On New Beginnings: How Dominic Bekaert made his mark with ‘An Errand’

Before his debut feature film, Bekaert dedicated his time to directing short films, advertisements, and music videos for local and international stars through his company, ZooPraxi Studio. He was the creative mind behind Nadine Lustre’s striking visual album Wildest Dreams and the captivating aesthetics of French multi-instrumentalist FKJ’s Greener.

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For Bekaert, each project offered him unique experiences and taught him about responsibility and maximising minimal resources. But, his work on his first feature film has been the most fulfilling. The process allowed him to synthesise all the lessons learned from all his various projects into a deeply personal and expressive experience. “The feature is really where I learned the most about myself, what I’m capable of doing, and I’m just excited to do more because it was the best,” he shares.

According to Bekaert, working with Lacuesta was also a dream in and of itself. He stressed that Lacuesta, a Filipino writer who has won multiple Palanca Awards, enriched every phase of the project, from scriptwriting to post-production. “He was the one who brought it to Cinemalaya and got the grant,” Bekaert says. Bekaert shared that Lacuesta would help the characters find the right tone and pauses for the scenes. “I was just so happy because we were on the same wavelength throughout the project, and I think that’s really rare,” he says, sharing that he felt lucky to have a huge creative influence by his side in his first feature film. “The trust on both ends was just really amazing.”

In addition to Brocka, De Leon, and Diaz, Bekaert also found inspiration from Filipino greats Ishmael Bernal and Lamberto Avellana, German filmmaker Wim Wenders, and Indian director Satyajit Ray.

Ultimately, Bekaert’s goal with his first feature film is to allow the audience to engage with the narrative on a deeper level. He successfully told the story through a global lens without taking away its Filipino soul. “Sarge was keeping everything rooted in the Filipino-ness of the story, and at the same time, I was pulling on the other end to bring it to a kind of universal storytelling.”

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The result is a film, which is a quiet rebellion against preachiness in class discourse, that lingers long after the credits roll, challenging viewers to piece together its themes. “It’s similar to how the bits of conversation at the backseat are left with the driver and how he pieces them together,” Bekaert says, sharing that he received compliments from viewers that they still think about the film days after. “That’s really the best compliment we could get—that it’s living in people’s minds.” 

Central to the success of An Errand is the thoughtful and meticulous approach to casting. “One of the biggest parts of a director’s job is finding the perfect actor to play the role,” he says. For him, finding the right actor is more than just a task—it’s about finding the perfect embodiment of the character. 

The casting process for An Errand began five years ago with Art Acuña envisioned for the role of the driver, Moroy, but as the script evolved, Bekaert turned to Sid Lucero. He said Lucero’s talent for underplaying emotions subtly intensified the role, enriching the character’s inner world and contributing significantly to the film’s narrative. “We were discovering the character through him, and that was just really exciting.”

Meanwhile, Bekaert saw in Art Acuña the “best version” of the boss, also known as Sir, that he had ever dreamt of. Acuña added layers of complexity, portraying Sir as a powerful figure with his own vulnerabilities. Elora Españo’s portrayal of the mistress, Brenda, transformed the role into something more profound, akin to a family rather than a stereotypical affair. “They felt more like a couple than a mistress, kind of a hidden love affair.”

Bekaert and Lacuesta’s seamless collaboration was also evident in the addition of another strand, including Nanding Josef as narrator, which was not in the short story source material.

Moving from short films and music videos to a full-length feature demanded a shift from a close-knit team to a larger, more collaborative ensemble. The experience tested his ability to manage a 50-person production crew and keep the creative energy alive over two weeks of intense filming days. “It’s not a sprint, it’s a marathon that you have to prepare yourself for,” he says, stressing the stamina required for such a large-scale production. “Being able to lead the whole team and just stay head above water was a whole new kind of challenge,” Bekaert reflects. “With the team, we had teamwork. It went so well, and I just want to do more.” 

Filming in Baguio also added an unexpected layer to the production. With the location shoot, the team bonded over shared experiences and late-night discussions. “We’d all go together to our hotel after the day shoot, then just discuss and hang out. It really created a bond that was very collaborative,” he shares.

On top of that, the unique locations in the “City of Pines”, including the Baguio Country Club and a closed-off Kennon Road, offered dress settings that elevated the film’s visual storytelling. “We were able to show Baguio in a way that it hasn’t been seen before,” he says, grateful for the local community’s support.

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While the challenges of this venture may be new for Bekaert, his support system remains the same. His wife, Clementine, was not only a producer of the film but also an integral source of encouragement for Bekaert. “She knows when I’m not giving my best, and she’s the best person to push me back into giving 110 per cent.” Born and raised in France, Clementine contributed fresh perspectives. “It’s the beauty of her understanding the story, she really helped us shape the film,” Bekaert says. 

With Bekaert’s ability to infuse a contemplative tone that explores the complexities of human connection, An Errand is poised for a bigger journey beyond its debut at Cinemalaya. The film, described as a “visual and literary feast” along with its evocative storytelling and profound themes, is set to captivate audiences on a broader scale, as Bekaert aims to showcase the work at various national venues and international festivals. 

The success of his first feature film only fueled Bekaer’s passion for storytelling, and he is already deep into several intriguing new projects, each reflecting his passion for exploring diverse yet Filipino themes. “I’m fascinated by doing definitely more Filipino-centric stories,” he says. One of his most anticipated ventures is a film centred on Gabriela Silang, a historical figure known for her defiant resistance against Spanish colonisers. Bekaert aims to bring her powerful story to life, focusing on her role as a pioneering female leader who carried on her husband’s revolutionary struggle. Beyond this, he is developing a gripping whodunit with his collaborator Lacuesta and a fun, imaginative sci-fi project. 

One thing is certain: Dominic Bekaert is just getting started, and this is far from the last we’ll see of him in the realm of full-length feature films.

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