Award-winning director Mikhail Red began our conversation with the new realities of releasing films in theaters. With only a handful making significant strides at the box office last year, including romantic dramas Un/Happy for You and the blockbuster comedy And the Breadwinner Is…, filmmakers are faced with the post-pandemic challenges of audiences primarily streaming films, and rising ticket prices that’s making watching films in the theaters an increasingly expensive leisure activity.
In 2022, Red made one of the Philippines’ highest-grossing horror films in recent memory, the techno-thriller Deleter starring Nadine Lustre, which made P270 million and had the advantage of being released during the Metro Manila Film Festival (MMFF). Two years later, his folk horror film Nokturno, about the mythical kumakatok, said to be harbingers of death, failed to make it to the MMFF. Instead of a theatrical release, it went to Amazon’s streaming platform Prime Video, where Deleter was also streaming after its theatrical release.
“We always aim for theatrical,” Red said. “Ever since we started with Evolve Studios [their production studio], medyo mid-budget movie siya [kapag] genre. [Pero] you’ll never know sa cinema release kung may bad timing, or may big Hollywood movie or, in general, wala lang talaga rin ‘yong appetite ng mga tao. Sa streaming na talaga ‘yong routine ng most people, so whenever an opportunity like that comes up, [we always consider it] … So when Amazon [offered for Nokturno], it was a good deal kasi worldwide [‘yong streaming release].”
Red is one of the most prolific filmmakers of his generation. He began his career releasing short films (such as Kamera and the award-winning Harang), and debuted his full-length feature Rekorder at the 2013 Cinemalaya Philippine Independent Film Festival. In between Rekorder and his latest film Lilim, he has released eight films, including the 2016 chilling thriller Birdshot, the first Filipino-produced film released by Netflix; the 2019 teen kidnapping suspense Dead Kids, the first Filipino Netflix original film; and the 2024 e-sports drama Friendly Fire.
Known for his technically proficient and slick films, Red is also no stranger to film festivals around the world, having participated at the Tokyo International Film Festival, Far East Film Festival, Vancouver International Film Festival, and Rotterdam Film Festival, where Lilim had its world premiere in February. The film was met with a favorable response, with Screen Anarchy reviewers calling it a “mean, lean crowdpleaser of a genre film” and “a well directed, well shot, well acted psychological horror/slasher,” according to Asian Movie Pulse.
Lilim, released last March 12, is set in the 1980s and follows siblings Issa (Heaven Peralejo) and her younger brother Tomas (Skywalker David). Issa murdered their abusive father and they are on the run. On the way to a safe place mentioned by their mother when she was alive, they find out it’s an orphanage hidden in the jungle. A few day’s stay convinces Issa that this is the best place to leave her brother. But things turn for the worse. The ensemble cast includes Eula Valdez as Sister Marga, the head nun running the orphanage, and Ryza Cenon as the crazed Sister Helena.
Throughout the film, Red evokes an escalating sense of tension, as if the ground beneath Issa’s feet will swallow her whole. As secret rooms and passageways unravel the truth regarding this orphanage — with walls populated by gruesome paintings, such as one similar to Francisco Goya’s “Saturn Devouring His Son” — Issa realizes that they are more in danger here than in the outside world.
Mikhail is currently helping his brother Nikolas Red — who edited Lilim and many of Mikhail’s films — on his directorial debut, Posthouse. The film will tell the story of an editor and his daughter who are restoring a lost Filipino horror silent film.
In this interview, Mikhail Red talks about how horror video games such as Diablo and Silent Hill inspired the film, his experience working with his father, the Cannes-winner Raymond Red, for the cinematography of Lilim, and why he loves working with Filipino actresses.
The following interview was edited for clarity and brevity.
I read that you were anticipating the reaction of local audiences to Lilim. What’s the difference between the audience in Rotterdam compared to here?
When you’re in a film festival, lalo na sa European film festival na mixed rin ‘yong pino-program nila, serious ‘yong audience, usually mga press rin, at ‘yong iba programmers din [are] very seasoned and iba ‘yong tastes. We were happy that we got some positive reviews from Rotterdam. Pero ‘yong viewing experience, very quiet, very serious — ‘yong questions nila [about] ‘yong themes, layers.
We did a few surprise screenings where the people watching didn’t know what film was going to play and ang ganda non kasi ang raw ng reactions nila. So, daming natakot doon sa title sequence pa lang when they realized it was a horror film. Very shared experience ang horror. You can hear everyone screaming together. May mga side comment na they’re teasing each other. May build-up of tension, may laughter after a scare kasi parang siyang release ng emotion. Iba rin ‘yong roller coaster effect when you’re showing it to a more general audience.
I’m excited to hear if effective ‘yong genre elements niya, ‘yong scares. I just wanted to see ‘yong contrast. We’re happy na, at least, may balance siya with both critics and ‘yong casual audience, the people who really pay for tickets to go out and be engaged and entertained. Lalo na ngayon na ang mahal manood ng sine so kailangan talagang sulit for them. It’s an event for them. They make time for it and go out their way to buy a ticket. And sometimes random ‘yon. Hindi siya planned. Mag-wo-walk-in sila sa cinema and then they choose it siguro dahil sa genre or dahil they’ve heard of it.
What draws you to the horror genre since you’ve consistently done horror movies, from Eerie, Dead Kids, to Nokturno?
You know, a lot of people mentioned that I do a lot of horror. But I always say na I feel like nagkakataon lang na horror ‘yong mas popular and mas nakakareach ng, I guess, larger audience. In fact, in between the horror films, I did a thriller like Arisaka, I did an e-sports movie na family-friendly [Friendly Fire]. So I do other genres. I like trying new things.
Na-enjoy ko talaga ‘yong process [of making a horror film]. But siguro kaya rin nagiging parang mas known ‘yong horror ko kasi nga it’s a genre na besides romance, talagang ‘yon ‘yong nag-resonate [sa] general audience dito. May very escapist trip siya, and people like going as groups.
Personally as a filmmaker, very visual ang horror. I’m more introverted as a filmmaker. Hindi ma-dialogue movies ko. So mas na-express ko [‘yong] storytelling ko visually. ‘Yon ang interesting sa akin, ‘yong crafting ng horror. There are so many moving parts, elements, and departments involved, ‘di ba? From stunts to prosthetics to makeup, VFX. Ang dami mong natututunan rin sa process.
So for you, horror is both a mixture of being practical and how the genre challenges you as a filmmaker?
Yeah. I’m also one of the few very lucky [ones] na exclusively feature filmmaking ‘yong bread and butter [ko]. Sometimes ‘di ba either nag-ti-TV commercials ka, nag-shu-shoot ka TV shows, or advertising. You get to have longer breaks between films or you can try grant-funded cycles where it’s not really commercially produced.
I’ve done that with my earlier work that you have to go through the project market and mas soft money siya. It’s a longer process. So, if you’re doing it commercially as a career track, may parameters ‘yong movies you do for studios. ‘Yon ‘yong reality rin dito.
You’re one of your generation’s filmmakers who release a movie at least once a year. As you mentioned, this is your bread and butter. Is it your goal to do at least one or two films a year?
Actually, I know it sounds like a lot, especially when I talk to foreign filmmakers. Nagugulat sila sa once a year. But that’s actually quite infrequent compared to a lot of filmmakers who do like three to four [a year]. And then there are those with shorter, mga average [to] smaller budgets, with six to seven days na [shooting days]. They produce it faster. Medyo maswerte pa din ako na once a year. That’s like a longer production development process.
But usually hindi rin sadya. Nagkataon lang [na] one project is in development longer, then the cast or funding is available, so mauuna ‘yon.
Alot of films are actually made na different ‘yong production years pero nagkakataon lang na i-re-release in the same year. It looks like magkasunod siyang ginawa. [I’m] also quite lucky na each film gets a green light after the next. Kasi sometimes, when it doesn’t do too well, parang back to square one. You need to keep pitching again and fight the momentum again. May loss doon. Sometimes liliit ulit ‘yong budget pero if okay naman ‘yong returns, it’s easier to get your next one maybe.
I saw you and your brother Nikolas last year at a project market for his directorial debut, the folk horror Posthouse. You guys were doing the rounds of funding for it. Is that something new to you na you get development na mas international, and you’re shopping the film around to get production grants?
Yeah, it definitely helps lalo na sa development. Kasi sa development, ‘di ba usually a studio won’t produce you without a script unless medyo known ka na? So, the project markets, the workshops [that’s] international, they help polish the script. The prizes or grants you get for co-production help pay for the script. When it’s in a good spot and with all the credentials na naipon mo, it’s easier for someone to invest in it kasi may traction na.
It also helps to really polish the work before we shoot, and they give comments. Siyempre, you see the perspectives rin ng international film community and industry. They give their POV, ‘yong opinion nila sa script. You come up with new ideas.
You worked with your dad, Raymond Red, in Lilim where he was the cinematographer. This is your first official collaboration, no? How was the experience?
Very interesting. And at the same time, okay rin kasi we both learned from each other. Ako, na-appreciate ko [siya] ever since my whole life. Na-expose ako to cinema through him dahil siya ‘yong isa sa first filmmaker sa Red clan. Na-enjoy ko na na-appreciate niya rin ‘yong difficulty and ‘yong challenges of doing a more commercial genre film. It’s not as easy as doing something more personal [which is what he usually does in his own films].
I think nag-enjoy rin siya. He’s very proud of Lilim na he keeps posting and promoting [it on Facebook]. Even he finds excitement in a movie you can share with a general audience and see their reactions. Iba ‘yong fulfillment rin non e.
Actually, ang tagal ko na rin siyang in-i-invite to work together pero we just couldn’t find the right project. Ito kasi medyo perfect fit kasi ‘yong era. Setting is ‘80s at pasok siya doon sa mga ginagawa niyang shorts and experimental films noong ‘80s. And familiar siya even with the look, kasi very retro. ‘Yong feeling ng movie namin, we shot it with old lenses and even ‘yong lighting ratio namin. All of those elements, swak sa style niya.
“Na-enjoy ko talaga ‘yong process [of making a horror film]… very visual ang horror. I’m more introverted as a filmmaker. Hindi ma-dialogue movies ko. So mas na-express ko [‘yong] storytelling ko visually.”
Was the look something you wanted for Lilim, or was it something that he suggested? The cinematography is really one of the things that stand out when you watch the film.
It’s something [that’s] part of the treatment. Doon pa lang sa brief, sa pitching, it’s something that we really wanted in the film.
Siyempre, mas na-enhance ‘yan. Doon na-involve na siya sa planning, sa creative production namin. [Kasama din ‘yong] galing rin talaga ng production designer namin, si Ana Lou Sanchez, who did Eerie. Collaborator ko lagi siya. Ang galing ng combination nila. He really helped craft the overall atmosphere ng movie.
I read that one of the inspirations for Lilim was the video game Diablo. Can you talk more about that?
Hindi lang Diablo, pero pati horror media in general, which I feel, ‘yon rin ‘yong era na you can see a lot of films being made na ang IP [Intellectual Property] is games. Kasi, the people who used to play games are grown up now, sila na ‘yong audience — film workers — so mga Silent Hill, Fatal Frame, ‘yong may world-building, lore, where you have an outsider’s perspective, and the protagonist finds a mysterious isolated society that already has a set mythos, and you slowly uncover that. Para siyang vehicle for the audience.
What part of the world-building of Lilim did you enjoy the most?
Siguro when we were building the dungeon. When we tried to imagine things, [it’s] limitless, no? Pero with the resources we had, I had fun having a set piece that we constructed sa studio. That entire bedroom [in one of the final sequences] was constructed. It’s not really connected to the dungeon, so two separate sets siya.
You get to feel the scale, [‘yong] pagka-immersive niya, when we were deciding how big the hole is [in the bedroom]; ano ‘yong structure ng bed, ano ‘yong reason na nandito ‘yong certain elements.
And ‘yong lair ni Lilith, we had to plant mga skeleton ng mga children at ‘yong source of fire light and all that. Very exciting [siya]. We rarely get to do that in our other movies. Kasi kung [smaller ‘yong scale], it’s all location lang. So here, we finally got to build something specifically dun sa na-imagine namin.
I noticed that in many of your films, you kind of center on one female character. Like Nadine Lustre in Deleter and Nokturno, Bea Alonzo in Eerie, Maja Salvador in Arisaka, and now Heaven Peralejo in Lilim. What draws you to the central female roles, especially when it comes to horror films?
Actually, dito nga sa Lilim ‘yong isang difference niya from the previous films is maraming perspectives. Even in the storytelling, you move from the perspective of her brother Tomas and may mga scenes na kay Helena ka lang [Ryza Cenon].
In horror, [there’s always the] final girl. Parang mas uphill battle ‘yong struggle. Even from my earlier work pa like Birdshot, ganoon na. Mas may kailangan sila i-overcome, mas may struggle, mas oppressive kung ano man ‘yong antagonist, villain, or male characters surrounding her.
Para din [for the] audience to feel afraid, kailangan natatakot na ‘yong character mo, ‘di ba? Hindi pwedeng fearless agad kasi the audience will feel safe the whole time if you’re following the POV of a brave action hero.
And honestly, we have a lot of good actresses here. Ang daming strong female performers and stars. Mas maraming women na top sa A-list. They can really draw in the emotion at ‘yong support ng audience. Even behind the camera, a lot of the top industry decision-makers, producers, mas maraming babae.
“Lilim” is still showing in select theaters.
