“Cinema is not only [here] to entertain but to educate and inspire as well. Therefore, filmmakers should always be mindful and responsible in telling stories. Every individual has his or her own power. As a filmmaker, my power is my voice and I translate that through script and film. I have to communicate my message by revealing the truth,” she adds.

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Dagñalan’s experience in making her first feature-length film was both blissful and gruelling. “There were days that I was distressed but had to remain calm, strong-willed, and focused,” she explains. “I realised how difficult it is to be a director and producer at the same time. I had 'birth pains' but it was definitely worth it after seeing the progress of our work.” 

The filmmaker, whose style is inspired by the films of Tony Scott, Steven Soderbergh, Guy Ritchie, George Lucas, Steven Spielberg, Alfonso Cuaron, and Christopher Nolan, shares that most of her friends describe Blue Room as “maindie,” a portmanteau of “mainstream” and “indie”. 

“I am not yet sure what my style is but I really like movies with visual effects, fast-paced, playful camera works, and editing. Of course, anything with psychological, social, or political issues. I guess I am more of a ‘Hollywood-ish’ type, if there’s a word for that,” she discloses. 

“In the scripting process, I usually interview subjects that are related to what I am writing. Other than that, I read news articles or books and watch video clips on Youtube,” she adds. “In Blue Room, I was already thinking of Juan Karlos when I was finishing the script in the writing workshop of  National Artist Ricky Lee last 2018. So basically, Juan Karlos, Elijah Canlas, and Nourijune were handpicked. Except for Harvey Bautista and Keoni Jin who auditioned.”

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“I had fun working with them [the actors]. They are young adults with old souls. It was like a roller coaster ride. I also appreciated that they went to work prepared. They were familiar with their roles and with the scenes. From time to time, these kids ask me to have another take when they were not satisfied with their performances or when they feel they can still give more to the scene. There was one scene where Juan Karlos improvised and it turned out very funny. So yeah, I also let them ‘play’ in the set,” Dagñalan recalls. 

Dagñalan’s hard work paid off when she bagged the coveted Best Director award in this year’s fest. In the interview, the director reveals how grateful she is for getting such recognition. “I was not expecting the award that is why I was so surprised when they called my name. I did not even prepare a speech. My mind was all over the place when I started talking,” she shares.

“I thank the juries, filmmakers, press, and audiences who watched and appreciated our film.”

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As Filipinos grapple with misinformation and historical distortion, it is only apt that filmmakers like Dagñalan honour the virtue of truth-telling. Blue Room, despite leaning on the stories of more privileged folks, was successful in presenting the real-life agonies of people at the bottom rung of the ladder. 

“My motivation in making films is to tell the truth. Because ‘truth’ matters–not only to us as individuals, but to society in general. Inequality exists as long as justice comes from those in ‘power,’” Dagñalan asserts.

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