Carl Joseph Papa rotoscopes an invisible grief in Rotterdam animated docudrama ‘58th’

Nearly 17 years ago, 58 innocent lives were brutally taken in Ampatuan town in what is now known as the Maguindanao massacre, the single deadliest attack on journalists in modern history. But in December 2019, only 57 victims were officially acknowledged by a Quezon City court, leaving the case of Tacurong City-based photojournalist Reynaldo “Bebot” Momay, whose body has never been retrieved following the mass killings, in limbo.

Today, the search for complete justice continues.

Carl Joseph Papa revisits the carnage through a language he knows best: animation. The filmmaker has assembled about a hundred animators, sifted through years’ worth of archival footage and thousands of pages of legal documents, and sat down for hours with Reynafe Momay Castillo, daughter of the missing victim. 

What results is a rotoscoped docufiction that is by turns a study in memory and historical accounting and a personal quest toward proper healing. The movie rotoscopes and dramatizes Castillo’s belated recollection of the massacre and tireless fight for full accountability, interspersed with documentary evidence to time-shifting effect. Glaiza de Castro plays the daughter, while the late Ricky Davao (in his last acting project) portrays the eponymous last victim.

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“For 16 years, our family has carried an invisible grief — one made heavier by the fact that my father’s name still waits to be acknowledged in full as a victim of this brutal massacre,” Castillo previously told Rappler. “And yet, despite the pain, we continue to stand because we know he deserves to be remembered, honored, and recognized.”

Co-produced by GMA Pictures and GMA Public Affairs, 58th is making its world premiere at the 2026 International Film Festival Rotterdam, where Papa’s award-winning Iti Mapukpukaw (The Missing) also screened in 2024.

Dealing with doubts

It was Iti Mapukpukaw executive producer Nessa Valdellon who offered Papa to direct and co-write the animated documentary. But the filmmaker had to parry self-doubt at first, given the “sensitive nature” of the Maguindanao massacre. 

“Ultimately, I accepted the challenge because I believe it’s vital to remember the past, and to inform and educate those unfamiliar with this event,” Papa told Rappler. “Film grants immortality, and the stories of those lost deserve to be immortalized.”

Papa felt he had to speak with Castillo prior to making the project. “While I had read about her in available resources, it was important for me to connect with her directly, build a friendship, and allow her to share her story on her own terms,” he said. 

“She was incredibly open,” he added. “Her motivation for sharing her experience was clear: to secure justice for the loss of her father, Reynaldo ‘Bebot’ Momay, and to demonstrate that her fight continues, even after all these years.”

Papa recognized that he’s an outsider to the story he’s telling, and the film reflects that positionality through a narrative device and the character played by Mikoy Morales, the director’s self-insert.

“The film aims to capture the emotional depth I experienced while researching this topic,” Papa explained. “My conversations with Reynafe were incredibly moving, leading me to previously unexplored emotional territories and revealing stories of such intense darkness I hadn’t imagined existed.”

“My goal, as with the film 58th, is to tell stories with honesty and sincerity,” he continued.

Putting the film together

While actual filming only took around a week, Papa said pre-production legwork was far more “rigorous.” “It was heavily planned, and we strictly followed our bible and our schedule,” noted the director. “Followed immediately by post-production.”

To build the film’s narrative scaffolding, he turned to the yearslong works of supervising producer Johnson Tam and creative producer Ian Simbulan, who have been tracking the story since day one, alongside other GMA researchers.

The hardest part, recalled Papa, was spending days poring over and making sense of the vast amount of archival material at his disposal during post-production with co-writer Aica Ganhinhin and editor Benjamin Tolentino, both of whom are his frequent collaborators. 

“As this is my first documentary, I was committed to creating a film rooted in sincerity and dedicated to showing the truth,” he said.

The film’s animation primarily relies on rotoscoping, in which animators trace over live-action footage frame by frame, though it also incorporates 3D animation that was subsequently rotoscoped. 

“The use of animation was instrumental in recreating Reynafe’s recollections, allowing me to enter her mind, witness her memories, and faithfully bring them to life,” Papa said of the technique. “This process highlighted animation as a powerful tool for both understanding and recreation.”

Giving life through animation

Since QCinema 2014’s live-action grief drama Ang ‘Di Paglimot ng mga Alaala, Papa grinded his way to local animation glory, which includes directing the first full-length animated film to compete and win the top prize at Cinemalaya and to become the Philippines’ official submission for the elusive Best International Feature Oscar.

“I am immensely proud of the work we have accomplished and the collaborations I have been a part of over the years,” Papa said. “Looking back only fuels my desire to explore new projects with these talented individuals.”

“My motivation for using animation differs across my films,” said the director, when asked about his beloved storytelling medium. “In 58th, it served to recreate memories, particularly those of others. For Iti Mapukpukaw, it was a means of self-healing. Fundamentally, though, I see animation as a way to ‘give life,’ and I employ it to tell stories that deserve to be brought to life.”

Papa clarified that he isn’t exactly refusing other forms of filmmaking; he simply hasn’t found the right story yet. That, however, will soon change, following his collaboration with first-time director Ian Pangilinan in the forthcoming Cinepanalo live-action feature Patay Gutom. 

The director also cited Richard Linklater as a dream collaborator, alongside Elijah Canlas (which is likely happening soon), Sue Prado, and Cedrick Juan.

Over a decade into his career, Papa observed a shift in his filmmaking philosophy, specifically after Ang ‘Di Paglimot ng mga Alaala, 2015’s Manang Biring, and the 2013 short film iNay.

“Previously, my narratives were more straightforward as I was still finding my voice,” he revealed. “However, following those three projects, I began to focus on deeply personal stories, drawing inspiration from my family, close friends, and life experiences.”

The same can be said of the local film practice, which, according to the director, is now more aware of the role time plays in shaping a filmmaker’s vision, even as the rest of the world speeds up.

“The understanding that people are not machines and should not be overworked in the pursuit of art and passion is growing,” he said. “Fundamentally, before we are artists, we are human beings. This perspective demands that we treat one another with respect and value.”

Papa said full support for local animation is likewise within reach. “The FDCP’s recent efforts in championing both animation and documentary films are a notable step forward. Furthermore, local film festivals are demonstrating increased openness to animated works.”

Asked about promising talents, the filmmaker named the likes of Aurthur Mercader and the rest of the animators at Puppeteer Studios, as well as Lysa Catolica and Jazmine Pateña, co-directors of the QCinema animated short RUNO!, which Papa co-produced. 

“I view their talent as indicative of the bright future of Philippine animation,” he said. – Rappler.com

“58th” screens at Rotterdam under its Harbour programme on January 31 and February 2 and 4. Check the festival’s website for full details.