from sssip 🙂
SOME VOICES NEEDS TO BE HEARD.
#InDarknessWeLive new trailer.
“Official competition selection of the #QCinema International Film Festival.
Gala premiere night Friday Nov 7 at 930pm Trinoma Cinema 3. Public is welcome.
2nd screening on Saturday Nov 8 at 12pm noon Trinoma Cinema 3.
Much thanks for your support and please share to help foster #independentcinema.
Cheers!”— FROM DIRECTOR CHRISTOPHER AD CASTILLO
“The idea was borne about by my love for Takashi Miike gangster films and French slasher films of the
90’s. I always put my influences in anything that I do artistically and this film gave me a chance with a
couple of film languages that I admire. Plus it was a great way to work with my dear friend producer
Suzette Ranillo and my fiancee Malaya Santos who was actively involved in my production for the first
It’s about bank robbers who botch a job and have to go on the run. They run out of gas on and go on
foot in this weird forest where no one has gotten out alive. There they discover an old house where a
young woman lives with her grandmother. As they insist on staying, the Grandmother tells them that it
is the night of Ang Kumakatok (Those Who Knock), a mythical being who takes away a soul from the
occupants of the house they knock in. As the dead of night unfolds, we realize who they all really are
and when the knock comes, none of them can run away from an evil that stays in their soul.
It’s not your traditional exercise in horror but more of a drama and the toll the extreme psyche exerts on
the human soul. I toy with the idea of a myth and its effects on people who are already on the edge
while being violent by nature. The legend of Ang Kumakatok is something I discovered after doing
research on Philippine mythology. I wanted to pick on something more obscure and stay away from the
overused standard ones like Tikbalang and Kapre to name a few. Every time I ask people whether
they’ve heard of Ang Kumakatok, they don’t know what it is. Our culture is rich in mythology, let’s be
inventive about it.”
ON THE VIOLENCE OF THE FILM
“My motto on set was never run out of blood. I came in knowing that the screen will be awash in red
and I was not going to shy away from the reality of the characters and the story. These are violent
people that will not think twice to kill and will die before they get caught and I have to be honest in the
actions they do. And if that means ultra violence then so be it. Actually I started the film knowing I was
headed into X rating territory and enjoyed every second of it. There’s a feeling of liberation when your
art is unencumbered and you’re free to unleash onto the audience the terrible darkness in your mind.”
ON THE ADLIB OF THE FILM
“I wanted to do something different and fun for me and the actors. I just wrote a seven page treatment
and I went out and got my friends which happen to be some of the best actors in the industry namely
Mon Confiado, Alex Medina and Jerald Napoles. I just gave them the character and their traits and
things I wanted to hear from their dialogue and they just ran with it. I respect actors a lot and give them
a lot of leeway to create as long as it fits the life of the film. Most actors and directors never get a
chance to be experimental in their craft so you do it the first time you get a chance. And they all did a
wonderful job. It was a very dark and bloody shoot but it was the most fun I’ve had on a set. No matter
how hard it was to think of a line of the spot, they dug deep down and found it. These actors really
deserve more accolades from the mainstream.”
ON GLORIA SEVILLA.
“I don’t get intimidated especially not in the film industry but it was very difficult for me to give instructions to Mommy Glo when she first arrived on the set. She’s on a different plain as an actress and
I know where I stood in regards to experience. But she cracked a joke before we started and that melted
all the anxieties I had with working with her. And I think she knew how I was feeling and she did that
on purpose for my benefit. I didn’t really have to tell her much except what the character was about and
I just sat back and enjoyed her eerie performance like everyone else.”
ON THE CINEMALAYA DIALOGUE
“People asked my why I didn’t speak out after the controversy of the uploading. It’s because I rabble
rouse in a different way and it was already getting out of hand. They told us about their plans and they
announced it during the filmmaker reunion. The outcry should have happened there and we would have
saved a lot of anger and grief.
I went into the dialogue wanting to hear solutions but there’s still a lot of hurt from the filmmakers and
it was evident in the meeting. It was combative most times and rightfully so. Anything worth saving is
worth fighting for and being mad about.
The blame goes both ways. While I understand my contract and Cinemalaya was within their rights to
do what they did and I even truly understand why they did it, they just went about it the wrong way.
The dialogue should have happened prior and not after. On the other side, some of the bashing and
name calling coming from the filmmakers should have been tempered down although emotions are the
last thing you have control over. We are all in this together whether we like it or not. The festival is not
a money machine and most of the films don’t turn a profit and right now the festival is fighting for its
For better or for worse, Cinemalaya has contributed a lot to the industry and to careers. I had some of
the best time in my life at the festival last year. I wanted to come out of the dialogue with ideas and
solutions for the future and while there were some bandied about, it was more putting the raw emotions
on the table. I hope a second dialogue happens because it would surely be more productive. So is there
a Cinemalaya 2015? Personally I highly doubt it and we are all the poorer for it.”