Alessandra Camille Perreras

Eternity

In between dreams and reality, Alden wanders the Manila shoreline and is swirled into a harana-infused journey to find his other half.*Watch in the INTM Wing, Room 353*CREDITSJesse Galon as AldenBianca Perreras as TalaJoshua Martinez, Carina Quijano, & Abbygail Murray as The MeddlersDirected by — Alessandra Camille PerrerasWritten by — Alessandra Camille Perreras & Bianca PerrerasProducer — Ingrid LlambiDirector of Photography — Herin TangProduction & Costume Designer — Mayne BautistaMusic Composers — Drew Perreras & Jude BreenProduction Assistants — Taylor Nyman & Julia Mirella Perreras1st AC — Hazel ChengBolex Operators — Alessandra Camille Perreras & Herin TangStills Photographer — Cindy LoSound Designer — Abbygail MurraySound Engineer — Clancy MaltaisFoley Artists — Cindy Lo & Abbygail MurrayTransportation — Ruben Perreras & Norwen SarsonasEditor & Colorist — Alessandra Camille PerrerasFilm Development — Eco-processed in banana leaves and instant coffee by Alessandra Camille PerrerasCaterer — Faye PerrerasPoster Designer — Haven Noah Navarrete

“To wait for what feels like an eternity to find someone who you will love for an eternity.What does the colour blue insinuate? This question has plagued my mind over the past year, associating its hue with grief, tranquility, emptiness, and reminders of home. Loosely based on my parents’ love story, “Eternity” places itself in an imagined Manila where the warmth of a burning sun meets the chill of winter. I take from my experience as a second-generation immigrant who has yet to experience the Philippines firsthand as the motivator to blend Canada and the Philippines into one, allowing my two homes to merge into surreality: the walls of a structureless house are formed with “floating” colonial style window panes, the clinking shells are placed along the homes (“bahay”) of the sungka game board, and the twinkling lights of the Philippine parol ("lantern") echoes in Alden and Tala’s heads, guiding them to one another. The film references acclaimed Filipino filmmakers, Lav Diaz (using his famous “slow cinema”) and Lino Brocka (through visual references to his “Manila in the Claws of Light” (1975)) as a nod to Filipino artistry. On the basis of love, I use Harana, a lost Filipino tradition where a man would serenade a woman from her windowsill, to inspire the musical track which fills the silence. I find it poetic to speak on love without words, where sentiments and shared understanding prevail.”