Working with Japanese co-producers has been one big learning experience, one for the books, and aspirational.

“How I wish we could replicate their best industry practices,” exclaimed actress-turned-producer Sylvia Sanchez.

Sylvia gathered media friends for a lavish lunch at Fresh, the buffet restaurant of Solaire North in Quezon City on June 9 to give us an update on ‘Renoir,’ the Japanese film she helped produce.

“Renoir” made waves recently as it entered the main competition of the 78th Cannes International Film Festival in France in May. That window allowed Sylvia an opportunity to walk the red carpet in the world’s biggest film festival together with her other co-producer, Alemberg Ang, president of Daluyong Studios.

Sylvia herself is head of family-owned Nathan Studios.

The veteran actress quipped that ‘fantasy’ walk in full splendor was never part of her wildest dreams. Especially not for that small-town girl from Nasipit, Agusan del Sur whose one big dream in high school was to come to Manila and become an actress.

Nathan Studios’ entering into a partnership with Japanese producers is a story itself.

In one of Sylvia’s trips to Cannes, she met Alemberg. Casually, she asked him to find her a film project that could go straight to Cannes.

Ang was initially in disbelief. He thought it was nothing but small talk, if not a joke.

The following year, they met again in Cannes. That time, Sylvia had brought to market her film, Topakk, starring Arjo Atayde.

She repeated her inquiry to Ang, who was by then no longer in a state of shock or disbelief but was already quite impressed. He had also heard that Nathan had bought several film titles, including Monster, for distribution in the Philippines.

Sylvia had previously attended MIPCOM Cannes, the annual marketplace for TV series. In 2024, her short film with Angel Aquino, ‘Silid,’ was featured in the Cannes Directors’ Fortnight.

It was then that Ang brought up the idea of Nathan Studios co-producing with Japanese partners led by Chie Hayakawa, director of the critically acclaimed “Plan 75,” a dystopian drama that involved Filipino caregivers looking after Japan’s elderly.

Sylvia was informed that the Japanese team had a good batting average in Cannes.

She asked for a copy of the script, a coming-of-age film about an 11-year-old coping with adolescence and family issues in late ‘80s Japan.

As co-producers, Sylvia and Alemberg, happily, weren’t mere investors in the project.

They were hands-on from the very start,  reviewing the script, observing the shoot in Tokyo.

Sylvia was amazed at the discipline shown by the actors and the Japanese production team.

“They were very strict with time. They work three hours, take a one-hour nap, then another three hours, another break,” she said. She also noted how everyone was so professional.  

“Renoir” required scenes filmed in the Philippines. Sylvia and Alemberg arranged everything at a beach resort in Batangas.

“Renoir” is a collaboration among Japan’s Happinet Studios, France’s Ici et Là Productions, Singapore’s Akanga Film Asia, Indonesia’s Kawan Kawan Media,  Nathan Studios, and Daluyong Studios from the Philippines. It will be shown worldwide, including the Philippines.