THE ART THEATER

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I always start by saying that my roots are in curating literary events in mid-90s Los Angeles. With the encouragement and informal mentorship of Ghanaian American novelist Nana-Ama Danquah (who then ran a successful literary series of her own at LACMA), we co-wrote a proposal to launch my own reading series called "Wrestling Tigers." This was the first citywide showcase for Asian Pacific American writers funded by a museum. It was part of the Japanese American National Museum’s regular programming—with me as the Curator. It was a very important negotiation point that I also got paid to coordinate the series. Surprisingly, they said yes, and the series ran for about four years! It featured a mix of emerging and established APA writers reading their work to an engaged audience. One of the highlights for me was creating a space for queer APA writers to share their voices.

The series gained popularity, especially among APA college students, and it even secured funding from the Lannan Foundation in its second year. Curating this alongside programming for the Festival of Philippine Arts & Culture sharpened my skills in arts programming.

Soon after, I took a job at the UCLA Asian American Studies Center as a Curriculum Assistant. In 1998, one of our work-study students, Charles Ku (now a hot shot school administrator), became the UCLA Events Commissioner and was tasked with putting together a documentary film program for Asian Pacific American Heritage Month. As part of my job, I ordered VHS tapes for classes—this was the mid-90s, pre-streaming—which was enough of a reason for me to be Charles’s go-to person for Asian American films.

The positive student feedback from that program was overwhelming. It was an incredibly powerful experience for them to see their stories reflected on a big screen. That moment made me realize I wanted to create more film programs for the APA community. Working in the ethnic studies world, doing work "in the community" was second nature to me. However, I became acutely aware that Filipino/Filipino/x American films were scarce, and accessing films from the Philippines was both difficult and expensive.

In the 2000s, the film festival landscape started to change, with amazing Asian films emerging on the festival circuit. Raymond Red's Palme d'Or win for his short film Anino in 2000 was a pivotal moment for me, especially as more attention was being paid to “East Asian" focused cinema. Around the same time, Filipino films remained largely invisible in U.S. festivals, a reality that I found frustrating.

During this period, I started volunteering with Visual Communications, which organizes the Los Angeles Asian Pacific Film Festival. As a volunteer screener for their short film programs, I learned a great deal and was exposed to the thriving Asian American filmmaking community in L.A. It broadened my perspectives, and I'm incredibly thankful for that.

After work and on weekends, I took film classes at LACC and digital filmmaking classes at VC with Mar Elepaño. I also volunteered with the film festival, writing notes for short and feature films. This was around when I learned about Film Independent’s (then IFP) diversity initiative, the PROJECT INVOLVE Fellowship. Though Film Programming wasn’t initially offered as a track, I advocated for it. Thankfully, filmmakers Mia Villanueva, Aurora Guerrero, and Director Pamela Tom agreed, and in 2003, I became the program’s first Film Programming Fellow. Since then, it has graduated six Fellows, most of whom have gone on to program for Sundance, Outfest, Tribeca, and the American Cinematheque. Despite completing Project Involve, full-time opportunities in Film Programming were scarce, so I stayed at UCLA. However, I never stopped putting together literary and film programs in the community, focusing on Philippine and Filipino American cinema in Los Angeles. I co-programmed showcases for the Filipino American National Historical Society, the Echo Park Film Center, the Festival of Philippine Arts & Culture, and, starting in 2016, the Project Involve Filmmakers Showcase. It was important to me to keep honing my programming skills.

Fast-forward to 2021—after 24 years at UCLA, I decided to take the leap and pursue an art-centered career full-time. Soon after, I was accepted into the OUTFEST FUSION Film Programming Fellowship. It makes me laugh thinking about it, but at a certain point, I was going to give up on film programming, but it didn’t give up on me. I officially stepped into my “dream deferred” career in 2022 as a programmer for the OUTFEST Fusion QTBIPOC Film Festival alongside four incredible fellows- Josslyn, Mara, Rico & Tishon.

A year later, Sundance approached me to join their Short Film Programming team, and 2025 will mark my third year with them. It’s been an amazing experience. Meeting talented filmmakers, showcasing their work, and giving new audiences the chance to experience their stories has been an incredibly fulfilling journey.

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I definitely don’t know the ins and outs of the [entertainment] “industry.” I came into programming lensed by a “community focus.” I think I am more comfortable speaking from that space versus the “entertainment” Hollywood track that I know exists out there. 

In my younger years, my sensibilities leaned towards the late 90s/early aughts Asian cinema fare – I wasn’t interested in what Hollywood had to offer and had no inkling about the latest rumblings in the US independent film scene. I’m much more knowledgeable now on various things, but my tastes consistently lean towards the independent/independent art house film space. 

One major thing I have learned through the years is that no matter where or no matter what, being ethical and doing the right thing at any task is the way to go. Here are my 5 other faves:

- Don’t forget to say Please and Thank You, especially in professional settings…always. Kindness goes a long way.

- Stay away from the drama. It’s hard enough to maintain one’s equilibrium, don’t add unneeded and peripheral non-issues in the professional space

- This is an industry built on relationships; maintain them by staying in touch through good or bad news. Regarding interactions with a PA or an agency President….top shelf behavior should always be the go-to

- Not everyone you meet has to be part of your friend circle. Staying “professional colleagues” is ok and can work out to everyone’s advantage. Being clear helps manage your expectations of others 

- Listen when someone tells you who they are or how they are (early on). Top-shelf people are consistent…pay attention to actions vs words

Advice regarding film festivals for filmmakers?

I will speak from a short film programmer’s perspective. Here are my top 3:

- More recently, I’ve suggested that filmmakers assign one person they supremely trust in their creative team to only work on your film’s festival strategy. It could be your producer or perhaps someone who would work for that producer credit or even some kind of financial remuneration to handle all that is involved. Do this so you, as the director, can focus your energy on pre-prod and post! Next to you, your festival strategist will be the one who will know everything about your film -up, down, left, and right.

- Research your film festivals…” Top-tier” festivals might not always be the best home for your short film or your wallet. Go on Reddit and find out other filmmakers’ experiences [the good, the bad, and the ugly] with the festival(s) you are interested in. There are amazing local and regional festivals that can be an excellent home for your film.

- Submit to legit “shorts-specific” festivals because there are more spots available to be considered. Don’t get taken in by film festivals that make you pay for everything [admission to your own screening, to receive an award, etc]. Make sure you submit work to festivals that actively promotes their filmmakers, the films and the screenings  vs a  money making venture to fleece you.

You know, about seven years ago, I flirted with the idea of putting together a festival focused on Philippine cinema. After some conversations with people in the know and further research, the financial aspect made me put that idea to bed. 

I started in the community screening space, and luckily it still works for me!

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Primates from an Archipelago was the physical manifestation of my MA creative thesis [blood, sweat, and tears] that went dormant for decades. It was one of those things that I knew had to do before I took that trip to the rainbow bridge. I’ve said in a podcast once, and I still believe it today: I’m a one-book wonder, and that’s ok.

I don’t think I’m built to be a non-fiction writer and write about film. I’ll leave that skill to Filipino American film critics like A.E. Hunt in New York and Amanda Andrei here in LA.  I’ll be forever poetry. 

The one thing that I’ve been forever in love with is writing treatments for music videos. I’ve been doing this since I was 13 years old. I always thought then that I would either 1) be a music manager or 2) direct music videos when I was an “Adult.” Neither has happened but I believe in “never say never.” I have an excellent treatment for the band Pastilla’s song “Queen of Van Nuys” and Elvis Costello’s “This House is Empty Now” – If this somehow gets to them……you never know. I’d be willing to direct it too.

Plus, If there are any bands or singers out there who would like me to write a treatment for them….contact me!!!!!

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The only recurring fest is Sundance. AFI was a one-shot deal, and Outfest Fusion was a 2-year Fellowship that ended in April 2023. I’ve been lucky to also have a recurring gig co-programming the Film Independent Artist Showcase – that’s always a delight. I’m finishing out my curatorial stint with the Carlos Bulosan Book Club’s  “I See You Queer Filipinx” Short Film Showcase this year. It has been a fun project showcasing queer, artsy Filipino/x filmmakers in Los Angeles. The 2024 Edition will be on October 26th - details forthcoming!

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Both happen. I search filmmakers out through research, introductions, film ecosystem spaces, and events. There are also instances where filmmakers email me to introduce themselves. I absolutely love filmmakers, discussing their latest projects, their why’s and whats next. Is there a job where I can assist emerging filmmakers navigate their early careers and facilitate their next steps for them to have a robust and long career making work they care about? (Raising hand)

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I need to do more research on how to effectively center Filipino regional cinema in the exhibition space alongside the mainstream mold. There are filmmaker activists already doing the work in the Philippines – trying to break the “monolith Filipino” idea in Philippine exhibition. The good work is happening in the festival space with various larger entities like BInisaya, run by Keith Deligero and others, plus smaller regional festivals that are doing the work of finding filmmakers and films that focus on the distinct cultures, languages, and lifestyles of specific regions of the country. What I end up thinking about is the education that needs to happen here in the US with other programmers about Philippines Cinema and the Philippines! Filipino/Tagalog is not the only language spoken in the Philippines, and films from different parts of the Philippines are being made that should also be given parity status. When a film programmer is out in the ecosystem finding new filmmakers’ work, where are you looking? Who gets invited? How aware are they of the financial challenges that make it difficult for regional filmmakers to submit their work internationally? Filmmaker Ara Chawdhury has a lot to share about this.

CALL FOR ACTION?

I would like to see film-loving, resourced Filipino/x community members at large gather like-minded friends, family, and colleagues to fund a Filipino American Writing Fellowship Program for five Filipino/x writers from across the country.

I still love the idea of making airfare stipends available to filmmakers in the Philippines who need support to attend festivals abroad that screen their work.

I know producers who can spit out call-to-action items that would enrich the Filipino/x diasporic filmmaking community in more detail with graphs and piecharts. I would be happy to connect high-net-worth individuals who want to put their resources to good work in the film space. Let’s talk.

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Increase awareness of Filipino/x filmmakers who identify through various outlets. Facilitate conversations about filmmakers in various contexts (print, digital, etc.). I think in the long term, there needs to be a formalized community that every Filipino filmmaker can be part of, no matter where they are in the world. I’m still trying to figure this equation out—effective strategies, sustainable initiatives—let's just say it’s a work in progress. How do we meet each other? How can we help each other?

On the exhibition front, I’m in conversations with British Filipino filmmaker/activist Alvin Carpio, currently living in the Philippines, about how to create opportunities for British Filipino filmmakers to visit and show their work in the Philippines. To be able to create these exchanges with filmmakers in the diaspora would be amazing!

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Field Trips was created to join larger efforts to bring Filipinos from all over Los Angeles together to celebrate and have conversations around the mediums of art—music, writing, films, etc. An important aspect is providing a space that is Filipino artist-led.

Who are they targeted for?

Field Trips are open to anyone interested in attending a Filipino/x led art event.

How can one get involved?

It was created on a pop-up basis; the last one will be on October 26th. It will be a fabulous film screening with details TBA to commemorate Filipino American History Month – follow @Kitainitiatives on IG. 

Then I will think up another art activation!

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A lot! Too early to announce. How’s that for a tease….

IG: @kitainitiatives

Email: theirenesoriano@gmail.com

LinkedIN: https://www.linkedin.com/in/theirenesoriano