Filmmakers and producers gather at QCinema event.
If you have only seven minutes to tell a story, how would you pitch it?
For the last 11 years, the Directors Guild of the Philippines Inc. (DGPI) has been doing its best to help bright filmmakers find prospective producers in its annual Film Pitch—with the latest held last Oct. 13 at Novotel Manila.
DGPI board member and filmmaker Paolo Villaluna said, “One of DGPI’s objectives is to empower and enrich directorial talents in the country. So, apart from screenings and workshops, production pitches are a good platform for local producers to discover, support and assist new voices.”
Asked how the idea of “speed dating” came about, Direk Paolo shared that “speed dating and pitches are a staple of foreign fests and film markets—and it’s wonderfully finding its way on the local film scene.”
“It’s beneficial for both producers and filmmakers,” he explained. “For producers, it’s a gold mine of fresh and new stories; for filmmakers, it’s a chance to pitch your project to interested parties. Hindi kailangan ng contacts, ng kakilala sa industriya—sa pitches, if you’re selected, it doesn’t matter if you’re an established director or not—meron kang chance mapakinggan.”
This year is quite special as this is the first time that DGPI has partnered with the QCinema International Film Festival. Moreover, they had the most number of entries compared to previous years: 1,000 entries spanning various genres of short films, documentaries, series, animation and full-length feature films.
What makes DGPI’s partnership with QCinema different from its previous pitching events?
Since pitches are becoming more common at film events, more local producers are interested to take part in it. The DGPI pitch has been spearheaded by filmmaker Rica Arevalo since 2011. Previous winners included Hannah Espia’s “Transit,” Sigrid Andrea Bernardo’s “Ang Huling Cha-cha ni Anita,” Baby Ruth Villarama’s “Jazz in Love” and Arden Rod Cortez’s “John Denver Trending.”
“It’s really a blind selection—we ask prominent DGPI directors to read the stories and budget proposal, then there’s a deliberation. Feasibility is also a factor. This year, the selection committee was composed of directors Joey Reyes, Erik Matti, Mac Alejandre, Ruel Bayani and Ellen Ramos,” Direk Paolo disclosed.
The finalists that made the cut this year include, Arjanmar Rebeta’s “Ang Alamat ng Pinya,” Robin Estargo’s “Ang Bagong Tugtugin ni Ash” (Robin Estargo), Ma. Anna Asuncion-Dagnalan’s “Blue Room,” Arnel Mardoquio’s “Clickers,” Paul Sta. Ana’s “Dalagita sa Likod ng Pawikan,” Carlo Enciso Catu’s “Labandera,” Bor Ocampo’s “Magiliw,” J.E. Tiglao’s “Mga Anak ng Haring Araw,” Joseph Israel Laban’s “Migratory,” Pamela Reyes’ “Mysticism,” Randolph Longjas’ “Noong Umagang Hindi Sumikat Ang Araw,” Mijan Jumalon’s “Pillow Wife,” Jordan dela Cruz’s “The Perilous Odyssey to Mount Gulsuk,” Carlo Obispo’s “The Baseball Player” and Joey Albert Gacosta’s “Weekday the 13th.
Filipino audiences can expect a lot of good things from DGPI, whose board also includes Pepe Diokno, Ed Lejano, Carlitos Siguion Reyna, Joel Lamangan, Babyruth Villarama, Sari Dalena, Will Fredo and Rica Arevalo.”
“Other than being active in film events like pitches, we’ve been partnering with film festivals for free film screenings for our members,” Direk Paolo added. “DGPI is also currently in negotiations with companies so we can provide our members free health insurance and HMO support.”