J.E. Tiglao’s latest film Her Locket, now out in local theaters, is a winding yet evocative drama that tracks the story of Jewel Ouyang (Rebecca Chuaunsu, also serving as the executive producer), a movie star born in a well-off Filipino-Chinese family, whose older self grapples with dementia. Later on, she meets Teresa (Elora Españo), a caregiver desiring to lead another life, who helps her recover specters of her past.
Migrating between timelines, the film draws heavy inspiration from Chuaunsu’s personal life. In 2020, deep into pandemic lockdowns, she came across the diaries of her parents, who were both journalists, which reflected inheritance issues, and later began to entertain an idea for a film about a Chinese woman forced to reckon with unrelenting family traditions.
“I produced Her Locket to let the moviegoers feel my silent screams,” says Chuaunsu. “It took me more than 32 years to save money to produce this sentimental film.”
The film is also Chuaunsu’s first lead role, after previous appearances in Ian Loreños’s Mano Po 7: Chinoy and Jun Lana’s And the Breadwinner Is. While completing the project, she says she feels “naked” spilling her guts out. “I told myself to be brave, to tell the truth and stay by the truth, which is a mirroring of my life.”
Her Locket is a finalist at last year’s Sinag Maynila Film Festival, where it won eight awards, including best picture, best director for Tiglao, and best actress for Chuaunsu.
Past this, the film also participated in the 2023 Cannes Film Market, 2023 London East Asia International Film Festival, 2024 Dhaka International Film Festival, and the 2024 San Diego Film Festival. This year, it is set to compete at the Jagran Film Festival in India.
Recently, I spoke to Chuaunsu about wearing the producer’s hat for the first time, working with Tiglao and Españo, the film’s primary location, and what’s next for Her Locket post-theatrical run. The conversation has been edited for length and clarity.
As executive producer, what was the hardest part you encountered towards the movie’s completion?
As a rookie film producer, the hardest part was the technical requirement. When I first brought the film to Marche du Film in Cannes, France, it was the first time I had to learn the technical requirements for the Cannes International Film Festival: submission of a Digital Camera Package (DCP) file, MP4, ProRes, screener, watermarked still photos, etc. These technical terms are Greek to me.
In the post-production stage, I personally consulted many editors, IT experts, etc. to advise me how to complete the film and how to register for international screenings in France, London, Morocco, Bangladesh, Taiwan, and the Philippines. Each film festival requires certain submission of requirements to meet the international screenings and to join the film competition globally and locally.
Your big-screen credits include Ian Loreños’s Mano Po 7: Chinoy and Jun Lana’s And the Breadwinner Is, but this is your first lead role. How does it feel? Did being a producer factor into your acting process?
As the film producer, I have a say in the auditioning process. I submitted myself to an audition for the director and screenwriter to feel if I am the one who fits the role to a T as Jewel. I also personally attended all auditions to gauge if the actors fit their role to a T. We had auditions and callback sessions and table script reading to ascertain if the actor is fit for the role and works well with the cast and crew. Our goal was to create a happy set wherein there is no prima donna attitude and there is camaraderie among the cast, the creative team, the production team, and the technical team.
What was it like working with director J.E. Tiglao? How did you balance the producing aspect and artistic decisions with him?
Being educated in UP under theater giants like National Artist Tony Mabesa, Dr. Anton Juan, and Prof. Behn Cervantes, we were trained to give the director the full respect because the director is the captain of the ship. My mentor in filmmaking is director Brillante Mendoza.
The film is the director’s medium. I abide by the director’s vision for the visual and artistic creation. The director takes care of, and is in charge of the artistic concept and interpretation.
If there are things such as budget concerns due to additional charges, such as CGI (computer generated imagery) in post-production, I wear the producer’s hat to make sure that our budget is not overblown. In post-production, I then discuss the budget issue with my director privately via Zoom because my director lives in the province. I believe my duty as the executive producer is to complete the film within a reasonable budget.
The old family home where your character Jewel and Elora Españo’s Tere formed their relationship is a significant element in the film. How did you come across that house? Were you there during the location hunting?
We hired a location manager for location hunting. I also suggested houses of friends who offer friendly rates. I went location hunting with the director, director of photography, production designer, cameramen, location manager, and line producer during the pre-production stage. We unanimously chose the home located in Barangay Paltok, Quezon City which was the home used in the film Tanging Yaman. We felt the home is a symbolic contrast to the mansion of Jewel’s parents in New Manila.
Among the highlights of the film is your scene with Elora Españo towards the end. It’s so quiet but evocative. What was it like sharing scenes with her?
Elora is a giving person, she is a more experienced film actress than I am, yet she supported me emotionally from day 1 to day 10 of the principal shoot. She was very patient with me. She knows that my real-life husband is critically ill and I need to focus my attention on portraying my role. In between takes, she offers acting tips to inspire me emotionally.
In the ending of the film, I was supposed to recite a poem in Tagalog which is a one-page long with iambic pentameter. Since I am bulol with my Tagalog, I inquired from the director if I could recite the poem in three takes. Take 1 for the first paragraph, so on and so forth. The director wanted one long take. We decided to have a “silent” film, no lines, just pure emotion. Elora and I were in sync, we let our emotions carry the message without uttering any words. From hindsight, it was a more effective tool.
In between takes, Elora offered to tie my shoelaces or assist me in wardrobe change. Maybe she felt that she had to attend to my needs as an elderly woman and as her producer. I always remind her that we are peers and co-actors and there is no hierarchy in leadership (no employer-employee relationship).
For the sampalan scene, we both agreed to take the scene physically and not fake it, even if it took several takes to perfect the scene. Elora is a great supporting actress, without stealing the limelight from the lead actress.
Did you also have a say in terms of the visual inspiration for Her Locket? Were there any major considerations that you, your director, and cinematographer Jag Concepcion had to think about?
Jag Concepcion, a first-time director of photography, prepared the storyboards, the color palette, and templates. It was [then] easier for the DOP, production designer, and director, and I to visualize. For the Chinese setting and locations — home, cemetery, calligraphy, decorations — I am more in charge being a pure Chinese myself. The director respects the cultural sensitivity of the Chinese cultural heritage.
I heard that a follow-up to the movie is already in consideration. What can you share about it?
When I have the return of my investment or when I sell my movie internationally or locally, I shall produce a sequel, Her Locket 2. In the pipeline, I have submitted a synopsis and shall pitch the story about issues concerning intellectual property and the breach of data privacy, which happened in Jewel’s life as an actress and producer, flashbacks of happy and sad memories, and Jewel’s preparation for the inevitable event: dying grace.
I cannot divulge more information now. You just have to watch the sequel. Also in the pipeline: I shall screen Her Locket in the near future, hopefully during the women’s month at my alma mater, the UP Film Institute. – Rappler.com