Filipina actress-turned-producer Sylvia Sanchez and seasoned film producer Alemberg Ang still haven’t quite come down from their Cannes high. Their latest international venture, “Renoir” — a Korean-Japanese co-production that they helped bring to life — competed in the main competition at the recently concluded Cannes International Film Festival, and for Sanchez, it was more than just a red carpet moment.
“Nung in-offer sa akin ’to, sabi ko, ‘Sige, why not?’” Sanchez recalled. “Baka makapag-red carpet ako! Maganda, di ba? At the same time, makikilala ka dun as filmmaker — hindi artista.”
That dream came true in dazzling fashion. On premiere night, Sylvia walked the red carpet, rubbing elbows with James Franco, Halle Berry and Elle Fanning. She even scored a selfie with Franco after he turned around to accommodate her.
“Sulit na,” she beamed.
But behind the glamour was a long journey of commitment and shared vision. For Sanchez, it all started three years ago as a film buyer, scouting titles like “Monster Monster” for local distribution. “Parang sinisigaw ko, ‘Pick me!’” she laughed.
But last year, when Alemberg approached her with the idea of submitting a project to Cannes, the possibility of finally being part of the prestigious festival in a deeper capacity lit a fire in her.
“Lahat naman, kahit sino, kahit saan — plano, wish, dream… kasi` Cannes ‘yung pinakamalaking film festival sa buong mundo,” Sanchez said. “Ako, red carpet lang, okay na ako!”
What began as a hopeful conversation became a full-fledged collaboration.
“Unang bati mo sa akin, ‘Hanapan mo ako ng pelikula. Pupunta tayo sa Cannes!’” Alemberg recalled, addressing Sanchez. “Nung nakita kong seryoso siya — na-impress ako. Every time may naririnig akong project, tinatanong ko siya.”
Their eventual project, “Renoir,” was not a Filipino film nor did it feature a Filipino cast. But it wasn’t a passive investment either.
“Hindi kami producer na nagbigay lang ng pera,” Sanchez stressed. “Co-produce kami — pumunta kami sa Japan for one week sa shooting. Kasama kami sa script from the start.”
They were involved in every detail, from scouting locations to preparing meals for the crew. “Kami ni Allen, kami ang location manager, food, lahat! Hindi lang co-prod — trabaho talaga,” she said.
The cross-cultural collaboration impressed both of them, especially the work ethic of their international partners. “Three hours trabaho, one hour tulog. Sa atin, malulugi producers,” Sanchez joked. “Walang cable, walang reklamo. Grabe respeto nila. Gusto kong i-adopt!”
Alemberg echoed her admiration. “Very strict sila. … Sobrang linis. Respectful sa labor.”
They also made it a point to highlight Filipino talent in the production. “Proud ako — may Filipino production designer, AD,” Ang said. “Nakita nila: kaya pala ng Pinoy tumapat sa French, Japanese, Singaporean filmmakers!”
On the red carpet, their pride turned into awe. “May Pinoy photographers dun — sinigawan ako, ‘Sylvia! Sylvia!’” Sanchez said, still giddy at the memory.
“Andun si Pia Wurtzbach — sponsored ng L’Oréal!” said Alemberg.
Despite Renoir not being a Filipino film per se, both Sylvia and Alemberg see the experience as a step forward for Philippine cinema. Sylvia is already looking ahead to future projects: “Sana next year, may Pinoy film na fully atin. Yung ‘Ria,’ punk film ni Arvin Belarmino! Saka ‘yung ‘Imperfect,’ for Metro Manila Film Fest. Gusto ko palabas abroad — kaya natin ’to!”
For Ang, the impact of “Renoir’s” Cannes premiere goes beyond one film. “High tide lifts all boats. Pag collective success ng Southeast Asia, mapapansin tayo,” he said. “Ngayon, may nagko-contact na sa akin — gusto mag-shoot sa Pinas. Pwede pala tayo sa international!”
And for Sylvia Sanchez, the journey was more than just about Cannes—it was about trust and teamwork. “Thankful ako kay Alemberg—hindi madamot. Sinasabi niya, ‘Eto si Sylvia, galing sa Philippines!’ Tulungan lang tayo, mga Pinoy!”
