In Cinemalaya film ‘Cinemartyrs,’ Sari Dalena invokes memories of a forgotten war

After a remarkable 25-year journey, Sari Dalena's latest cinematic offering, "Cinemartyrs," has finally premiered at Cinemalaya 2025. This docudrama stands as a powerful reimagining, delving into the shadows of forgotten massacres from Philippine history, particularly resonating with the Philippine-American War of 1899, often dubbed "The First Vietnam."

The genesis of "Cinemartyrs" traces back to Dalena's 2001 feature, "Memories of a Forgotten War," a project she describes as "challenging, and frankly, traumatic." The vivid, sometimes disturbing, experiences from that initial filming in Jolo lingered, requiring years for her to process. It wasn't until 2018, during Ricky Lee’s screenwriting workshop, that an initial draft of "Cinemartyrs" began to take shape.

A pivotal turning point arrived with two significant encounters. First, a UK-based historian, Kim Wagner, sought out Dalena, revealing how her early filmmaking experiences in Jolo had become local lore. This conversation began to "unlock many of these memories." Soon after, the late film historian Teddy Co presented Dalena with a cassette tape of his 1987 interview with Carmen Concha, considered the first female director of Philippine cinema, whose pre-war films are now lost. This poignant gift inspired Dalena to reframe her narrative around the search for pioneering women directors, infusing the film with a new, crucial layer of meaning.

The resulting film centers on Shirin, a young female filmmaker portrayed by Nour Hooshmand, who endeavors to bring forgotten massacres to light by visiting their historical sites. Her quest, however, inadvertently stirs aggrieved spirits, endangering her crew and local villagers. Interwoven with select footage from "Memories of a Forgotten War," the docudrama is set against the backdrop of the burgeoning alternative cinema movement in the Philippines during the 1990s and early 2000s, a period that profoundly shaped Dalena's own artistic journey.

Despite its serious historical themes, Dalena emphasizes that "Cinemartyrs" is far from grim. It bursts with "vitality, irreverence, and humor," reflecting the youthful spirit of the characters and the rough-and-tumble reality of independent filmmaking at the time. Beyond the narrative, the director hopes viewers will grasp the inherent challenges of filmmaking in the Philippines and critically examine historical narratives through a female filmmaker's lens, noting how "history repeats itself" in ongoing cycles of violence.

Bringing "Cinemartyrs" to life involved its own set of trials, including a tight schedule, logistical hurdles, and a modest budget. Rather than filming in Jolo, the production team creatively "brought Jolo closer" by engaging Tausug actors and consultants. The post-production phase proved particularly complex, involving a mix of formats—16mm, 35mm, Video-8, and various audio recordings—along with extensive archival research, including precious pre-war LVN films generously provided by the late Mike de Leon, whose dedication to cinema shone even in his final days.

Dalena offers high praise for Nour Hooshmand's portrayal of Shirin, noting her "quiet radiance" and "nuanced performance." The film also features impactful cameos from alternative cinema giants Kidlat Tahimik and Lav Diaz, whose presence further enriches this cinematic "love letter" to Filipino film history. Dalena recounted Kidlat Tahimik's encouraging visit to an Ilocos shoot and how Lav Diaz was specifically envisioned for the opening scene, a testament to the power of artistic manifestation.

For Dalena, "Cinemartyrs" represents a long-awaited dream project, particularly given past rejections from Cinemalaya for concepts deemed "too experimental." Looking ahead, she's set to explore new creative territories, stepping into a producing role for an animated sci-fi movie, with plans to potentially write and direct a feminist sci-fi project in the future.