Pelikula Q&A: Cartas de la Soledad
An interview with director Teng Mangansakan III by Jansen Musico

Based on description alone, Rashid sounds like the modern Jose Rizal. Were the similarities just incidental or intentional?

It was accidental. But now that you mentioned Cartas’s parallelism with Rizal’s life, the film starts with Rizal. This developed during post-production, and not during the scripting of the film.

How did this story come about?

It was initially intended as a short film in 2008. My actor didn’t show up during the shoot prompting me to put aside the project. I developed the script and made it a full-length film. The story was inspired by someone I met a couple of years ago. He had just returned after spending many, many years in Paris. To keep his connection with Paris, he continued to write in French and talked to the flowers and cats in French. He told me he even dreamt in French. To have a historical proximity, I made the character in my film speak and write Spanish.

I’ve always been drawn to the subjects of isolation and alienation in my films. I explored these themes in Cartas. So you would expect that my film is very slow paced. It also talks of how in restricted, confined spaces you can create your own world, your own nature, a refuge, a sanctuary.

Rashid writes in isolation to preserve memories. I wonder, would memories cease to be memories if they are not recorded, committed into writing? A lot of memories and histories of the Maguindanaon people have not been written yet. I guess these unwritten memories are the ones that intrigue me so much.

Why tell this story at this time? What do you aim to achieve by telling it?

A lot of issues are raised in the film. I know I would be raising a lot of controversies. But the important point in the film is we are a product of a long historical continuity. We are a product of space and time. Until we accept that, then we will always be searching for ourselves and who we are.

You’re very vocal about your cultural heritage in your films.

I explored classes in this one. Maguindanaon society is extremely class-oriented.

How has your experience with Limbunan influenced Cartas?

During the shoot of Cartas, I always told myself, “No Compromise.” Every day, I would ask myself, “What are the scenes telling you?” I just followed my intuition and gut feel. Cartas may be silent but the message of the film is bold and daring.

You’re working with Mayka Lintongan again. What is it about her as an actress that you like?

For one she speaks Maguindanaon. I tried my best to have Maguindanaon spoken 80 percent of the time in the film. With Limbunan, use of the Maguindanaon language was sparse. Mayka is a very versatile actress. She likes to explore roles and how characters think. I think I will continue working with her.

I saw that you held workshops for your actors. What did they have to learn for their roles?

The Maguindanaon language is one. Of course, Perry Dizon needed to learn how to be aristocratic. Mayka Lintongan on the other hand needed to behave like a commoner. That is hard for her because her family traces its ancestry in the old Maguindanaon aristocracy.

What was the biggest hurdle you encountered while making the film?

 The film was shot entirely in Maguindanao. The biggest hurdle was to make sure that everyone is willing to go there. I was supposed to get an actor from Manila but shooting in Maguindanao was a no-no.

The movie has that parallel between the peace Rashid finds in writing and the war that’s coming. Personally, do you believe that genuine peace and reform can be established solely through diplomacy?

I strongly believe in the peace process. The recent turn of events just saddens me. I hope that both parties (the government and MILF) keep talking. There is so much that can be achieved through diplomacy rather than armed conflict.