D ear Enrique Gil (the producer),
I recently watched Strange Frequencies: Taiwan Killer Hospital and was pleasantly surprised by how much I enjoyed it, especially as someone who isn’t a fan of horror. The film clearly demonstrates a lot of passion and effort. I’ve also seen I Am Not Big Bird, another film you produced, and it’s clear that you’re making a significant mark as a producer by venturing into unique and innovative territories that push boundaries in Filipino cinema. I also appreciate how you’re stepping beyond your brand as a leading man to explore bold, creative projects.
The premise, though inspired by Gonjiam: Haunted Asylum (2018), was refreshing. Filipino horror often delves into folklore and the supernatural, but setting the film in Taiwan’s notorious Xinglin General Hospital added a unique layer of intrigue. It created an eerie, unfamiliar atmosphere that kept me engaged, while the meta approach (where the characters play themselves) added a touch of humor and self-awareness, making the experience even more fun.
Strange Frequencies stands out as the first Filipino film to use the found footage format, which is not new globally, and feels fresh and exciting in Philippine cinema. Director Kerwin Go did an excellent job blending tension and humor while modernizing the horror narrative for today’s audience. The film’s inclusion in the 50th Metro Manila Film Festival (MMFF) and its recognition with several nominations (such as Best Actress for Jane de Leon and Best Cinematography for Mark Tirona) are a testament to the quality of the production. It also won Best Sound, awarded to Ditoy Aguila.
That said, the CGI could have been more polished, as it sometimes took away from the otherwise well-crafted elements of the film. Despite this, it was an entertaining and bold step forward for Filipino horror.
It’s exciting to see you pushing boundaries in Filipino cinema. I’m looking forward to what you’ll produce next—you’re definitely keeping us all on our toes!