Erik Matti is one of the Philippines’ most celebrated filmmakers, working across genres. “On The Job” bowed at Cannes Directors’ Fortnight in 2013, where it was nominated fo…
. Again inspired by true events, the film follows a corrupt journalist seeking justice for his colleagues, and a convict who is frequently brought out of prison to perform assassinations.
Writer Michiko Yamamoto and I started talking about the next instalment of OTJ with three topics that we would highlight for the particular “job” the film would talk about, corruption in gambling, pharmaceuticals and journalism. I was particularly leaning towards pharmaceuticals. Exploring the black market of medicine coming from China and how government officials through their private companies distribute using government funds, and earn from it.
In the case of “On The Job: The Missing 8,” it was actually written to be shown on the big screen. But by some luck, when the pandemic happened in 2020 and cinemas closed, we started entertaining the idea of finding a home in the streamers for the movie. With the 3-hour 28-minute running time, it would really be hard to find a decent distribution for a film of that length even if the cinemas were open. The difficulties that the pandemic brought made us look for a new distribution route.
Being chosen to be in the main competition in Venice is a big deal because it’s like an affirmation that my films can matter beyond the small audience we have in the Philippines. More so with this new film. It’s a long movie without the same kind of adrenaline rush as the first one. While editing it, I started doubting myself.
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