And that’s on period, literally.
Related: What The Viral Success of ‘A Catholic Schoolgirl’ Means To Student Filmmaker Myra Soriaso
What is girlhood?
Is it the bunny charm that’s clanking left and right on the side of your bag? Is it taste-testing the latest strawberry or banana pudding matcha craze making rounds online? Or maybe, it’s the Sofia Coppola and/or Greta Gerwig movie you were recommended to watch, or even that time you searched for creative and funny ways to check you and your girls’ seasonal palette, smearing each other’s arms with lip gloss and blush swatches.
But let’s look back before the shopping sprees. Oftentimes, girlhood can already mean just standing in solidarity when a girl asks, “does anyone have a pad?” behind the cubicle.
If you ask 22-year-old PUPian filmmaker Naiah Nicole Mendoza, girlhood can be a blend of not just these popular connotations, but also of hope, nostalgia, and innocence. And definitely, her directorial debut is a lovely surprise of everything we love and are made of as women.
This year’s Puregold Cinepanalo Film Festival, commencing this March 14th to 25th, will feature stories of triumph. Among the entries is Taympers, directed and written by 4th-year broadcasting student from the Polytechnic University of the Philippines (PUP), Naiah Nicole Mendoza, and produced by PUP journalism fresh grad Rafaela Abucejo and fellow PUPian 4th-year broadcasting student Carey Erwin Bayno of TASA Productions.
A play on the batang 90’s lingo often heard when kids play outside, Taympers (time first) is a story of two sisters, Yumi (Atasha Eve Franco) and Chloe (Miel Espinoza) set during a typical, Filipino suburban summer. One day, Yumi notices that her older sister Chloe, suddenly grows distant and disinterested of their carefree routine. Later we find that Chloe’s change was due to her experiencing her first menstruation. Together with their grandmother, Lola Linda (Elizabeth Reginaldo) and Yumi’s best friend, Heidi (Amber Santaolaya), the story navigates the introduction of womanhood through the innocent lens of Yumi.
With its core an undoubtedly universal experience for most women and a story that deserves more space to be properly told in media, Taympers as an all-women cast film speaks up on what may be assumed as a rarely represented event of womanhood in media, and treats the daunting idea of fertility as a blossoming fete for girls instead.
Selected in the top 25 finalists of student films last October 2024, Taympers is categorized under Cinepanalo’s short film category A and premiered this March 14 at the Gateway Mall Cineplex 18 in Araneta City, Cubao.
In an exclusive interview, NYLON Manila spoke with the young filmmakers behind Taympers to discuss its female gaze and got real on the nuances of being new-gen storytellers. Read the full interview below.
When did you start getting into film?
Naiah: Ever since college started, hindi ko talaga specifically ina-eye na makapag-film, pero since yung classmates ko usually nagfi-film sila, (may that be) documentaries, productions, (…) tapos madalas requirement din siya sa school so ayon, na-open yung doors ko to production. Usually what I do is sa logistics na part so sila talaga yung nag influence sakin mag-film.
By chance, napag-usapan natin na gumawa ng film about period and tinry natin sya ipasa but hindi sya nakuha so we tried to tweak the script to fit the criteria
It’s also our first time writing the script together and it’s my first time na maging director. Hindi ko sya inexpect na magiging possible ngayong college ko and I expected na baka PA lang ako or producer. I think also na nainspire talaga ako nung nag cinepanalo din si ate Rafa and ayon na inspire because of how much they treasure the story.
First time ko maka encounter na may babaeng director so napa-wow ako na wow pwede pala yon. At first overwhelming siya but looking back, everything was worth it. And I love working with you guys.
Rafa: At first, same kami ni Naiah. Hindi ko ina-eye na mag-filmmaking but I’ve really had the passion for film since many, many years back like my favorite hobby is watching films for days on end and just binge-watching until the late hours but I never thought that I’ll be into filmmaking. So it really all started ;ang nung na-aya ako maging part ng isang fashion project back in 2022, sa pre-production nya. So naaya ako as a camera-operator and ayon, dun na nagstart– when I joined that small film collective na binuo rin ng isang taga PUP. And actually fun fact dun sa small collective na yon, when we did our film “Please remember this night” ako lang yung babae don, like as in. Nagsshoot kami and ako lang babae. Pati sa actors since it was a (sort of) love story about queer men.
So ako lang talaga yung babae kaya I thought at first I’d feel unsafe nung time na yon but they made me feel welcomed naman and hindi na ko ganong anintidimate nung nakilala ko sila even though first time ko.
After that, na-invite ako to write and direct for a Cinepanalo short film last 2023 and I did it under that same film collective. Because they center on queer sotires, they asked me if I could write and direct a sapphic film and since first launch nila (Cinepanalo) yon and ako rin, I was actually very surprised na naging big-scale production yon and sobrang different from the one experience I had na literal sampo lang kami don and dito 40 people kami and medyo nagulat ako and overwhelm. So ayon, sobrang life-changing nya for me. Aside from the story and experiencing storytelling in that way mas marami akong nakikilang ibang people na nagyon nasa ibang prod na rin and nag spread out na from that point on.
I just want to be a part of a film that centers on women, that I’ll know will resonate with a lot of women. That’s what I want to continually explore as a filmmaker.
Carey: Since pandemic, nakahiligan ko lang din manuod ng movies sa internet and wala rin talaga akong alam sa film and nag college na ko alam ko na gusto ko lang yung film i-yap sa mga kaibigan ko tapos ayon ever since I just know na gusto ko gumawa, mag-create, gusto ko magkwento pero ever since hindi ko talaga alam paano at kung ano yung avenue para gawin yon. Siguro introduction ko lang din with fm is nung nasama ako sa isang shoot fo a film campaign tapos naging PA ako don.
Actually yung pagiging PA ko parang wala lang, inaya lang ako na parang “tara sama ka” and wala talaga akong ine-expect. Gusto ko lang talaga sumama, gusto ko lang makita yung proseso kung paano sila mag pelikula, kung paano sila mag shoot. Then nung na-release na, hala na credit ako as PA and dun ko narealize na ay baka gusto ko talaga to. Na ngayon ginagawa ko na yung mga tao na pinapanood ko lang dati.
What pushed you to make this story your directorial debut?
Naiah: We had this drama class noong 3rd year, and yung prof namin don na nagwowork na talaga sa industry, nagturo sya sa PUP since alumni din siya samin non. Whenever we’re talking about films noon, ang lagi niya sinasabi sa amin everytime is that hindi ka makakapag-convey ng isang kwento na hindi ka nakaka-relate. So from then on yun na yung naging foundation of the stories that I try to create pag may activity kami and so on, lagi yun naiisip ko. It can be more effective if it’s a story I relate to and experienced talaga.
So nagu-uusap kami ni Carey noon about what film to write since we want to submit sa mga film festivals, and na-bring up yung topic of period (menstruation). Yun talaga yung experience na kahit bali-baliktarin mo pa mundo, it’s really an experience that women knows.
And in childhood, we have different stories regarding our first time but it all boils down from the fact that it’s something na tumatak sa isip natin. And gusto ko lang din that my first film is about something that I really relate to, na its about women. Kahit na vague pa siya sa utak ko noon, I really wanted to do something related to womanhood kahit na ba sabihin natin na marami ng pelikula about female rage and so on, palagi pa rin babalik sa conversation na women in filmmaking may still feel inferior.
So it’s quite frustrating na yung mga film productions na nasasamahan ko predominantly male-centered pa rin. Kaya gusto ko gumawa ng storya na tungkol naman sa babae kasi babae ako.
What’s an unforgettable moment in your childhood that you think is reminiscent of Taympers?
Carey: Para sakin yung pagiging bata. Gusto ko nalang palagi maging bata na walang pinoporblema, gusto ko lang din maglaro sa kalye, uuwi ako sa bahay ng madungis, ng sira yung tsinelas ko ganon. So I think ang nagresonate sakin with Taympers is the innocence and yung pagkakaron lang ng sapat na energy, so yung youthfulness kumbaga.
Rafa: For me it’s the aspect of having an older sister that you looked up to when you were younger. Actually kami ng ate ko she’s like, 11 months older lang siya sakin so may day na mag kasing edad kami so we’re almost twins. I’ve always had that feeling (that) I just look up to her and ganun naman talaga yung dynamics ng magkakapatid eh, when you’re older you’re being looked up to and everything she does parang monumental sakin na parang “wow!” and up until now actually, she’s still doing very big things. She’s currently in law school and nagwowork din sya at the same time so nakaka-inspire na ayusin yung sarili mong buhay. So yeah, we really had a good childhood when it was us two.
Naiah: I think what I really want Taympers to be is yung maparamdam sa audiences na even though you may not have grown up with a sister or anyone you can look up to, may mainstream media they can watch to learn more about it. Because ako kasi, wala akong older sister and yung age gap ko with my little sister is 11 years, so sobrang layo. Kaya growing up, wala akong ate talaga na mapag tatanugan kasi when I had my first period akala ko talaga may sakit ako kasi hindi ko alam na yun na pala yon, kasi sumasakit lang yung tiyan ko, yung puson ko and noon usually wala akong kasama sa bahay since si mommy nasa office and si lola inaasikaso rin yung iba kong pinsan. I sort of grew up where I had no one to ask.
So when I watch Taympers ang saya, since lahat sila babae and same age sila lahat and they can confide in each other so somehow, Taympers may not be a view of my childhood, but it still reminds me of a part of it, especially in the production design aspect since yung mga paboritong bagay ko talaga yung nandon.
What are the art references or icons that you saw influenced your storytelling?
Naiah: I grew up watching rom-com films in the early 2000s and yung cousin ko lagi sya nakikinig kay Avril Lavigne and Highschool Musical while my mom made me watch Barbie movies so I think all of it collectively inspired the overall look of Taympers. And also the cult classic local films like mga movies nina Claudine Barretto, Jolina Magdangal noon and sobrang distinct ng aesthetic na meron sila na everytime na its recreated you know doon sila galing. So hindi sya specifically since na its set in the 2000s, our colorist were fond of it since in a way their inner chid was healed. so for our generation, I think that distinct color and art references ng childhood natin, na yun yung kinakalihan natin so that’s really how we viewed our childhood.
As per the feel naman ng characters, it’s also rooted in family-oriented movies nung early 2000s din yung kind na dati na soft lang na lighthearted and childlike lang yung storytelling itself. Since we wanted that it’s Yumi’s point of view in the film so we adjusted kung paano ba siya as a kid perceiving what’s going on with her sister.
In writing the screenplay, is it better to take inspiration from memories or from possibilities?
Naiah: Ako kasi personally mas nakakahugot ako from my memories from my past experiences minsan hesitant ako to explore yung possibilities or kung ano mang bago but then while in the process of making the film sila produ Rafa and Carey talaga yung nagpupush sakin na “what if we try this direk,” and whatnot and parang throughout the process mas nagging open ako sa possibilities na ah pwede pala natin ganto and while we encountered minor problems pwede naman pala natin -change yung script if necessary for example. So in a way naging necessary merong tulong pareho yung past experiences and yung possibilities.
Rafa: For me, well a lot of filmmakers kasi sobrang personal ng films na ginagawa nila and I think that helps a lot but for me, in my experience, humugot talaga ako ng experience sa possibilities kasi the sky’s the limit, there’s so many possibilities na hindi pa nangyayari, stories that you’ve yet to explore, and ayon just like what Naiah said you can mix that with your own experiences and make it something reminiscent to your own.
Carey: Kagaya din kay Ate Rafa and kay Naiah naniniwala pa rin ako na pareho mo syang pinaghuhugutan kasi ako personally as a storyteller, mas kumakapait ako kapag yung inspiration ko ay nanggagaling talaga sa experiences ko pero hindi naman sya sapat lang na panghugutan kaialngan mo rin syang gawing imaginative na marami pang weknto marami pang pwedeng gawin and while alam ko naman na hindi lahat ng pwede isulat eh (possible) lahat galing sakin, but I think you just have to be literate enough sa mga nangyayari sa paligid mo to tell a story na atlis would see a better experience or a better future.
What are local movies that you think showcased the intricacies of being a woman?
Rafa: I want to recommend Mamu; and a mother too ni Rod Singh (2018), Insiang by Lino Brocka (1976), and gusto ko rin ‘yung Gusto Kita With All Of My Hypothalamus (2018), and hindi naman sya women-centered but in a way it’s a personal interpretation. And lastly yung si Si Chedeng at si Apple (2017) and it’s about two older women. Tapos nung namatay yung asawa nung isa, they embarked on a journey to try and find her ex girlfriend. So yeah, it’s really good.
Naiah: I agree with Gusto Kita With All Of My Hypothalamus (2018), since that’s the first film I watched of Dwein Baltazar. And ayun nga, hindi specifically sinabi ‘yung pagka-women centered niya so it still depends on your interpretation but if you as a woman want to explore yung experiences about it, i think it’s a good film for that.
Carey: Siguro yung ano 100 ni Chris Martinez (2008) and si Mylene Dizon yung bida. Ang kwento is matandang babae na sya and bagot na sya sa buhay and nalaman niya na she only has three months to live. So inside those three month, umikot sa point na hindi na niya ganong tinitingnan yung expectations ng society sakanya, so kumbaga the sky’s the limit; and she can do whatever she wants na.
Is there a creative formula that you’ve developed ever since entering filmmaking?
Naiah: I think directing-wise, since it’s my first time, wala pa talagang specific format kung ano gagawin ko nung nag uumpisa palang since I have no idea how to direct since I was more so sa logistics talaga. But one thing I learned in all of the film sets I’ve been on is that it’s very important to take care of the people. So while producing, lalo na pre-prod, ang lagi naming kini-keep in mind is the comfortability of the whole crew.
Kasi it’s very vital for everyone to be safe kasi if they’re not enjoying or hindi sila ok sa set they can’t do their work properly. So I guess another formula is to consider when to lessen or adjust the creative vision as the director if hindi na talaga kaya ng budget since it really damages a lot of people’s mental and physical health if pinipilit yung hindi na kaya. There’s really no step-by-step process since it’s different per production.
So in the case of Taympers, we really put our people first above all else. It’s the formula that never fails.
How were you able to show that Taympers is a movie not just for girls but for everyone?
Naiah: I think kasi when we were writing, our goal is not only to make it just for women to watch, since hindi naman possible na babae lang ang makakanood. And dahil nga masyado ng naka center yung movies of women in heavier topics like infidelity, rage pero they don’t know even the simplest thing about periods. So while yung aesthetic is not entirely for a masculine audience, I’m sure they’ll still understand something. Kaya it’s really something that is for everyone since they also grew up with the same things we did. So hopefully, may makatok sakanila since when writing this I made it a point to let the guys I know read the script para makita ko if it’s really understandable. So together with Yumi’s character, I hope they get to also discover something new.
Photos courtesy of the Taympers team
Continue Reading: This Short Film By A Gen Z Aspiring Filmmaker Puts A Local Twist On ‘Lady Bird’
