Aninag (Light's Play): Synopsis, Treatment, and Other Film Information

Synopsis
Isabel journeys in a dreamworld with her new mystical friends "Saya" (Happiness) and "Pag-asa" (Hope) in an attempt to overcome her isolation due to her blindness.

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Watch the 15-minute film

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Story and Production Notes

Treatment
Aninag (Light's Play) is a 15-minute narrative shot in 35mm film. This short film plunges into the domain of a blind girl and her struggle to overcome her fear and depression. It promotes hope against the setback of interests of the incapacitated, the frustrated, and the depressed, who tend to lose hope because of the tribulations that come into their lives.

The "light's play" drew irony to the idea that "Isabel was blind but she sees herself completely in her dreams." The treatment collaboratively envisioned by the director with her production team led by director of photography Wowie Hao and production designers Chrisel Galeno and Joy Puntawe pursued a simple cut to cut from start to end (without fades and dissolves, no special effects); yet, rendering the film in a justifiably "fantasy look" through cinematography and production design. Experimenting with lights and colors in the dream sequence, the film paved way for explorative venues of storytelling through the play of light and the visual design.

The costumes of the two mystical children were inspired by northern and central Philippine/Christian influences (Saya/Happiness) and southern Philippine/Muslim influences (Pag-asa/Hope). Accordingly, the film's music and dances were inspired by Philippine culture/traditions as well. The filmmaker's personal influences were also infused: showing the beauty of nature and the elements including fire (Saya with the torch/scepter), water (Pag-asa with the crown of seashells), air (the elemental fairy and the "talahib rain"), and earth (the rocks and the elemental shadowman), which were created into an ensemble honoring the culture of the Philippines and the richness of its natural environment.

The music and sound design paid much significance for the film as they were made in par with a fearful blind girl's point of view.

About the Production
The music was recorded in a boarding house located in the very busy area of Krus na Ligas in Quezon City, Philippines. Amidst the lack of funds and resources, the production managed to record the music and dub additional lines by placing a number of clothes and cartons on all the windows to block the sounds of tricycles, cars, barking dogs, and other unnecessary sound/noise within the bustling street. The musical instruments were borrowed from Kontragapi and other friends. All the musical instruments were played and recorded one by one/track per track by two people Chucky Aringoren (from Kontragapi) and Philip Arvin Jarilla (the film's musical scorer). Philip finished the mixing of the music in the same location. Some additional dubbing requirements were also done there, along with some additional resources from other filmmaker friends. Additional foley, some dubbing, final sound mixing, and lay-in of all the sound requirements were done at LVN Pictures.

Using Finalcut Pro, the video finish work was edited by Ron Dale at Giant Sponge Productions. After getting the cutlist from Cinema Tools, the negative matching was done at LVN Pictures. The opening and closing credits were shot at the animation table of LVN as well. The color grading of the 35mm print was done at LVN, while the telecine transfer and colorgrading of the video finish work were done at Optima Digital.

The renowned Filipino film and TV actor Joel Torre and character actress/commercial model Karla Pambid acted as the main character's parents. Charisse Mara Luluquisin and Iroy Abesamis, both from the University of the Philippines Filipiniana Dance Troupe, played the roles of the fairy and the shadowman. Prior to the auditions, an initial dance workshop was conducted at Museo Pambata in order for the director and the choreographer (also the Filipiniana dancer Iroy Abesamis) to see the dancing skills of the children needed for the main and supporting roles. The very supportive Museo Pambata and Sun for All Children were the two organizations handling the kids chosen for the roles. Acting workshops rendered by the filmmaker and bonding sessions for the actors and actresses were also organized prior to the shoot. The three major children characters were successfully portrayed by first-time actors.