PROGRESS WATCH: Metro Cagayan de Oro and Northern Mindanao

by Meckhan Tagarda

“As filmmakers, we all speak the same language, and that language is cinema.”

For many aspiring filmmakers in the city of golden friendship, taking part in international film festivals can feel as if witnessing the city’s mythical fish. But for Rodiell, a cinephile and Cine de Oro Film Festival co-founder, he caught that moment.

“My father and I loved watching comedy films when I was a kid,” he recalled. “I remember us having a huge collection of pirated DVDs at home.”

Long before his film career, he was a young boy entertained by Jim Carrey films and exploring with his Sony handycam.

Today, Veloso’s feature film project ‘My Missing Half’ was selected for development opportunities that brought him to Cannes, one of the most prestigious film festivals in the international level. The achievement marked another breakthrough in his filmmaking journey that began by simply making videos and community workshops, empowered by his advocacy to tell Mindanaoan narratives.

Rodiell’s international recognition reflects the growing endurance of regional cinema and the potential of his local filmmakers to create stories that represent the regions.

A Film that Started as a Joke

Ironically, the project that eventually brought Veloso to Cannes began as a joke nearly a decade ago. In 2016, while discussing ideas for a horror anthology film, Rodiell pitched a concept about a manananggal who wakes up after a feeding frenzy, only to discover that her lower half has gone missing. The idea stayed dormant for years before evolving into ‘My Missing Half’, a black-comedy horror road movie set in the regions and centered on the iconic Filipino monster, the manananggal, which would eventually become his first feature film project.

The process did not happen overnight. Over the years, Veloso participated in development programs such as ‘Full Circle Lab Philippines,’ ‘FLY Film Lab,’ and ‘FDCP’s Southern Voices Film Lab.’ And through these spaces, he encountered mentors who challenged him to think beyond the local box while remaining rooted in his identity as a regional filmmaker from Mindanao.

A major pivot came during his time at the ‘Busan Asian Film School’ in South Korea. “The project became bigger than just my personal experiences,” he said. “It started evolving into a story that could connect across cultures.”

The experience also changed how he viewed himself as an artist.

“Up until then, I had been trying to fit myself into a certain idea of what a “serious filmmaker” should be, especially coming from Mindanao.” Mentors and classmates encouraged him to embrace playfulness and originality, some qualities that would later become his strength.

‘My Missing Half’ was later selected as one of only five from the Atmovie Global Track to pitch at Cannes, where it was presented to an international audience of producers, distributors, sales agents, and festival representatives. The opportunity opened doors to valuable industry connections, surrounding potential partnerships, co-production arrangements, and future development opportunities.

Currently, the project remains in development as Veloso continues to refine the screenplay while exploring financing options and international collaborations to bring the film closer to production.

Yet despite the prestige, Rodiell remains grounded.

“As regional filmmakers, we tend to put major festivals on a pedestal,” he said. “But once you’re there, you realize that festivals are festivals.”

From his perspective, the real value was never the grand prizes nor reputation, “they’re about connecting artists, sharing ideas, and celebrating each other’s work,” he said. “It’s [a] chance to meet new collaborators, reconnect with old friends, and continue being part of this global community of filmmakers.”

Different Industry, Different Journey

Many aspiring filmmakers reference success in just a search for a blueprint, but Rodiell cautions against that mindset.

The film industry he entered nearly a decade ago is far different from the industry that young filmmakers are stepping into today.

“I also recognize that the landscape is different now,” he said. “The market is constantly shifting, and the industry keeps adjusting, so naturally the regional film scene changes with it as well.”

When he began his career, opportunities were there, but they looked very different from the pathways available today. Genre films struggled for support, funding assistance had different priorities, and regional filmmakers are still navigating a developing ecosystem.

Today, international co-productions have become increasingly important and film markets and development labs have become more interconnected across countries.

Because of this, Rodiell believes that emerging filmmakers should resist the urge to compare themselves too closely with those who came before them.

“Because of that, it’s important to accept that not all our journeys will look the same,” he said, “and maybe more importantly, to be open to the fact that your path will be very different from your mentors.”

After all, every generation of filmmakers face different sets of challenges and opportunities. The goal is not to follow someone else’s moving frame, but to learn how to navigate a changing landscape and create a reel of your own.

Cagayan de Oro Film Movement

“Ayaw hulata nga naay mohatag ninyo og permission. Most of the opportunities I have today came from things that started small“

Limited support and a lack of established producing infrastructure in Mindanao continue to make the journey difficult. Despite these realities, Rodiell remains optimistic about the future of local cinema.

For aspiring filmmakers in Cagayan de Oro and across the regions, Rodiell’s journey serves as a reminder that purposeful opportunities often begin with small frames; making short films with friends, joining workshops, organizing screenings, and applying to programs even though you’re not sure if you would get accepted.

“If opportunities don’t exist, sometimes we have to create them ourselves,” he said. “Cliché, I know, haha, but it’s still true.”

As regional cinema continues to develop, the stories of Mindanao are projected to audiences far beyond the nation. As filmmakers like Rodiell Veloso and other fellow Kagay-anons continue to break international ground, they also give a hand for the next generation of storytellers who dream and dare to follow their own frame.

From making videos with a Sony handycam in CDO to pitching a feature film in Cannes, Rodiell Veloso’s expedition simply tells what Kagay-anon storytellers are capable of, that world class cinema can begin right here at home