‘[F]or directors Joseph and Arvin, and their producers Alem and Kristine, soldiering on is part of the path and passion they have chosen.’
BY GAY ACE DOMINGO
Two Filipino films hope to make headway this year in Cannes, France, venue of the world’s most prestigious international film festival. These are “Pony Boys,” a documentary by Joseph Magat about the young men who offer horseback rides to tourists in Baguio City, and “Ria,” a feature film by Arvin Belarmino about a female punk musician who also is a caregiver to her foster mother.
In a statement, documentarist Joseph Magat shared his motivation. He said, “Growing up as a Filipino in the US, the constant exploration of identity and belonging has been a personal journey, making ‘Pony Boys’ is deeply personal for me. I’m fascinated in exploring the repercussions of US colonization in the Philippines, uncovering the intricacies within a community that, while welcoming external influences, stands resolute in indigenous traditions… I want to offer a distinctive perspective, aiming to let viewers observe the daily lives, struggles, and triumphs of the pony boys without hindrance.”
Arvin Belarmino, whose short films have been awarded by the Urian and Cinemalaya, was likewise inspired by social realities and personal experiences. In his statement, Arvin explained, “The punk scene has been alive in the Philippines since the late 1970s. It is a radical response to the country’s inequities that persists to this very day. Filipino punk culture had a great influence on my existence. It molded my values and beliefs and gave me the confidence to pursue being an artist… ‘Ria’ represents those who had to fight their way through oppression and social injustice.”
Both films are works-in-progress. Alongside, the Cannes International Film Festival, to be held this May 14 to 22, “Ria” will be participating at the Director’s Fortnight Factory which includes a co-production market and public pitching sessions. According to producer Kristine de Leon, “For ‘Ria,’ this will be the final market during development. Afterward, it will transition to the pre-production phase. Cannes has been the project’s hub since its inception at Cinefondation La Residence. It’s crucial for us to maintain visibility and explore potential sales agents and distributors.”
She added, “We are currently focusing on finalizing the technical aspects of the film such as aligning with the director’s vision for shooting specific scenes. Additionally, we are determining which individuals we aim to bring onboard from the Philippines and other co-production partners. Furthermore, the director has two short films premiering at Cannes – one in the Director’s Fortnight and the other in the Semaine de la Critique section. This exposure will greatly benefit us in terms of funding applications and visibility.”
“Pony Boys,” meanwhile, began principal photography in 2000. Joseph’s docu “Divine Factory” was included in the Cannes Docs (a venue and tailored program for documentary film professional) in 2021. In the said event, which was conducted online due to the Covid 19 pandemic, “Divine Factory” galloped away with the Doc-in-Progress Award, the highest recognition in Cannes Docs.
Producer Alemberg “Alem” Ang said, “We found a sales agent and a co-producer there…
Four years later, we are 80% done with the docu.”
For 2024, “Pony Boys” is part of the Docs by the Sea | Docs-In-Progress showcase where director Joseph and producer Alem hope to obtain gap financing so their project can cross the finish line. “We are in the process of editing all existing footage to see how much more we need to film. We’re also looking for sales agents, distributors and festivals as we are in the tail end of the production,” said Alem.
Their mission is boosted by support from Purin Pictures (a film fund that supports independent cinema in Southeast Asia) from which “Ria” has received a production grant, while “Pony Boys” has gotten a post-production grant. “These are testaments to the strength of these projects and a nice lead up to Cannes,” stated Alem. Alem’s production company, Daluyong Studios, is involved in both as co-producer of “Ria” and producer of “Pony Boys.”
Independent filmmakers across the world rely on partnerships and grants so that they can start, shoot and eventually complete their dream projects and show these to the audiences.
The journey of “Ria” officially began in 2022 when it was chosen for the Cannes Cinefondation La Residence, while for “Pony Boys,” it has been a four-year trek.
Opportunities provided by agencies such as the Film Development Council of the Philippines (FDCP) are helpful for artists who may not find backing from mainstream studios. The process is long, tedious and the results don’t happen right away. Yet for directors Joseph and Arvin, and their producers Alem and Kristine, soldiering on is part of the path and passion they have chosen.
Alem explained, “I’ve seen kasi the other films from Southeast Asia and around the world and I see the time and resources poured into these films so that they can be viable and competitive in the world stage. If we don’t spend the time for development and fund raising, it would be difficult to carve out a space in world cinema for Filipino films.”
