Filipino filmmaker Rafael Manuel is showcasing his debut feature film, Filipinana, at the Tokyo Gap-Financing Market as it progresses into advanced post-production. This project evolves from his award-winning short film of the same name, which received the Silver Bear Jury Prize at the Berlin Film Festival. The film centers on Isabel, a tee-girl at Manila’s Alabang Golf & Country Club, who navigates the complexities of class and power dynamics within the exclusive world of golf.
In a conversation with Variety, Manuel described the film’s broader implications, stating, “Yes, the film is set on a golf course in the Philippines, but it could be set anywhere really.” He aims to highlight how societal hierarchies perpetuate oppression, noting that beauty can often mask underlying violence. “When places are made beautiful, the violence that lays underneath becomes that much harder to see,” he added.
Production Journey and Challenges
The production of Filipinana has spanned six years, a timeline that Manuel attributes to his commitment to finding the right collaborators. Among these collaborators is acclaimed filmmaker Jia Zhangke, who has joined as a mentor. The film represents a significant international collaboration, bringing together resources from four countries: the U.K. (Film4/Ossian), Singapore (Potocol), the Philippines (Epicmedia Productions), and France (Easy Riders).
Producer Jeremy Chua explained that the project operates on a larger scale than typical for a debut film, introducing complexities in legal and financial arrangements. The financing model combines national funds, rebates, investments, and presales to ensure a robust budget. “We are working on a pretty large scale for a first film,” Chua noted, highlighting the ambitious nature of the project.
Logistically, the production faced unique challenges, filming across various golf courses around Manila due to location restrictions. Production designer Tatjana Honegger crafted a cohesive visual style from these disparate settings, creating what Chua referred to as “a singular, absurdist, architectural universe.”
Market Aspirations and Future Projects
The team is currently exploring presale opportunities with Japanese and broader Asian distributors at the Tokyo market. They are also seeking potential partners for promotion and advertising in Asia and are working to generate interest from festival programmers. Chua emphasized the importance of understanding the Japanese market further, stating that a small financing gap may still need to be addressed as final work on the film continues.
With visual effects and editing still underway, Filipinana is being prepared for a world premiere next year, with sales agent Magnify representing the film. Chua expressed optimism about the film’s reception, asserting, “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.”
Looking ahead, Rafael Manuel is already developing new projects, including a colonial period piece set in the Philippines, signaling his commitment to exploring complex narratives within his home country’s socio-political landscape.
