Manila (CNN Philippines Life) — “As early as now, I want to tell everyone the truth,” declared director Jay Altarejos after he chronicled the events that led up to the disqualification of his film “Walang Kasarian Ang Digmang Bayan (The Revolution Knows No Gender)” in the upcoming 2020 Sinag Maynila film festival.

Initially a finalist under the festival’s full-length category, it was announced by Sinag Maynila organizers last Friday, February 21, that they were pulling out the film from the competition because of “substantial deviation from the submitted and approved script.”

Altajeros quickly responded, refuting the organizer’s claims of deviations. He asserted that the move was political in nature.

The film tackles President Rodrigo Duterte's bloody war on drugs through the eyes of an artist-turned-revolutionary after the murder of a family member.

The director compared the decision to what happened during martial law in the 1970s, calling out festival co-founder Brillante Mendoza (a director who has been directed the president's State of the Nation Addresses).

Altarejos joined CNN Philippines Life for a call to tell us more about the movie, media censorship, the charges being thrown against his film, and whether audiences will get to see his film any time in the near future (it’s sooner than you think).

Director Jay Altarejos on the controversy surrounding his film "I’ve always made my films na ako ang may creative freedom: the final cut, rights, and everything else." Photo courtesy of JAY ALTAREJOS

Can you give a bit of background on your film “Walang Kasarian Ang Digmang Bayan”? What’s it about?

It’s about Paolo (Oliver Aquino), who is a filmmaker. He’s a character whose story started in “Kasal.” And then, his nephew gets killed during a tokhang operation. And because of that, he goes through complications with his mental health.

He is an activist. He goes through these issues in Philippine society, especially in the [urban areas]. At the same time, inaayos niya rin ang personal life niya. Like when he meets his ex, played by Arnold Reyes, and the person who caused their break-up, which happens to be Sandino Martin. So journey lang siya, and he brings us through the different issues in society, all of which culminate in the death anniversary of his nephew.

And then he, together with some activists, [had] a tragic incident with the military. In the end, he goes up to the mountains and joins the revolutionary forces.

Just to make it clear, this is a pseudo-sequel?

Yes. Basically, it’s set in the same universe as “Kasal.” I can say that.

Can you share with me your thoughts on the exclusion of your film? Is this exclusion an act of censorship? If yes, why?

Yes, definitely. Because it was so sudden.

Katulad ng nasa statement ko, the reason that they gave “deviations from the script,” it is a flimsy reason. They saw the film 3 weeks ago. It was 3 hours and 15 minutes. Brillante [Mendoza] saw it, and his concerns were (1) the length and (2) the use of military uniforms. ‘Yun lang concern niya.

Then two weeks ago, Sinag Maynila watched it, it was 2 hours and 40 minutes. The only reactions I got were (1) it was overwhelming because a lot of issues were tackled in the film and (2) again, the use of military uniforms was brought up.

Because sabi nga ni Brillante, concerned siya sa paggamit ng military uniform. Sabi ko, yan naman, nangyayari naman talaga yan, pagpatay ng tao. Ilalaban na lang natin yan just in case.

Oliver Aquino in "Walang Kasarian ang Digmang Bayan." Screengrab from ALTAREJOS.FILMS/YOUTUBE

So just to clarify, they were uncomfortable showing people in military uniforms committing horrendous acts.

Yes, not only uncomfortable, but they showed serious concern. “Di ko maintindihan, bakit ba concerned kayo?” sabi ko sa kanila. I didn’t ask for more details.

So, the main directives they gave me were (1) have a two-hour edit, because that’s what cinemas require and (2) make the film go through MTRCB approval.

‘Yun lang naman conditions nila for me para makasama sa Sinag Maynila. Kasi may [rule] sila na dapat two hours lang talaga ang pelikula.

I complied. The first edit I sent them was 2 hours and 8 minutes, but they said it still had to be two hours flat. So na-delay yung process namin with the MTRCB. I edited a two-hour cut. But nung pinadala ko, kailangan daw ng version with subtitles. Sabi ko, kailangan ba ng censors ng subtitles? They speak Filipino.

So, I was working on it, then the press con happened, where the trailer was shown. That was on [February] 17th. They called me up for a meeting on the 20th. Then they released their statement [regarding the disqualification] on the 21st.

There was censorship within the ranks. Something happened between the day of our press con and the time of the meeting. Sila sasagot nun, ano ba nangyari talaga.

Para sa akin, bakit niyo pa ko pinaabot ng press con. If they wanted to pull it out, they could have pulled it out earlier when I wasn’t invested, when our whole team wasn’t invested.

Sinag Maynila cites “deviations” between the script and the final product as the reason behind the disqualification. Can you expound on this?

Regarding the deviations, ako kasi nanggaling ako talaga sa “found story” filmmaking, kung saan si Brillante din nag-su-subscribe na style ng pagsusulat at filmmaking.

So sa akin, ‘di issue dapat yun. Kasi wala kami pinagusapan na approval. The word approval, malinaw ako, I didn’t agree to that. Hindi ako naniniwala sa rason nila. I’ve always made my films na ako ang may creative freedom: the final cut, rights, and everything else. So that’s bullshit.

What they are saying about deviations is bullshit. They could have thrown that to me two to three weeks ago, kung totoong may deviation. Napanood na nila ang pelikula. Bakit nila sinabi yung deviation nung Friday lang, nung di ako nag-agree sa gusto nilang may statement kami together.

Gusto kasi nila yung “we’ve agreed, both parties have agreed.” Ayoko ‘yun. Para sa akin, mag-statement kayo, sasagot ako. It’s my right. ‘Di totoo ang deviation na yan, kasi nakapunta na ko press con. Sana sinala niyo noon pa lang.

Sabihin nila ‘yung totoo, ‘yun ang hamon ko sa kanila. Kasi ‘di nila pwede sabihing nag-deviate ako and ako magiging scapegoat nila. I will fight them in any forum. That’s why hinamon ko sila to have a discussion with me in front of other people, especially the media.

Arnold Reyes in "Walang Kasarian ang Digmang Bayan." Screengrab from ALTAREJOS.FILMS/YOUTUBE

What do acts of censorship/curtailing of creative freedom like this mean for film, for art?

Of course, this is an act of repression. It’s a sad thing to think about. The repression is not directly coming from [the] government but the people who are identified with the government.

‘Yung ang nakakalungkot kasi pati ang private sector na-weaponize to oppress and repress ‘yung kapwa niyang tao. ‘Yung ang nakakalungkot dun, tayo-tayo ‘yung nagaaway dito sa baba. Kunwari, sa mundo ng pelikula, ni-re-repress kami. That was my one request, not to censor me from within the community, from within [Sinag Maynila]. If I have to go through MTRCB, I would have gone through the process.

‘Yung mga ganito, act of oppression siya and nakakakabit sa gobyerno — directly man or hindi. Kasi, ‘di naman nila mararamdaman to kung ang gobyerno natin ay hindi ganito.

Kung totoong may malaya tayong pamahalan at society, ‘di mangyayari to.

What are your next steps? What’s gonna happen next between you and Sinag Maynila?

I’m going through with showing the film to audiences, whether it’s through public screenings or [focus group discussions]. ‘Yun muna gagawin natin. Kailangan na siyang ipalabas, with or without Sinag [Maynila].

That’s a promise to my co-workers. That’s a promise to the communities we’ve been in touch with. Itutuloy natin siya, bahala na san makarating.

When can we expect it?

I think I can say within the next month.