On trauma, Oscars campaign, and more: Carl Papa talks about ‘Iti Mapukpukaw’

Papa believes that the future of animation in the Philippines is brighter now more than ever. But for Filipinos to propel, they must also go beyond the boundaries set by foreign movies. “Perhaps, in general, the perception of animation among Filipinos has been shaped by our exposure to shows from Pixar, Disney, Netflix, and the like. We tend to compare everything to those standards. However, it’s not about limiting ourselves to just that. If we develop something better, we won’t settle for this alone. We always aim to go beyond and not simplify our approach if we think of something more outstanding.” 

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In September 2023, the Film Development Council of the Philippines (FDCP) and the Film Academy of the Philippines (FAP) shared that Iti Mapukpukaw would be the Philippines’ Best International Feature Film category entry at the 96th Academy Awards. 

In December, it was announced that the movie did not make the cut. Securing the spots on the shortlist were Denmark’s The Promise Land, Japan’s Perfect Days, Spain’s Society of the Snow, and the United Kingdom’s The Zone of Interest.

“The country has been submitting engaging films to the Academy, but we have yet to be nominated for anything,” Papa says. “The closest thing we have come to a nomination was Mga Munting Tinig by Gil Portez or Crying Ladies by ​​Mark Meily. I believe campaigning is really important for the Oscars—they won’t watch everything you send them.” 

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The filmmaker also admits that finances are crucial when vying for a successful Oscar bid. “We are merely small-time filmmakers, we’re not earning dollars, so we have to campaign smartly and through word of mouth.” 

He calls on production companies to fund more animated movies in the future. “We wish more Filipinos would make animated shows. For production companies, I hope you give us a chance. Animation isn’t just for children. It’s not just a genre, it’s a visual medium for everyone,” he asserts. 

“For fellow filmmakers who are into animation, always remember that the message has to be sincere. Don’t just showcase skills to piece together the story effectively,” he adds.

The film touches on sensitive topics, including sexual abuse, anxiety, and psychosis, hence the need for rigorous research and pieces of advice from experts in the medical field. “When we did our research and briefing with psychologists, the latter said that people who deal with what Eric deals with need a strong support system,” says Papa. “The film is sort of the same as it lets Eric deal with his problem at his own pace.” 

Through his film, Papa aims to explain the complexities of a person grappling with distressing situations. “At first, it’s like going inside the mind of people who had gone through that kind of trauma. It seems like Eric dissociated from what happened; he replaced the memory with something more acceptable. However, his flashbacks get darker as the story progresses, and the sound complements it.” 

Papa explains that he can only paint Eric’s harrowing past through carefully chosen elements, as demonstrated during a prolonged sequence when Eric reaches the alien planet. “There were subliminal (moaning) sounds there,” he says. 

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While Iti Mapukpukaw treads lightly in its depiction of sexual harassment, it skillfully conveys the gravity and impact of such experience to those who seek to understand people who deal with mental illnesses. “It’s like the abuse was never shown, and what happened was never explicitly mentioned. I guess it’s part of it—if you’re a person who suffered this kind of trauma and you’re not ready to explain what happened to you, these details are the only things you can share.” 

For the film director, the plot is about reclaiming one’s voice. “Even when the movie tackles abuse, we opted not to say the words ‘rape’ or ‘sex,’ but we’re going to show it in a way that’s troubling for Eric,” Papa shares.

“Our goal is to be mindful of the audiences—to extend to them the kind of support Eric gets. Our intention was not to bombard them with things that could potentially hurt them. We seek to foster mental health so everyone feels empowered after watching the film,” he adds.

The story aims to shed light on the hardships of the victim and their loved ones. “If the audience noticed, Carlo (Gio Gahol) and the mum Rosalinda (Dolly de Leon) were riding along until Eric started to punch the floor and hurt himself in doing so. That was when Carlo realised it was time for him to stop Eric,” says Papa. 

Besides its cinematic appeal, the filmmaker wants people to remember Iti Mapukpukaw as a story that once served as a refuge for the “lost and the hurt”. 

Papa feels grateful for the immense support he and his team have received from the audience. He stresses that while putting his project out in the open felt “challenging and overwhelming,” it has eventually become a rewarding experience as the film cultivates a community full of trust and support. “For moviegoers who have seen Iti, thank you for taking the time to watch. At the end of the day, the film’s goal is to foster understanding, especially for those who have suffered the same fate as Eric. I hope the film serves as a refuge for them, enabling them to open up about their own experiences.”

Iti Mapukpukaw’s message becomes clear in the end—love endures all things. Papa wants to impart the same lesson: “I hope the film fosters understanding among those who faced the same fate.”

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