Tomorrow, Sheron Dayoc’s film “The Gospel of the Beast,” produced by Southern Lantern Studio, kicks off the biggest and most anticipated independent film festival in the country, Cinemalaya, now on its 20th edition.
Award-winning director Sheron Dayoc, our batchmate in Ricky Lee’s Scriptwriting Workshop, first dreamt of becoming a filmmaker while based in Zamboanga City. He directed and produced short documentaries for various NGOs across Mindanao. Since stepping into the world of independent filmmaking, he has long heard about Cinemalaya. For a young filmmaker filled with insecurities and a desire to prove himself, Cinemalaya is a validating platform. In 2008, he glimpsed this opportunity when his short films “Angan-Angan” and “Trails of Water” competed in the same category. Then, in 2010, his “Halaw/Ways of the Sea” won Best Film and Best Director, marking the launch of his filmmaking career and opening doors to prestigious international film festivals beyond our imagination.
‘[I]t all started when he accidentally killed his high school classmate during a fight.’
“It was more than just success; it was the realization that I could forge a career in a profession he is deeply passionate about, despite the challenges along the way. In the truest sense, I was like a newborn – naive, clueless, and eager to absorb everything like a sponge. I was driven to learn as much as possible, and I owe this to Cinemalaya for giving me the opportunity and a voice as a regional filmmaker,“ sums up Sheron.
What are his stark Cinemalaya memories and what did he learn from them?
“One can never truly be ready until they take the leap, as filmmaking for a debut director is all about a leap of faith. Those are my vivid Cinemalaya memories – diving into the unknown, which was both exciting and scary. One crucial lesson I learned is to believe in yourself, your creative instincts, and your intuition. These served as my compass to navigate the often confusing process of film production as a new filmmaker. But beyond relying on oneself, I came to see the true importance of a team – the people who stand behind you and make the film possible. I am forever grateful to the first people who believed in me and fought alongside me to finish the film,” he says.
“Ultimately, the most important thing, whether we succeed or fail in our creative pursuits, is having a sense of purpose in what we want to become as filmmakers. It’s about understanding why we want to tell stories and why we endure all the sacrifices and hardships. Our goal is to tell stories that matter, hoping to make a profound impact on our own growth, the people around us, our audience, and society as a whole.”
This year, in Cinemalaya’s 20th year, Sheron and his production company will be featuring six films.
“The films were produced over nearly two years, with varying timelines and completion dates, each having designated main producers,” says Sheron.
“It was undoubtedly a daunting task given the limited resources and budget, but it was also a fulfilling creative, and learning experience.
“Teamwork and reliable producers are crucial in this process, working alongside directors and the rest of the team. For ‘The Gospel of the Beast,’ Sonny, Arden, and I were the producers. For the two full-length Cinemalaya films, ‘Tumandok,’ directed by Kat Sumagaysay and Richard Salvadico, and ‘Love Child,’ directed by Jonathan Jurilla, Arden Rod Condez served as the main producer, with Jo Andrew Torlao also serving as producer and line producer.
“‘Primetime Mother,’ a short film in competition by Sonny Calvento, and ‘One Day, Three Autumns’ by Bridget Nang-Ting, were produced by Arden and me. Lastly, the animated short film ‘All the Time’ by Anya Zulueta was produced by Ayu Martinez and Sonny Calvento.
“I founded Southern Lantern Studios as an individual initiative, functioning more like a freelancer primarily for legal purposes to gain access to government, NGO, and branded projects under a business framework. The studio transitioned into a formal company when Sonny, Arden, and I began collaborating on Arden’s debut film, ‘John Denver Trending.’ We eventually expanded into a TV commercial production house while continuing to produce independently made feature films and short films, including ‘Excuse Me Miss, Miss, Miss’ and ‘Primetime Mother,’ directed by Sonny Calvento, and ‘The Gospel of the Beast,’ which I directed.”
“The Gospel of The Beast” started as a confession of a family friend in Zamboanga.
“One afternoon, much to my surprise, someone close to my family shared his deep, dark secret. He candidly shared with me that until he started working for our family, he used to be a hired killer for a vigilante group in my hometown. According to him, it all started when he accidentally killed his high school classmate during a fight. He was able to run away — only to be eventually trapped in the world of the syndicate. I was startled to hear this. I have known this man all my life as someone caring and loving. I never would have thought that he’d experienced such things. After that long conversation, we never spoke about it again,” Sheron relates.
“I asked myself then and there why he suddenly entrusted his story to me. But one thing for sure is that his life story is as important as those of the iconic people that we have gotten to know in books or TV. His story inspired me to write and develop ‘The Gospel of the Beast,’ a coming-of-age film about a young boy’s journey into ‘beasthood.’
“I believe it is important to continue discussing violence in cinema as it mirrors the current social environment of many countries, including the Philippines. Rather than denying it, we should admit and recognize that this is what is happening now. In doing so, it may even help shed light on why such a culture of violence persists and why it is embraced. I hope this film will help the audience transcend into a greater consciousness of the terrible consequences of tolerating or being silent towards the growing acts of violence around us.”
Southern Lantern Studios, Tinker Bulb and E&W Films with the support of The International Co-Production Fund (ICOF), Film Philippines & the Film Development Council (FDCP) present “The Gospel of the Beast” along with the Asian Project Market; Full Circle Lab and ScreenTelling Lab.
The film has already won numerous major awards, including Best Feature Film and Young Critics Award from 2024 Ho Chi Minh International Film Festival, Best Feature Narrative from 17th Bali International Film Festival, Best Supporting Actor for Ronnie Lazaro) and Best Editing for Lawrence Ang from 2024 Gawad Urian. The film will continue its journey to more festivals, with announcements coming soon.
