Paul Soriano’s 4-year-old film ‘The Fisher’ asks a ‘timely’ question

MANILA, Philippines — Is filmmaker Paul Soriano’s “The Fisher,” which opened in Philippine cinemas on Oct. 21, a commentary of sorts on the current diplomatic controversy between the Philippines and China?

Shot four years ago, the drama stars Mon Confiado as Pedro, a Filipino fisherman who encounters Hai, a Chinese fisherman played by Enchong Dee. The cast also includes Heaven Peralejo, Eula Valdez and Mercedes Cabral.

During a talkback session attended by The Philippine STAR, direk Paul acknowledged that the conflict in the West Philippine Sea helped inspire the story, although he cautioned that he was speaking as a filmmaker, not an expert on the dispute.

“I was also, I guess, as a filmmaker, storyteller, very curious what’s happening with the West Philippine Sea, right? Which I think is so relevant today, right? Again, I’m not an expert, so disclaimer, it’s just my thoughts as a filmmaker, as a storyteller,” he said.

“And so I used that whole conflict that we see today that what if we practice peace? What if we practice grace that yeah, maybe we don’t deserve it, but yet we give,” he said.

Through the relationship between the two fishermen, direk Paul wanted to explore what might happen when people choose cooperation over conflict.

“I feel like if you can find a way to put aside all the violence, and that if you work in harmony, you work in peace, there is prosperity for both.

“So, I just thought of maybe using that as a metaphor that if we come together for the greater good, it can only benefit humanity.

Especially in today’s situation. So I kinda used that as a metaphor and of course, you know, fictionalized it, built the world,” he said.

Lead actor Mon offered his own take on the film’s timing, calling it a “napapanahon na pelikula.”

He observed that direk Paul had, in effect, reconciled the Philippines and China through the two fishermen, in the very sea at the heart of their dispute.

The film arrives as Philippine officials and the Chinese Embassy exchange sharp statements following remarks by Ambassador Jing Quan. The envoy was quoted in reports as saying China could easily win if it chose to use force, but stressed that it would not choose that course and favored peace.

The Philippine government reportedly considered his comments threatening and summoned him on Oct. 19. The Chinese Embassy maintained that his words had been taken out of context. Some lawmakers also called for his expulsion.

Asked whether he was worried how audiences might interpret his film today, particularly given the current issues, direk Paul underscored the beauty of storytelling and how viewers could come up with their own interpretations.

He, however, acknowledged that the movie had “a little bit of relevance” to current events and expressed hope that it would generate dialogue and discussion while also entertaining audiences.

But the timing appeared coincidental, as the production had spent years finding the right theatrical window given the challenges confronting Philippine cinema.

The film previously screened at the Tokyo International Film Festival and the Silk Road International Film Festival in China.

Its inspiration was not purely geopolitical, either. The director recalled discovering a documentary about coastal superstitions, including an account of a woman believed to have given birth to a fish.

He said that the account somehow influenced the film’s ending, which he and co-writer Anton Santamaria then worked backward from to build the narrative.

MON DOES METHOD ACTING

As for Mon, playing Pedro required understanding more than a fisherman’s everyday routine.

“Nakita n’yo naman ‘yung character ni Pedro kasi sobrang complicated pa na i-play. Hindi lang kasi siya mangingisda, eh. Psychologically, medyo mabigat ‘yung dinadala niya,” he said.

The veteran actor admitted he knew little about fishing before taking on the role, prompting him to spend a month immersing himself in the lives of fishermen in Ilocos Norte.

He would already be out fishing with the locals as early as 3 a.m.

“Wala kasi ako talagang alam about fishing, about a fisherman. Kailangan ko talaga siyang pag-aralan, ‘yung paglambat lang, ‘yung paghawak ng sagwan, ‘yung paghawak ng mga isda,” he recalled.

Mon also revealed that he initially wanted to stay in the actual hut used as Pedro’s home in the film, but the production was concerned about his safety.

“Originally, ang gusto ko sana doon sa actual bahay namin, kaya lang walang kuryente talaga doon, tapos napakalayo nun. So from the main road, parang imposible. Medyo, sabi nga ni direk, ‘yung safety ko ang iniisip din nila kasi wala talagang tao doon. Baka hindi ako maka-adapt o maka-adjust, so kung may mangyari sa akin, ang hirap na i-rescue nila ako,” he explained.

Direk Paul was particularly impressed by his lead actor’s dedication to embodying Pedro, saying Mon had practically become a fisherman by the time the shoot began.

“I’ve never worked with an actor that arrived one month before his call time,” he said.

“They say it takes 21 days to form a habit. I mean, he was there for 30 days plus. Personally, I obviously saw how he just transformed into Pedro and carried his character through this crazy journey,” he added.

The filming itself brought further challenges. Mon remembered having to contend with towering waves and vertigo, especially during demanding scenes at sea. Even after production wrapped, he said, the sensation of being on a boat lingered.

But he expressed pride in the finished film and hoped it would encourage more Filipinos to support more original local productions.

“Proud na proud talaga ako sa pelikulang ‘to. Sobrang ganda talaga ng pagkaka-execute ni direk at pagkakasulat nila ng istorya,” he said.