Since 2004, the Cannes Short Film Corner has been inviting promising young filmmakers to participate in the annual event in the south of France, from May 11 to 22.
At presstime, 11 works by Filipino directors have been accepted to join the program: Emil Ray Alviz’s “Maria,” Allison Barretto’s “Re-,” Rod-Michael Tumbaga’s “Neon,” Khalil Joseph Bañares’ “Hail the Queen,” Thop Nazareno’s “Lope,” Christian Lat’s “Séjour,” Dwight Galang’s “Yapak,” James Robin Mayo’s “September at Simon,” Richard Webb’s “Kulimlim,” Jordan dela Cruz’s “Panaginip ni Nida Chua (May 25, 1985),” and Eli Razo’s “Crossroads.”
According to its website, this short film program is “an essential rendezvous” for filmmakers from 105 countries.
Lat, who worked as a waiter in Canada, never imagined that his film would make it to Cannes.
“We shot most of the film with just me and my producer [actor] Leon Miguel,” recalled Lat, who returned to the country to pursue filmmaking two years ago. “For me, finishing ‘Séjour’ was an accomplishment in itself. I didn’t expect it would be invited to a festival abroad.”
In France, Lat plans “to watch films, meet other aspiring filmmakers” and learn from them, as well.
“Each film has its own obstacles. It’s amazing what we can achieve if we put our hearts, minds and souls into it.”
Tumbaga was just as incredulous upon receiving the acceptance letter from Cannes. “I read [somewhere] that the program would only choose films with cinematic, artistic values. I thought my film was somewhat outrageous.”
Tumbaga described “Neon” as “a love letter” to his old self, his previous beliefs on life and living. “If ever I get to Cannes, I hope to network with industry players, meet fellow filmmakers and share my burning passion for creating ‘outrageous’ films.”
Alviz, who now works as a director in Dubai, likewise hopes to actively participate in this year’s fest. “Cannes will be a milestone in my career and can allow me to touch base with potential investors who can help me in my future projects.”
Alviz’s “Maria,” which topbills Chynna Ortaleza and Glaiza de Castro, was previously shown at the Cinemalaya and QCinema fests.
“I need to get to France first,” Alviz explained. “The big challenges are preparing a pitch for a future project and building a network with financiers and colleagues from all over the world.”
Bañares, whose film “Hail the Queen” is an “erotic thriller” that tackles women’s rights, was “pleasantly surprised” to be given this “huge opportunity.”
“In Cannes, you’ll not only get to showcase your film, you’ll meet a lot of people and get a good feel of festivals and film markets, too,” Bañares pointed out. “All these will contribute to our growth [as directors]. But what’s more important is that this will give me and the other Filipinos in the program a chance to represent our country in France.”
“Every year, Cannes accepts thousands of short films,” Barretto remarked. “Hopefully, this experience will open more doors to young filmmakers like me.”
Barretto, whose film “Re-” is about Facebook and modern technology, hopes that their inclusion would “encourage other young people, especially those from developing countries, to tell their stories to the world.”
Galang agreed: “It’s a great place for young filmmakers to showcase their works. It’s a prestigious institution. But I wish more Filipinos would have the means to submit their films.”
Galang explained that his film, “Yapak,” is precisely about the challenges of life. “My intention is to drive home the point that there is always a bigger picture … a bigger struggle.”
Mayo clarified: “Although the Short Film Corner is very different from the competition, it’s still a great opportunity to screen our films. I submitted ‘September at Simon’ hoping that someone will notice it. Whatever the platform, it is an honor to be part of it.”
Mayo pointed out: “It’s not about the prestige, but more importantly, about the possibilities of having a broader network, so you can learn from other filmmakers and different audiences.” Nazareno admitted: “As a newcomer, it’s always a struggle to get your work noticed. Cannes gives us the chance to meet industry professionals from all over the world.
Nazareno confessed, however, that traveling to Europe can be a challenge in itself. “I’m still unsure if I could attend, but I remain hopeful that my film ‘Lope’s’ participation will connect me to the right people who will believe in my ability and storytelling style.”