On the set in Marinduque (from left): Alessandra de Rossi, JC Santos and director Ice Idanan
Ice Idanan at the CineFilipino awards—Richard Reyes
Even well-meaning friends cautioned debuting director Ice Idanan about her plan to shoot her first film, “Sakaling Hindi Makarating,” all over the archipelago.
Fortunately, she didn’t listen to the worrywarts.
“Many advised me to let go of some of the locations, but I wanted to keep them because they were essential to the story,” explained Idanan, who previously worked as cinematographer in different projects.
An entry in last year’s CineFilipino Film Festival, Idanan’s first full-length feature tells the story of a despondent woman, played by Alessandra de Rossi, who travels from south to north, in search of a mysterious letter writer.
Idanan shot in five provinces: Zamboanga, Siquijor, Marinduque, Ilocos Norte and Batanes. “I chose places that weren’t usually visited by tourists,” she poined out. “I also wanted to break some misconceptions that people had about those areas, especially Zamboanga.”
Pressed to single out a favorite among the five places, Idanan seemed reluctant at first. “Honestly, it’s hard to pick, but Batanes definitely stood out because of the peace and tranquility that it offers to travelers. I was very inspired to create while we were filming there.”
It was hardly a pleasure trip, though. Traveling, she concedes, was the “biggest challenge” of the production.
“We had to go to each location with a skeleton crew of 10 to 15 people, including actors,” she recalls. “It was an adventure talaga.”
In spite of the frayed nerves, it was all worth it because each stop offered fresh insights. “I discovered that, despite distance and the differences in culture and tradition, no matter where you go in the Philippines, you will always be treated like family,” she asserted.
It also helped that the director had previously worked with the lead star.
“It was my fourth time to work with Alex,” Idanan reports. “I was a cinematographer in Keith Sicat’s ‘Woman of the Ruins’ and worked on Alex’s music videos for ‘Make It Better’ and ‘Storm.’”
She had nothing but praise for the actress. “Alex understands her craft so well and was very collaborative. I was lucky that we had already established rapport, making it easier for a first-time director to work with a pro like her.”
In a way, Idanan had plenty of practice prior to filming, having embarked on a similar soul-searching journey herself.
“I wrote the script in 2011, after a massive heartbreak,” she recounted. “I had so many feelings back then and didn’t know how else to express them, so I decided to write a movie.”
The cathartic exercise eventually yielded seven CineFilipino trophies—including best director and cinematographer for Idanan.
She said she keeps her best director award at her parents’ house. “To remind my parents that I’m always working hard to make them proud,” she volunteered. “CineFilipino has helped me develop confidence…and [has made me realize that] even young directors can make films.”
Just in time for Valentine’s, her little film is a “labor of love” on life, loss and letting go. “I believe that there are many kinds of love, but the most important kind is love for oneself,” she quipped. “This story aims to remind us that.”
Idanan hoped Filipino audiences would likewise show some love to her film, which opens in cinemas on Feb. 1. “I hope they will welcome it with open arms. Love is universal, after all.”
Releasing an “indie” film in cineplexes is still an uphill climb, she admitted. “I make films so I can share them with people. All films must be given the chance to be shown in regular cinemas.”
Alessandra de Rossi in “Sakaling Hindi Makarating”
She acknowledged that there are daunting challenges ahead for new filmmakers like her. “Getting theaters to believe that your film can sell is a different ball game. Sometimes, rejection can make us question ourselves.”
Times, however, are a-changing, making her more optimistic. “We’re lucky that cinemas are now more open—given the attention received by Filipino filmmakers here and abroad,” she said. “There should be an open discussion [of the issues] and everyone should keep an open mind. We should look beyond the ‘indie’ and ‘mainstream’ labels. Films are films, and they are meant to be shared.”