In 'Maria,' Andes and her team journey with three women, all named Maria, who bear the brunt of former president Rodrigo Duterte’s bloody drug war campaign and culture of impunity.
The film is also Andes’ comeback to Cinemalaya’s main competition category, following her 2019 entry and first feature filmHere, Andes talks about the journey to creatingURNS. Still from ‘Maria.’ Courtesy of Sheryl Rose Andes
For documentary filmmakers here in our country, we usually submit or apply for grants abroad since opportunities here are becoming [fewer], even though our docu community is flourishing. I think we just need to break boundaries or be a changemaker for our relevant stories to be heard. I am actually enjoying my Cinemalaya journey because there is some kind of “spotlight” for documentaries now, which are always marginalized. I hope I can influence more people to pursue documentary filmmaking.
I believe that documentaries have the power to retell history. I am a post-Martial Law baby. I relied on my privileged middle-class status with UP education, plus great history teachers from elementary to high school, as well as watching documentaries to fully grasp what Martial Law is and was. And here we are right now. They are back in power. Martial Law happened 30 years ago, the so-called drug war was just seven years ago. I don’t want people to remember just the statistics on the reports.
My producer would always claim that it is seven years in the making. I’m afraid to claim it because I have to live up to some expectations. We have footage from 2016 and we went back to filming in early 2021. I just have to stop filming for the Cinemalaya premiere, of course. I might have a director’s cut because the story is still ongoing, actually.First, time and money.
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