The stories choose you,’ said Carlo Obispo as a way of explaining why his films focus on Filipino children, often the most vulnerable in the country.
‘There’s a crucial reconciliation between who you think you are and how these stories speak to you,’ Obispo told an audience at the Borneo Cultures Museum here on Friday, Nov. 14, during his talk, ‘From Local Roots to Global Screens: Crafting Stories Beyond Borders.’
Obispo was named Best Director at the 2023 ASEAN International Film Festival and Awards (AIFFA) for ‘The Baseball Player.’ The 2025 edition, which started on Nov. 12, ends today, Nov. 15.
Filmmaking is just for the rich
Obispo’s journey began in Purok Siete, a rural village in Tarlac, Philippines. ‘Not every home had a TV, not everybody even had electricity. We were content with playing on the streets, in the river, and catching fish. Filmmaking felt impossible. It was just for the rich.’
Even in high school, his closest dream was to be a writer. ‘Art was not really a priority in my school,’ he said. College theater sparked a passion for directing, but filmmaking remained out of reach, until digital technology opened the door.
Moving to Manila, he sought guidance from screenwriter Ricky Lee, now a National Artist for Film and Broadcast. ‘He opened the doors for not only me but for many other filmmakers,’ Obispo said. ‘It was there I realized my storytelling would start from observing life in the countryside.’
Confronting harsh realities
His films’ focus on children came after confronting harsh realities. ‘When I worked in Malate, some guys would offer kids to go out with you, for a price. At first, I shrugged it off. But seeing anti-child trafficking posters in Cebu made me realize how serious it was. That’s why my films explore Filipino children.’
‘Purok 7,’ his debut feature, looked at the lives of children whose parents work abroad. Subsequent works, including ‘1,2,3’ and ‘Gasping for Air,’ tackled trafficking and other social issues. ‘The Baseball Player’ continues this focus, highlighting child soldiers.
‘For me, filmmaking is a process of self-knowing,’ he said. ‘Children are always vulnerable. As a storyteller, you see the problems and feel obliged to do something about them. You can’t sleep. You can’t be at ease until you act. It haunts you until you do something.’
Despite financial struggles, Obispo pressed on. ”Purok 7′ was semi-autobiographical. Producing, writing, directing all at once was really hard. But if you really want something badly, you will get it.’
He sees filmmaking as service. ‘We serve the story, the people it represents, and the audience. It’s not just about yourself. These stories chose me, and I am here to serve them.’