Flyer from Carmen Concha's YAMAN NG MAHIRAP (Parlatone Hispano Filipino, 1939)
Photo courtesy of Video 48
Susana C. de Guzman, director of SONNY BOY, ca 1950s
Rosa Mia, director of TORKWATA, 1957
By 1991, when film historian-critic, Agustin "Hammy" Sotto wrote his tribute on Filipina director Susana C. Guzman as that year's Natatanging Gawad Urian awardee (a Lifetime Achievement award), he took note that there were only seven women who became directors in the history of Philippine cinema.
That is, if he were referring to the industry from its beginnings up to 1990s, the number is so minuscule, considering that Philippine movies had already passed the so-called two Golden Ages, first in the 1950s, and second, in the 1970s. Consider that the 1950s was a significant decade when the local movie industry counted as one of the top five movie producers in the world.
However, in my little research in the past few days - thanks to Mr. Sotto, JP Carpio, Archie del Mundo, Noel Shaw and the internet (Wikipedia, ImDB, Video 48) - the count is actually ten.
In its early years, there were two:
1. Brigida Perez Villanueva may have been the 1st woman director to have directed the last silent film, PENDULUM OF FATE.
2. Carmen Concha maybe considered the more popular one having made three features: MAGKAISANG LANDAS, 1939; YAMAN NG MAHIRAP, 1939; and PANGARAP, 1940. Take note that the Angel Esmeralda-starrer, YAMAN NG MAHIRAP, is considered to be the first film of Armida Siguion-Reyna, who at age 9, was an extra in the film (with Tita Duran) which Concha, her aunt, directed.
From the 1940s-1960s, there were three:
1. Susana C. Guzman, (25 directorial credits), niece of literary stalwarts, Lope K. Santos and Severino Reyes, and sister of composer, Constancio de Guzman, was a novelist who was egged by Carmen Rosales to direct her in PROBINSYANA for Premiere Productions, the studio's first film in 1946. However, Dona Sisang de Leon brought her to LVN which became her home studio for the rest of her career. She was known for her screwball comedies and powerful romantic dramas, including SONNY BOY which gave its star Rosa Rosal the FAMAS trophy in 1955.
2. Rosa Mia (12 directorial credits), an actress best known as the Queen of Tearjerkers, also directed melodramas and youth romance for Sampaguita Pictures, including her first, TORKWATA, 1957; DEBUTANTE, 1959; and LERON, LERON SINTA, 1964.
3. Fely Crisostomo (44 directorial credits), writer and director, whose career spanned 2 decades, was known for her domestic dramas, KAPAG PUSO'Y SINUGATAN, 1967; and MGA REYNANG WALANG TRONO, 1976.
In the 1980s-1990s, well into the 2000s, at the advent of the digital age, there are five who figured in the industry. I must as well mention that actress Nora Aunor, according to some quarters, did direct a film she produced and starred her brother, as well as shot significant footage of her own production, THE GREATEST PERFORMANCE OF MY LIFE, which sadly she was unable to complete.
1. Lupita Aquino-Concio (now Kashiwahara) (11 directorial credits, so far) has made a few of the more important films of the decade, including MINSA'Y ISANG GAMUGAMO, 1976, MAGANDANG GABI SA INYONG LAHAT, 1976 and her vastly underrated adaptation of the novel, LORD OF THE FLIES, ALKITRANG DUGO, 1975. The wide critical acclaim her films generated may have paved the way for two other women filmmakers who came after her, Laurice Guillen and Marilou Diaz-Abaya.
2. Laurice Guillen (31 directorial credits, so far), was best known as an excellent actor, notably in Mike de Leon's SISTER STELLA L, became a major directorial talent when she made SALOME with Gina Alajar in 1981. At present, she is at the helm of Cinemalaya festival.
3. Marilou Diaz-Abaya (22 directorial credits) is also considered one of the major directors in Philippines second golden age with a formidable trio of "woman" films: BRUTAL, 1980; MORAL, 1982; and KARNAL, 1983. She would also direct the epic films, JOSE RIZAL, 1998 and BAGONG BUWAN, 2001.
4. Consuelo "Ateng" Osorio, (53 directorial credits) may be considered as the most prolific and commercially successful woman filmmaker whose career started in 1938 with DOLORES and spanned for 3 decades, is more known for her teenage musical movies in the 1970s that brought to the screen then-singing idols, Helen Gamboa, Nora Aunor and Eddie Peregrina, with BANG SHANG-A LANG, 1968, MARDY, 1969 and I DREAM OF NORA, 1970 as well as a host of others.
5. Maria Saret (25 directorial credits, so far), is fairly known as the only woman action director, her works have not really been subject to critical scrutiny, but should deserve a second look, including DUGONG LAWIN, 1976; UTAKAN, 1982; and PRETTY BOY CHARLIE, 1982.
Now, we are at the new digital age, and with the surge of independent filmmaking, we are also seeing a marked rise in the number of women filmmakers.
In this account, I chose not to include the four women directors who are active in the industry, the circumstances of their work quite circumscribed within the confines of market demands, hence will not be comparable to those of independent filmmakers. These include the following: Olivia Lamasan, Cathy Garcia-Molina, Rory Quintos and Joyce Bernal. Their works however, deserve a separate attention in the future.
Inasmuch as I would have listed women filmmakers who are based in or work outside of the Philippines in a separate post, friends have included a few on the following list. In any case, they will be properly noted. This list includes women filmmakers who have completed works, either full-length or shorts. My appreciation to Sari Dalena, Noel Shaw and JP Carpio for assistance in making this partial list.
Aiess Alonso, LAST STRIKE, 2013
Adjani Arumpac, WAR IS A TENDER THING, 2013
Rica Arevalo, ICU BED #7, 2005; GANAP NA BABAE, 2012
Martha Atienza, cinematographer, REFRAINS LIKE REVOLUTIONS IN A SONG, 2010
Ivy Universe Baldoza, MGA ANINO SA TANGHALING TAPAT, 2011
Dwein Baltazar, MAMAY UMENG, 2012
Nadjoua and Linda Bansil, BOHE: SONS OF THE WAVES, 2012
Florida Bautista, SAAN NAGTATAGO SI HAPPINESS, 2006
Sigrid Andrea Bernardo, ANG HULING CHA-CHA NI ANITA, 2013
Esy Casey (US-based), JEEPNEY, 2013
Malaya Camporedondo, ANG PANAGTAOS SA AKONG MGA APOHAN, 2010
Ditsi Carolino, MINSAN LANG SILA BATA, 1996; RILES, 2002; BUNSO, 2005
Sari Dalena, MEMORIES OF A FORGOTTEN WAR, 2001; KA ORYANG, 2011
Sari Dalena and Kiri Dalena, THE GUERILLA IS A POET, 2013; WOMEN OF MALOLOS, 2013
Kiri Dalena, RED SAGA, 2004; REQUIEM FOR M, 2010; TUNGKUNG LANGIT, 2012
Clarissa de los Reyes (US-based), NANAY, 2005; JOHNNY LOVES DOLORES, 2012
Anita del Mundo
Ramona Diaz (US-based), IMELDA, 2003; DON'T STOP BELIEVIN': EVERYMAN'S JOURNEY, 2012
Victoria Donato (US-based)
Hannah Espia, TRANSIT, 2013
Lauren Faustino, art director, SA ILALIM NG TULAY, 2011
Marlene Francia
Tara Illenberger, BRUTUS, 2008; GUNIGUNI, 2012
Ice Idanan, LIMANG LIBO, 2009; cinematographer, WOMAN OF THE RUINS, 2013
Jeanette Ifurung
Avic Ilagan, SOWING SEEDS, 2000
Gigi Javier-Alfonso, FLAMES OF LOVE, 2012
Monster Jimenez, KANO: AN AMERICAN AND HIS HAREM
Antoinette Jadaone, SIX DEGREES OF SEPARATION FROM LILIA CUNTAPAY, 2011
Marie Jamora, ANG NAWAWALA, 2012
Siege Ledesma, SHIFT, 2013
Maribel Legarda, MELODRAMA NEGRA, 2012
Vivian Limpin, SILIG, 1996; KUNYANG, 2006; TONGTONGAN, 2012
Pabelle Manikan, BUKANG LIWAYWAY, 2013
Jewel Maranan, TUNDONG MAGILIW, 2011
Kara Magsanoc
Corinne Manabat (US-based), EXCUSE MY GANGSTA WAYS, 2009; MORE THAN MARINATION, 2011
Riza Manalo, BALIKBAYAN, 2004
Sunshine Matutina, MAGDALENA, 2013; IMIK, 2012
Corina Millado (US-based)
Pam Miras, PASCALINA, 2012
Shallah Montero, ANG LALAKING PARISUKAT, 2012
Ellen Ongkeko-Marfil, PUSANG GALA, 2005; BOSES, 2008
Nerisa Picadizo, assistant director, PANDANGGO, 2006; MGA ANINO SA TANGHALING TAPAT, 2011
Janice Perez, THE MUSES, 2013; SABONGERO, 2009
Ilang-Ilang Quijano, PUSO NG LUNGSOD, 2012
Pamela Reyes, BROWNOUT, 2010; DEBUT, 2011; UNAWA, 2012; LIGAW, 2013; producer, REKORDER, 2013
Ellen Ramos, THE INMATE, 2007; ENDLESS FAREWELL, 2009; GANAP NA BABAE, 2012
Sarah Roxas, GANAP NA BABAE, 2012
Shireen Seno, BIG BOY, 2011
Lady Ann Salem
Larilyn Sanchez (US-based), BALIKBAYAN, 2004
Rianne Hill Soriano, KARSEL, 2003; PERA-PERAHANG LATA, 2009
Veronica Velasco, TUHOG, 2013; LAST SUPPER NO. 3, 2009
Angel Velasco-Shaw (US-based), NAILED, 1992; THE MOMENTARY ENEMY, 2008
Babyruth Villarama-Gutierrez, JAZZ IN LOVE, 2013
Michiko Yamamoto, writer, ANG PAGDADALAGA NI MAXIMO OLIVEROS, 2005; ON THE JOB, 2013
My random notes on why this post, just a guide on what is to do next.
1. Making a list is like taking an accounting of what is out there. This also helps us gain some historical perspective by periodizing the items - both names and works - from where we can explore directions to take and address the challenges that face them.
2. Although there should be no limitation to artistic expression, women's issues - reproductive health, income disparity, sexual violence, gender discrimination - are still very relevant in the present that I must say, women filmmakers are in the best position to address.
3. An investigation into artistic innovation is also paramount: what constitutes the female gaze, how is it achieved?
Again, this is a partial list, my thanks to Sari Dalena, JP Carpio, Noel Shaw and Archie del Mundo for your contributions to the list, Simon Santos (Video 48) for the photos, and to the support of those who respond well to my first post on Filipina filmmakers.
(c) 2014, Mauro Feria Tumbocon, Jr.
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