“Siya ‘yung lumapit sa akin para sa movie na ito. Siya ‘yung naging dahilan kaya nakapasok ako sa ‘Renoir.’ Nung nalaman niya na kailangan ng funding, nilapitan niya ako,” Ms. Sylvia Sanchez of Nathan Studios shares as she introduces Alemberg Ang to the media.
“Last year, during my birthday, ang sabi niya may dadalhin ako, ang Plan 75 production. Nung pagkasabi niya na meron introduce sa akin, siyempre nung sinabing Plan 75, maganda ‘yun eh, tsaka matino ‘yung production, maayos. So sabi ko, sige. May 19, lunch, dumating siya with the production and ang pinka-key ko is sinabi na they’re trying their best na masama next year sa Cannes. Eh maganda ang record nila. Ganun naman sa Cannes, kapag reliable ka, magaling ka, malamang makakapasok ka. Sabi ko, why not kasi last year, three years na ako pumupunta sa Cannes. First year ko, observe kasi gusto ko mag-produce. Ano ba ang in ngayon dito (sa Pilipinas) and abroad. Second year, dala ko ang ‘Topakk’ na pinalabas dun (sa Cannes) pero hindi sa main competition, pinalabas siya dun, sa market, tapos bumalik ako dun sa Cattleya Killer. Tapos last year, kami naman ni Angel Aquino, ‘yung ‘Silig’ sa Director’s Factory Fortnight, ‘yun ang third year ko. At the same time, ‘yung second and third year ko, bumibili ako ng movies, ng Nathan para i-distribute, like Buffalo Kids, Monster, Picnic. So last year, lumapit si Alem at sinabing pwedeng ipasok sa Cannes, hoping ako na pumasok kasi ‘yung three years ko, sana hoping na maka-red carpet kami,” Ms. Sylvia continues as she shares how she and Alem met.
“Tsaka ‘yung unang bati mo sa akin, sinabi mo na, ‘hanapan mo ako ng pelikulang pupunta sa Cannes,” Alem fondly shares.
“Lahat naman wish or dream kasi ang Cannes Film Festival ang pinakamalaking Film Festival sa buong mundo. So siyempre, Hollywood o artista, dun nangangarap din na mapunta, magka-award, magka-red carpet. Ako red carpet lang, okay na ako. Kaya nung in-offer sa akin na ganito, sige why not. Baka maka-red carpet ako. And at the same time, connection, makikilala ka doon as filmmaker, hindi nga artista eh. So ngayon ang nangyari, natupad ‘yun. Hindi ako nagkamali na mag-trust kay Alem, na mag-trust sa grupo. ‘Yun ang umpisa namin na mag-red carpet at sana hoping kami na meron pang susunod,” Sylvia adds.
It was a test of trust for both Sylvia Sanchez as producer for Nathan Films and Alemberg Ang with his connections with the crowd of renowned film festivals, that happened when they met at the Cannes Film Festival. But at the same time, they didn’t know that they were about to begin a partnership that would take their careers and Philippine cinema to new heights.
Renoir was chosen to join the main competition of the 78th Cannes Film Festival, where the film premiered on May 17, 2025.
The two enthusiastically shared how a film, produced by production companies from Japan, France, Singapore, Indonesia and the Philippines can be a way for the Philippines to be introduced to more filmmakers not just as producers but also as part of the film’s crew and Philippines being one of the locations of an internationally-acclaimed film.
“Alam ninyo na hindi ito Pinoy na movie, hindi Filipino ang cast dito. Pero hindi kami ‘yung producer na nagbigay lang ng pera dun. Nagbigay kami ng pera for collaboration as co-producers but pumunta kaming dalawa ng one week sa Japan para mag-shooting dun. Kasama kami from script from the start. Inisip ko nga, nag-observe ako hindi lang as producer pati as artista, kung pwede ba ‘yung proseso nila, ‘yung ginagawa nila, kung pwede ba i-apply as producers sa Pilipinas. Pero ako mismo ang nag-give up, hindi kakayanin. Malulugi ang producers,” Ms. Sylvia shares.
“Pumunta din dito (Philippines) ang bidang babae (Yui Suzuki), tapos nagshoot kami sa Batangas. Kami ni Alem, kami ang naging location manager, kami ang bubuo ng kahit saan mang shoot, pati food, lahat sa production kami naman. So, hindi lang ito co-prod na bigay ng pera, pati trabaho,” Ms. Sylvia adds.
“Tapos nakakatuwa kasi may Japanese cinematographer, may French sound team, pumunta din silang lahat dito. Tapos ka-trabaho nila ‘yung Filipino production designer, Filipino assistant director, parang may counterpart. So, parang nakikita mo na kaya pala natin tumapat sa mga French, sa mga Japanese, sa mga Singaporean na filmmakers,” Alemberg adds.
“Hindi man ito Pinoy movie na bida ang Pinoy pero nag-trabaho ang mga Pinoy dito sa Renoir,” Sylvia shares.
On why Renoir had a shooting in the Philippines, “partly because kasama kami. We wanted the Philippines to be involved talaga. Originally, ang peg talaga nung director is Santorini. Siyempre, masyadong mahal to shoot in Europe. So, the other option was Singapore. Kami, medyo binida namin ang Pilipinas. The scene is supposed to show an unknown location na open sea tapos may yacht. Ang peg niya lang dapat kasing ganda ng Greece at dapat hindi mukhang Japan,” Alemberg shares.
So, a film that competed in the most prestigious film festivals in the world was co-produced by Nathan Studios, a Filipino production company, and was partly shot in the Philippines. This allows the whole world, including the best filmmakers, to see it.
‘Renoir’ will have its Japanese premiere on June 20, while it will premiere in the Philippines at the QCinema Film Festival this November.
Watch our coverage of the media interview below: