Unusual Blend of Filmmaking and Spiritual Rituals
In a unique twist of events during his directorial debut, James J. Robinson experienced an unexpected intersection of filmmaking and spiritual exorcism. His first film, First Light, was being shot in the sequestered mountains of the Philippines in 2024 when a peculiar incident occurred involving a crew member during a scene in an ancient church, dating back 500 years.
Robinson, of Australian and Filipino descent, recounted the incident to Deadline, describing how the event unfolded. He was informed by his second assistant director that a woman named Grace had possibly suffered a heatstroke. Upon checking, Robinson found her restrained by two crew members, speaking in a deep voice and insisting she was not herself, using the local language, Tagalog.
Chaotic Responses to a Spiritual Crisis
The occurrence threw the set into turmoil, showcasing a clash of cultural beliefs. The Filipino Catholics promptly sought an exorcist, a decision aligned with local customs, while indigenous Filipinos resorted to traditional rituals involving burning items, and the Australians on set rushed to call for medical help. This simultaneous blend of reactions highlighted the diverse approaches to addressing the crisis.
The affected crew member was eventually taken to the church where an exorcism was conducted by locals, a practice not uncommon in the region according to Robinson. Remarkably, she had no memory of the ordeal afterwards.
A Film Intertwined with Personal and Cultural Exploration
Robinson admitted the entire experience felt extraordinarily surreal, especially given the thematic content of First Light. The film itself was an exploration of his Filipino heritage and his complex relationship with the Catholic faith. Starring notable actors like Ruby Ruiz, Kare Adea, and Maricel Soriano, the story unfolds in rural Philippines, focusing on an elderly nun who confronts unsettling questions about her faith following the mysterious death of a construction worker.
The film, shot entirely in the Philippines, made its debut in Rotterdam and was featured at the Glasgow Film Festival, competing for the Audience Award.
Reflecting on the prevalence of spiritual and supernatural beliefs in the Philippines, Robinson shared insights into the cultural nuances, such as the customary phrase “Tabi-Tabi Po” used to excuse oneself when entering less-traveled paths in the forest, a polite acknowledgment of the spirits believed to inhabit these areas.
The incident, while jarring, ultimately contributed to Robinson’s deeper connection with his dual heritage. It underscored the rich cultural tapestry of the Philippines, a theme that resonates throughout his film.
From Anger to Art: The Genesis of First Light
Robinson originally penned First Light fueled by frustration towards the proposed Religious Discrimination Bill in Australia in 2021, which sought to enable religious institutions to discriminate based on faith. His opposition to this bill was personal, reflecting his own experiences with the Catholic Church as a queer individual.
His journey from devout Catholic to a critic of the institutional church influenced the narrative of his film, leading him to weave his personal spiritual and cultural dilemmas into the story. This personal connection helped shape the film’s exploration of faith, power, and institutional ethics.
Securing funding for a film that critically examines faith was challenging, especially for a first-time director. Robinson noted that despite pressures to conform the story into a horror genre, he remained true to his vision, focusing on the inherently good character of Sister Yolanda, who navigates through a world marred by corruption yet chooses to remain hopeful.
The story of Yolanda, as Robinson explains, is not just about personal faith but also about recognizing and questioning the deeper interconnections between power, politics, and spirituality. This broader, more universal approach eventually opened doors for the film’s production and broader acceptance.
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