Award-winning actress and producer Sylvia Sanchez has achieved a major breakthrough for the Philippine film industry by co-producing ‘Renoir’, a Japanese art film that made it to the main competition of the 2025 Cannes Film Festival — the most prestigious section of one of the world’s biggest cinematic stages.
Backed by Nathan Studios, the production company she co-founded with her family, ‘Renoir’ is a collaboration among international studios from Japan, France, Singapore, Indonesia, Qatar, and the Philippines — including Daluyong Studios and Nathan Studios on the Filipino side.
“When we were starting Nathan Studios, this was only something we dreamt of,” Sanchez shared. “Now, to be standing on the red carpet in Cannes as co-producers — it’s surreal.”
The coming-of-age drama, directed by acclaimed filmmaker Chie Hayakawa (Plan 75), tells the story of Fuki, an 11-year-old girl coping with her father’s terminal illness and her mother’s emotional exhaustion. Her fascination with telepathy offers her an escape into a surreal inner world, rendered with poetic visuals and subtle performances.
The film’s world premiere at Cannes on May 17 marked a turning point for Sanchez, who had previously attended the festival only as a guest or with out-of-competition entries like ‘Topakk’ and ‘Cattleya Killer’. Now, she is officially among the select few Filipino producers whose works have competed in Cannes’ top-tier selection.
Sanchez credited producer Alemberg Ang of Daluyong Studios for bringing her on board. “Alem said, ‘May project ako na may chance sa Cannes.’ I trusted him — and I wasn’t wrong,” she said during a presscon. “They didn’t just ask for funding. We were involved from start to finish — script reviews, filming, even co-managing a shoot in Batangas.”
One of ‘Renoir’s’ dreamlike scenes was shot in the Philippines, with a Batangas beach doubling as Santorini. Filipino crew handled local production, further proving the capability of local talents to deliver at an international standard.
“This wasn’t a co-prod where we just brought in money — this also involved actual work,” Sanchez emphasized. “They saw what we, as Filipinos, could bring to the table.”
More than just an investment, ‘Renoir’ became an educational journey for Sanchez. “The Japanese team works with such discipline — three hours of work, one-hour nap, then repeat. They’re very precise, from the smallest movement to sound design. I was so inspired,” she said. “I hope we can adapt that kind of focus and efficiency in the Philippines.”
She also noted how working with the international team reshaped her perspective as both a producer and actress. “It taught me that Filipino creatives are just as skilled. We just need more opportunities, more global exposure.”
With critics like Deadline’s Stephanie Bunbury, Variety’s Jessica Kiang, and The Hollywood Reporter’s Lovia Gyarkye all praising ‘Renoir’s’ emotional depth, visual elegance, and the standout performance of lead actress Yui Suzuki, the film has not only raised expectations for a Palme d’Or nod — it has elevated Filipino producers in the eyes of the global film industry.
For Sanchez, ‘Renoir’ is not just a personal milestone, but a win for the Philippine film industry: “This collaboration creates a massive impact. It gives hope for more Filipino producers to go global — whether on their own or through partnerships.”
Nathan Studios has steadily built global credibility with back-to-back Cannes entries in recent years, and Sanchez hopes this is just the beginning. “We’re dreaming even bigger now,” she said. “The world is watching — and we’re ready.”
‘Renoir’ opens in Japanese cinemas this June 20, followed by a theatrical release in France and the Philippines later this year. It is also headed to more international film festivals. (with reports from Jen Maslang)
