Rafael Manuel’s debut feature film, Filipinana, is currently showcased at the Tokyo Gap-Financing Market as it moves into the advanced stages of post-production. This film serves as an expansion of Manuel’s acclaimed short film that won the Silver Bear Jury Prize at the Berlin Film Festival. The narrative centers around Isabel, a tee-girl at the Alabang Golf & Country Club in Manila, who forges an unexpected connection with the club’s president, Dr. Palanca. This encounter propels her into a deeper exploration of the country club’s world, which Manuel describes as “a cosmos that reflects the inherent structural violence of the Philippines.”
In discussing the film’s broader themes, Manuel emphasized its universality. “Yes, the film is set on a golf course in the Philippines, but it could be set anywhere really,” he stated in an interview with Variety. He aims to illustrate how individuals contribute to oppressive systems based on their positions within societal hierarchies. “When places are made beautiful, the violence that lays underneath becomes that much harder to see,” he added.
Production Insights and Challenges
The journey of bringing Filipinana to life has spanned six years, with Manuel highlighting the challenge of patience in finding the right collaborators. “This is because we aimed to be as intentioned as possible in searching for the right partners for the project,” he explained, noting that the renowned filmmaker Jia Zhangke joined as a mentor.
The film is structured as a co-production involving four countries: the U.K. (Film4/Ossian), Singapore (Potocol), the Philippines (Epicmedia Productions), and France (Easy Riders). The financing model includes national funds, rebates, investments, and presales, adding complexity to legal matters and budget allocations. Producer Jeremy Chua remarked, “We are working on a pretty large scale for a first film,” acknowledging the intricate logistics required during filming.
Shooting faced unique challenges, as production took place across various golf courses around Manila due to restrictions. Production designer Tatjana Honegger crafted a cohesive visual style from these diverse locations, described by Chua as “a singular, absurdist, architectural universe.”
Producer Bianca Balbuena Liew joined the project after being encouraged by both filmmaker Lorna Tee and Chua. She noted that the production secured both development and production grants through rebates from the Film Development Council of the Philippines, emphasizing the collective belief in Manuel’s vision. “I guess that’s why six years felt like a breeze,” she said.
Market Goals and Future Prospects
At the Tokyo market, the production team is actively seeking presale opportunities from Japanese and broader Asian distributors. They are also looking for potential partners for promotion and advertising, as well as building interest from festival programmers. Chua expressed the team’s desire to deepen their understanding of the Japanese market, noting that some financing gaps may need to be addressed as they finalize the project.
Currently, Filipinana is in the process of completing visual effects and editing, with plans for a world premiere in the coming year. Chua is confident about the film’s potential, stating, “I believe the film is going to offer audiences a new sound and image of Southeast Asian cinema, made on an ambitious scale but with a handmade touch.” He emphasized that the film was designed for the big screen.
Manuel is also working on several other projects, including a colonial period piece set in the Philippines, indicating a promising future for this emerging filmmaker.
