“In a strange way, the horror we invent feels less unsettling than the uncertainty of the unknown."

We create our own fears. For Filipino horror film director Kenneth Dagatan, this comes from our desire to make sense of the unknown, so we tend to create our own lore and horror stories. Combine that with a compelling narrative of our real-world problems, and you’ll have a truly fearsome tale that awakens people’s fears.

Joining the likes of Topel Lee, Erik Matti, Chito Roño, and Mikhail Red, who brought us spine-chilling stories with their different takes on the horror genre, is Dagatan, an up-and-coming writer and director. With works like “Sanctissima,” and “MA,” he has taken supernatural stories to another level with his riveting storylines and hair-raising cinematography. Think aswangs (evil creatures) and diwatas (forest fairies), but with a twist.

Following the success of his 2023 film “In My Mother’s Skin,” which premiered at the prestigious Sundance Film Festival, the director is making his mark in the horror scene.

In an exclusive interview, Dagatan takes The Beat Asia into his macabre world. In the conversation, the filmmaker bares the inspirations behind his works, his own fears, and his thoughts on what makes a horror film successful, among many others.

Hi Kenneth! Can you tell us about your beginnings as a filmmaker? What sparked your interest in this craft?

Back in high school, I was already making horror short films and music videos for class projects, and I really enjoyed the editing process. I remember my brother teaching me how to edit my first short film — editing and cutting footage felt like watching a magic show happening in front of me. I guess that’s what sparked my interest in cinema.

But it was a weird career journey for me. I wasn’t expecting to become a full-time filmmaker when I first went to Manila in 2015. I came here because my band (Drop Decay) and I wanted to try our luck at pursuing a music career, which didn’t go as planned.

I studied Fine Arts, majoring in Cinema, and after making my thesis film, “Sanctissima,” I won the Audience Choice Award at Cinemalaya in 2015. That led to a job with the concept development group at Star Creatives in ABS-CBN, where I learned how to write films and discovered my love for screenwriting. From there, I left the company to pursue my directing career because I really wanted to make films — not just write them but actually make them. Luckily, I was able to write and direct my first film, “MA (2018)," under iWantTV. We were one of the first films to launch on iWant, which was a big deal for me, especially considering the kind of horror films I make.

Among all genres in film, what drew you into horror?

I’ve loved the horror genre since high school, watching classic films like “The Ring” and the “Saw” franchise. Back then, I loved it because of the thrill, the feeling of being scared. But it wasn’t until I went to film school and matured that I realized the genre isn’t just about scaring people. It goes deeper than that. It's about telling the real horrors of our world, the things that truly terrify you as an artist. Cinema becomes an instrument to explore those fears, revealing the horrors we, as humans, can’t escape — the ones that delve into deeper discourse rather than just scaring people for the sake of it.

You made your professional directorial debut with the thrilling short film, "Sanctissima." What was your inspiration behind it, and how was it making this film?

I remember watching “Rosemary’s Baby,” and I’ll never forget how it terrified me without using jump scares. You’re invested in the story rather than just waiting for the scares to happen. With “Sanctissima,” I wanted to create a horror film in the same vein — one that doesn’t rely on jump scares but instead builds atmosphere and focuses on a character-driven story.

While making “Sanctissima,” I met a lot of talented people who helped me learn the filmmaking process, including the heartbreaks that come with it. That’s where I met my mentor, Ruel Antipuesto, who was also the cinematographer of the short film. I learned so much from him, and I can honestly say Ruel was the one who introduced me to cinema, even though I was a film student back then. I owe him everything I know now in terms of writing, directing, and filmmaking in general.

Your work mostly delves into the supernatural, like dealing with sinister entities and the like. What is your reason for choosing this kind of theme for your films?

To be honest, I’m still searching for my answer. Many of my films explore similar themes, like people wishing [upon] a supernatural entity for a better life. But what truly fascinates me are the grey areas of our world — the things we can’t explain. As humans, when we encounter the unknown, we create lore and horror stories to fill those gaps to make sense of what we can’t understand. It’s almost like a way to feel safe, even if what we create is terrifying. In a strange way, the horror we invent feels less unsettling than the uncertainty of the unknown.

How do you usually create the stories for your films? Can you share with us your creative process?

I mix together ideas from novels, articles, news, films, or documentaries I’ve seen and combine them to create something new. But I always try to think about what I, as a filmmaker, want to discuss with the story or the themes I want to explore. Sometimes, the discourse or themes only reveal themselves at the end of my writing process, when I realize the story wants to say something different. It's not an easy process for me, even if I have a gist of the story. I’ll procrastinate for days, sometimes weeks, thinking about how to structure it. It often feels like I’m waiting to get lucky and finally crack the story I want to tell. I only know that I’ve found the right story when the idea starts 'talking' to me — when it gives me insights and ways to construct and structure it. I believe I’m just a tool for the idea, and I’m simply listening to it once it starts speaking and inviting me into its world.

What are the most challenging parts of writing and directing a horror film?

For me, writing, in general, is very challenging, but it’s a fun challenge because there are endless possibilities for how you can write something — whether it’s characterization or world-building. I often doubt myself while writing, especially as a writer-director. Once I know the story I want to tell, I start building the aesthetic world for it, imagining how I would direct it — the staging, blocking, and even the pauses. Maybe that’s why I’m a slow writer; I tend to overthink the next steps for the film.

It’s the same with directing. There are millions of ways to mount a scene with two characters talking, and it’s all about making the right decisions — how they talk, the blocking, the staging, and so on. Horror, in particular, is a shot-demanding genre because you always have to set up shots to create a jump scare. It’s not just about two people talking, but about how you tell the story within the context of the whole film and what you want to say. Despite the challenges, it’s always a fun process, especially when you collaborate with people you trust, opening up to more great ideas that your team brings.

What do you think is the most important element of a successful horror film?

For me, the most important element of a successful horror film is its ability to explore the real horrors of our world, whether personal or universal. When it conveys themes in a clever way. I particularly appreciate stories that have been told thousands of times but find a unique twist or perspective to reveal the terrifying aspects of life that we are all too familiar with.

What scares you, and how do these fears influence your films?

What scares me changes over time as I mature and gain a deeper understanding of life. Currently, I find myself deeply unsettled by the state of the world — issues like climate change, wars, and the domestic horrors people endure. This is why I’ve started watching more documentaries; they help me better understand our reality and the solutions we need as human beings to address the fears we’ve created ourselves.

Your movie, "In My Mother's Skin," was featured in the 2023 Sundance Film Festival and has earned amazing reviews from critics. How do you feel about being recognized internationally for your work?

It was truly an overwhelming experience, knowing that we were the only Filipino film in the festival and, as far as I know, the first Filipino horror film to be included in the midnight section. This is where many classic films that I grew up watching premiered, like “The Blair Witch Project,” “Saw,” and more recently, “The Witch” and “Hereditary.” Being alongside filmmakers I admire was an unforgettable experience.

As for the critics, I try not to dwell on their opinions too much. Yes, I read some reviews and see what people are saying about our film, but I do my best not to get attached to them — whether they are negative or positive. We went through so much while making the film, from writing to editing, and I cling to the good feeling I had when I watched the film with those who shared that journey with me. That feeling is what matters most to me, and I hold onto it like a lucky charm, hoping that others will feel the same way and understand the film as I intended.

As an up-and-coming film director, what are your hopes for the Philippine film industry, particularly in the horror genre?

I think the industry is currently struggling, particularly with streaming sites dominating the landscape. It’s disheartening to see cinema ticket prices rise so high, making it difficult for audiences to justify going to the theater. As a result, many people tend to play it safe, opting for Hollywood films over Filipino ones, often thinking, “It will stream on Netflix anyway.” This saddens me as a film lover because there are so many excellent Filipino films being produced, with festivals like the QCinema and Cinemalaya providing a platform for these films to be celebrated. Unfortunately, many filmmakers feel compelled to pursue international routes or go straight to streaming due to the poor box office performance that often favors rom-coms and guaranteed hits.

However, it’s a double-edged sword. On one hand, Filipino films are gaining international recognition, which is a positive development. But on the other hand, it’s disappointing that we, as Filipinos, often wait for these films to come out on streaming sites instead of supporting them in cinemas. The high prices of movie tickets make it difficult for audiences to choose the theater experience, which is a shame given the quality of local films.

Following "In My Mother's Skin" and your third feature film, "Molder," do you have anything else in the works right now?

Currently, I’m focusing on “Molder,” which we plan to shoot next year in Italy. We’re also participating in the QCinema International Film Festival, where we’ll be part of the QCinema Project Market in November. Additionally, I’m writing another film titled “Earthworm” under Epicmedia, and I’m in discussions with ABS-CBN International to develop a “Feng Shui” series with Direk Chito Roño as the director.

If you were given the chance to take on another genre, story, or theme, what would it be and why?

I would lean toward family drama. I find it fascinating how families who have known each other for so long can develop differing ideologies about life, which leads to internal conflicts. In a way, drama feels like a close relative to horror, as many horror films are fundamentally rooted in dramatic narratives.

What is your advice to other aspiring filmmakers who want to make their mark in the horror genre?

The most important lesson I’ve learned in the past year is to be open to new ideas. Don’t suffocate your concepts; instead, nurture them through collaboration with people you trust. Listen to their insights, as they can help you realize aspects of your film that you may not have considered. I always remind myself that creating is about grabbing better ideas, which is why it’s essential to remain open to them.

To learn more about Kenneth Dagatan and his works, follow him on Facebook or Instagram.