Mike E. Sandejas has earned more than a few feathers in his cap. From his critically acclaimed Tulad ng Dati (2006) to the groundbreaking Dinig Sana Kita (2009), Sandejas has consistently found ways to weave music, memory, and meaning into cinema. His latest film, Sinagtala, is no exception—an ambitious, deeply personal project born from pain and resurrected with purpose.

“I was disturbed very much,” Sandejas recalls, referring to a rocker acquaintance who jumped off a building on Facebook Live. “I had been going through a dark period in my life at the time and I realized a lot of people were going through similar dilemmas. Having rekindled my spiritual life, I decided to write a story that would speak about hope and purpose.”

Originally conceived in 2019 with longtime collaborator Pok Estrella '85, Sinagtala faced delays and near-abandonment during the pandemic. But fate intervened when a group of Christian businessmen, introduced to Sandejas through GMA Network’s Annette Gozon, expressed interest in producing films. “I adapted the screenplay to their expectations and we started production almost immediately,” he says. “Sinagtala is very personal because much of it speaks about that dark period of my life.”

Tulad ng Dati and Sinagtala: Music as Memory, Film as Redemption

Much like Tulad ng Dati, Sinagtala tells the story of a rock band, but with a distinct difference. Released in 2006, Tulad ng Dati was a groundbreaking fusion of documentary and fiction that chronicled the journey of the legendary Filipino rock band The Dawn. The film revolved around the tragic death of their guitarist, Teddy Diaz, in 1988 and explored the emotional and artistic struggles that followed. It was an introspective dive into grief, nostalgia, and rediscovery, themes that remain present in Sandejas’ work.

“Truth be told, yes, I got the reference from The Dawn,” Sandejas admits. “There are several Dawn references in the film, and one Dawn song.”

In Sinagtala, the story once again centers on a band, but this time, the focus shifts to a once-famous band that had been disbanded for years. Each member is going through a difficult adulthood. Tragically, as well, a band member passes away. The band strives to find their way back to music by redefining their purpose.

The twist of the movie is that the one who passed away made videos of herself with messages of God and purpose for her bandmates. “Instead of Teddy Diaz, the deceased band member is a character named Paola Luz,” Sandejas shares. “It kinda says that nobody is ever really gone.”

“Instead of telling the story of one character, I tell the individual stories of five characters,” he explains. “Music is just as strong an element as in my other films. I use music a lot because music contains memories. Hearing good music in my films makes my work easier to embed in your memories.”

But unlike his earlier indie films, Sinagtala was born under a studio structure. “Casting decisions came from the top,” he admits. “The actors were chosen primarily for their popularity, but my insistence on musical ability was considered. Luckily, we found the right cast.”

The film stars a powerhouse ensemble of actors: Glaiza De Castro, Rhian Ramos, Arci Muñoz, Rayver Cruz, and Matt Lozano. Each actor brings depth to their roles, portraying bandmates struggling with adulthood and their lost passion for music.

The music was carefully curated, with songs chosen before the pandemic and brought to life by a combination of seasoned composers and the actors themselves. “There were only two parts of the musical performances that were shot live. The rest were done with recorded music in the background, and the actors had to lip-sync and simulate instrument playing,” he reveals. “That’s how it’s done in movies. But in fairness to my main cast, they can really play—it’s just that their tough schedules left no time for rehearsals.”

The Upsilonian Code: No Excuses

Sandejas’ approach to filmmaking has been shaped, in part, by his time in Upsilon. “Being an independent filmmaker at heart, having more creative control meant having less resources,” he says. “The Upsilon training in leadership, quick but smart decision-making, resourcefulness, and resilience were a perfect fit. Get the job done on time, done right, done well. No excuses.”

That mindset has been crucial in navigating the increasingly precarious state of Philippine cinema and music. “The film industry and the music industry in the country are weak. Art professions are unsustainable,” he laments. “The art industry has to go global with the help of the government in order to evolve into cultural marketing. But first, legislation in favor of cultural products must be passed.”

The challenges go beyond just creative struggles; economic barriers loom large. “If people don’t go watch on the first few weekdays, the film may not reach the weekend,” Sandejas points out. “The power to do that lies with theater owners, who make 50% of every ticket. That’s a monopoly that should be broken.”

Streaming services, often seen as a refuge for independent filmmakers, present their own obstacles. “People say, ‘Then why not go straight to streaming like Netflix?’ Truth is, Netflix only licenses and won’t pay the full cost of a film’s production.”

A Call to the Young and Restless

Despite these struggles, Sandejas remains hopeful for the next generation of creatives. “For the young brods who want to get into creative industries, my best advice is GO GLOBAL,” he says. “I had tried to do that, but the doors back then weren’t as open as they are today.”

As for what’s next, Sandejas keeps his cards close. “I am working on several projects. As to which one will come first, I am not so sure. Too early to announce anything.”

But for now, Sinagtala stands as his testament to resilience, faith, and the power of art to heal. “The world is very stressful nowadays,” he says. “Life doesn’t always turn out as we would hope. Through this film, I want the audience to know that the pain we go through prepares us for a purpose we were meant to fulfill. Feeling lost and broken is all part of the process. Knowing that, I hope to convince many not to lose hope and live on.”

And that’s a message that, much like his music, is bound to stay with us.