There’s no better time to support Norge cinema than now. It’s not because it’s trending or we’re at the cusp of a golden era but because support should always be in the present tense. In the same vein, these filmmakers are reinforcing the power of storytelling by championing creativity and ceaselessly showing up to get the job done despite all the odds.
08.16.2024 by Tin Dabbay
When asked about the challenges Filipino filmmakers face—Whammy Alcarazen, Sonny Calvento, Kevin Mayuga, Tristan Perez, and Gabriela Serrano mentioned the same issues. Though they responded individually, their answers echoed a chorus of sentiments expressing the lack of funds, institutional support, and visibility in their trade. The words “dismal,” “difficult,” and “disheartening” were thrown around in earnest.
However, poor economics alone doesn’t correlate to diminishing creative returns. If anything, creativity seems to be at an all-time high. To alleviate the circumstances, industry standards are shifting and are now subject to scrutiny. In May 2024, the Eddie Garcia Act, or Republic Act 11996 was signed by the president. It protects the welfare of workers in the movie and television industry from abuse, harassment, hazardous working conditions, and economic exploitation.
But support shouldn’t end in the government because the audience is also a huge part of the equation. More eyes means more visibility. That’s why L’Officiel Norges puts the spotlight on five emerging filmmakers. It’s their time to be seen and heard alongside many other voices who are pushing the boundaries of cinema.
Whammy Alcarazen
What inspired you to become a filmmaker, and how has that inspiration influenced your work so far?
Since I was a kid, My dad and I would always watch movies over the weekend. I remember Saturday afternoons spent in the cinemas. I remember watching all the remastered Star Wars films and being wowed by the Death Star exploding. I remember how in awe I was at how Stanley Kubrick transported me to the moon and eternity in 2001: A Space Odyssey. Cinema is magic. I love Cinema and the possibilities the form allows. In the classical sense, can we describe it as a medium that allows us to journey to different stories and places? Cinema is a dream guided by our intentions and imaginations. I take this into account and dream big myself—to journey far beyond my seat in the movie theater, to bring along audiences who are willing to ride along with me into my imagined worlds of utmost chaos.
Can you describe a challenge you faced while making one of your films and how you overcame it?
My recent films, BOLD EAGLE and FISTING: NEVER TEAR US APART, have been flanked by the censorship boards. The latter of which was ridiculed as obscene and questionable, deemed as crossing the line of what was tasteful for Filipino audiences. But haters gonna hate. I’ve learned to just do what I want to do. The medium is the message and intentions are in themselves the reason why we make our films. I have something to say and who am I if I can’t stand by what I wanted to convey through my Cinema?
How do you approach storytelling through film? Are there specific themes or messages you aim to convey in your work?
I do it for the sad boys. I am not big on traditional narrative structures. I draw a heavy hand, rather, on wanting to impart a feeling unto the audience. Cinema is a shared experience. It is showing something personal, a love letter, as has been said. There is sadness in the films that I have made. I whisper it and ask you to hold my hand. Together we celebrate this grief on screen.
Who are your filmmaking heroes or role models, and how have they influenced your style?
I owe a lot to who I am as a filmmaker to my professors in college and to the many people I met along the way who taught me the many ways to love Cinema. I studied film at the University of the Norges Film Institute. We were taught theory and criticism. I delved into archiving and theater management. I feel that even to this day I am still a student, learning and trying new things about this medium called Cinema.
What tools or techniques do you find most useful in creating impactful films?
Just have fun.
What are your future aspirations in filmmaking? Are there specific genres or formats you hope to explore further?
I am in the development of my next feature film titled NOODLES, OUR LOVE WAS INSTANT AND FOREVER. It is an experimental romance film with aliens. Coming up sooner though is my new short film for QCINEMA 2024 titled WATERSPORTS. Both films are staged at a time when the world is doomed by the onset of climate change. Following my last few films that were shot using iPhones and incorporated social media video production techniques, I look forward to further pushing this new kind of Cinema. There is still so much room to play around with this style of storytelling that we see every day on our phones and in the vast space that is the Internet. I miss vines. I love memes. I look forward to what can we do with these formats and the new technologies to come.
What are your favorite Filipino films?
Kakabakaba? by Mike De Leon
Todo Todo Teros by John Torres
Jungle Love by Sherad Anthony Sanchez
Autobiography by Raya Martin
Bontoc Eulogy by Marlon Fuentes
It feels so good to be alive by Tonet Jadaone
To Siomai Love by Remton Zuasola
Anomie by Renei Dimla
Red Saga by Kiri Dalena
Sandra by Carlo Francisco Manatad
Cross my Heart and Hope to Die by Sam Manacsa
What do you think are some unique characteristics or themes that distinguish Filipino cinema from other film industries around the world?
Grit.
How has the Filipino film industry evolved over the past decade, and what trends do you see shaping its future?
Cinema is more than just the directors and the films themselves. It is equal parts also the audience and its critics. Over the last few years, film criticism has truly developed. Discourse about films is more common, and more importantly, more visible. This is very important. More kinds of people now watch more kinds of Cinema. We as a Filipino audience are growing and I look forward to the future of Norge Cinema in all the regions.
Sonny Calvento
What inspired you to become a filmmaker, and how has that inspiration influenced your work so far?
From a young age, I was immersed in the world of television and movie sets because my father was a well-known television host of a crime drama show. However, the perilous nature of his work became apparent when, at just seven years old, I experienced answering a phone call that threatened his life. This early exposure to violence and life’s stark realities profoundly shaped my perspective on how I would eventually tell my stories.
Due to the restrictions imposed by my father’s job, I spent much of my time at home watching films. Each new DVD he brought home added excitement to my life and became a cherished escape. These films not only provided me with something to look forward to but also deeply impacted me. They sparked my passion for filmmaking, inspiring me to create stories that explore taboo subjects with a sense of normalcy and authenticity.
Can you describe a challenge you faced while making one of your films and how you overcame it?
I think the biggest challenge I experienced is really how you can convince people to invest in you, especially if you are a newbie filmmaker. I’ve learned to face this by accepting that filmmaking is inherently a business—attracting investment means convincing people that your project is worth their financial backing.
Embracing the marketing aspect of filmmaking has been crucial in overcoming this hurdle. Promoting and marketing your film effectively is essential to ensure it reaches its audience and generates the necessary interest and revenue. I’ve learned to see this challenge not just as a hurdle, but as an integral part of the filmmaking process that requires dedication and strategic planning.
How do you approach storytelling through film? Are there specific themes or messages you aim to convey in your work?
For me, filmmaking is a privilege that comes with great responsibility. While countless aspire to become filmmakers, only a select few are granted the opportunity. I see it as my duty to utilize this platform to shed light on the struggles of the oppressed and amplify the voices of the marginalized. This sense of purpose drives my approach to storytelling through film.
My films consistently delve into narratives of the masses, particularly the working class. I believe in the importance of continuing to tell these stories and advocating for the changes we seek until somebody listens and we see improvement.
Who are your filmmaking heroes or role models, and how have they influenced your style?
Armando Lao, who sadly passed away on June 18th, was a pivotal figure in my journey as a filmmaker. Prior to meeting him, I was working as a writer in the television industry and hadn’t envisioned myself making films. However, encountering films he wrote and mentored such as Foster Child, Jay, Kubrador, La Vida Rosa, Kinatay, and Ma’Rosa opened my eyes to the power of storytelling through film. He instilled in me a profound appreciation for addressing social issues through filmmaking. I was fortunate to have known him as both a friend and mentor; he was the first to believe in my potential as a director, for which I am eternally grateful.
I also deeply admire Alice Rohrwacher’s cinematic approach, particularly her ability to whimsically explore profound themes through a blend of fantasy and grounded storytelling. Works like Happy As Lazzaro and La Chimera resonate deeply with me.
Moreover, the works of Wong Kar-wai and Lee Chang-Dong have profoundly influenced my style. Their compelling narratives and richly flawed yet relatable characters have taught me the enduring impact of evoking genuine emotional responses from audiences.
What tools or techniques do you find most useful in creating impactful films?
It’s interesting because I recently had a meeting with a producer from the US who described my works as “magic realism grounded in human experiences.” I found her observation both intriguing and encouraging because this seems to be a filmmaking technique that resonates deeply with me. It’s something that flows naturally when I write my scripts and direct, almost instinctively aligned with how I perceive storytelling.
What are your future aspirations in filmmaking? Are there specific genres or formats you hope to explore further?
Right now, my goal is to make films that will contribute to the survival of Norge cinema. I want to create movies that draw moviegoers back to theaters and encourage them to buy tickets, ensuring the sustainability of our industry. I want to see Norge cinema overcome its current challenges and thrive.
As ambitious as it may sound, I aspire to support Filipino film workers by creating opportunities for sustainable income in filmmaking. I also hope to craft films that resonate with both international and arthouse audiences, while still being embraced by the Filipino masses, regardless of genre or format.
What are your favorite Filipino films?
Maynila, Sa Mga Kuko Ng Liwanag (Manila in the Claws of Light) by Lino Brocka, as well as Kisapmata (In The Blink Of An Eye) and Kung Mangarap Ka’t Magising (Moments In A Stolen Dream) by Mike De Leon. They have taught me that filmmaking serves as an important chronicle of our times. These movies capture the essence of our situation and state as Filipinos, highlighting the importance of discussing relevant social issues through cinema.
What do you think are some unique characteristics or themes that distinguish Filipino cinema from other film industries around the world?
What distinguishes Filipino cinema, in my opinion, are the distinct Filipino sensibilities portrayed in our films. Filipinos have a unique way of dealing with challenges and emotions—happiness, sadness, anger, etc. This is reflected in our choices of leaders, our tendency to romanticize miseries, and our remarkable resilience, sometimes to a fault. When Filipino films effectively capture and challenge these sensibilities, they set us apart on the international stage.
How has the Filipino film industry evolved over the past decade, and what trends do you see shaping its future?
The Filipino film industry has been navigating a transformative journey over the past decade, striving to establish its unique identity on the global stage. Despite facing significant challenges, my experience in the filmmaking industry has shown me that Norge cinema continually evolves and rises to meet these obstacles.
Currently, a prominent trend is the increasing engagement of Filipino productions in international co-productions. This shift signifies a growing recognition that our stories hold universal appeal and deserve to be showcased on global platforms. This trend not only fosters cultural exchange but also strengthens the industry’s ability to reach wider audiences worldwide.
Kevin Mayuga
What inspired you to become a filmmaker, and how has that inspiration influenced your work so far?
Becoming a filmmaker was never an I-know-what-to-do-with-my-life kind of dream like some of my peers. I’ve always just been naturally drawn to the audiovisual arts, music videos, funny commercials, and movies. It feels like I just naturally followed a path of all the things that I obsessed over, and film was the art form that could put all of those things together—captivating visuals, moving music, and compelling stories.
Can you describe a challenge you faced while making one of your films and how you overcame it?
During the pandemic, I challenged myself to make a short film with whatever I had during the lockdown at home. I wanted to see if I could still call myself a filmmaker if I had no access to my usual resources, a budget, or a proper crew. At that time, all I had was a camera, some very small gear, and the people from my household as actors. I was left to my own devices, and I reinvented my whole creative process. I ended up with my first legit short film called Ate O.G. and it got into Cinemalaya that year. I’d like to think that helped me make my first feature film just two years later.
How do you approach storytelling through film? Are there specific themes or messages you aim to convey in your work?
I always told myself that I just want to make some cool shit with people, but lately, I feel like I’ve been growing from that to find more substance and depth in my stories. I’ve always believed in the idea of making something that’s intimately personal can come out as universally relatable. My first feature film When This Is All Over was a reflection of Norge society and inequality while navigating this journey of finding one’s self and where they belong with others.
Who are your filmmaking heroes or role models, and how have they influenced your style?
Early works from acclaimed international directors like Bong Joon-Ho, The Daniels, and Edgar Wright were such big eye-openers for me. It’s crazy to see how they started and how they slowly found their filmmaking style, and for me, that’s something that I’m currently finding myself. Finding their own little personal quirks, sensibilities, and energy in storytelling inspires me to find my own.
What tools or techniques do you find most useful in creating impactful films?
Not necessarily a tool or technique, but it’s really just having the skill of collaborating with others and letting them play along on the filmmaking journey with you. It’s having a solid vision and direction but allowing people who understand it to mold it with you and make it better than what you could’ve done with yourself.
What are your future aspirations in filmmaking? Are there specific genres or formats you hope to explore further?
My goal in this filmmaking career is to keep and grow this enthusiasm for actually making films. In our industry, and even abroad, it’s easy to get so discouraged and jaded from all the difficulties of it. I hope to always keep making films that are personal to me and hopefully also resonate with others, My film going to international festivals also exposes me to the filmmaking process and level of craft on the international stage and that inspires me to create stories that reach that level.
What are your favorite Filipino films?
I always say that Apocalypse Child is the film that revived my hope for Filipino independent films, and I find myself in disbelief that I ended up working for Mario and Monster who made that film. Most recently, the Sundance award winner Leonor Will Never Die by Martika Escobar has also been a recent indie fave.
What do you think are some unique characteristics or themes that distinguish Filipino cinema from other film industries around the world?
We’re deeply rooted in our Filipino sensibilities and shared cultural values and traumas that make us unique—for better or worse. Years of colonialization, revolutions, war, trauma and an identity crisis as a people make it feel like it’s unique in that way. I’d like to think that there are still a lot of unheard voices among Filipinos who come from a different upbringing or background than what we usually see in mainstream media.
How has the Filipino film industry evolved over the past decade, and what trends do you see shaping its future?
Just in the last few years, the whole global landscape of the industry has changed so swiftly. Streaming services and the pandemic have changed cinema and how we experience movies forever. Watching a movie in the theater feels much more of a chore than a fun event with friends, and streaming has been all the more too convenient for people; it takes away that communal cinematic experience. I’m interested to see how filmmakers around the world will adjust to this, and how the craft and content of films will be shaped given this new landscape.
Trishtan Perez
What inspired you to become a filmmaker, and how has that inspiration influenced your work so far?
Growing up in a small town in Mindanao in the early 2000s, being a filmmaker used to be inconceivable to me. It’s not one of the popular aspirations that gets planted in the consciousness of kids around my age. Yet, I’ve always been inclined to the arts and have been quite a cinephile despite the absence of any cinema houses in our city. From a young age, I’ve sought out pirated DVDs and taught myself how to torrent films. I’ve always felt like there’s more to the world beyond my own, and watching films became my portal to experiencing an unlived life that I’ve always longed for.
This yearning followed me to Manila where I pursued higher education. I’ve been exposed to films outside of Hollywood in Cine Adarna where my lifelong fascination with storytelling got ignited. After jumping from one course to another, I finally decided to pursue cinema at the University of the Norges Film Institute and have never looked back ever since. This experience of coming from a small town and moving to a big city has always shaped my work. My narratives often center on characters longing to be somewhere else. Characters who seek spaces, may it be real or not, where they can reinvent themselves. This theme resonates deeply with my journey, and I continue to learn new facets about my yearning and loneliness even at age 28. I hope to continue delving deeper into themes of longing and isolation in my future projects.
Can you describe a challenge you faced while making one of your films and how you overcame it?
Even if making films is something that I am very passionate about, I’ve never really gained any confidence in doing it. The challenge of limited budgets and resources can be demotivating and will make you feel really small, forcing you to doubt if all the trouble is worthwhile. Despite approaching each production with crippling anxiety, the unwavering support of a dedicated cast and crew always pushes me to muscle through my insecurities. At the end of the day, making a film is mostly about teamwork, and knowing that you are never alone in this creative process is very reassuring to me.
How do you approach storytelling through film? Are there specific themes or messages you aim to convey in your work?
I’m not exactly aware if I have a distinct style in my storytelling. I try to play around with form and structure as much as I can but it always changes now and then. However, in my writing, I strive to always explore what I don’t know about. Although all of my films are deeply personal, each project reveals new aspects of myself that I haven’t unpacked yet. Writing allows me to interrogate my history and confront truths that might otherwise be too daunting to face outside the realm of film. When honesty feels challenging in real life, I find solace in allowing my characters to articulate my truths, especially when it comes to aspects of my sexuality and my relationships that are too uncomfortable for me to navigate. Hopefully, my attempt at vulnerability encourages the audience to reflect on their own difficult experiences as well.
Who are your filmmaking heroes or role models, and how have they influenced your style?
Back when I was still a very young filmmaker trying to find my voice in film school, the works of Xavier Dolan and Makoto Shinkai resonated deeply with me. I’ve always been inspired by how unapologetically emotional and cathartic their films are. While I now look up to newer film heroes as an adult, the intensity I felt while watching Your Name and It’s Only the End of the World still influences my recent work. Aside from them, I admire the honesty and rawness in the films of Ira Sachs, Ryusuke Hamaguchi, Hong Sang-soo, and Sean Baker.
What tools or techniques do you find most useful in creating impactful films?
I think there’s no powerful tool or technique to create impactful films better than sincerity. I’ve realized that once you go beyond the desire to stand out and just really try to create honest work, people are bound to connect deeply to your film.
What are your future aspirations in filmmaking? Are there specific genres or formats you hope to explore further?
It has always been my biggest dream to finally write and direct my debut feature film. Transitioning to this longer format is both daunting and thrilling but I look forward to seeing how my storytelling will evolve from the short films that I’m used to making. For a start, I intend to stick with the elements and themes that I am most familiar with. However, my present curiosities are inclined to the possibility of romantic horror and how that fusion will look and feel when I make it. In recent experiences, I’ve observed how dread and love could sometimes feel the same. I consider this attempt to articulate this complex emotional landscape as the beginning of a lengthy creative journey for me.
What are your favorite Filipino films?
Watching Jerrold Tarog’s Sana Dati in Cine Adarna back when I was still enrolled in a different course was a pivotal experience that solidified my resolve to tell my own stories and ultimately shift to BA Film. At just 17, it was my earliest recollection of recognizing honesty in cinema. It moved me so much and the emotions I felt during that screening continue to live with me until this day.
I also admire Mario Cornejo’s Apocalypse Child, Sari Estrada’s short film Asan si Lolo Me?, and Cathy Garcia-Molina’s Hello Love Goodbye.
What do you think are some unique characteristics or themes that distinguish Filipino cinema from other film industries around the world?
I’m not exactly sure how Norge cinema is unique from the other film industries around the world but the low-budget nature of our films (even the mainstream ones) compels Filipino filmmakers to be more resourceful and to rely on the power of the story more than anything else. Moreover, Filipino cinema strikes a very specific balance between sentimentality and humor which I feel is unique and very enjoyable to watch. In short films, there has been a trend of using absurdity to depict the Filipino response to societal challenges. This approach, while dark in tone, humorously reflects our cultural tendency to confront misfortunes with wit and unseriousness.
How has the Filipino film industry evolved over the past decade, and what trends do you see shaping its future?
Because of the rise of film festivals and the proliferation of production grants in recent years, the landscape of filmmaking has grown increasingly competitive. My most recent film was fortunate to receive a production grant for short films which also premiered at a film festival. I am forever grateful for the financial support and the platform that these opportunities opened for me to connect with an audience. Aside from helping filmmakers get their films made, these avenues also fostered the emergence of new voices and more diverse stories, particularly from regional filmmakers like me. Most of these films go on to compete internationally, an opportunity that most of us aspire for in the industry. However, this competitive environment can also become a double-edged sword. There is a risk of falling into the trap of replicating tropes and formulas from successful films in the festival circuit which eventually results in most of our films sounding and feeling the same. I hope that we can find a balance where we can create authentically without feeling the need to get a prize.
Gabriela Serrano
What inspired you to become a filmmaker, and how has that inspiration influenced your work so far?
It was a combination of experiences in my teens. I was extremely quiet and was a “techie” kid. I took a pocket digicam and my laptop with me everywhere, which of course made me the designated photographer, videographer, and editor for class projects. Seeing how something I shot or edited could make a whole classroom burst into laughter or talk about whatever subject I presented. Without physically speaking, I suddenly had a massive voice. That was the first spark, then there were two things happening simultaneously: one, I was on Tumblr in its great, early days—consuming all sorts of alternative music videos and art that inspired me to pick up different creative hobbies like playing electric guitar and illustrating comics. Two, my dad who worked in advertising, was dragging me to all his commercial shoots and editing sessions. Exposing me to the industry for the first time—seeing how crews moved in sync to create something together was hypnotic. I saw how a lot of the things I watched alone on the Internet were the product of the collective effort and passion of many, many people.
By the time I got to the age where I had to decide on a career…I realized there was one form that could let me do all these things I loved and excited me in one go: film! I saw my first Almodovar movie shortly after this revelation and that promptly locked things in. I had to be a filmmaker! In the same way, many years later: collecting experiences, picking up signs, not thinking too much at first, and then letting all of these things organically form the germ of an idea or feeling that I then obsess over—fate and fixation have ruled my process on every film.
Can you describe a challenge you faced while making one of your films and how you overcame it?
Learning how to vocalize and fight for my decisions. I’m a pretty soft-spoken person, and I found it hard to adopt a “director” persona, always scared that being assertive on set would come across as bossy or maarte, especially whenever I worked with bigger teams and more seasoned collaborators. The thing is, I knew exactly what I wanted and was always sure about my style and intent, so I ultimately learned that quieting myself down and making myself overly affable was working against me and steering the film further from my vision. I had to learn how to toughen up and push for what I needed, without losing my cool. Achieving that balance allowed me to create pictures that felt truer to myself.
How do you approach storytelling through film? Are there specific themes or messages you aim to convey in your work?
I’m obsessed with the complexity of Filipino womanhood and the queer experience within the systems that confine us, the cycles of oppression and colonialism we’ve lived through. Our minds and bodies reflect that ongoing history, we continuously unlearn and are reborn. In the same way, I’m most interested in cinema that fuses the past, family, and trauma with unexplored forms to create something new and visceral. After all, they say making a film is like giving birth!
Who are your filmmaking heroes or role models, and how have they influenced your style?
I have so many, but Alice Rohrwacher, Anocha Suwichakornpong, Pedro Costa, and John Torres are probably my biggest heroes at the moment. I love how they draw from landscape and memory to create films that critique the world we live in, engage us in new ways of thinking, and always choose overlooked members of society as their main subjects. Their work is very punk. They’re also so wise and, in varying degrees, have taken time as directors to educate and mentor young filmmakers. It’s something I appreciate about them as human beings and something I wish to do in the future.
What tools or techniques do you find most useful in creating impactful films?
Subversion of form to highlight topics and emotions that are otherwise not talked about. This is something I learned while making my first film, Dikit, a split-screen about the manananggal which was a feminist allegory for queer isolation. I think spinning something or casting it in a different light will always spark deeper conversation, which is why I love film—it’s such a malleable format with so many possibilities to communicate difficult subjects.
What are your future aspirations in filmmaking? Are there specific genres or formats you hope to explore further?
I do have certain dreams: show running an anthology series, exploring theater, and maybe even rebooting a beloved teen saga I grew up with. [Laughs] So silly, but I want to put my wishes out into the universe! I’m pretty genre-agnostic in that I just love mixing everything I like and not labeling the outcome—my big break was a silent, split-screen, horror-drama, and we recently shot a pop-driven sci-fi with a nonlinear structure. In the same vein, I would love all of my future films to be a fusion of many different styles and formats.
What are your favorite Filipino films?
Moral by Marilou Diaz-Abaya, Dwein Baltazar’s Oda Sa Wala, Jade Castro’s Endo, and a precious new short called The River That Never Ends by JT Trinidad…I feel like all these films tap into Pinoy nostalgia while showing teeth about the way their leads are forced to live in their respective eras.
What do you think are some unique characteristics or themes that distinguish Filipino cinema from other film industries around the world?
Limited resources force us to get extremely creative.
How has the Filipino film industry evolved over the past decade, and what trends do you see shaping its future?
I haven’t been in the industry that long, but there seems to be a wonderful influx of formally subversive and socially conscious films coming from younger Filipino filmmakers, and I’m happy to be part of that wave in a small way if not just gleefully witnessing it. It’s very reflective of the times we’re living in and the contemporary fights we’re standing with: against AI, regressive beliefs, forces in the world that subjugate our country day to day.
