The Melbourne Documentary Film Festival 2018 - In Santa Ana
Somewhere in Manila, there’s a house called Santa Ana, where elderly females who are intellectually disabled live out their remaining days. This film shows a glimpse of their lives and challenges our perception of what it means to be disabled.
Interview with Director Chona M.
Congratulations! Why did you make your film?
Thank you! I am generally drawn to human-interest stories, especially those that involve people in situations of adversity who manage to adapt in ways that show the richness of everyday life regardless of circumstance. I made this film because I was deeply moved by the women of Santa Ana, and I felt that their story should be told. It’s not only a story of intellectually disabled women in a care facility, it’s a story of finding joy, meaning, and friendship wherever you are in life and embracing the present.
Imagine I’m a member of the audience. Why should I watch this film?
I hope the film will enable the audience to see an undiminished view of what life is like for a group of people who have long been marginalized in society. Many audience members might have only preconceived notions about the intellectually disabled. I think this film dispels a lot of stereotypes. The women of Santa Ana shouldn’t be pitied for their plight. Their lives are fuller than many might think. They struggle, they experience joy, they face frustrations, they form strong social bonds, and, just like in any community, they can thrive when they are accepted.
How do personal and universal themes work in your film?
In a low-income country like the Philippines, limited attention is given to individuals with intellectual disabilities. They are often seen as burdensome – malas, or "cursed by God.” In some cases, they are considered dangerous and people think they should be locked away. This lack of understanding leads to social exclusion and oftentimes to physical abuse. As of the last official report, there are 30,000 people with intellectual disability in the Philippines, and most of them are abandoned or neglected. That number is most likely an underestimation, as many remain unrecorded. The facility where I filmed Santa Ana is currently the only public institution that provides care for the intellectually disabled. It has a capacity of 400, but it is way over that limit with its 619 residents.
I can go on and on with the statistics on how these people are not getting sufficient support. This is true for many countries, and it’s not limited to the developing world. The trials of the women of Santa Ana are a microcosm, not just of the trials of all people with mental disabilities, but of all people who are feared, shunned, or mistreated for perceived differences and a lack of understanding.
On a more personal level, I know the feeling of rejection and exclusion too well. I come from a conservative and religious community where sometimes not conforming to societal expectations can be very challenging.
How have the script and film evolved over the course of their development?
As with most documentaries, one can only plan so much. I came across this place purely by accident. I was originally exploring the subject of abandoned elderly in the Philippines when I came across this cottage. I had no fixed plan on how to bring out the story. It happened organically. The ladies were happy to have me there as a visitor, and they couldn’t wait to tell me their stories. I joined them in their daily routines and activities for 4 days, and observed how they interacted with one another. Nothing was scripted; my role was to be a keen observer and maintain an environment wherein the women could openly be themselves.
What type of feedback have you received so far?
It’s heartwarming to receive messages from people who have watched the film telling me they were moved by the story. I watched a livestream of a screening in Manila where I could hear the laughter of the audience. That was an exhilarating experience because for the most part I worked on this alone in a bubble. I had no idea if what I found to be special would be special for the viewers, and if they would embrace the humorous bits as I did.
Recently, it won the Best Film Award at the Sorok Short Film Festival by unanimous decision. Next month, it will compete at the Melbourne Documentary Film Festival. The recognition has been encouraging.
Has the feedback surprised or challenged your point of view?
Someone told me that before watching this film, she didn’t exactly know the difference between the intellectually disabled and the mentally ill, and that she used to put all of them in one basket. She said she felt humbled by the film. That someone as well-educated and well-traveled as she is can still be gravely wrong about an important matter is a reminder that we should always strive to better understand one another.
I am surprised by the positive feedback I’ve been getting, but it’s still on it’s early run in the festival circuit and I’m also open to challenging criticism.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
This is a glimpse of the kind of films I would like to work on. Through this platform, I’m hoping to reach a larger audience and potentially find collaborators for my next projects.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
It would be great to have distributors, sales agents and festival directors who have an affinity for documentaries that tackle significant social issues show an interest in my work. The main goal is to broaden our reach and to show this film in as many places as we can and raise awareness for the socially-marginalized.
What type of impact and/or reception would you like this film to have?
I’d like for this film to be a reminder that we are all more similar than we are different, that we should challenge our preconceived notions, and we should help the marginalized, not out of pity, but out of understanding.
What’s a key question that will help spark a debate or begin a conversation about this film?
How much of yourself do you see in the lives of these women?
Would you like to add anything else?
Look closer.
What other projects are the key creatives developing or working on now?
Mark McCloud, the creative consultant for this film, and I are working on another film called 2,000 Miles to Get the Bride. It’s about a young Indian man who’s getting married out of love. He’s the first one to do so on both sides of his family. We follow him as he tries to find balance between happiness and tradition.
Interview: June 2018
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
In Santa Ana
Somewhere in Manila, there’s a house called Santa Ana, where elderly females who are intellectually disabled live out their remaining days. This film shows a glimpse of their lives and challenges our perception of what it means to be disabled.
Length: 15 minutes
Director: Chona M.
About the director: CHONA M. is a documentary filmmaker who is interested in portraying the human experience, particularly those that touch on social justice and cultural diversity and identity. She was a recipient of the Monbukagakusho Scholarship Award and finished her studies in Japanese Language and Photography in Tokyo, Japan.
Key cast: For privacy reasons, full names of the main characters cannot be disclosed.
Looking for: distributors, buyers, film festival directors, and journalists
Website: www.chona-m.com
Made in association with: Linden Films
Where can I watch it next and in the coming month? It will be showing at the Howler Art Space on July 8, 2018 as part of the Melbourne Documentary Film Festival.