A diary in ‘Transit’
MANILA, Philippines - Launched as a mainstream name in a country with the name “Curtis†already covering almost every inch, I thought it would be difficult to get myself into the indie industry. When I signed my first TV contract, I knew one of my main goals was to be a part of an indie film.
A couple of years later, and I found myself sitting with sweaty palms gripping my parents’ hands, right smack dab in middle of the main theater in the CCP. I definitely did not see this coming so soon!
Incredibly different from mainstream production, the independent film circuit creates room for an immense amount of creativity, not only for the director and writers but also for the actors.
I found the preparation period for the film that I got (Transit) to be one of the most fulfilling parts of the process because I was able to build a foundation for my role and immerse myself into the world of my character Yael. My character struggles with the identity-culture crisis, whether she’s an Israeli or Filipino. And to a certain extent, I could relate.
Having been raised in the Philippines for a part of my life and then moving to Australia and then back here, I often asked myself: What am I? Am I Australian or Filipino?
Fittingly, at the end of the day, that was the only question that I had to magnify for my character. The room for creativity was free-flowing and I was working with the best of the best of the indie scene. Who wouldn’t want to be the legendary Irma Adlawan’s daughter?
The fact that we filmed everything in Israel enhanced the emotional triggers and my connection with the root of the story. The story revolves around the deportation law implemented by the government, which forced the OFWs to deport their kids or go home with them back to the Philippines. It couldn’t have been more emotionally moving for us to see the real OFW’s struggle to fit in one apartment with three other families and making all efforts to hide their children from immigration officers. This pinched and pierced my heart, to see it first hand.
Clothes of five different kids squished in a somewhat organized manner, toys, shoes, and school materials scattered in shoeboxes on top of cabinets used as dividers, kitchen covered in grease — they simply do not have enough time in the day to look after the place they are living in as their main priorities are job and children. The scene where Moises (played by Ping Medina) begs for his son to remain in the country with him has got to be my favorite part of the movie. It showed a father’s love for his son and the country he has grown to rely on, he couldn’t afford for either one to be taken away from him yet a sacrificed had to be made and he chose what every parent would.
A great ounce of luck came our way as our director (who is also one of the writers), Hannah Espia, managed her time perfectly, considering the limited timeframe we had and even left enough room for a breather of roaming around Bethlehem, Jerusalem and Nazaret. I have witnessed greatness and it is true: a strong, productive, and cooperative foundation builds for a prosperous outcome.
The Filipino film industry is creating wondrous works of art and it is such a pleasure to have been involved in one all the while informing our own people of the situations of our kababayans in Israel. Long live creative minds. Long live the Filipino film industry. And love live the passion to raise awareness of the struggles our own men are facing in other parts of the world.
