University of Santo Tomas Filmmakers

GREAT films are made up of moving pictures with much of the strips drawn from the inspirations and lives of the filmmakers themselves.

That's a grain of truth for Thomasian filmmakers Milo Tolentino and Brillante Mendoza whose distinct opuses echo much of their peculiar interests from the ordinary to extraordinary, whether personal or public.

Milo's mysteries
Tales of ghouls and goblins shaped the world of Communication Arts alumnus Tolentino—who has earned a name in making independent horror films—even when he was a kid.
Back then, Tolentino was an aloof kid who didn't play much with other kids his age as he would prefer to unwind at the backyard of his grandma's house in Lipa City, which overlooked a misty, serene river. Around this setting, his lola would tell stories about the supernatural, which roused Milo's interest in the netherworld.
“During those days, my lola never failed to mention about legendary fireballs, tikbalang (half-man, half-horse giant), and all those types of monsters in Batangas,” he said. “At first I was scared, but as she shared more afternoon stories with me, my fear of the unknown grew into fascination.”
Not only was Tolentino fascinated with the uncanny. He became a bookworm and developed a penchant for the theatrical arts. This enthrallment for the mysterious hooked him to Stephen King's best sellers and Steven Spielberg's blockbusters.
Fantasy stories and other forms of fiction transformed Tolentino into a fan of magic realism. He carried this obsession through high school and later on to his filmmaking career. Although Spielberg's fancy visual effects lured Tolentino's gaze toward the mystics, these did not make him readily fall in love with the film craft. Instead, Tolentino channeled his inclination to writing.
“I never imagined myself making a film,” Tolentino said. “The people around me saw my potential as a creative writer instead.”
On his sophomore year at UST in 1987, Tolentino joined the Varsitarian and was assigned to the News section.
“Since my style of writing was very descriptive, I felt really out of place as a news writer,” he said. “But although that's the case, I never lost touch with my literary forte.”
While writing news articles, Tolentino would contribute poems and short stories to the Literary section, as well as art critiques to the paper's Circle (arts, culture and media) page. He was promoted to Literary editor the following year.
“My first fiction short story was titled Dawn to Dawn, which was very much like the theme of my second Cinemalaya short film Orasyon,” he said. Both of his creations deal with the agony of ageing, as he was nostalgic of his grandmother.
While helping edit the Varsitarian, Tolentino was also an active member of the Salinggawi Dance Troupe, which granted him a scholarship. He was also the musical director of the Artistang Artlets and a member of the AB Enrolment Committee all at the same year. Tolentino managed the pressure of handling four extra-curricular activities simultaneously. In fact, he said he prioritized his non-academic affiliations over his academics.
“UST gave me venues that made my talents more mature and more visible,” he said.
Right after college, Tolentino worked as a junior copy writer for ADSystems where he previously had his on-the-job training. While into mountaineering, Tolentino embarked on photography with the prodding of his colleague, former Varsitarian photographer Roderick Javier. Within two years of taking images in black and white, Tolentino was able to put up two major exhibits, Earth Spirits and Heavenly Bodies, which both had fantasy themes.
As a freelance photographer and a mountaineer, Tolentino also contributed travelogues to the Women's Home magazine where he worked with Manila Times journalist Tess Pacheco-Mapa. With much admiration for Tolentino's writing and photography, Mapa boosted Tolentino's enthusiasm for filmmaking. Tolentino soon enrolled in several film classes in the University of the Philippines in 2003.
“When I knew that I could enroll for a post-graduate course in film, I took the opportunity and indeed, it was worth it,” he said.
Majority of Tolentino's preliminary projects were flavored with the horror genre. Faithful to his childhood fascination with the eerie, his first short film, Buog, which he began filming as a student, featured a ghost. Tolentino competed in Cinemalaya in 2005 when his second short film, Alimuom, about a murderer's agony over the reappearance of his victim's vanished cadaver, became a finalist. Although he did not bag the Balanghay trophy for the best short film, Tolentino was ecstatic.
“My priority was just for my film to be screened and be appreciated by people in Cinemalaya since I think it's the best venue for launching indies,” Tolentino said.
Alimuom was followed by another thriller, Orasyon, in 2006, which was also a Cinemalaya contender. The 30-minute monochrome feature tells about a pious widow's vulnerabilities with the arrival of a nosy, meddling housemaid. This time, Tolentino took home the grand prize and earned the respect of colleagues in the field.
“Even before the awards night came, Orasyon was an early favorite for the top prize, which really surprised me since it was the least likely to win, being in the horror genre,” Tolentino said. The film was also screened in the first UST CineVita film festival last March, for its theme on faith and care for the elderly.
Tolentino's roster of films includes his experimental project featuring hermit crabs in Pagudpud Beach titled Uwang-uwang: The Hermit Chronicles, and his Cinemanila workshop short about the feet, titled Apak. Recently, Tolentino submitted his reedited, three-minute feature, The Boy Who Loves Flowers, to the United Nations Educational, Scientific, and Cultural Organization (Unesco), which granted him funds after his story was selected last year. Tolentino was the sole Southeast Asian filmmaker included in UNESCO's top 10 grantees. He is also currently working with the production company, Studio Indio.
Now, Tolentino is keeping his fingers crossed on his latest short film, Kanlungan Sa Impyerno, for the Cinemalaya 2007.
“Just like Orasyon, we shot Kanlungan in Lipa too,” Tolentino said. “I really hope it would fare well to be a finalist in this year's Cinemalaya.”
The brilliance of Brillante
Thomasian indie film director Brillante Mendoza loved surveying his environment. It's as if everything that surrounds him holds a story to tell. The most vivid of these images were those he encountered during his bus trips back home from UST.
“Whenever I took my bus ride home, I made it a point to look on both sides of the vehicle: the glass window where I witnessed the nostalgic sights from the highway and the center aisle where I observed my co-passengers,” he said. “As I gazed upon these characters, I was already inventing stories at the back of my mind.”
Mendoza is a true-blooded Kapampangan. In fact, his three films, Masahista (2005), Kaleldo (2006), and Manoro (2006), were all shot in the scenic plains and spots of Pampanga.
“Besides the fact that I grew up in San Fernando, there were really a lot to observe about Pampanga,” he said. “Pardon my biases, but Pampanga is really picturesque even after it has gone through disasters such as the deluge of lahar (volcanic ash fall).”
Mendoza entered UST in 1979 as an Advertising student. Throughout his four years of stay in the University, he impressed his professors and peers with his dexterity in the visual arts by winning numerous intercollegiate art competitions year after year. Aside from these, what made Mendoza's sojourn in UST most memorable were the times he spent with his colleagues such as Egay Litawa and the late Tatus Saldana, who both became line producers for films.
“I will always cherish the bonding we had during those days when we had to beat deadlines and spend overnight group works just to finish our art plates,” he said.
Mendoza pursued a Master's degree in Advertising at the UST Graduate School after he graduated from the old College of Architecture and Fine Arts (Cafa) in 1983. But he discontinued his studies after he discovered his interest in TV production.
“My friend, Cafa professor Rey Maniego, encouraged me to join a film class organized by Ateneo De Manila University and the Mowelfund Institute,” he said. “That was when I met director Peque Gallaga whom I believed gave me the break in the film industry as an art director for Virgin Forest.”
Fresh from his filmmaking classes, Mendoza became Chito Roño's production designer for the director's first film, Private Show in 1986. Other movies where he aided in production design were comics-inspired films such as Baleleng at ang Gintong Sirena in 1988 and Valentina in 1989.
Mendoza has also worked on TV commercials. His latest commercial is the Smart mobile phone ad featuring Sam Milby, Angel Locsin, Dennis Trillo and Anne Curtis. To date, Mendoza has been a production designer and art director for nearly two decades.
“Although most of the time exhausting, I had so much fun doing the creative background for these movies and commercials,” Mendoza said.
During his stint as a production designer, Mendoza used the name “Dante” for himself. Back then, he felt the name “Brillante” was a very common name.
“After Masahista competed in Locarno, Switzerland, I used again my real name which was actually an advantage for my film to be more recognized by foreigners, especially the Hispanics, who have a clue of my name's etymology” he said.
Masahista took home the Golden Leopard Award, the top award in the digital competition of the 2005 Locarno International Film Festival in Switzerland. After the victory, international distributors in Europe started mailing Mendoza to buy the rights for commercial reproduction of the movie. The erotic but socially sensitive movie about a young Kapampangan masseur was also exhibited in other five international film festivals such as in Toronto and in Belgium.
Meanwhile, Mendoza's short film Manoro bested six other competitors in the local digital film category for the best film award in the 8th Cinemanila International Film Festival last year. Manoro also served as the opening film for the first UST CineVita film festival for its multifarious take on the Ayta indigenous community, literacy, and education.
Mendoza has his own production company, Center Stage Productions, which produced Siquijor: The Mystic Island (2007) and Mel Chionglo's Twilight Dancers (2006). In all the movies that he has produced and directed, Mendoza has always wanted to convey his reflections of honesty and truth.
“Whenever I make a film, I always remain faithful to the truth,” Mendoza said. “For me, it is important to translate reality on to the screen for the audience to realize the truth.”
Mendoza has recently finished his fourth full-length movie, Foster Child, which stars Cherry Pie Picache and Jiro Manio in a story about a mother's bitter struggle to have her child adopted. Foster Child was screened in the Director's Fortnight of the Cannes film festival on May 17-27, only the second Filipino movie to be featured in the important Cannes program introducing to the world new directors. The first Filipino director to be featured at the Director's Fortnight was Lino Brocka–in 1978, when “Insiang” was screened in Cannes.
Mendoza is again filming another movie, Tirador, which deals with the lives of small-time snatchers during the election season.
Both Mendoza and Tolentino share their sentiments on the growing industry of films in the digital and video format.
“It's great to know that there are film festivals in the country that aid in the commercialization of independent films and the separation of the high-quality stories from the substandard ones,” Tolentino said.
“For as long as you have the right subject matter for film, embedded in an honest, well-woven storyline, the format should be the least of your worries,” Mendoza said.
According to these two Thomasian directors, aspiring filmmakers should take note of three values when crafting a film: sincerity, passion, and dedication.
“When I make my films, my whole mind, body, and soul are very much drawn to the whole process,” Mendoza said. “That is why after bringing my films to their completion, a distinct kind of fulfillment seeps into me.”
With several years more ahead of their budding careers as filmmakers, both directors promise more unconventional stories and stirring ideas in the future.
“I haven't thought about and made my dream project yet, and I'm not going to stop filming until I do so,” Tolentino said.

University of Santo Tomas Graduate: a National Artist for Literature

FRANCISCO SIONIL JOSE
I enrolled at the University of Santo Tomas in 1944; the school then was in its old campus in Intramuros, close to the Santo Domingo Church. The main campus in España was the interment camp of Allied civilians, mostly Americans. After the first air raid by American carrier planes in September 1944, all classes in Manila were closed and in October that year, with Manila already starving, the country in shambles, my mother, a cousin and I walked all the way from Manila to my hometown Rosales, Pangasinan, where we waited for the Liberation. In January 1945, I joined the American Army as a civilian employee, and left the Army in October 1945. The following year, when Santo Tomas opened, I enrolled in the college of Liberal Arts as a preparatory medicine student.
How did I get to join the Varsitarian?
Miss Paz Latorena whom I already knew was a first rate writer was teaching English and I purposely enrolled in her class. On our first day, she made us write on a theme whose title I do not remember. It was not difficult—so when I finished it in 15 minutes, I asked if it was all right for me to leave. She said, yes.
The following session, she called my name and told me to see her after the class. She said I should take the examination for the Varsitarian that forthcoming week, and that I must not fail to do it. And that was how I joined the Varsitarian, first as assistant literary editor, together with Dolores Locsin, The literary editor at the time was Albert Card—an American veteran studying under the GI bill of rights.
In those days, there were separate entrances for men and women and separate classes as well, but not in the Faculty of Philosophy and Letters because we were so few, the Varsitarian office was in the ground floor, the huge room at the right of the main entrance in the main building. Voz Estudiantil, the paper in Spanish shared the office with us. The Varsi Adviser was Francisco Cuerva, and the Varsitarian moderator was Fr. Florencio Muñoz who was also the University secretary; he was succeeded by Fr. Francisco Villacorta. It was the age of the typewriter, the flatbed press and the linotype. When we put the paper to bed, we really put it to bed in the flatbed press at the UST Printing Press which was then at the corner of P. Noval and España. There we often worked late at night, and got our fingers dirty with printer’s ink while we helped the printers set up the pages with the cuts and the proofs fresh from the linotypes.
When there were huge blanks that needed material, we typed out the stories right there. In those days, there was indeed a close working relationship between the editorial staff and the printers.
My first editor-in-chief was Eleno Mencias who was a medical student, then came Santiago Artiaga who wrote a column, Tiago Tiaga. He was in law, and finally, Manuel V. Salak. He was taking up Law. And on the fourth year in the staff, I became editor-in-chief, with Constante Roldan as my managing editor. I remember Cenon Rivera who was staff artist, then J. Elizalde Navarro, who lived by himself in a small ground floor apartment near the University. I often visited him and we reminisced about the war, and talked about art. He was then very much under the influence of Carlos V. Francisco.
Pepino Vinzons Asis, alumni editor—in the eighties, he visited me at my bookshop. He had become a priest and was in a poor parish somewhere in Bicol. We talked about the priesthood, its hardships I had hoped he would visit again.
There were several fixtures in the Varsitarian, the first of course, was Francisco Cuyerva who was the publications director and the office manager, Enrique Lumba who was responsible for running the office. I had no typewriter and he permitted me to work in the office at lunchtime or late in the evening typing out my manuscripts. Then there was Mike Evangelista who was alumni editor, who was also a very good proof reader, and Benny Buenaventura—the hippie poet and perennial student, who continually gave us his poems—some of them publishable. I was walking behind him once on the way out of the campus to España and he was talking to himself. I moved closer and realized he was reciting Shakespeare.
In the Varsitarian, Ben Rodriguez, Tedoro Benigno, Mary Ruff Tagle, and Eugenia Duran Apostol wrote short stories, and Adoracion Trinidad contributed poetry. Juan Gatbonton and Neal Cruz were reporters. Delia Coronel who was the coed editor became a nun and in Marawi, she translated the Maranao epic, The Darangen, for which she has yet to be fully honored.
My first formal dinner was tendered by the Father Rector, Angel Blas, for the new Varsitarian staff in 1946 at Carbungco’s—the only posh restaurant shortly after World War II. And so there we were, before that fancy dinner table arrangement, the different kinds of forks and knives. I did not know the sequence so I watched the priests, and followed their example. The red and white wine—that was easy enough. The soup and the fish, too. Then the brandy after dinner. I wondered why it was not so generously poured as the wines and so I gulped it, not sipped it, and almost choked.
I remember Johnny Frivaldo and our meeting with Father Villacorta, how he had asked for more pay for us staffers and more scholarships—which Father Villacorta granted. To prove his point, Johnny lifted one of his shoes which had a hole in the sole. Johnny was a very good politician, as his career later proved.
And Gloria Garchetorena, and Celso Carunungan—as literary editors they made a beautiful and a hard-working pair. Celso could write those complex and profound sentences—but he elected to write simply as was the fad in those days with Carlos Bulosan, and William Saroyan.
And since I was then an avid follower of William Faulkner, I tried to write differently, in a manner prolix and confused, one page, one sentence of convoluted thinking.
I recall only too well how once, Manuel Salak, who was then Varsi editor, and Manila Times reporter had inquired about one essay that I wrote. He said, it was beautifully written, but what did I want to say? I thought the words were by themselves explicit.My most important lesson in writing was given to me by Fr. Juan Labrador, Dean of the Faculty of Philosophy and Letters. This was sometime in 1947, I think. NVM Gonzalez was then editing the Saturday Evening News Magazine and he had used one of my short stories.
Father Labrador took me to the canteen—the building at the left of the main building. The ground floor was for students, the second floor for the faculty. We had mami and siopao. He asked me to look out of the window and tell him what I saw. I said, the high school girls playing softball. He said, suppose I put curtains on both sides of the window, what will you see? I said, the curtains and the girls playing softball. Then he leaned forward and asked, Suppose I covered the entire window with beautiful curtains, what do you see?
I said, the curtains, Father.
He said, that is writing. Never cover the window with curtains, no matter how beautiful. Leave something clear so that your reader can see what is beyond the window.
His eyes twinkled, Besides, you will always be a second rate Faulkner. You can be a first rate Jose.
So, goodbye William Faulkner. And shortly after, Miss Latorena dropped by the Varsi office. She had read my latest short story and she said, now I was not just telling stories but writing them.
The happiest days of my youth were spent at Santo Tomas. Thanks to the Varsitarian, I had a small pay and a scholarship as well. And most of all, although it was not at the campus where I met her, it was at UST where my future wife was studying, too. When I first met her, I asked if she had read me. She said, no. Did she not read Varsitarian at all?
Again, she said, no.
It was a monumental put down, but it did not faze me. V
Francisco Sionil Jose is the National Artist for Literature. He is one of the most widely-read Filipino writers in English. His works, most famous of which are the Rosales Saga, had been translated in 22 other languages. He founded the Philippine Center of International PEN (Poets and Playwrights, Essayists, Novelists) in 1957 and became the Varsitarian editor-in-chief from 1948-1949.