Kanakan Balintagos

Kanakan Balintagos

Kanakan Balintagos (meaning ‘hunter of truth’), formerly known as Auraeus Solito, is an internationally acclaimed and award-winning Palawán-Filipino filmmaker and playwright. He comes from a lineage of Shaman-Kings from the Palawán tribe of South Palawan. He grew up in the city of Manila and after graduating from the Philippine Science High school studied Theatre at the University of the Philippines, where he received a degree in Theater Arts. One of the leading independent filmmakers in the Philippines, he was recently chosen in Take 100, The Future of Film which presents an emerging generation of the most talented filmmakers around the world. This book, published by Phaidon Press, New York, is a survey featuring 100 exceptional emerging film directors from around the world who have been selected by 10 internationally prominent film festival directors.

His first feature film Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros) won 15 international awards including 3 awards at the Berlinale (The Teddy award, International Jury Prize at the Kinderfest and Special Mention from the Children’s Jury of the Kinderfest). It is also the first Philippine film nominated for Best Foreign film at the Independents’ Spirit Awards in the US and has been shown in more than 50 film festivals around the world.

Tuli (Circumcision), his second feature film won Best Picture and Best Director at the Digital Competition at the 2005 CineManila Film Festival; won the NETPAC Jury Prize at the Berlinale, International Forum for New Cinema and the Best International feature Film at Outfest in Los Angeles. Solito is the first Filipino to make it to the premiere independent film festival in the world, the Sundance Film Festival in Park City, Utah, USA, two years in a row (with The Blossoming of Maximo Oliveros and Tuli). His films have been screened in major festivals around the world including Berlin, Sundance, Montreal, Pusan, Toronto and Rotterdam.

Solito completed a screenplay development program at the Binger Film Lab in Amsterdam.

His film Busong (Palawan Fate) was selected at the prestigious Cannes Directors’ Fortnight in 2011, and it was awarded Best Director, Best Sound Design, and Best Original Music Score at Cinemalaya 2011. His film Busong was also shown at the 2012 National Geographic All Roads Film Festival in Washington, D.C.,where it was awarded Grand Prize, the Merata Mita “Best of Stories” Award.

In 2013 he adopted his tribal-spirit name Kanakan Balintagos after his uncle, who is a shaman in Palawan, dreamt about him. He said in an interview, “In his dream, he saw me in the middle of a sandbar holding a camera that turned into a blowgun. I became a kanakan … a hunter. Suddenly, great waves appeared from both sides of the sandbar, but I remained unharmed, untouched.”

In 2014 his film Esprit de Corps, based on the play he wrote when he was seventeen, won three awards at the Cinema One Originals Film Festival, including Best Director.

In 2015 he was awarded 1st Prize in the prestigious Palanca Awards, Filipino Division, Dulang Ganap Ang Haba (Full Length Play in Filipino), for his literary work “Mga Buhay na Apoy” and in 2016 won the Gawad Buhay ( Philippines’ Stage Awards) for Best Original Script for the same play.

For more information on Kanakan and his work, visit his website.


Marcia Ong & Hilary Schwartz

Marcia Ong & Hilary Schwartz

Born and raised in Singapore, Marcia Ong is a filmmaker whose experience covers almost every aspect of the filmmaking process. Her short film, Kristy, has won awards at Kids First! Children’s Film Festival and Pittsburgh International Lesbian and Gay Film Festival. It has screened internationally in Amsterdam, Melbourne, Seoul, Paris, Berlin, Brussels and Singapore. In 2010, Marcia completed her latest film, Standing Still, which premiered at the 33rd Mill Valley Film Festival. Marcia Ong recently shot a feature documentary titled Ten Eleven O Two, directed by Mackenzie Mathis and Jellyfish, an independent short film set in Borneo directed by Rosie Haber.

Coded within the domestic spaces, scenes, and objects that I create are traces of intimacy. Susan Stewart identifies narrative in On Longing as a structure of desire that is suspended in impossibility. My own experiences of displacement, nostalgia for intimacy and longing for an imagined home and family, as well as a larger queer narrative of dislocation and isolation, lead me to the subject of domesticity and the making of a “home”. While queerness is not easily read in all of my pieces, it is coded throughout. Coding originates from within a context of marginalization, but moves beyond this in its role as a language of identity and a signifier of shared experience.

Hilary Schwartz is a sculptor engaged with concepts of domesticity, displacement, temporality, and queer desire. She received her MFA in 2009 from San Francisco Art Institute and her BFA from California College of the Arts. She has exhibited internationally. Most recently, her work has been seen in Etiquette at the Substation Gallery in Singapore, Feeding Ghosts at Kitsch Gallery in San Francisco, and Domestic Materials at PLAySPACE Gallery in San Francisco. Hilary’s work has been featured online on KQED, Art Practical, and SFGate. She is currently a fulltime lecturer at Lasalle College of the Arts in Singapore. Hilary recently conducted a workshop entitled Play with Your Food at Nanyang Academy of Fine Arts.

Hilary and Martha collaborated on a series of video pieces reflecting upon living together in Singapore. They undertook a short one-month residency in Hotel Penaga in June 2012.