00:00:00: Hi, love deer!

00:00:00: You're back at Venice with your new film Let Us Through Dear Ancestors.

00:00:05: So how do you feel to be again in this festival?

00:00:07: We have such a long history of Adventist.

00:00:10: Yeah I'm happy that we are here.

00:00:11: It's like the home of senior and it's just my home over there working here.

00:00:15: This is my ninth film

00:00:16: And Again Your Turning Your Lens At The Colonists' History Especially... ...at this time its in the seventeenth century.

00:00:23: all i already have revisited that time period.

00:00:25: It

00:00:25: was three seventies.

00:00:27: I filmed until I was fifteen twenty one.

00:00:29: So

00:00:29: what fascinates you about this era?

00:00:31: This course on the past and the same is also a discourse of oppression.

00:00:35: Because in the past it's still, I mean when after that there has been no one in the first phase.

00:00:40: The effect of colonization is still with us.

00:00:42: It's so connected.

00:00:43: Just change the scenery because it's more than discourse It's a modern dialogue.

00:00:47: Especially important in this story Is church And religious figures.

00:00:53: We have this false prophet figure.

00:00:55: we see at what immense human coasts that looks so magnificent were actually built for you.

00:01:13: Do you

00:01:49: see a chance that modern society will turn away from this new Collins

00:01:55: power?

00:01:55: It's not that easy to change people once they're so immersed in this prospecting.

00:02:02: That it is not easy to destroy, for me its a matter of understanding.

00:02:06: at least acknowledge the business structure which came from high cost.

00:02:12: you didn't come like some cosmic offering.

00:02:15: it comes form heaven and destroys.

00:02:17: there are four plantations.

00:02:19: Its all about forced labor.

00:02:21: its all about blood sweat and tears.

00:02:23: its all abut tortures land and rain.

00:02:32: And it's about how beauty can mask something incredibly ugly.

00:02:36: Would you say that this is also one of the primary functions?

00:02:40: all these oppressive ideologies,

00:02:57: oppressive perspectives.

00:03:00: Architecture as you see here.

00:03:02: beautiful structure just in the window and it's important that to take account of a past.

00:03:07: what is history of this mural?

00:03:09: What was the history building Lido alone when his festival was created?

00:03:15: Thank You for saying

00:03:18: It!

00:03:25: people to create something that's really entertaining here.

00:03:28: But of course it is grown into this beautiful cultural discourse area, the Venice Film Festival.

00:03:34: but we need to acknowledge The Past and its came from this evil

00:03:36: manner.".

00:03:37: Especially now at the Biennale.

00:03:39: again have an artistic director very close with a neo-fascist party in Italy.

00:03:45: so...the past as you said was never really

00:03:49: the past.

00:03:56: You also mentioned the theme of the rapes, which is I think very rarely addressed in Philippine cinema but also in cinema.

00:04:07: You need to have knowledge about the tantrums.

00:04:26: It's important!

00:04:27: This church is not about God, it's all about plan building or torture as a whole way.

00:04:31: We needed to know that... ...it has to be after marriage and it has been said.. ..it had to be shown in an inlaid show.

00:04:37: That was the role of cinema for me.

00:04:39: How

00:04:39: hard are these days to produce such artistically acclaimed and also historically conscious films when its more towards entertainment culture?

00:04:50: I just got lucky because i wasn't able make it young people.

00:04:53: now, you're right there in today's world.

00:04:56: I don't know what to call it now but already like cinema and they might use a lot of abornments that you lose track with the real dialer here on this course.

00:05:06: so aesthetic perspective of the mediums we are using whether you have Eugisian or if your maker or marketer or sculptor or dyson... It has to help.

00:05:15: kind of variety.

00:05:17: If unique quality then go back to history into full context too.

00:05:43: Always looking at these dark aspects of history, how do you keep a positive outlook on life?

00:05:49: I'm not going to use the word hope as something superficial.

00:06:25: You are known for making very long films in terms of running time, but your last works have been comparatively short.

00:06:33: still more than two hours, would you say that this is a change of style?

00:06:46: The length of duration comes during editing.

00:06:55: I don't count, edit cut it during editing.

00:07:09: If its three hours then its two hours.

00:07:10: How is it with the question if you take black and white or color?

00:07:13: Because for example Megalane had been in color but many of your previous films were black-and-white.

00:07:18: In my mind it's black-or-white.

00:07:20: During post-reaction My co-cinematographer Arthur Thorpe just telling me that the colors are so good It can represent... You did this dialogue with me And he can represent the era of apocryptery disclosure.

00:07:36: I was editing it, thinking about that.

00:07:38: And then said okay let's go call in respects and people's suggestions as you are on with this.

00:07:44: very sure there is a black and white.

00:07:46: immediately during the editing I said he says Black and White.

00:07:50: It is a decision based and what i see when I feel it and also open to suggest even with North the last Polar film that didn't be from the German.

00:08:08: Did you

00:08:09: shoot at original sites in real churches and the Philippines, or did you use part sets?

00:08:17: And did that have to do with it wasn't possible to assess these actual religious places maybe because of a critical subject.

00:08:28: So it won't matter if I shoot in New York, places or equipped the sets.

00:08:35: Given that this film is very critical about religion How do you feel the audience will take it or not?

00:08:41: concern yourself with this question?

00:08:44: It's just supposed

00:08:57: to be a

00:09:08: flashback.

00:09:10: Is it then possible that you in the future make more films, That are playing at todays times?

00:09:15: We didn't prepare any place To shoot something that is not Filipino.

00:09:18: You

00:09:19: mean with an international cast?

00:09:20: Yeah, we create something something, Create a universe somewhere... Still the same!

00:09:25: It still about humanity's struggle.

00:09:27: It's incompatible.

00:09:27: Really if you're Filipino or American and Italian Or Russian.. It all about humanity itself anywhere.

00:09:33: Do

00:09:33: you personally prefer to work non-professional?

00:10:03: In many of your films, music poetry and Traditional folk songs play a very big role.

00:10:09: How do these forms inspire your work?

00:10:28: When you make a film like Ancestors, how many days does it take to shoot?

00:10:41: You

00:10:41: said that the most decisions are made in editing, do you spend more time for editing

00:10:53: than to shoot?

00:11:13: So is there a

00:11:30: chance that we will ever see the film you are editing since seven years?

00:11:33: Of course you could work out on your own.

00:11:36: trying to find space and go back again.

00:11:39: And how hard is it actually research these historical stories if this history so covered, that the neocolonist system

00:11:50: was strong?

00:12:13: Now that

00:12:17: you are presenting this film at Venice, what would be your hopes for it to achieve?

00:12:43: Thank you so much for this interview.