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Isabel Sandoval on breaking barriers in Hollywood and her film ‘Lingua Franca’
Los Angeles — Isabel Sandoval knew all the challenges that faced her. She is a transwoman, an immigrant, an Asian. She needs to work harder to prove herself in Hollywood.
But the Filipina film director-screenwriter-producer-actor-film editor has the passion, the drive and the talent that define success. Nothing can stop her from doing what she loves to do. And that is, to make films and to tell her stories.
“Lingua Franca,” her third feature film and her first U.S.-set movie, talks of the life of a transwoman, Olivia dealing with immigration and relationship issues as she tries to make a living as a caretaker for an elderly Russian woman named Olga (portrayed by Lynn Cohen) in Brooklyn.
While trying to help her family in the Philippines by sending money and balikbayan boxes (care packages), Olivia also tries to solve her illegal status in the U.S. through a green card marriage. She meets Olga’s grandson Alex (Eamon Farren) and somehow, a connection between the two happens.
In the film, Sandoval plays Olivia.
Previously, she did the movies “Senorita” in 2011 and “Apparition” in 2012.
Below are excerpts of our conversation with her:
You are a transwoman, immigrant, colored – which makes it extra difficult to make it in Hollywood but you did. So how did you manage to hurdle all those challenges?
I did not want labels to intimidate me. At the end of the day, I am a person, an artist, a storyteller. I believe in the validity of my voice, my experience which needs to be seen and heard and I searched out for support from people like Tony and Grammy-award winning producer Jhett Tolentino who is the lead producer of the film. I did not make this within the Hollywood system. I was helped by immigrant artists and I had the privilege to work with these people.
Talk about depicting the sexuality of the trans character in this movie and why was it important for you to show it as a filmmaker? Talk about the casting of Eamon Farren.
Just in terms of portraying female sexuality is so rare and startling when you see that. The transwoman is always portrayed as the passive object. They are the ones being desired.
In “Lingua Franca,” it is not just the female gaze but the person’s fantasy. In her scene with Eamon Farren, who portrays Alex, she is the one who is the active agent in this desire. She feels the need to assert her personhood.
I am a big fan of Eamon Farren from the “Twin Peaks: The Return,” the David Lynch series. He played a villain there but I thought he had a fascinating character and face and reminded me of a young Christopher Walken and his unpredictability and vulnerability. So, I thought he was a perfect fit as Alex. I did not want to cast a pretty boy but an actor who is able to convey emotional complexity.
The film also deals with homophobia. Can you talk more about that?
It is interesting because I was raised by my mom who is a single parent but she was always supportive. I was an achiever in school. I graduated valedictorian in High School and Summa Cum Laude in college in Cebu.
Right after graduation, I supported my mom financially. When I told my mom, I was a trans, it was hard in the beginning because we are a Catholic country and it took me an hour of crying. I really balled out my eyes. But she was very supportive and she said to me, 'you are still my child and I love and support you.'
It was a process. My mom came around and supported me. And I am glad that “Lingua Franca” is successful. And my mom is so proud of me.
The movie is also about the friendship between the two trans (Olivia and Trixie) and finding support from one another.
The story is also about two trans characters who are friends with each other. To deepen the characterization of multiple facets by setting two of those scenes might be jarring because the experience of trans people are different from each other.
Olivia is paying an American citizen to become legal, while in Trixie’s (played by Ivory Aquino) case, she has a healthy and nurturing romantic relationship where her American boyfriend is offering to marry her out of love.
There is a diversity of experiences even among trans people. There is not one monolithic story. But there are multiple stories.
The movie has garnered some accolades and good reviews from critics already. Why do you think this movie relates to the public? How much of it is biographical? The emotional and psychological truths? Was this journey therapeutic for you?
On paper, it can sound like a text book social issue drama that can alienate a lot of people because it is about a specific experience. Many are not trans or undocumented.
But it resonated because people are surprised by the direction that it takes in terms of stories. It is not predictable. It is not a typical story of trans characters who try to be intimate with men and then there are instances or episodes of physical violence.
“Lingua Franca” is not preachy and didactic. It is delicate and subtle, because of that audience expectation is unique and you get a singular emotional experience that you don’t usually get. It is not predictable.
Your movie is also being streamed on Netflix and is also the latest film from Ava DuVernay’s Array Releasing which is focused on amplifying Black, female and diverse voices. How were you able to do that – first with Ava and then with Netflix?
What a dream come true to be acquired by Ava Duvernay. It started last October. Ava’s company is based in Historic Filipinotown in L.A. and they were mounting an inaugural series for Filipino History Month.
We didn’t have a premiere in the U.S. yet, just in Venice. We were advised to wait. We stayed in touch with Ava’s team in May and they offered to distribute the film. We jumped at the opportunity working with Ava. It was tremendously a rewarding experience to get the film out.
As a result, we got stellar press coverage – LA Times, Vanity Fair, Elle Magazine. “Lingua Franca” found its audience. The Filipino community, the queer community, the film lovers all supported us. And people are still talking about it in social media.
When did you decide to become a filmmaker? Who were your inspirations on becoming one?
We don’t choose our passions; our passions choose us. We gravitate to our passions. We can’t stop thinking of words. For me, my creative outlets come up with scenes in my mind. That’s how I knew I wanted to become a filmmaker. I wanted to pursue it as a career and a calling.
Our brains are set to think that filmmaking is not a grown-up career but a very risky, no-job-security profession. But I am glad I stuck with it. I am grateful that I get to pursue and find work with something that I feel passionate about. I always wake up raring to express myself. Because of the success of “Lingua Franca,” I am starting to get offers from Hollywood studios to work on new projects. It is such a validation and uncompromising Hollywood took notice. I did not conform to established formulas because I wanted my voice to be authentic and singular.
My influences?
Ishmael Bernal because he is the greatest filmmaker. I would also include Lino Brocka and his “Insiang.”
My favorite is Ishmael Bernal and what a spectacular roster body of work – “Manila By Night,” “Himala,” “Nunal sa Tubig.” My other influences include Wong Kar-wai. “In the Mood for Love” is an influential film especially during my formative years.
Other influences include Rainer Werner Fassbinder, Christian Petzold, Chantal Akerman, and the Ukrainian-Jewish film director James Gray.
Are you pinching yourself that all these things are happening to you right now?
It has been a surreal ride since Venice last year and I am just grateful to all the people who I collaborated with.
From the outset it has been a gamble and it was not expected to be successful but the film resonated to as many audiences as it has. This is testament to authenticity and not compromising one’s vision. I dedicate the success of the film to Lynn Cohen who passed away recently (February 2020 in New York). (She portrayed Olga.)
If you had a chance to change anything in the film, what would it be?
I think I would develop Olga’s story more. I tried to do that. I wanted to add more scenes of her speaking Russian to allude to her background as an immigrant from Ukraine.
But Lynn Cohen did not want to work with a Russian coach and I did not insist on that. We only had 16 days to shoot the film. But I would have loved to make Olivia and Olga to be equals in the film.
Your next project and the reason why you will continue to make films?
I cannot share it yet but I am now being repped by a big Hollywood talent agency which is representing major Hollywood directors. I am writing the pilot for a TV series that was acquired by a cable channel back in August.
I am working on my next script, “Tropical Gothic,” which is like Alfred Hitchcock’s “Vertigo” which is a colonial drama set in the 1570s Philippines during the times of the Babaylans (Philippine shamans).
What would your advice be to other Filipina trans women who want to dive into filmmaking and join the Hollywood bandwagon?
In film school, we are taught to conform and stick to successful formulas and templates to get into film festivals. I didn’t go to that route. I just came up with my own stories and films that no other filmmaker was telling or making.
I told my story in my own unique distinctive voice. We should all do what makes our artistry and sensibility singular and unique and do what we can do to take the plunge. We should not be afraid to take risks and make mistakes. When you are submitting films to festivals, they are not looking for accomplished productions but they are looking for storytellers who are unique and write stories that other filmmakers are not doing. We should celebrate our uniqueness.
“Lingua Franca” was also inspired by the 2016 election of Trump. Now that he is out of the White House, are you planning another movie?
If I had to do a sequel to “Lingua Franca,” it will have to be a rom com.
— LA, GMA News
