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In the words of the late, great Teddy Co, “If Philippine Cinema is to become a dynamic social force, it can only do so by diversifying the kinds of films that it churns out. One is to move away from the congested city and look to the provinces in search of fresh new images.”  For its 15th year, the Binisaya Film Festival took that to heart, projecting this manifesto in neon Comic Sans over every screen and surface. Fans of the Binisaya movement are familiar with this flavor by now. From an impromptu karaoke session inside a movie theater to an online program entitled Saksaksinagol, Binisaya has never been one to shy away from irreverence.  Photo from Binisaya  Archives\ Here, there are no sacred cows. Playful takes on religion? This is a safe space. In “Walk with Jesus” by Redh Honoridez, a woman down on her luck finds the Son of God in the strangest of circumstances. Miko Buan Acuña likewise summons the second coming of Christ in “Maryosep” . In Ligaya Villablanca's "Padung Langit si Inday Opil” , a tragic heroine goes on a multilingual acid trip through an interfaith afterlife. The 24-hour Shootout “Diring Dapita” was an interschool omnibus film on the seven deadly sins. It ended with Lust, the winning entry from the University of San Carlos called Team O-Team with members: Simon “Batman” Tabaloc, Jose Andy Sales, Johannes Tejero, Xod Plania, Adrei Dulay, and their Coach and Instructor Kris Villarino. They tackled prevalent Gen-Z feelings of male loneliness and hugot in this surprisingly sensitive, mature and thoughtful film. Festival Director Daniell Aballe-de los Reyes adds, "The Shootout hybrid was something new so of course there were so many challenges but it was fun to see these young filmmakers flesh out their ideas, even with the limited time. It was a really great exercise in technique and storytelling". Photo from Binisaya  Archives Photo from Binisaya  Archives Two Mindanawon shorts were thematic sisters in spirit as female rage revenge fantasies: “Sa Ilalum sa Balabal sa Alitaptap” by actress-director Juvy Clarito and “When the Sun Sets Over Davao” by Adrian William Lo. The latter, a period piece that won the Audience Choice award, was ballsy in its portrayal of the Visayan settler in Mindanao. Yes, the Cebuano speaker is mocked in the capital and “imperial Manila” is the go-to enemy around these parts. But just as Cebu’s scene may seem quaint compared to NCR, next to a province like Leyte, that underdog dynamic flips. The meta-documentary “Asa Ang Mga Salida sa Leyte?” was fashioned into being because of filmic FOMO, of neighbors having it better. Co-directors Linus Masandag and Lebron Ponce ruminate on their region’s cinema, from the decaying theaters to the departure of local talent who seek greener pastures.  What then becomes of those with nowhere else to go? In Stephen Kelly Mahusay’s “dangpanan” , the city offers no safe haven to its most vulnerable denizens. In the surrealist sociopolitical critique that won Binisaya Best Short, the displaced are fed lies and cast aside, made to offer what little they have to get by. Binisaya Horizons Best Film Brownout Capital treads similar ground. In this documentary by Pabelle Manikan, we are transported to a rural outpost in Palawan that routinely experiences power outages. The neglect of a community, the negligence of authorities—these themes are unfortunately an archipelago-wide phenomenon.   Stills from Stephen Kelly's film "dangpanan"      Where programming is concerned, Binisaya is as inclusive as it is expansive. Filmmaker and curator Aiess Alonso was the pioneer who selected the first batch of Asian Shorts in 2014. Three years later, the 2017 call for submissions went global. This year’s Binisaya World was stacked with all-stars like Singaporean directing duo Lam Li Shuen and Mark Chua. They marked their festival comeback with “The Inescapable Desire of Roots” , a bizarre body horror short shot on 16mm and Super 8 film. Another returnee was Whammy Alcazaren who brought the heat with “Water Sports”, a climate change banger that won this year’s Binisaya World Best Film. Alcazaren’s “Bold Eagle” also won the same category in 2023. This plurality of perspectives didn’t just manifest in the selection of films, but also the curation of special guests for a panel talk. It began with representatives from the Film Development Council sharing their assistance programs and production grants, along with open calls for applications. From the film student to the industry practitioner, the message was loud and clear: aid exists for local filmmakers.  Director and screenwriter Arvin Belarmino’s origin story was one that some members of the audience must have resonated with. Cavite-born Belarmino used to major in Information Technology. His version of film school wasn’t conducted via classroom instruction—he honed his craft from being on set, collaborating with friends. This eventually led to his first official foray into filmmaking with Kyel (2015) . He has since built a body of work running the gamut from gritty neorealism to experimental absurdism. Hist latest short Agapito (2025) , co-directed with Kyla Romero, is a family drama doing the rounds at prestigious film festivals such as Cannes and Toronto. From there, we went behind the byline with a film critic. Jason Tan Liwag knows what the average reader is looking for with a review. Those three-out-of-five stars, thumbs up and down are seen to serve a utilitarian purpose: Is it worth the ticket expense and time? Liwag makes a case for criticism that isn’t reduced to mere consumer guide. To write about film is record-keeping. It is a conscious act of defiance against forgetting.  One of the topics touched on in the talkback was the artist's relationship with rest. The panel was transparent about their grindset. From pitching sessions to premieres, there's barely any breathing room between projects. The optional break is frequently opted out of. Regional filmmakers operate on island time, running on different Circadian rhythms. As a result, our calendars look different. We don’t have all-access passes to the same infrastructure and opportunities. In a city still cinematheque-less as of writing, there are barriers to (re)entry. And so it goes, those long bouts of inactivity in between spurts of productivity.  This is best illustrated with Binisaya’s closing film, "Pinikas" by Cris Fuego. From its pre-pandemic shoot to post-production, Pinikas took six years in total. While it would be easy to pin the delay on Fuego’s status as an engineer based overseas, distance was not the real culprit. It was a matter of finances—or the lack thereof. Life imitated art for the people behind Pinikas whose money troubles mirrored the protagonists in Pintuyan. However, the fate of Pinikas the film had a happier ending. Cast plus crew pulled through. The success story of this self-funded, self-distributed independent film shall continue.  Stills from Pinikas' official FB page This struggle is one that Binisaya as a whole knows well. Historically barebones and bootstrapped, its 15th edition was considerably much more boujee than previous iterations. The bigger budget was made apparent in the booking of a mall cineplex for four days of physical screenings and the free accommodation for out-of-town finalists. And so the spilling of tea, the sharing of beef, that summer camp camaraderie at those nightly afterparties were made a lot less insular.  What’s in store for Binisaya at 16? They always keep us guessing. Perhaps that is what brings people back for more, year in and year out. For the found family of orphans and outcasts who belong in Binisaya , rest easy. Home will always be here.  Photo from Binisaya  Archives Shout out to Binisaya Founder Keith Deligero, Festival Director Danielle Aballe-de los Reyes and members Idden de los Reyes, Remton Zuasola, Atty. Grace Lopez, and Darcy Arguedo.

When you envision the streets of Cebu, you might think of skyscrapers and sprawling malls, busy jeepney routes, and sidewalks. But tucked between these familiar landmarks are overlooked spaces like blank walls, underpasses, and alleyways, which may be mundane concrete works, but for some, they claim as their canvas. For Snafu , a Fine Arts student from the University of the Philippines Cebu and a member of The Realest Writers   (TRW), a group of Cebu-based graffiti artists and street writers, an empty wall means a potential work in the making, where urban spaces we pass by can hold more than paint, but a story to represent artistic identity. If you see a graffiti piece covering an entire wall anywhere in Cebu, featuring a skull with hands acting as its teeth and a sun on its head, you might be looking at one of Snafu’s works. This signature symbol reflects the idea that while death may be inevitable, we can make the most of our time by looking forward to better days ahead with hope in our hearts. “ Ang akong character nga gi-imbento kay mahug man jud siya’g reminder sa atoang mortality. Naay kahumanan tanan, pero ganahan sad ko magpakita nga muhatag kog hope ba. Mao na akoang character naa jud nay kalabira ug adlaw, kana, although para mucontrast sha sa symbol nga kalabera, ang adlaw maoy muhatag hope gali, ” said Snafu. [My signature character is meant to remind us of our mortality. Everything eventually comes to an end, but I also want to convey a sense of hope. That’s why my character always features a skull and a sun. The skull represents life’s end, and the sun symbolizes the hope that shines beyond it.] Inspired by local artists like Soika, he hopes to continue the legacy of Cebu street art by proving that its presence never truly fades. To achieve this, he leads a crew of street artists, mentoring newer members and aspiring artists to help shape and grow their collective. ZiJack, a member of the TRW, shared that Snafu was his mentor and the reason why he fell in love with street art. He believes that Snafu’s passion to create and inspire others goes beyond painting walls; he cultivates a strong sense of community. “ Usa na siya sa akoang maestro kay usa sad siyas magtudlo nako sa pagtira diri sa kadalanan ,” ZiJack explained. “ Makaingon jud ko na nindot gyud ni tawhana gyud mutira, basta padayon ra gyud siya sa kung unsa iyang tripping ron, naa ra gyud ko permi sa iyang kilid gyud, di na ma-wa .” [He’s one of my mentors because he’s the one who taught me how to paint street walls. I can confidently say that he’s a talented artist, and I hope he continues doing what he loves. I’ll always be by his side, supporting him every step of the way.] Snafu’s commitment to passing these values on to more artists has become a defining part of his work, ensuring that Cebu’s street art will thrive long into the future. While leading his own team, Snafu also balances life as a Fine Arts major. He shared that he initially wanted to enter UP Cebu because he hoped to show that street art, too, deserves a place in the academic landscape.  However, Snafu emphasizes that the discipline required for schoolwork is very different from that of street art. While academic work is grounded in theory and structured learning, street art demands hands-on practice, where the artist must learn mostly through personal experience. “Ang sa skwelahan man gud nga mga gama kay mostly practice pa siya nya gibahid sad mo sa ilang pamaagi. Lahi sad siya sa kining amoang pamaagi sad nga. Kasagaran gyud sa akong mga nailhan nga street artists, grafitti writers kay self-taught gyud siya tanan,” he said. [The work we do in school is mostly practice, and you’re also guided by the professors’ methods. It’s really different from our own way of creatings works in street art. Most of the street artists and graffiti writers I know are completely self-taught.] Much like his aspiration to establish a place for street art within the academe, Snafu also recognizes the need for greater public understanding that graffiti is, in fact, a legitimate and meaningful form of art. TiilxBabaxKamot: Collab with ESKAPO x SNAFU x KOMPOZTIKA Graffiti might be celebrated in big cities around the world, but in Cebu, most people still see it as an eyesore. Snafu and his crew often face suspicious stares and discouragement whenever they’re out on the streets. He shared that a lot of Filipinos think graffiti is just vandalism. “Di man jud suportado and art diri jud sa Pinas. Daghan artists, pero di namo mafeel ba. Kuwang pajud ang art spaces, so natural, mangita jud mi among space, mangita jud mig lugar kung asa mi makaexpress sa among ganahan kay wala. Minus man, minus man ang suporta jud,” he added. [Art really isn’t supported much here in the Philippines. There are plenty of artists, but you hardly feel it because there just aren’t enough art spaces. So naturally, we have to find our own spaces, we have to look for places where we can freely express what we want because there’s really none. The support is just so lacking.] Despite this, Snafu is determined to shift perceptions. He believes that by continuing to create street art, even without widespread support or recognition, they can gradually create a more inclusive and accepting view of their works. “Kuwang sad gyud ug suporta atong gobyerno sa arts… sa akoang mga gama o agi, naningkamot jud ko na maka-inspire sa uban na nindot sad ug dili ra vandal ang tag sa ato pakato, naa sad gyud ug nindot sa mata ug na’y unod,” he emphasized. [Our government really lacks support for the arts... In my work, I truly strive to inspire others and show that what we do is more than just vandalism, and that what we create can also be visually pleasing and have real substance.] He acknowledges that not everyone may appreciate their craft, but he sees street art as his way of giving back to his community and shaping the identity that colors the streets of Cebu. The next time you see graffiti art in the streets of Cebu, think of Snafu and the many artists like him, those who dedicate their time and passion to transforming blank walls into powerful stories. Now, the walls can speak and are brought to life by artists like Snafu, who give them a voice. Beyond the spray paint and bold colors lies a message of resilience, creativity, and community, proving that street art is more than mere vandalism. It’s a voice for the city and its people, a reminder that art can thrive in even the most unexpected places. Photos taken from Snafu's Official Facebook Page and this writer's archives.

Oro Design Conference (ODC) is back for its fifth edition last May 31. Positioned as Northern Mindanao's first and only conference focused on graphic design and its impact across creative fields, Oro Design conference brings together speakers from the design industry to share their expertise, insights, and experiences with the creative community in the region. Through the years, the event have brought to the stage 27 speakers from different parts of the country. For this year, ODC brought together five designers from five different cities across Visayas and Mindanao. The main goals of Oro Design Conference are primarily to foster a creative community in the region and celebrate design. From the first edition up to the present, the organizers, known as the Oro Design Collective, have been able to develop a stronger focus on regional representation by bringing in speakers from outside the greater Manila area. Additionally, their aim is to inspire creativity, share knowledge, foster collaboration and build connections among the design community Visayas and Mindanao region. This year's conference held last May 31, 2025, at Xavier University's Little Theater, Cagayan de Oro City, featured five speakers from the Visayas-Mindanao region who presented their work and insights. Speakers include Angkie Borres from Antler Studio PH (Cagayan de Oro) and Julz Arboleda from Dotted Studios (Iligan City), who discussed branding and identity design. Marvin Te from Plainly Simple (Davao City) presented his work in motion design and animation. Stephanie Tudtud-Guibani, Creative Director and Founder of White Brick Creative Studio (Cebu City) shared their diverse portfolio spanning branding, identity, and production design. Finally, Jad Maza (Iloilo City), known for creating the popular typefaces Maragsa and Kawingan, discussed his typography journey and creative process. The Oro Design Conference wants to help creatives in VisMin thrive and most importantly, build a community where everyone can share ideas, collaborate across islands, and hightlight regional talent. By connecting students with professionals and creating opportunities beyond just their annual event, the organizers are hoping to inspire the next generation of designers who are proud of their roots and ready to make their mark. This event is led by the Oro Design Collective , proudly sponsored by Chingkeetea , VjANDEP Bakeshop of Camiguin, Anglerfish Print and Design Studio , and supported by the Communication Design Association of the Philippines. All photos taken from the Oro Design Collective Archives. Shout out to Karl Aguro of @uncuratedstudio for being an awesome resource person.

Hi beshies!  The Cebu Pride Movement (CPM) officially kicked off this year’s Pride Month with the theme “Stand Proudly, Live Loudly!”  during a launch event at Quest Hotel on June 4. With media, influencers, and allies in attendance, CPM issued a clear call: it’s time to celebrate visibility, authenticity, and unity. Quest Hotel Management, Cebu Pride Movement, Love Yourself, Media partners, allies, and friends Pride is as much a protest as it is a party. Now in its third year, CPM continues to push for LGBTQIA+ rights and visibility. Leader Matthew Basabe highlighted the movement’s unwavering commitment to Diversity, Equity, and Inclusion (DEI). He expressed pride in the growing number of allies and partners joining the advocacy. He shared a hopeful vision for a unified city-wide Pride celebration in the future. Quest Hotel reaffirmed its commitment as an LGBTQIA+ ally by hosting this year’s Pride Month kick-off event. The hotel highlighted its internal support initiatives for both employees and guests, proudly sharing its own Pride theme: “Happy to be Loved!”  To celebrate the season, Quest also announced special room promotions and restaurant offerings available throughout the month. One of CPM’s longtime partners, LoveYourself Cebu, also marked a major milestone—its 7th anniversary and the launch of a new community hub in Lapu-Lapu City. This expansion comes at a critical time: the Department of Health recently reported a 500% increase in HIV cases among Gen Z. While alarming, advocates view the rise as a sign that stigma is being dismantled, and more young people are seeking testing and care without fear or shame. Regi Nam of LoveYourself Cebu reiterated the organization’s goal of building a stigma-free community. They called for more volunteers to join the effort and emphasized that the work is far from over. As part of this year’s Pride festivities, CPM invites everyone to bring color and solidarity to the   Cebu City Pride Parade on June 28 , which is spearheaded by the Cebu City Anti-Discrimination Commission, with significant support from the Cebu City LGU and various PRIDE organizations. “CPM was created to bring people together,” said Enrique San Juan, co-leader of the organization. He warmly invited queer Gen Z youth and allies to join the Big Pride Picnic on June 29  at IT Park’s Garden Bloc, where a 400-square-meter picnic blanket will be laid out. The event promises a joyful finale to Pride Month, celebrating love, friendship, and the beauty of chosen families. The fight for equality continues, but so does the celebration of identity, resilience, and community. Happy Pride to all LGBTQIA+ Cebuanos! Follow their Facebook Page Cebu Pride Festival or Instagram Page @CebuPrideNow for more details. To support, you may reach them at cebupridemovement@gmail com All photos are provided by Cebu Pride Movement

Fete de la Musique in Cebu poster At last year’s Fête De La Musique press conference, Dexter Sy, Festival Director and Co-Founder of Melt Records, was asked if they had landed their “ideal lineup.” His answer was candid: “Not yet.” For Dexter, an ideal lineup could only exist if every genre and every community from the local music scene was represented.  Fete de la Musique Cebu Press Conference at La Vie Parisienne in Busay Fast forward to this year, and that vision is finally hitting the stage. With over 50 artists across 8 different stages, Fête De La Musique 2025 is Cebu’s biggest and most ambitious celebration of music to date. Brought to life by Melt Records, M Lhuillier, and Alliance Française de Cebu, this year’s festival is a full-city takeover. One massive series of simultaneous events that finally captures the rich, diverse soundscape of Cebu’s music scene.  Originally launched in Paris on June 21, 1982, Fête De La Musique—also known as World Music Day—was created to democratize music. The idea was simple but radical: remove the barriers between artists and audiences, break down genre hierarchies, and let people take to the streets to play together. Fete de la Musique in the Philippines poster That spirit lives on in Cebu. “Our goals for the festivities remain the same,” says Sir Dexter. “To elevate local independent musicians, and to legitimize independent music as an essential part of Cebu’s contemporary culture.” From hip-hop to shoegaze, folk to funk, punk to pop, this is the year Cebu hears itself in full color. And everyone’s invited. More photos from the Fete de la Musique Cebu Press Conference The Main Stage The fun begins at Ayala Malls Central Bloc Corte Garden on June 21st, featuring musical acts from local legends to up-and-coming artists representing various music communities. The main stage produced by Studio Mojo will be set amidst Cebu's IT district, connecting the music scene with the casual folk. The lineup for this stage includes: Coloura, Vincent Eco, Who's Next, Liana San Diego, Girl With A Broken String, Felhony, The Line Divides, Sheila and the Insects, as well as DJ sets by MISTERMIL & DJ LIT. This diverse set will give you guys a taste of the best of Cebuano music and a glimpse of what to expect in the coming weeks.  The Pocket Stages For the first time ever, Fête De La Musique in Cebu will be hosting multiple pocket stages. Seven stages each with their own genre, subculture, and crowd will be playing all at the same night. Yeah, you read that right. The organizers reached out to local productions to put up these stages which not only highlights the performers but the contributions of these productions to Cebuano music and cultural venues as well. The goal here is to create an intimate and inclusive environment for Cebuano musicians and their audiences to create meaningful connections. It’s a lot. And that’s why I got you. You might be new to the scene so here’s a little something about each pocket stage, to get you started. Atúa Pop Stage If you’re an artsy one who's down to get it down, Cebu’s iconic pop girlies will be performing at Atúa Midtown. This stage produced by Filla Killa features artists from various pop subgenres like IIICCCYYY, Kate Lucero, Sauf, Julia Q, and DJ Panghitaboujee. Casa Gorordo Busking Stage The most Gen Z lineup you’ve ever seen: Kate Livewire, Cliff, Jericho Streegan, Angelou Sereno, Dixzie Cruel, and Victoria Ingram. These up-and-coming artists will be busking at Casa Gorordo Museum, serenading you with stripped down versions of their songs and a bisaya song to honor the historical and cultural venue. This one’s produced by Folkin’ Friends. Draft Punk Analog Stage You’ll find the vinyl and cassette enthusiasts at Draft Punk jamming to BAIHAUS CREW. This stage is brought to you by BAIHUS, an iconic vinyl store from Lapu-Lapu City. If you enjoy the old-school, analog form of music, this gig is for you. Handuraw Ska & Reggae Stage This stage by Skanky Vibes & Vanity Records will have you grooving and moving to one of Cebu’s OG Ska bands Who’s Next, Southern Witch Hunt, Busking Side Project, Queen of the South, LozDrap, God Save Me, Blackzillah, Fiyah, Rootsman Project, Santing, Selah Dub Warriors, Mahibu, and Vinyl DJ sets by Vanity Records Cebu & UNIK. They’ll be at Handuraw so order pizza while you’re there! La Parisienne Tropical Thunder Stage You’ve got to be ready to bust it down because Phire Starter has brought you MISTERMIL, DJ LIT, KIT, DJ RBK + DJ KRV, Kiezo, Santi Gnaelo, Justraw, Felhony, and Drippie Eric. They’ll get you hooked with their afro-beats with an awesome view at La Parisienne. Tunecore Indie Stage Rock out to Cebu’s staple indie bands at Cebu Making Space. The Queens, KANA, Kubra Commander, Deanery, Hazy Daisy, The Midnight Greetings, The Pervs, Karma, Highway Seven Circus, Offals, Cosmic Kid, and She Must Be Dreaming will be serving up hits at the heart of Cebu City. This stage is brought to you by John Bottles & Cebu Making Space. Unity Heavy Stage Cebu’s favorite hardcore bands will be at Unity Coffee & Vinyl. This stage is set up by Hello Good Morning Production with performances from Stab, flowr, Roughands., SHVRIKEN, The Rising Tide, Pulsing Chunky, Interstate, Awkward Dancer, and Shuffled.  We’ve had gigs overlap a million times, anyone who’s had an event at CMS but had to pop into Draft Punk or Ahka to see their friends gigs knows that, but we’ve never had this many communities celebrate under one major umbrella event. I think that’s pretty dope. Celebrating with our own circles yet united by music. This just goes to show how diverse and how special the Cebuano music scene is despite how small this island is. You’re part of that. Let that sink in. If you need more info or the exact locations of each stage, you can visit the official Fête De La Musique 2025 in Cebu website . For more updates, you can check out Melt Records’ facebook  and instagram  page. All photos from the presscon are by Mic Pacalioga . All official event posters designed by Inodoro Graphic Design Fete de la Musique team and Event Partners

For years, Cookie$ has been a force in Cebu’s hip-hop scene— as an artist, then as a producer, and founder of Bakeshop Studios, a creative HQ for fresh new talents. Today, his journey takes on an even deeper meaning. After facing a serious health challenge, he has not only returned stronger but also rediscovered his Catholic faith. In this feature, Cookie$ talks about the ride, his recent experiences, and next moves. Cookie$’s transition into producing and founding Bakeshop Studios wasn’t just about expanding his career—it was about building a home for artists like him. "I wanted to help out the Collective (The Bakeshop Studios) have a space and platform to create and congregate here in Cebu, especially for those visiting the city." What started as a simple Discord server during the pandemic has grown into a full-fledged creative space, where musicians, visual artists, and producers come together to collaborate and push their craft to new heights. However, running Bakeshop Studios came with its own set of challenges. "Making sure I'm on top of things like admin, backend, and cleanliness of the space was tough. As an artist myself, I tend to lack follow-through on boring but important things," he admits with a laugh. But with time and experience, he’s learned to balance it all. “I don’t manage artists—I just give them the platform to create. They have full creative control.” Interestingly, Bakeshop Studios wasn’t built by scouting new talent—it grew organically. "I wasn’t looking for artists. When we started as a Discord server, we already had a ton of artists there. We got to know each other, became friends, and that’s how the Bakeshop Studios family came to be." Guiding younger artists has been a rewarding experience for him, even though it comes with its challenges. "I let them do whatever they want as long as they look out for each other and don’t cause trouble," he says. "The downside is that they’re still young and tend to go overboard, so sometimes I have to step in and remind them to be responsible." But seeing their growth and hearing their gratitude makes it all worth it. "After all the hard work, just hearing them say 'thank you' is the most rewarding feeling." As for his own music career, Cookie$ is at a turning point. He’s currently pushing his debut album, A Life of a Bai , which marks a shift from his signature high-energy, club-ready sound to something more mellow and reflective. "My music was always aggressive, hard, and energetic—something you’d hear in clubs and parties. But with this album, it’s more chill and laid-back. Something you can play while your grandma is around or on a Sunday morning." This shift in sound seems to reflect the shift in his own life. After overcoming his recent health struggles, he has rekindled his faith in God. "Everything I do now is for His glory," he says. His faith has given him new direction—not just in music, but in life. What’s Next for Cookie$? With his debut album out, Cookie$ is preparing for a US tour this year, bringing A Life of a Bai to a global audience. He also has bigger dreams beyond music, hoping to one day sit down for a podcast with Joe Rogan and Tim Ferriss. "And of course, I want to tour the world and perform my songs everywhere," he adds. As he steps into this new phase of his career—one guided by faith, purpose, and a love for the craft—one thing is clear: Cookie$ isn’t just making music. He’s building a legacy. Famous Last Words? We asked Cookie$ to share some inspirational advice or give a personal message to the fans and audiences out there: " 1 Corinthians 10:31: So whether you eat or drink, or whatever you do, do everything for the glory of God" Amen. Check out all the latest updates from Cookie$ on his socials https://www.facebook.com/cookie.vibe and stream A Life of A Bai on Spotify https://open.spotify.com/album/0m6w1zbK0x6rVAGMuKmUUL?si=DUArYS-pSgC9pOKnFxk8Kw *Shoot by Black*Press Team: Niko Blanco, Sean Mondejar, Lauren Mariscal * Photos from the Archives of Cookie$ and The Bakeshop Studios

TuneCore, the leading development partner for self-releasing artists—owned by Paris- based Believe, one of the world’s leading digital music companies— has announced a series of local partnerships, workshops, and events intended to elevate the Cebuano music scene. TuneCore now offers independent artists from Cebu and other cities in VisMin the ability to release their music on the most popular digital stores & platforms like Spotify, Apple Music, TikTok, YouTube, Tidal, and more, through the company’s UNLIMITED distribution plans. Artists on any TuneCore UNLIMITED plan can release as much music as they want to audiences around the world while keeping full ownership of their music and retaining control over their career. Earlier this year, during a workshop with 50 independent artists from Cebu plus representatives from Spotify and YouTube, TuneCore’s Regional Head for Southeast Asia, Cyrus Chen, shared the company’s goal of pushing local-first initiatives to better serve the artists in the region. According to Chen, “There is a lack of education among local independent artists on how to kickstart their careers as well as a lack of performance opportunities in the region. This is where TuneCore comes in, developing workshops and masterclasses on behalf of artists and establishing a community hub to ensure more regular activations in Cebu.” TuneCore Country Coordinator Bong Address adds, “TuneCore is very hyper-local. We have local teams on the ground that speak the native language to pursue partnerships with key players in the industry. Through these collaborations, we support the local music industry by providing funding to community hubs and working with TuneCore ambassadors to organize workshops and gigs, and reach larger audiences.” In Cebu, Making Space is now TuneCore’s official Community Hub, providing a venue where local indie artists can stage gigs and share their music to larger audiences. Making Space is a co-making space that consists of a Makerspace for woodworking, digital fabrication, crafting, and other creative endeavors; a Tea Shop & Gallery for small art exhibitions; and a multi-use Studio where all the events take place. TuneCore is the perfect partner for Making Space because of its independent spirit and its vision of providing a space for all artists, musicians, and creatives to pursue their passions. In the past year, Making Space has already become a home for many indie artists, fostering a community of musicians across all genres, from hiphop and pop to punk, hardcore, and everything in between. Representing the Cebu music scene is TuneCore Ambassador Bobbi Olvido, a musician, producer and events organizer based in Cebu City. He has been active in the indie music scene for the past 16 yearsas a member of different bands and projects including Sunday Sunday, Foc Fashion, Kubra Commander, Coney Reyes On Camera, Soda Can Genie, The Spirals, Snubear, Red Twin Motel, Concave and Sheila and the Insects. He also runs John Bottles Events, a DIY events production that produces small to medium scale shows to help uplift the Cebu indie music scene. Bobbi is a representation of the DIY spirit in the industry, supporting various artists through gigs under John Bottles production, collaborating with other musicians, and even attending different music events from other production outfits - he truly embodies what it means to be a local indie musician. Exciting things are happening to Cebu’s music scene and, by partnering with Making Space and Bobbi Olvido, TuneCore is investing in the development and amplification of local Cebuano talent. Don’t miss out on upcoming gigs and workshops by following Making Space, TuneCore Philippines, and John Bottles Production on FB and IG @cebumakingspace, @tunecore.ph, & @johnbottles032.

In the streaming age, a movie night at home is hardly a straightforward thing. With thousands of titles within reach, the feeling of option paralysis is all too real. For people who create what is consumed, a similar struggle exists. Independent filmmakers spend months developing their passion projects. From there, the finished work is prepped for exhibition. And so the cycle begins, that of filling out application forms and chasing deadlines for a shot at being a part of a film festival. These days, it seems like there’s one for every niche, in every locality.  Since 2011, the Binisaya Film Festival has been a home for the burgeoning Cebu film scene, sharing and celebrating short films by storytellers from the regions. Their story began 14 years ago at the University of San Carlos, inside the College of Architecture and Fine Arts Lecture Theater. Its initial run as a fest coincided with the inauguration of the school’s four-year BFA Cinema program, the first of its kind in Cebu back then. Screenings have since expanded to mall movie theaters and mixed-use venues. Every edition of Binisaya always keeps people guessing and on their toes. When’s it going to be? Where? The No Permanent Address nature of Binisaya certainly adds to the excitement, but it does make one wonder: is it a bug or a feature? Cebu has the unique yet unfortunate status of being a highly urbanized city that still doesn’t have a cinematheque. Without a physical standalone film space, the official programs by the Film Development Council of the Philippines are out of reach. Seemingly in response to its absence, Binisaya takes place anywhere the team can set up a projector and screen, whether it’s a basketball court or rooftop parking lot.  Binisaya maintains close ties with other schools in ways beyond needing a place to stay. After all, a festival needs people to function and there are plenty of roles to fill. From registration attendants to tech teams at the projectionist’s booth, young volunteers lending their time and talents are a familiar sight in the cultural event circuit. Besides being a labor resource, students are also a source of material. A substantial number of submissions are thesis films with logos of universities emblazoned in the credits. It’s also the young ones who go all out for the nearly yearly Binisaya Shoot Out. This is a popular side activity that happens in the days leading up to the main event. Small teams pull out all-nighters to write, shoot and edit a micro short film in which they must incorporate a prop or line as creatively as they can. Their works are typically produced within 24 to 48 hours—a cinemathon challenge. Besides screenings, Binisaya also hosts film talks and other workshops. Filmmaker Glenn Barit and film academic Ed Cabagnot were its most recent guests who flew in for a lecture at The Kabilin Center.      With the amount of productions in circulation every year, festival programmers have a lot on their plate once they call for submissions. The final film lineup must be cohesive and on-brand. Some selection committees might prioritize technical prowess that emulate a polished professionalism. Others may prefer having sociopolitical commentary to advance an advocacy. Since its inception, Binisaya has always been a haven for auteurs with a distinct cinematic vision. Over the years, the Binisaya Best Film award has gone to the animated Sierra Madre (2017) by Jovanni Tinapay, experimental works like Octogod (2019) by Shievar Olegario and the documentary Kahayag sa Kangitngit (2021) by Carl Lara.  When asked what brings her back to the festival year after year, Ashley Manugas of The Brief History of a Filipino Astronaut (2023)—a science fiction romance that won Best Film for Binisaya 2024—says “Binisaya is so freestyle. No matter what your trip is, they’re open to all ideas.”  One of the most prolific young filmmakers in Cebu, her cross-genre body of work includes films like Propesiya (2017), The Best Employee (2018) , Martes Martes (2019) Sa Adlaw na Nabiyaan Mi sa School Bus (2020). All five films have been screened in previous editions of the festival. In many ways, Binisaya has had front row seats in witnessing her growth as an artist.  Her winning streak continues with Kataw (2024), awarded Best Film at Mga Kwento ng Klima, a climate-themed mobile filmmaking contest organized by the Oscar M. Lopez Center.  It could be said that Binisaya’s current curatorial culture is an after-effect of the Cebuano New Wave. Some works that define this exciting, eclectic filmmaking era include Jerrold Tarog and Ruel Antipuesto’s Confessional (2007), Remton Zuasola’s one-take drama Ang Damgo ni Eleuteria (2010), Victor Villanueva’s absurdist horror My Paranormal Romance (2011), Ivan Zaldarriaga’s zombie thriller Di Ingon ‘Nato (2011), Ara Chawdhury’s queer magical realist debut feature Miss Bulalacao (2015), Christian Linaban’s stoner comedy Superpsychocebu (2016), along with festival founder Keith Deligero’s Kordero ng Diyos (2012).  Indie productions (in)famously subject crew members to the fate of the multitasker. In the case of Binisaya, the filmmaker often becomes the film festival organizer. Binisaya 2024 festival director Danielle Aballe-delos Reyes puts it this way. “Although it’s not a necessity for a festival director to be a filmmaker, there’s a sincerity and empathy that comes with someone who knows the whole nine yards of filmmaking. There’s an awareness about how things are made. They become a bridge between the makers and the audience.”  If the posts on the Binisaya Facebook page are any indication, plans for next year’s fest are already underway. Hiccups have certainly happened and yet it’s still standing. Perhaps what it lacks in infrastructure, it makes up for in heart. Grit is the glue that keeps it going. On the last night of the festival, a symbolic ceremony had attendees lighting up the pitch black theater with their phones raised, the brightness level at 100%. Festival founder Keith Deligero shared a sentiment of solidarity. “With whatever technology available, from our devices… we can be heard if we do it together.” It was a solemn moment of silence for those in the dark and the depths, but it was also a call to action, a reminder to take up space, because our stories matter.  All photos taken from Binisaya Film Festival Photo Archives. Follow their official Facebook page: https://www.facebook.com/binisaya

The September Fever Team had a busy, well, September, with the staging of Coast2Coast,  an inter-regional tour aiming to bridge together independent music scenes in Visayas and Mindanao. After the success of their Coast2Coast CDO-Davao-Cebu tour, September Fever co-founders Gino Rosales and Karl Lucente flew to Bali to represent Cebu and the Philippines at the AXEAN Festival 2024. As of posting, the team are once again repping Cebu in South Korea for RTO365 bringing along the rest of the September Fever and Filla Killa crew. We finally caught hold of Karl Lucente to talk about September Fever, Coast2Coast and the Cebuano indie music community. On how Coast2Coast came to be, Karl shares, "L ast year's September Fever was the first time that we invited other local production heads from Visayas and Mindanao for a roundtable session. It became a melting pot of perspectives, where representatives from various Philippine regions converged to discuss the opportunities and obstacles present within their unique musical landscapes. Through guided discussions, attendees identified common ground and potential areas for collaboration. This lead to the idea of a groundbreaking 'Coast2Coast' Tour." The idea finally came to fruition when Coast2Coast kicked off in Cagayan de Oro, followed by the Davao Leg, and culminated in Cebu. The tour was done in partnership with Cagayan de Oro's Indie CDO; Davao’s Holodeck Productions; as well as Cebuano music collectives September Fever, Filla Killa, John Bottles, Rverb Cebu, and Baihaus. “We wanted to create a regional tour for artists, independent labels, and production teams to go beyond their small communities and share their music and stories across major cities in Visayas and Mindanao.” Karl's trips and conversations with diverse groups of individuals here and abroad inspired him to create Coast2Coast's roundtable sessions. He also bounced tons of ideas off with his inner circle who are also part of September Fever and Filla Killa - Gino Rosales, Nikko Tan, and Bea Sagun. According to Kara Angan, " September Fever has always been about the community and Coast2Coast is their intentional attempt to create stronger links between Visayas and Mindanao. With Coast2Coast, it’s not just about inviting other artists from different parts of the region, but by collaborating with the local indie productions that are doing important work in their cities." Coast2Coast and the Local Community and Music Scene Karl and his team envisioned to create long-lasting connections with other production houses and artists in VisMin. Coast2Coast serves as an avenue where everyone can learn more about music together while supporting and celebrating talented independent artists. September Fever: Coast2Coast is more grassroots curation and more on collaborating with other regions. Each of our partner productions (John Bottles Events, Rverb Cebu, Baihaus, and Filla Killa) curated their lineups. We wanted them to have an equal part in building what Coast2Coast is. During the Coast2Coast tour, the team made it a point to include a music talk section where invited speakers from Luzon, Visayas, and Mindanao shared their knowledge on important topics for independent artists — whether it’s through better understanding of how music licensing works, how to best maximize streaming platforms, artist branding, and more. "We believe that engaging with a local community is not just about providing entertainment, but also through education," adds Karl .  In terms of long-term goals for Coast2Coast, Kara Angan (September Fever & Filla Killa) shared " We hope that down the line, artists and audiences from all over the world get to see how diverse and vibrant Visayas and Mindanao are in terms of music. Beyond music, we want to continue creating avenues for knowledge sharing, especially when it comes to how independent artists can help develop their career. We’re also planning to launch an independent music publication titled Coast2Coast to translate and better document the VisMin music scene online and in print. " Dreams do become reality with the publication going online very soon. For interested writers with a passion for VisMin music, you can check out bit.ly/C2C-Contributors or send an email to hello@coast2coast.ph . Coast2Coast at the Axean Music Festival in Bali, Indonesia Karl, Gino, and the rest of the September Fever team were invited to the Axean Festival in Bali to talk about Coast2Coast and VisMin music on an international stage. The festival is a music showcase that features talents from Southeast Asia and beyond while providing a place for global music industry professionals and artists to connect and network. We asked the boys to share their experience representing Cebu and the rest of the Philippines. First of all, how awesome is it to be at AXEAN Festival? How do you feel? " It was our first time at a music showcase set-up, and at first it felt really intimidating. We were surrounded by some of the biggest festivals and labels in the world, and it was such a big learning process for all of us. We’re thankful for the opportunity to have this experience and we hope to share what we learned with the rest of the community here in Cebu. What does it mean for you guys to be there, bringing September Fever to a bigger, international audience? "It was a very humbling experience for all of us. After seven years of September Fever, there really are still so many opportunities for us to grow and improve our event. We’re excited to explore the ways that other international groups are organizing music festivals and we’re ready to continue pushing for Visayas and Mindanao on the international stage.3. How could it impact September Fever and the music community? We hope that we can bridging Cebu – and by extension, the Visayas and Mindanao regions – with the rest of the world. Whether this be through promoting our artists, our music scenes, our cultures, or facilitating cultural exchanges with other countries, we hope that we can bring more support for VisMin artists. We also hope that in the future, we can bring more delegates and artists from all over VisMin to experience what we experienced in Bali." What are your plans after the festival?  "We’re in the process of planning the lineup of events for 2025. We want to continue creating more live performances and opportunities for music education in the region. Hopefully, in the next September Fever, we’ll be able to bring in international acts and foster collaborations between artists from VisMin and the rest of the world." And how could this impact future shows? "We don’t know yet! But whatever happens, we want to continue supporting VisMin artists here at home and abroad." Coast2Coast at the RTO365 in South Korea Things have not slowed down yet for Karl and his crew. Just recently, they were invited to talk about the independent music scene in Cebu diring their recent trip to South Korea where local acts, Mandaue Nights and Sansette played their first gig abroad. Karl's topic "“Connecting and Collaborating to Sustain the Local Music Scene in the Philippines” was an amazing opportunity to spread the word about Cebu music in another global setting. "The Cebu indie music scene is still relatively small, so having the chance to talk about it on an international stage is a huge step forward. Here are some of the independent record labels I shared (though I wish I had explored them more deeply) that are keeping the Cebu scene alive and thriving despite the challenges. Cebu’s growing diversity across genres-independent production-studios are making the scene bigger and it’s an honor to share it with the rest of the world that we are still fighting." Kudos to Karl, Gino, and the rest of the September Fever and Filla Killa family for keeping the Cebu indie music scene. Follow their Instagram pages for all the latest updates and upcoming gigs and events: @septemberfeverfest , @filla.killa , and https://www.facebook.com/coast2coast.ph . All photos from the archives of Coast2Coast, September Fever, Karl Lucente, & Gino Rosales.

Creative Spotlight goes behind the scenes to some of the awesome campaigns and projects made by Cebu-based design studios and agencies that don't get the hype they deserve. This week, we're highlighting the work of Matter Studio, an independent branding and design studio who blend sight, sound, and sense to augment the world around us, improving the human condition through projects that matter. HISTORY OF UKAY TA BAI ! The sheer variety of vintage items found scattered throughout Cebu’s hole-in-the-wall ukay-ukay spots is incredible . For years, unique fashion pieces have always been a dig away from the surface, whether they’re hiding in plain sight for a good eye to catch, or buried in bulk in a sea of fabric. There’s always something worthwhile beneath the piles. Certified bangers amidst the hangers. You just gotta be willing to dig, and gotta know what you’re digging for, too. It takes a certain type of person to appreciate the nitty-grittiness of it all. Historically, this rugged, sweaty, dust-covered hobby has always been a little too niche-specific for mainstream markets to resonate with. Understandably, not everyone’s a hardcore ukay-ukay hunter. Lots of people like vintage tees, but not everyone wants to dig for them. Outside of a few online trade groups, the casual thrifter couldn’t always cop rare finds - because you either had to dig for them yourself, or know a guy who knows a guy. You also had to have something that money can’t buy - and that’s good taste. Locally though, the concept of selling curated, pre-loved merch has been around for years. Cebu has always had vintage vendors on the scene, but there’s never been a centralized community uniting them. There needed to be a platform that stimulates our underground thrift economy - an inclusive outlet for underground fashion enthusiasts across all of Cebu’s niche groups and subcultures. This outlet, the next logical step forward, was Ukay Ta Bai! . PROBLEM It’s a small island phenomenon you see everywhere in our corner of the Pacific. Overruns by bulk. But digging through those? That’s a little too underground for contemporary markets. Giant sacks of pre-loved items from everywhere on earth attract some hardcore thrifters, but it’s not for everyone. Naturally, it tends to be clique-ish. Exclusivity is a proud hallmark of Cebuano culture. You might call it gatekeeping. Old heads will not hesitate to flex on you. Dudes with the “good finds” connect won’t share their plug with you. The dots across the board needed connecting. Cebu's vintage thrift market was fragmented so to say; spread out across tiny pockets of tightly-knit friend groups and “if you know you know” type of followings. There had to be some common denominator that dissolves these barriers. Something that unites our tribe. The scene lacked a centralized platform for enthusiasts to discover unique finds and make new friends, confining it to the underground with negative connotations; dirt-cheap, worn-out rags: the imagery most people associate the term “ukay-ukay” with. It was exclusive, labor-intensive, and sometimes even frowned upon. Fast fashion was always more convenient. But why not recycle a shirt, look cool, and help a brother save the earth? Execution and Rationale Ukay Ta Bai! provided a curated vintage market experience that unites vendors, collectors, and fashion enthusiasts in a colorful display of culture in motion. With the formula shifting away from dusty garage sales toward online sellers with their own curated shops, the missing piece in the scene just happened to be, in fact, a super fun platform that unites local subcultures while championing individuality in fashion. That was what Cebu’s thrift scene needed to get what had already been on everyone’s minds, out into reality; something engaging; something interactive - something hella fun . With this in mind, 3 pioneers formed a collaboration that would kickstart a new thrift-market community movement in the Visayas. Starting with the name, we pitched around 30-50+ names that all fell under the impression of a local thrift convention flea market type, but none of them landed except the first one, which was the initial idea that we pitched but with a “!” slapped onto it. The founders all agreed to go with Ukay Ta Bai! - a name that invites you to come through, browse rare items, and kick it with local thrifters. For the tagline, Adam went with a more laid back approach putting it simply “Puros good finds ug good vibes.” which is everything you can expect from the event. And then lastly to wrap it all up, a mid-century cartoon inspired visual identity that captures the sense of nostalgic factor that our primary target audience is very familiar with and a visual identity that they can find comfort, solace and community in. Creative Process ● Market Review: Ukay Ta Bai! conducted an in-depth review to understand the needs and preferences of Cebu's vintage fashion community. Initially Matter Studio designed the brand's visual identity and messaging to a market of the same niche, someone who appreciated the retro style of the mid-century inspired 90s to the sound of local comics humor and culture. ● Vendor Selection: A rigorous process determined key vintage vendors who guarantee uniquely-curated, high-quality items. ● Marketing and Promotion: Ukay Ta Bai! leveraged social media, local partnerships, and large-scale events to attract a diverse audience that stimulates its market. ● Community Building: Initiatives were introduced, rooting individual ties and genuine friendships between vendors, customers, and newcomers alike and recently a donation drive in collaboration with the local fire department where customers can drop off their unused clothing to be reused by those who are most in need. Shared Experiences Matter Studio Founder Jon Durano and Adam Escaño shared some funny anecdotes and experiences about the entire project from its inception to its massive growth. " As we hopped from one venue to another, we have met lots of raised eyebrows who are very much doubtful of our cause, and rightfully so. This is indeed a very risky and unproven approach toward this industry. One story in particular is from an anonymous, judgmental Karen venue back in early Ukay Ta Bai!   who was worried that “ukay2” items would attract poor people and scare away the rich crowd - the same people who eventually copied our idea but somehow managed to make it worse with vendors complaining about the promotion, marketing, logistics and overall rent prices with not that much to gain." According to Adam and Jon, Ukay Ta Bai!   is set up so that you don’t have to do the dirty. You don’t have to climb to the peak just to see view - you can just zipline straight there. With half the battle done, all that’s left is to simply show up and have a good time. Ukay Ta Bai!   took the initiative to navigate this terrain, building a convenient system that strengthens our community from within - stimulating the thrift economy while spreading good vibes. Diehard purists will say UTB isn’t real thrift. That it’s an overpriced fad. They’ll see you having fun and will literally be mad. But hey, what matters is that it’s fun for everyday people. It promotes collaboration in the art scene. And plus, it’s hella cool. "If you hold niche views in a niche genre of subculture in a niche part of Cebu’s underground, then damn that’s pretty niche crazy if ya ask me. Sometimes we just wanna play casuals instead of ranked, dawg." - Adam, 2024 Team members involved - Adam Escaño , copywriter, brand strategist, studio partner - Jon Ahmed Durano, art director, brand strategist & studio partner - Matter Studio Check out MATTER STUDIO on Instagram @matterstudioph and Matter.ph

Filipinos are a happy bunch, and we do love our humor. Comedy has always been a way to connect with others, laugh at life's absurdities, and even explore social issues. In the age of Netflix specials and streaming, stand-up has become way more accessible. Compared to the traditional comedy clubs where talented comedians work the crowd, do skits and celebrity impersonations, stand-up is more about storytelling and delivering a punch line. Social media shorts have also been significant in promoting local comedians and their work, allowing them to reach a wider audience over here in Cebu. Imagine my excitement when the revolutionary Comedy Manila announced their first-ever Cebu tour featuring top shottas Redd Ollero, Victor Anastacio, James Caraan, and GB Labrador. What a lineup! Photos by: Copycarla Cebu finally had its first-ever stand-up comedy show, and it was hella fun. The guys brought their A-game, and their jokes were absolutely hilarious. I mean, we're talking laugh-out-loud funny, the kind that makes your sides ache. Audiences were rolling in their seats, clapping, grabbing at their seat mates, and slapping knees. It was that kind of show. Shoutout to Epicenter Productions and their entire team led by Josh Alipe and Directors Sarah Alipe and Karl Lucente for staging a successful event. I laughed myself hoarse. But here's the thing: the venue was not filled up to the rafters, especially during the afternoon show. Where was the Cebuano crowd? Were they too busy or were they not just that interested? I asked a few people who I personally know love stand-up, why didn't they go? Same answer. Tickets. Cebuanos are pretty frugal so maybe spending a hefty sum on a comedy show may be a tough sell especially for the younger audiences. I guess in that sense, we're a bit behind the Manila scene. The point is, and I do have one promise, is Cebu ready for stand-up comedy? Well, based on this show, it's a bit of a toss-up. On one hand, the comedians were fantastic, and the audience that did show up had a blast. So hell yes, we're ready! But on the other hand, the lack of attendance suggests that there's still a bit of a barrier to entry. Perhaps with more shows and more local talent, Cebu can truly embrace the world of stand-up comedy. After all, who doesn't love a good laugh? The next time the Comedy Manila guys are in town, we'll be ready with our own comics and a bigger audience. Are you interested in being a stand-up comedian? We've got something up our sleeves. Slide into our DM's. LFG!

Creative Spotlight goes behind the scenes to some of the awesome campaigns and projects made by Cebu-based design studios and agencies that don't get the hype they deserve. This week, we're highlighting the work of Wolfpack PH, a young and dynamic team dedicated to digital marketing, branding and community management. "In My Mother's Skin" is a horror film by Cebuano writer-director Kenneth Dagatan, a BFA-Cinema Alum from the University of San Carlos School of Architecture, Fine Arts and Design. The movie premiered at Sundance Film Festival, being the only non-English film to be a part of the festival’s “Midnight” section. It has been listed by several publications as one of the top horror films of 2023 and was even reviewed by the NY Times. Before the movie gained green light and started production, Kenneth approached Wolfpack PH Founder Bon Louie "Bonito" Gimarino to help with the initial key visual art and storyboard. According to Bonito, from the start the brief already mentioned the general story where a mother was acting strange after a mysterious insect emerged from her back and started devouring anything with life near her. Her children, who lives with her in an old mansion during the Japanese invasion in the Philippines, are now scared for their lives as they have no one to ask for help. Since "In My Mother's Skin" was first introduced as an idea, there were no references or inspiration available for Wolfpack to base the design on. The team found it truly challenging to tell the story visually to a foreign audience and how to explain the concept to these type of crowds who are not familiar with Filipino culture. Execution and Rationale BONITO: We decided to go for an illustration type of execution to tell the story better. To align with the movie title, it had to play around the skin to give the dominance of what element was being used to tell the story. From there, we played around how everything connects, like the children running away from home, the mysterious bloodlust of the mother, and the creepiness of being lost in the forest. We were then given the additional tasks to do a few storyboard scenes that could further impact how the movie would possibly look visually. Creative Process BONITO: As the head of the design team, I took great inspiration from the artist "Godmachine" to create the piece. Although not with style, but with how to maximize the negative space to your own advantage. It's always a fun challenge to look at the artwork not just as an image but the totality of its whole poster and what it should communicate. From there it was just a puzzle of solving how to transition the elements and connect all the dots to understand how we could transition it to the storyboard. Although this was not the official poster of the film, it was the bridge that welcomed the film to the international film industry and paved way for its success and being available at Amazon Prime Video and making it to national news. Creating horror movie posters is actually more challenging than expected. We had to find the right balance of telling the story but  not spilling too much to give it away. The funny part is, we didn’t know where the  poster will be presented until we knew the film won an award from Bucheon International Fantastic Film Festival (Korea). Project Team Members: Bon Louie "Bonito" Gimarino Kenneth Dagatan Trinna Casal Wolfpack Design Team   "In My Mother's Skin"  is the first co-production between the Philippines (Epicmedia), Singapore (Zhao Wei Films and Clover Films), and Taiwan (Volos Films). The movie was screened in numerous film festivals all around the world including Fantasia International Film Festival , Far East Film Festival, International Film Festival Rotterdam - IFFR, BIFFF - Brussels International Fantastic Film Festival  and   부천국제판타스틱영화제 Bucheon International Fantastic Film Festival  among many.   "In My Mother's Skin" is available for streaming on Amazon Prime Video. Check more of Wolfpack PH's works on their website https://wolfpack.ph/Instagram , Instagram Page @wolfpack.ph and FB Page https://www.facebook.com/wolfpackcreativePH