies as a kid, and I had a phase in high school wherein I would shoot comic skits with friends. That’s why I gave film a try in college, and I realized how much I love filmmaking.
Walk me through your process in incorporating dance. How did you translate it on screen?
I love incorporating movement even the tiny ones and kahit sa mise-en-scene. I love when actors use their movement to utilize the space. Dito sa film, kinuha ko yung dynamics ng dance and in-amp-up ko siya to the extreme, sobrang magalaw talaga. Symbolic ang dance style na ginamit dito, which is locking. It’s known for being super ecstatic, funky, and happy. And naisip kong baligtarin and turn it into super gritty yung paggamit ng locking sa film pero nandoon pa rin ang flamboyance. Sakto rin yung pagiging experimental sa dance kasi it’s a freestyle. It’s about what the dancer is feeling at the moment.
I love incorporating movement even the tiny ones and in the mise-en-scene. I love when actors use their movement to utilize the space. In the film, I took the dynamics of dance and amped it up to the extreme, and that’s why it’s so kinetic. Locking, the dance style used here, is symbolic; it’s known for being super ecstatic, funky, and happy. I thought of flipping the style on its head by making it grittier while still retaining its flamboyance. It’s also experimental because it’s a freestyle; it’s about what the dancer is feeling at the moment.
How was it like directing your actor/s in the film?
Super natural kasi I grew up with the actor, Luigi, and super lucky ako kasi sa siya sa best dancers sa community and sobrang tiwala ako sa kanya while directing. Kapag gusto ko ganito yung feeling, nagagawa niya agad kahit na may pagka-obscure yung directions ko minsan. And it was also more of experimenting din together.
It came naturally because I grew up with the actor, Luigi. And I felt so lucky because he’s one of the best dancers in the community, and I put my full trust in him while directing. He fully gets my direction even if sometimes they seem obscure. It was also more of experimenting what works together.
What were some challenges that you encountered?
I learned to lean on my mistakes, especially on the technical side. Everything was guerilla-style kasi basically I only shot this na dalawa lang kami [ni Luigi]. I never really liked na sobrang daming tao sa shoot kasi i feel like I can't take care of them on my own. Medyo sinosolo ko, and I know it’s an unhealthy habit, pero gusto ko one-on-one kami ni Luigi.
I learned to lean on my mistakes, especially on the technical side. Everything was guerilla-style because I basically shot this on my own and with just my lead. I never really liked having a crew during shoot because I feel like I can’t take care of them on my own. I know it’s an unhealthy habit, soloing things, but I really wanted to be one-on-one with Luigi.
What do you want audiences to take away from your film?
Gusto ko makuha ng audience ang same appreciation and love that I have when seeing dancers. Yung passion and apoy nila kasi it’s all heart when they’re dancing.
I hope audiences find the same appreciation and love that I have when seeing dancers—their passion, fire, and heart as they’re dancing.
Lastly, at SINEGANG.ph we ask filmmakers to share their TAPSILOG movies: tapa = your favorite movie, sinangag = your comfort movie, and itlog = a movie recommendation.
Tapa - Aftersun (2022)
Sinangag - Marriage Story (2021)
Itlog - Monster (2023)
CLOSING THOUGHTS
“Be liberated from convention,” goes Sinepiyu in their program invitation (arbitrarily translated by me). It’s not just a challenge posed to the filmmakers participating in the film festival, but it’s also a dare for future audiences: to suspend everything they think they know about student cinema and permit themselves to experience the new, the perverse, and the ambitious.
All films in the All Tamaraws and Interschool (Narrative, Documentary, Experimental) programs are available to stream for free on JuanFlix from May 2-16.
