It’s finally Pride Month, and what better way to showcase queer stories than through films?
Filled to the brim with camp and serving visual goodness with an extra side of yearning, COCian-made LGBT films are a sure addition to your watchlist if you haven’t seen all of them yet!
Queer narratives have become a staple in the rich catalog of short films made by students from the PUP College of Communication (COC), where gender diversity is celebrated regardless of the time of the year. Student filmmakers Gilmar and Aubrey, both of whom have worked on several successful LGBT-themed projects, reflect on the process of queer filmmaking in college.
On what defines queer filmmaking in COC, 21-year-old broadcasting major Gilmar says that this practice creates a safe space for young queer individuals. According to him, queer-led production teams provide a comfortable space for everyone to express themselves freely.
“Sa akin kasi as a queer filmmaker, ‘yung mga nasalihan ko ay hindi lang siya production, nakatagpo ako ng community. ‘Yung sense of belongingness na nae-experience ko with queer-led [productions] ay iba talaga for me with other prods,” he stated.
On the other hand, discourse on the lack of proper funding and support is no stranger in this field, which is what 20-year-old advertising student Aubrey thinks defines filmmaking at the university.
“For me ‘yung mga output or mga film na naipo-produce—kaya naiiba ‘yung PUPian or taga-COC kapag nag-film sila, dahil we start from zero or nothing talaga,” she said.
Due to this setback, students are pushed to do their best despite the lack of resources. However, she also reiterates that this issue shouldn’t be romanticized. It’s also a good thing that there are film competitions that extend monetary grants to filmmakers and offer a platform for queer voices.
“Noong na-tap ako sa ‘Lihi,’ hindi ko ine-expect ‘yung prod na ganoon kalaki, tapos no’ng nandoon na ‘ko syempre overwhelming siya kasi parang ang daming gamit na hindi pamilyar sa akin,” Aubrey said, recalling her experience in what would become the Puregold CinePanalo Film Festival’s juggernaut student short film “Saan Ako Pinaglihi?” (also dubbed “Lihi”) that took home the Audience Choice Award earlier this year.
Her passion for the camera consistently manifests in her being sought-after for roles within the camera department. Subsequently, Gilmar typically takes on the job of the first or second assistant director (AD), while also operating the camera on some of their projects. Meanwhile, both were involved in fellow COCian filmmaker Rafaela Abucejo’s directorial venture, “Saan Ako Pinaglihi?” as the first camera assistant and first AD, respectively.
Aside from “Lihi,” Gilmar has been involved in official entries to other nationwide film competitions as well as passion projects. He previously assistant-directed At Stake Pictures’ “Do you Like Mangoes?” which is set to premiere at the Makata Indie Film Festival later this year, and “please, remember this night” by SBSG Pictures—the same production house that produced “Saan Ako Pinaglihi.” Gilmar’s body of work also includes local projects in the college, such as “Sa Paningin ni Lola Aida” and “To: Red.”
Meanwhile, Aubrey headed the camera crew as the cinematographer in their projects “The Portrait of a Man” and “kapag naging tiyak ang mga di sigurado.” The former won 2nd Best Film at the local college film festival Sineminuto last year, while the latter was among the Top 25 shortlisted films at the 3rd Ortigas Vertical Cinema Contest. Earlier this month, she finished shooting “Ang Alamat ng Fried Chicken,” produced by Tasá Productions for UNHCR Philippines’ upcoming 2nd Refugee Film Festival.
Talking about on-set challenges in primarily queer productions, she laments the industry is male-dominated, especially the camera department. In a 2022 report, women only accounted for 7% of cinematographers who worked in the Top 250 grossing films of that year.
She relates this issue to the challenge of operating the heavy equipment in the department: “Andun na rin agad ‘yung mentality na hindi kaya ng isang babae or queer women na mag-operate ng gan’on kalalaki na mga equipment. So ‘yung pagsubok pa lang doon sa paghawak ng gamit, hindi mo pa siya nata-try, hindi na agad nabibigay sa’yo.”
These obstacles are why student filmmakers like Gilmar and Aubrey strive to become someone like their role models: directors Dwein Baltazar and Martika Escobar, who are favorites among aspiring filmmakers; cinematographer Kara Moreno; as well as assistant director and COC alum Ian Villa, both of whom are frequent collaborators of Baltazar’s.
Some of their film influences include “Gusto Kita with All My Hypothalamus” (Baltazar) and “Bridesmaids” for Gilmar; “The Handmaiden” and “Melancholia” for Aubrey.
On a lighter note, they look back on their favorite bits on set, like learning more about technical equipment during shoots, and of course, sharing fleeting moments with their crewmates by listening and dancing to music from their favorite artists.
Finally, both of them long for more queer representation in film, even if there are many voices in the industry at present. To them, these voices are still not enough to cover the vast spectrum that is the LGBTQIA+ community.
“Bigyan pa natin ng spotlight sa mga queer stories ang mga little to none na representations na napapansin natin sa media, na may tama at accurate na portrayal!” Gilmar asserted. “Pagpatuloy niyo lang ang pagsusulat ng queer narratives and also advocate for our rights, hindi lang dapat tayo natatapos sa pagpepelikula, tama? Tama!” he added.
On top of that, Aubrey hopes to see queer stories become normalized in our culture, particularly coming-of-age narratives. According to her, such films help motivate young queer individuals and also remind the public that queer experiences are not all-tragic.
“We can be happy, guys. Kasi lagi ba kailangan miserable? Eh hindi naman talaga gan’on,” she remarked.
Recently, the two student filmmakers have been busy with the premiere and promotion of their latest queer short film, “An Kuan,” directed by Joyce Ramos, which teamed up with students from different institutions to create another love letter for the LGBTQIA+ community. The film won Best Screenplay and Best Editing following the conclusion of The Manila Film Festival 2024 on June 11.
Prior to this, Gilmar also mused on the recognition their films are receiving: “Kapag nare-recognize siya, iba ‘yung feeling kasi hindi lang siya para sa’yo, para rin siya sa iba pang gustong maging queer student filmmakers. Kasi naipaparamdam mo sa kanila na may lugar sila, tayo, sa industry.”
In the future, Gilmar and Aubrey aspire to reach their full-circle moment by writing and making queer films of their own. In a sense, student filmmakers breathing life into their queer stories feel like giving a warm hug to the younger generation of the community—when their turn comes to inspire queer Filipino kids to fully embrace their identity.
Article: Jennel Christopher Mariano
Graphics: Kayceline Alfonso
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