DIWATA: A Filipino-American Folktale
Seattle, Washington | Film Short
Fantasy, Drama
When her granddaughter drowns, a secretly-magical Filipina grandmother ("Lola") hides from the ocean she once loved. Five years later, burdened by her toxic family, Lola returns to the sea on her 80th birthday to resurrect her granddaughter. Reunited, both transform in ways neither of them expect.
DIWATA: A Filipino-American Folktale
Seattle, Washington | Film Short
Fantasy, Drama
1 Campaigns | Washington, United States
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This campaign raised $24,105 for production. Follow the filmmaker to receive future updates on this project.
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When her granddaughter drowns, a secretly-magical Filipina grandmother ("Lola") hides from the ocean she once loved. Five years later, burdened by her toxic family, Lola returns to the sea on her 80th birthday to resurrect her granddaughter. Reunited, both transform in ways neither of them expect.
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The Story
DIWATA
Diwata: [dɪˈwa.t̪ɐ]
In Philippine mythology, a diwata is a nature spirit, often associated with forests, mountains, and bodies of water. Due to Spanish colonization, depictions of diwatas have evolved into kind, benevolent guardians and protectors.
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Source: Southeast Asia Queer Cultural Festival
However, pre-colonial mythology from different ethnolinguistic groups in the Philippines have portrayed diwatas as being detached, immortal beings, requiring respect and offerings to avoid their displeasure. The term diwata also refers to deities or celestial beings in various Philippine languages, with roots in Sanskrit "devata," meaning "deity".
DIWATA is a 20-min short, live-action fantasy drama film that centers the coming-of-age story of an 80-year-old Filipina grandmother and the spirit of her 15-year-old granddaughter, who drowned years earlier.
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Rooted in pre-colonial Filipino mythology, the film explores intergenerational healing, identity, and the enduring bond between the living and the dead.
Lola lost her heart to the sea.
A retired neurologist and Filipina immigrant grandmother, Lola has spent her entire life living for others, only to be tossed aside. Her jaded reality makes her believe that there is no magic in the world, even though she’s long suppressed her ability to see it. The only person Lola has left to live for is her headstrong granddaughter, Sabine, with whom she spends time exploring the beach by their house, their only safe place away from everything. Together, it’s the two of them against the world.
Then Sabine drowns at the beach she loved. And Lola’s life turns upside down.
For the next five years, Lola blames herself for failing to save Sabine. Now living without a purpose, Lola resigns herself to being emotionally and financially-abused by her extended family. Things come to a head at her 80th birthday party, when a fight pushes Lola to finally break free from her toxic family and run away, seeking out the counsel of her best friend, Alma, a local librarian with a secret affinity for magic. Urging Lola to take her life back, Alma tells her of a way to summon Sabine for a day.
Driven by a desire to change, Lola travels to the beach where Sabine died to resurrect her, only to find her a transformed diwata, a Filipino nature spirit derived from the premature deaths of children. Reunited, Lola and Sabine must work through their past before sunrise, and Sabine disappears--maybe forever.
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When it comes to Asian and Pacific Islander (API) representation in Hollywood films, Filipino and Filipino-Americans are one of the least represented communities in an already-underrepresented demographic. According to the USC Annenberg Inclusion Initiative, Filipino and Filipino-Americans consisted of approximately 6.1% of all actors represented in mainstream Hollywood films released in 2021. By 2023, Filipinos made up about 19% (4.6 million people) of the total Asian population in the United States. Out of those 4.6 million people, over 47% were Filipino immigrants (Pew Research Center).
Source: Philippine Daily Mirror - "Members of the Knights of Rizal march on Madison Avenue in New York City during a commemoration of Philippine Independence Day | Photo by Ricky Rillera/PDM"
As the eldest child of a Filipina immigrant and first-generation Filipino-American, I never saw my culture or community represented, on or off-screen. In the rare times that I did, Filipino and Filipino-Americans were usually portrayed in a stereotypical manner: they were the nurse, the supportive, nerdy best friend, the caregiver, etc. Likewise, in mainstream Hollywood films, Filipino and Filipino-Americans filmmakers, writers and directors are rarely given an opportunity to share their stories or artistic visions.
Source: East-West Center in Washington - "Dancers celebrate Filipino American History Month in San Francisco's Filipino Cultural Heritage District [Photo / Beth Laberge]"
DIWATA centers around a unconventional, multigenerational Filipino found family: Corazon, an elderly Filipina grandmother (or "Lola"); Sabine, Lola's Filipino-American, teenage granddaughter who was raised by her grandmother after her biological parents abandoned her; and Alma, Sabine's ninang and honorary family member who holds the unit together. Despite them not being related by blood, they love and respect each other, leaning on the larger Filipino-American community to survive and grow. Over the course of the film, we show the complexities within Filipino familial dynamics, and the power that Filipino communities have in supporting each other through love, laughter and genuine empathy.
Picture of my Lolo (left) and Lola (right). Photo credit goes to my dad.
Picture of my family. Photo credit goes to my dad.
I could say that DIWATA is about many stories: ones where grandmothers get to be angry and flawed beyond their pre-assigned roles as caregivers, where family is determined by choice as much as it is by blood, and where the conflict between personal happiness and collective responsibility weighs on the shoulders of families, no matter how much they love each other.
In the end, DIWATA is rooted in truths I’ve been told all my life, and it's important to tell them because doing so demonstrates how important it is to remember the past to forge the future. From the ways in which Filipino immigrants are the backbone of so many communities, the generational divide between younger and older generations of Filipinos, to the lack of artistic opportunities for up-and-coming, marginalized filmmakers in a still-evolving industry, it's important to create stories that center and uplift Filipino, Asian-American, and BIPOC communities everywhere.
Most importantly, I’ve discovered that the best way to change the world around you is to actively take charge and make your own change.
– Shea Formanes, Writer/Director of DIWATA
We are raising $30,000 to bring this film to life. Below is a breakdown of our estimated budget allocations:
Crew Compensation ($6,000) - We can't make this film without our talented crew, and it is our first priority to pay them fairly.
Cast Compensation ($5,000) - The cast is the face of DIWATA, and it is of upmost import to pay them fairly.
Camera Equipment Rental Costs ($5,000) - Help us rent the proper camera equipment needed to make this film come to life!
Lighting Equipment Rental Costs ($3,000) - Lights are the backbone for the look of a film, and we need all the equipment we need to make it look as good as it can be!
Production Design ($3,000) - From books to set dressing, we want to make sure the world of DIWATA looks as lived in and real as possible!
Production Insurance ($3,000) - Help us make sure that we have the insurance we need to protect our cast and crew!
On-Set Production Operations ($1,500) - Tents, tables, chairs, even portable bathrooms - we want to make sure that we have everything we need on set for the cast and crew!
Catering Costs ($1,500) - Food is fuel, so help us feed our amazing cast and crew!
Costume Design ($1,000) - Fashion, drama, you name it - we need to dress our actors to make them look their best!
Special Effects (SFX) Makeup Costs ($1,000) - From barnacles to fake blood, we want to make sure we have the SFX makeup needed to make our characters look like a fairy tale come to life!
Stretch Goals
While our main goal is to reach $30,000, there is so much more that we want to do, and that can only be achieved through our stretch goals:
With $35,000, we would be able to rent additional equipment currently outside of our price range (such as a dolly/dolly track, cherry picker (towable lift), and heating tents to keep our cast and crew warm during our cold November shoot!
With $40,000, we would be able to hire and pay a variety of extras in our crowd scenes to make the world of DIWATA look more lived in and real!
With $45,000, we would be able to hire a great picture editor and colorist to fully render DIWATA to bring the whole film together!
With $50,000, we would be able to afford top-notch sound design, ADR, and foley to make the soundscapes of DIWATA the best they can be!
The journey of DIWATA began in late 2024, and we've been steadily building momentum ever since:
We've secured support from the 4Culture Project Grant in Seattle, WA, as well as a cash award from the Nevada City Film Festival, where DIWATA won the Grand Jury Prize for Best Short Screenplay. DIWATA was also the Winner of the Best Original Short Screenplay Award at the Imagine Women's International Film Festival.
DIWATA also had the privilege of being a Finalist for the 2025 Julia S. Gouw Short Film Challenge through CAPE and Janet Yang Productions, and has placed as a winner and finalist in multiple screenwriting and film festivals across the United States.
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With filming locked in for November 2025, we’re on track to fully bring this film to life, and your support will help us get there.
Like any kind of magic, we need people to believe in us. That's where you can help us bring this meaningful, magical story to life.
With your contribution to our Seed&Spark campaign, you will ensure that our amazing cast and crew will be paid for their wonderful work, as well as making sure that we have the gear, production design, post-production, and festival submissions needed to make DIWATA the best film it can be.
We'd also love for you to follow along with us on our journey! For a first-hand look into our creative process, please follow our Instagram @diwatafilm to get all project updates.
DIWATA is part of changing that by putting Filipino voices, stories, and spiritual traditions at the center. Every dollar helps us amplify underrepresented voices, preserve Filipino folklore, and tell stories that bridge generations.
Let’s bring DIWATA to the screen, together.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Compensation
Costs $6,000
We can't make this film without our talented crew, and it is our first priority to pay them fairly.
Cast Compensation
Costs $5,000
The cast is the face of DIWATA, and it is of upmost import to pay them fairly.
Camera Equipment Rental
Costs $5,000
Help us rent the proper camera equipment needed to make this film come to life!
Lighting Equipment Rentals
Costs $3,000
Lights are the backbone for the look of a film, and we need all the equipment we need to make it look as good as it can be!
Production Design
Costs $3,000
From books to set dressing, we want to make sure the world of DIWATA looks as lived in and real as possible!
Production Insurance
Costs $3,000
Help us make sure that we have the insurance we need to protect our cast and crew!
Special Effects (SFX) Makeup
Costs $1,000
From barnacles to fake blood, we want to make sure we have the SFX makeup needed to make our characters look like a fairy tale come to life!
Costume Design
Costs $1,000
Fashion, drama, you name it - we need to dress our actors to make them look their best!
Catering
Costs $1,500
Food is fuel - help us feed our amazing cast and crew!
On-Set Production Operations (Equipment Rentals)
Costs $1,500
Tents, tables, chairs, even portable bathrooms - we want to make sure that we have everything we need on set for the cast and crew!
Cash Pledge
Costs $0
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About This Team
For DIWATA, we've brought together an amazing team of diverse artists and filmmakers to bring the film to life. With many of our crew members being Filipino, BIPOC, LGBTQ+, and intersectional identities, our goal is create a community-driven production that centers the phenomenal work of Washington-based filmmakers.
Shea Formanes (Writer/Director)
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The eldest child of a Filipina immigrant and a first-generation Filipino-American, Shea Formanes is a Seattle-based writer, filmmaker and photographer from New York City. A Dean’s Medal nominee and English Honors graduate from the University of Washington, Shea writes genre-bending stories of complicated families from BIPOC and LGBTQIA+ communities. They wrote/directed the romantic coming-of-age short film, The Kettle, the sci-fi/drama stage play, Bahay Kubo, and their award-winning debut feature film, I Watched Her Grow. Shea wrote, and is set to direct, her next short film, Diwata, which was a Finalist for the 2025 Julia S. Gouw Short Film Challenge through CAPE and Janet Yang Productions, and won the Grand Jury Prize for Best Short Film Screenplay at the Nevada City Film Festival and Imagine This Women's International Film Festival.
Marcus Williams (Producer)
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Marcus Williams is a Washington-based entrepreneur with a variety of experience owning and operating businesses within wholesale/retail, healthcare, marketing, and consulting. He has served his community as the former Chair of the Des Moines Art Commission and sat on committees that selected the artwork for Sound Transit’s Light Rail stations. Since 2017, film production has become his latest venture. After producing two films with success at festivals, he hopes to continue to help filmmakers bring their authentic and compelling stories to life.
Matthew Mee (Co-Producer)
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Matthew is a marketing & management graduate from the University of Washington - Bothell, and has been pursuing film since 2017. He has worked on many short films and film challenges in various roles; from production assistant to director, Matthew discovered that he enjoyed the process of seeing films being put together, and that his strengths lie in bringing people together. This led him to become particularly interested in the producer role which he specialized in as Co-Producer on I Watched Her Grow, and later as a Co-Producer on Diwata. Besides working on films, Matthew has found himself in an unsuspected turn working in business development within the healthcare field at Seattle Children's Hospital and Ballard Center. In his free time, he also freelances for companies as a video producer.
Devante Smith (Unit Production Manager)
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Devante is a graduate of Eastern Washington University’s Film program. After interning for season three of Z Nation in 2016, his career in the production world took off. In the off-seasons, he specializes in videography projects to bridge the gap between the visual art communities.
Currently, he is a co-business owner of Duo Design & Media where they provide graphic design and video services to local community businesses and individuals. Having worked on a handful of productions from student shorts to professional TV shows and movies, Devante values the opportunities the film industry has given him and hopes to pass the opportunity on to generations to come.
Maximilian Monson (Assistant Director)
Maximilian Monson is a 1st and 2nd AD based in the larger Cascadia region of Washington, with two years of experience on various narrative and commercial projects. If you can’t reach him via one of his emails, he’s probably out in the mountains taking photos on a backpacking trip!
“I’m excited to solve the challenges of the many diverse logistics on Diwata, and work with the crew to make this film a safe and fulfilling experience for everyone!”
Rolando Robles (Cinematographer)
As a self-taught cinematographer, I got my start working in the film industry as a hungry photographer. Within 4 years I made the jump into filmmaking and have been on the hunt to find my voice ever since. From music videos to short films, the container changes but the aim remains the same - telling honest and grounded stories that reflect the world and circumstances we all experience. My heart leans toward abstraction and expressionism which can open doors to experience the everyday in a new light.
The journey to find the horizon, where story and aesthetic unite, keeps me hooked and driven to continue on this path. With that, I am beyond honored to be a part of this film and bring a story of revelation to the screen.
Ryan Maharaj (Casting Director)
Ryan Maharaj, CSA is a Los Angeles-based Casting Director stepping into Diwata with a sharp eye for talent and a strong track record across film and television. His film credits include, They Cloned Tyrone (2023), The Inspection (2022), Nanny (2022), and BlacKkKlansman (2018), all acclaimed for their bold performances and cultural impact. On the TV side, Ryan worked on Running Point, Dear White People, The Good Doctor, and How to Get Away with Murder. For Diwata, Ryan leads casting with precision, integrity, and a deep understanding of how to match rising stars to roles that resonate.
Lisa B. Hammond (Production Designer)
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Lisa B. Hammond is a Seattle-based creative producer and production designer, set decorator, and mentor. She practices her craft both on set and off.
She is a Clio award-winning producer and has worked on features, commercial spots, and short films selected for festivals including Sundance, Seattle International, Holly-Shorts, SXSW, San Marino International Film Festival, and countless others. A long-standing member of IATSE Local 488 and Women In Film Board Chair, Lisa is a dedicated mentor to young filmmakers and relishes every opportunity to work with them to elevate their craft, educate, and raise the production value of their projects.
Lisa immediately recognized Shea’s talent and drive, and moved by their script, so when they invited her to production design Diwata, Lisa did not hesitate.
Ty Pyne (Costume Designer)
Originally from Las Vegas, Ty Pyne is a Filipino Costume Designer and Craftsperson in Seattle, WA. They received their BFA in Performance Production from Cornish College of the Arts in Seattle, WA in May 2019. He strives to support young BIPOC to see themselves in all aspects of storytelling. Ty seeks to work with material that highlights and honors diverse perspectives.
They have worked as a costume design assistant and crafts assistant for the 5th Avenue Theater. As a designer, Ty has had the pleasure of working with: ACT, Seattle Children’s Theatre, The 5th Ave Theatre's ETC, Arts West, The Feast, Seattle Shakes, Seattle Public Theatre, Book-It, Sound Theater Company, Freehold Theatre, Cafe Nordo, and Strawberry Workshop Theater.
Michelle Mai Smith (Hair and Makeup Artist)
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Michelle Mai Smith is a makeup artist and hairstylist with over 15 years of experience working in the film and entertainment industries in the PNW. She has been a proud member of IATSE Local 488 since 2021 and loves to share her passions related to arts, music and entertainment with a special commitment to sustainable and equitable practices. Having started working in the film industry at just 17, Michelle has a deep understanding for the need for mentorship, guidance, and opening doors for those that hope to work in the industry. She strives to pay it forward, and hopes to be able to provide platforms and opportunities for underrepresented voices in the film community. An avid community organizer, Michelle has worked over the years with various organizations and charities in and around the PNW to help amplify the voices of local BIPOC artists and connect them with the greater community through events and fundraisers. She is currently beginning her 2nd term serving on the Washington Filmworks Equity Committee and is excited to get to work with her fellow members to create a more inclusive and equitable Washington State Film Community for generations to come.
Zo Decker (Special Effects Makeup Artist)
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Zo Decker is a Vancouver BC/Seattle based creative artist specializing in Make-Up FX and creature prosthetics. Their love for horror and all things grotesque have heavily inspired their work, along with being surrounded by artists in their daily life. They find themselves exploring ways to further create concepts that push different perspectives; to make the horrifying beautiful.
Aaron Jacob (Gaffer)
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Aaron Jacob is a Seattle-based gaffer and filmmaker, best known for his work on Dream Creep, How to Rob a Bank on Netflix, and the proof of concept short film of Reckless Spirits.
Futsum Tsegai (Key Grip)
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Futsum Tsegai is a documentary filmmaker based out of Seattle, WA. Since 2011, he has worked shooting and lighting commercial and independent productions. Tsegai's work has premiered on KCTS's PIE, Won "Best Interview" at HotDocs International Film Festival, as well as the Frye Art Museum’s exhibit, Your Feast Has Ended. In 2015, Tsegai helped co-write Hagereseb (Directed by Zia Mohajerjasbi), a short film about the community of Yesler Terrace taking place in the mid 90's.
Leila Kaye Formanes (Composer)
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Leila Kaye Formanes is a Filipino-American composer and artist, born and raised in New York City and currently based in Seattle. An alumni of Bellevue College, where she majored in Digital Media Arts, Kaye is best known for composing the score for the sci-fi horror short film, The Light in Their Eyes, which received honorable mention at the Seattle Horror 48 Hour Film Challenge. Most recently, she scored the award-winning feature film, I Watched Her Grow, and is set to score the upcoming short film, Diwata.
When she’s not composing, Kaye can be found on her typewriter, drafting new ideas and stories, and playing her guitar and wooden tongue drum.
Alex Terzieff (Stunt Coordinator)
Alex Terzieff is a professional stuntman with over 15 years experience. As a member of British Equity and SAG-AFTRA, his work has taken him all over the world and provided him with experiences and skills that will be an asset to any production.
Born and raised in Seattle in the Ballard neighborhood, Alex Terzieff started his stunt career in 2000, and worked his first two movies in the United Kingdom. After spending almost a year north of London on HBO's Band Of Brothers, he returned to the UK to work on Oliver Stone's Alexander. Prior to getting into the movie industry, Alex worked as a butcher in Ballard at the Butcher Shoppe, which shut its doors in 2003, forcing him to work exclusively as a stuntman and stunt coordinator.
Erin Pennington (Script Supervisor)
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Erin (they/them) is a Seattle-based script supervisor with several years of experience in maintaining continuity and stewarding stories. They’ve worked on several narrative shorts, including Hooyo Macaan, The Road to Plan C, and Peach Fuzz. Each time, ensuring that every line, action, and emotion is captured to match the director’s vision and preserve the core of the script. For Erin, storytelling is a crucial way that we stay connected to those who’ve come before and those who come after. They’re excited to work on a project like Diwata, which takes this idea and reminds us how the stories we have about others ground us in who we are and what we can be.
Melody Clarke (Promotional Artist)
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A dedicated and innovative designer, Melody holds a Bachelor of Fine Arts degree in Packaging Design from the Fashion Institute of Technology. Her capabilities include, but are not limited to, branding, packaging design, illustration, and motion graphics. She has had the opportunity to work for brands such as Kidmoto Technologies, Stella & Chewy’s, and Barrett & Clarke Prep, where she successfully executed numerous rebranding initiatives by elevating visual identities across web and print platforms.
In addition to her design experience, she has also worked as an illustrator at Morgan Publishing House Inc. for over 2 years, primarily contributing to the artwork for a series of books issued across India, Africa, and the U.S. Currently, Melody is a packaging designer at Southern Telecom, a leading manufacturer of consumer electronics and accessories, where she coordinates with cross-functional teams to create compelling visual stories for packaging. As she continues to grow in the design space, Melody continuously seeks new opportunities and projects that allow her to express her passion for storytelling through design, ensuring each project she undertakes is engaging and impactful.
Sofia Lazarro (Promotional Artist)
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Sofia Lazzaro is an artist and illustrator based in Washington. A recent graduate from Western Washington University, where she majored in Studio Art, Sofia is passionate about bringing stories to life through art. She recently served as a key promotional artist for the film, I Watched Her Grow, where she collaborated closely with director Shea Formanes. he immersed herself in the project, breathing life into captivating characters through her artistic talents.
Spencer Lu (Graphic Designer)
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Spencer Lu is an experienced graphic designer and illustrator based in New York City. A recent graduate from Adelphi University, where he majored in Computer Science with a minor in Graphic Design, Spencer is passionate about motion graphics, 3D animation, and making precise, geometric logos and fonts. Since 2024, he has become an expert in using Adobe Illustrator, Photoshop, Blender, and InDesign, which has completely changed his life.
Katherine Muñoz-Castaño (Storyboard Artist)
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Katherine Muñoz-Castaño has used storytelling in film and television to learn about everything. Whether it was drawing on their childhood bedroom walls, learning better English, or understanding more about how to make pictures move, storytelling in film and television has been their guide on the world since they were a child. Through majoring in Art and Cinema & Media Studies at the University of Washington, they learned more about the technical work in film and jumped right into smaller projects, all the way up to storyboarding on their first feature film, I Watched Her Grow. Katherine is now looking to tell their own stories for the world to see.
Azra Alkan (VFX Artist)
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Azra Alkan, a Washington-based VFX professional, filmmaker, and Unreal Engine enthusiast, brings over a decade of industry experience to her work. She’s made her mark on major films like Spider Man: Far From Home, Ant Man and the Wasp, Gran Turismo and popular TV series such as Stranger Things and The Flash. Beyond post-production, Azra is an on set VFX presence, enhancing music videos and TV shows. Additionally, she’s a skilled filmmaker, crafting captivating stories for film festivals. Her versatile approach and dedication to pushing creative boundaries continue to mix innovation with traditional film-making tools in the entertainment industry.
(Bad Animals® Audio Post Production House)
Bad Animals® is a Seattle based full-service audio post production studio specializing in voice recording & casting, sound design, original music, & sound mixing for tv, film, radio, & corporate events.
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Mission Statement
The Story
DIWATA
Diwata: [dɪˈwa.t̪ɐ]
In Philippine mythology, a diwata is a nature spirit, often associated with forests, mountains, and bodies of water. Due to Spanish colonization, depictions of diwatas have evolved into kind, benevolent guardians and protectors.
Source: Southeast Asia Queer Cultural Festival
However, pre-colonial mythology from different ethnolinguistic groups in the Philippines have portrayed diwatas as being detached, immortal beings, requiring respect and offerings to avoid their displeasure. The term diwata also refers to deities or celestial beings in various Philippine languages, with roots in Sanskrit "devata," meaning "deity".
DIWATA is a 20-min short, live-action fantasy drama film that centers the coming-of-age story of an 80-year-old Filipina grandmother and the spirit of her 15-year-old granddaughter, who drowned years earlier.
Rooted in pre-colonial Filipino mythology, the film explores intergenerational healing, identity, and the enduring bond between the living and the dead.
Lola lost her heart to the sea.
A retired neurologist and Filipina immigrant grandmother, Lola has spent her entire life living for others, only to be tossed aside. Her jaded reality makes her believe that there is no magic in the world, even though she’s long suppressed her ability to see it. The only person Lola has left to live for is her headstrong granddaughter, Sabine, with whom she spends time exploring the beach by their house, their only safe place away from everything. Together, it’s the two of them against the world.
Then Sabine drowns at the beach she loved. And Lola’s life turns upside down.
For the next five years, Lola blames herself for failing to save Sabine. Now living without a purpose, Lola resigns herself to being emotionally and financially-abused by her extended family. Things come to a head at her 80th birthday party, when a fight pushes Lola to finally break free from her toxic family and run away, seeking out the counsel of her best friend, Alma, a local librarian with a secret affinity for magic. Urging Lola to take her life back, Alma tells her of a way to summon Sabine for a day.
Driven by a desire to change, Lola travels to the beach where Sabine died to resurrect her, only to find her a transformed diwata, a Filipino nature spirit derived from the premature deaths of children. Reunited, Lola and Sabine must work through their past before sunrise, and Sabine disappears--maybe forever.
When it comes to Asian and Pacific Islander (API) representation in Hollywood films, Filipino and Filipino-Americans are one of the least represented communities in an already-underrepresented demographic. According to the USC Annenberg Inclusion Initiative, Filipino and Filipino-Americans consisted of approximately 6.1% of all actors represented in mainstream Hollywood films released in 2021. By 2023, Filipinos made up about 19% (4.6 million people) of the total Asian population in the United States. Out of those 4.6 million people, over 47% were Filipino immigrants (Pew Research Center).
Source: Philippine Daily Mirror - "Members of the Knights of Rizal march on Madison Avenue in New York City during a commemoration of Philippine Independence Day | Photo by Ricky Rillera/PDM"
As the eldest child of a Filipina immigrant and first-generation Filipino-American, I never saw my culture or community represented, on or off-screen. In the rare times that I did, Filipino and Filipino-Americans were usually portrayed in a stereotypical manner: they were the nurse, the supportive, nerdy best friend, the caregiver, etc. Likewise, in mainstream Hollywood films, Filipino and Filipino-Americans filmmakers, writers and directors are rarely given an opportunity to share their stories or artistic visions.
Source: East-West Center in Washington - "Dancers celebrate Filipino American History Month in San Francisco's Filipino Cultural Heritage District [Photo / Beth Laberge]"
DIWATA centers around a unconventional, multigenerational Filipino found family: Corazon, an elderly Filipina grandmother (or "Lola"); Sabine, Lola's Filipino-American, teenage granddaughter who was raised by her grandmother after her biological parents abandoned her; and Alma, Sabine's ninang and honorary family member who holds the unit together. Despite them not being related by blood, they love and respect each other, leaning on the larger Filipino-American community to survive and grow. Over the course of the film, we show the complexities within Filipino familial dynamics, and the power that Filipino communities have in supporting each other through love, laughter and genuine empathy.
Picture of my Lolo (left) and Lola (right). Photo credit goes to my dad.
Picture of my family. Photo credit goes to my dad.
I could say that DIWATA is about many stories: ones where grandmothers get to be angry and flawed beyond their pre-assigned roles as caregivers, where family is determined by choice as much as it is by blood, and where the conflict between personal happiness and collective responsibility weighs on the shoulders of families, no matter how much they love each other.
In the end, DIWATA is rooted in truths I’ve been told all my life, and it's important to tell them because doing so demonstrates how important it is to remember the past to forge the future. From the ways in which Filipino immigrants are the backbone of so many communities, the generational divide between younger and older generations of Filipinos, to the lack of artistic opportunities for up-and-coming, marginalized filmmakers in a still-evolving industry, it's important to create stories that center and uplift Filipino, Asian-American, and BIPOC communities everywhere.
Most importantly, I’ve discovered that the best way to change the world around you is to actively take charge and make your own change.
– Shea Formanes, Writer/Director of DIWATA
We are raising $30,000 to bring this film to life. Below is a breakdown of our estimated budget allocations:
Crew Compensation ($6,000) - We can't make this film without our talented crew, and it is our first priority to pay them fairly.
Cast Compensation ($5,000) - The cast is the face of DIWATA, and it is of upmost import to pay them fairly.
Camera Equipment Rental Costs ($5,000) - Help us rent the proper camera equipment needed to make this film come to life!
Lighting Equipment Rental Costs ($3,000) - Lights are the backbone for the look of a film, and we need all the equipment we need to make it look as good as it can be!
Production Design ($3,000) - From books to set dressing, we want to make sure the world of DIWATA looks as lived in and real as possible!
Production Insurance ($3,000) - Help us make sure that we have the insurance we need to protect our cast and crew!
On-Set Production Operations ($1,500) - Tents, tables, chairs, even portable bathrooms - we want to make sure that we have everything we need on set for the cast and crew!
Catering Costs ($1,500) - Food is fuel, so help us feed our amazing cast and crew!
Costume Design ($1,000) - Fashion, drama, you name it - we need to dress our actors to make them look their best!
Special Effects (SFX) Makeup Costs ($1,000) - From barnacles to fake blood, we want to make sure we have the SFX makeup needed to make our characters look like a fairy tale come to life!
Stretch Goals
While our main goal is to reach $30,000, there is so much more that we want to do, and that can only be achieved through our stretch goals:
With $35,000, we would be able to rent additional equipment currently outside of our price range (such as a dolly/dolly track, cherry picker (towable lift), and heating tents to keep our cast and crew warm during our cold November shoot!
With $40,000, we would be able to hire and pay a variety of extras in our crowd scenes to make the world of DIWATA look more lived in and real!
With $45,000, we would be able to hire a great picture editor and colorist to fully render DIWATA to bring the whole film together!
With $50,000, we would be able to afford top-notch sound design, ADR, and foley to make the soundscapes of DIWATA the best they can be!
The journey of DIWATA began in late 2024, and we've been steadily building momentum ever since:
We've secured support from the 4Culture Project Grant in Seattle, WA, as well as a cash award from the Nevada City Film Festival, where DIWATA won the Grand Jury Prize for Best Short Screenplay. DIWATA was also the Winner of the Best Original Short Screenplay Award at the Imagine Women's International Film Festival.
DIWATA also had the privilege of being a Finalist for the 2025 Julia S. Gouw Short Film Challenge through CAPE and Janet Yang Productions, and has placed as a winner and finalist in multiple screenwriting and film festivals across the United States.
With filming locked in for November 2025, we’re on track to fully bring this film to life, and your support will help us get there.
Like any kind of magic, we need people to believe in us. That's where you can help us bring this meaningful, magical story to life.
With your contribution to our Seed&Spark campaign, you will ensure that our amazing cast and crew will be paid for their wonderful work, as well as making sure that we have the gear, production design, post-production, and festival submissions needed to make DIWATA the best film it can be.
We'd also love for you to follow along with us on our journey! For a first-hand look into our creative process, please follow our Instagram @diwatafilm to get all project updates.
DIWATA is part of changing that by putting Filipino voices, stories, and spiritual traditions at the center. Every dollar helps us amplify underrepresented voices, preserve Filipino folklore, and tell stories that bridge generations.
Let’s bring DIWATA to the screen, together.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Crew Compensation
Costs $6,000
We can't make this film without our talented crew, and it is our first priority to pay them fairly.
Cast Compensation
Costs $5,000
The cast is the face of DIWATA, and it is of upmost import to pay them fairly.
Camera Equipment Rental
Costs $5,000
Help us rent the proper camera equipment needed to make this film come to life!
Lighting Equipment Rentals
Costs $3,000
Lights are the backbone for the look of a film, and we need all the equipment we need to make it look as good as it can be!
Production Design
Costs $3,000
From books to set dressing, we want to make sure the world of DIWATA looks as lived in and real as possible!
Production Insurance
Costs $3,000
Help us make sure that we have the insurance we need to protect our cast and crew!
Special Effects (SFX) Makeup
Costs $1,000
From barnacles to fake blood, we want to make sure we have the SFX makeup needed to make our characters look like a fairy tale come to life!
Costume Design
Costs $1,000
Fashion, drama, you name it - we need to dress our actors to make them look their best!
Catering
Costs $1,500
Food is fuel - help us feed our amazing cast and crew!
On-Set Production Operations (Equipment Rentals)
Costs $1,500
Tents, tables, chairs, even portable bathrooms - we want to make sure that we have everything we need on set for the cast and crew!
Cash Pledge
Costs $0
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About This Team
For DIWATA, we've brought together an amazing team of diverse artists and filmmakers to bring the film to life. With many of our crew members being Filipino, BIPOC, LGBTQ+, and intersectional identities, our goal is create a community-driven production that centers the phenomenal work of Washington-based filmmakers.
Shea Formanes (Writer/Director)
The eldest child of a Filipina immigrant and a first-generation Filipino-American, Shea Formanes is a Seattle-based writer, filmmaker and photographer from New York City. A Dean’s Medal nominee and English Honors graduate from the University of Washington, Shea writes genre-bending stories of complicated families from BIPOC and LGBTQIA+ communities. They wrote/directed the romantic coming-of-age short film, The Kettle, the sci-fi/drama stage play, Bahay Kubo, and their award-winning debut feature film, I Watched Her Grow. Shea wrote, and is set to direct, her next short film, Diwata, which was a Finalist for the 2025 Julia S. Gouw Short Film Challenge through CAPE and Janet Yang Productions, and won the Grand Jury Prize for Best Short Film Screenplay at the Nevada City Film Festival and Imagine This Women's International Film Festival.
Marcus Williams (Producer)
Marcus Williams is a Washington-based entrepreneur with a variety of experience owning and operating businesses within wholesale/retail, healthcare, marketing, and consulting. He has served his community as the former Chair of the Des Moines Art Commission and sat on committees that selected the artwork for Sound Transit’s Light Rail stations. Since 2017, film production has become his latest venture. After producing two films with success at festivals, he hopes to continue to help filmmakers bring their authentic and compelling stories to life.
Matthew Mee (Co-Producer)
Matthew is a marketing & management graduate from the University of Washington - Bothell, and has been pursuing film since 2017. He has worked on many short films and film challenges in various roles; from production assistant to director, Matthew discovered that he enjoyed the process of seeing films being put together, and that his strengths lie in bringing people together. This led him to become particularly interested in the producer role which he specialized in as Co-Producer on I Watched Her Grow, and later as a Co-Producer on Diwata. Besides working on films, Matthew has found himself in an unsuspected turn working in business development within the healthcare field at Seattle Children's Hospital and Ballard Center. In his free time, he also freelances for companies as a video producer.
Devante Smith (Unit Production Manager)
Devante is a graduate of Eastern Washington University’s Film program. After interning for season three of Z Nation in 2016, his career in the production world took off. In the off-seasons, he specializes in videography projects to bridge the gap between the visual art communities.
Currently, he is a co-business owner of Duo Design & Media where they provide graphic design and video services to local community businesses and individuals. Having worked on a handful of productions from student shorts to professional TV shows and movies, Devante values the opportunities the film industry has given him and hopes to pass the opportunity on to generations to come.
Maximilian Monson (Assistant Director)
Maximilian Monson is a 1st and 2nd AD based in the larger Cascadia region of Washington, with two years of experience on various narrative and commercial projects. If you can’t reach him via one of his emails, he’s probably out in the mountains taking photos on a backpacking trip!
“I’m excited to solve the challenges of the many diverse logistics on Diwata, and work with the crew to make this film a safe and fulfilling experience for everyone!”
Rolando Robles (Cinematographer)
As a self-taught cinematographer, I got my start working in the film industry as a hungry photographer. Within 4 years I made the jump into filmmaking and have been on the hunt to find my voice ever since. From music videos to short films, the container changes but the aim remains the same - telling honest and grounded stories that reflect the world and circumstances we all experience. My heart leans toward abstraction and expressionism which can open doors to experience the everyday in a new light.
The journey to find the horizon, where story and aesthetic unite, keeps me hooked and driven to continue on this path. With that, I am beyond honored to be a part of this film and bring a story of revelation to the screen.
Ryan Maharaj (Casting Director)
Ryan Maharaj, CSA is a Los Angeles-based Casting Director stepping into Diwata with a sharp eye for talent and a strong track record across film and television. His film credits include, They Cloned Tyrone (2023), The Inspection (2022), Nanny (2022), and BlacKkKlansman (2018), all acclaimed for their bold performances and cultural impact. On the TV side, Ryan worked on Running Point, Dear White People, The Good Doctor, and How to Get Away with Murder. For Diwata, Ryan leads casting with precision, integrity, and a deep understanding of how to match rising stars to roles that resonate.
Lisa B. Hammond (Production Designer)
Lisa B. Hammond is a Seattle-based creative producer and production designer, set decorator, and mentor. She practices her craft both on set and off.
She is a Clio award-winning producer and has worked on features, commercial spots, and short films selected for festivals including Sundance, Seattle International, Holly-Shorts, SXSW, San Marino International Film Festival, and countless others. A long-standing member of IATSE Local 488 and Women In Film Board Chair, Lisa is a dedicated mentor to young filmmakers and relishes every opportunity to work with them to elevate their craft, educate, and raise the production value of their projects.
Lisa immediately recognized Shea’s talent and drive, and moved by their script, so when they invited her to production design Diwata, Lisa did not hesitate.
Ty Pyne (Costume Designer)
Originally from Las Vegas, Ty Pyne is a Filipino Costume Designer and Craftsperson in Seattle, WA. They received their BFA in Performance Production from Cornish College of the Arts in Seattle, WA in May 2019. He strives to support young BIPOC to see themselves in all aspects of storytelling. Ty seeks to work with material that highlights and honors diverse perspectives.
They have worked as a costume design assistant and crafts assistant for the 5th Avenue Theater. As a designer, Ty has had the pleasure of working with: ACT, Seattle Children’s Theatre, The 5th Ave Theatre's ETC, Arts West, The Feast, Seattle Shakes, Seattle Public Theatre, Book-It, Sound Theater Company, Freehold Theatre, Cafe Nordo, and Strawberry Workshop Theater.
Michelle Mai Smith (Hair and Makeup Artist)
Michelle Mai Smith is a makeup artist and hairstylist with over 15 years of experience working in the film and entertainment industries in the PNW. She has been a proud member of IATSE Local 488 since 2021 and loves to share her passions related to arts, music and entertainment with a special commitment to sustainable and equitable practices. Having started working in the film industry at just 17, Michelle has a deep understanding for the need for mentorship, guidance, and opening doors for those that hope to work in the industry. She strives to pay it forward, and hopes to be able to provide platforms and opportunities for underrepresented voices in the film community. An avid community organizer, Michelle has worked over the years with various organizations and charities in and around the PNW to help amplify the voices of local BIPOC artists and connect them with the greater community through events and fundraisers. She is currently beginning her 2nd term serving on the Washington Filmworks Equity Committee and is excited to get to work with her fellow members to create a more inclusive and equitable Washington State Film Community for generations to come.
Zo Decker (Special Effects Makeup Artist)
Zo Decker is a Vancouver BC/Seattle based creative artist specializing in Make-Up FX and creature prosthetics. Their love for horror and all things grotesque have heavily inspired their work, along with being surrounded by artists in their daily life. They find themselves exploring ways to further create concepts that push different perspectives; to make the horrifying beautiful.
Aaron Jacob (Gaffer)
Aaron Jacob is a Seattle-based gaffer and filmmaker, best known for his work on Dream Creep, How to Rob a Bank on Netflix, and the proof of concept short film of Reckless Spirits.
Futsum Tsegai (Key Grip)
Futsum Tsegai is a documentary filmmaker based out of Seattle, WA. Since 2011, he has worked shooting and lighting commercial and independent productions. Tsegai's work has premiered on KCTS's PIE, Won "Best Interview" at HotDocs International Film Festival, as well as the Frye Art Museum’s exhibit, Your Feast Has Ended. In 2015, Tsegai helped co-write Hagereseb (Directed by Zia Mohajerjasbi), a short film about the community of Yesler Terrace taking place in the mid 90's.
Leila Kaye Formanes (Composer)
Leila Kaye Formanes is a Filipino-American composer and artist, born and raised in New York City and currently based in Seattle. An alumni of Bellevue College, where she majored in Digital Media Arts, Kaye is best known for composing the score for the sci-fi horror short film, The Light in Their Eyes, which received honorable mention at the Seattle Horror 48 Hour Film Challenge. Most recently, she scored the award-winning feature film, I Watched Her Grow, and is set to score the upcoming short film, Diwata.
When she’s not composing, Kaye can be found on her typewriter, drafting new ideas and stories, and playing her guitar and wooden tongue drum.
Alex Terzieff (Stunt Coordinator)
Alex Terzieff is a professional stuntman with over 15 years experience. As a member of British Equity and SAG-AFTRA, his work has taken him all over the world and provided him with experiences and skills that will be an asset to any production.
Born and raised in Seattle in the Ballard neighborhood, Alex Terzieff started his stunt career in 2000, and worked his first two movies in the United Kingdom. After spending almost a year north of London on HBO's Band Of Brothers, he returned to the UK to work on Oliver Stone's Alexander. Prior to getting into the movie industry, Alex worked as a butcher in Ballard at the Butcher Shoppe, which shut its doors in 2003, forcing him to work exclusively as a stuntman and stunt coordinator.
Erin Pennington (Script Supervisor)
Erin (they/them) is a Seattle-based script supervisor with several years of experience in maintaining continuity and stewarding stories. They’ve worked on several narrative shorts, including Hooyo Macaan, The Road to Plan C, and Peach Fuzz. Each time, ensuring that every line, action, and emotion is captured to match the director’s vision and preserve the core of the script. For Erin, storytelling is a crucial way that we stay connected to those who’ve come before and those who come after. They’re excited to work on a project like Diwata, which takes this idea and reminds us how the stories we have about others ground us in who we are and what we can be.
Melody Clarke (Promotional Artist)
A dedicated and innovative designer, Melody holds a Bachelor of Fine Arts degree in Packaging Design from the Fashion Institute of Technology. Her capabilities include, but are not limited to, branding, packaging design, illustration, and motion graphics. She has had the opportunity to work for brands such as Kidmoto Technologies, Stella & Chewy’s, and Barrett & Clarke Prep, where she successfully executed numerous rebranding initiatives by elevating visual identities across web and print platforms.
In addition to her design experience, she has also worked as an illustrator at Morgan Publishing House Inc. for over 2 years, primarily contributing to the artwork for a series of books issued across India, Africa, and the U.S. Currently, Melody is a packaging designer at Southern Telecom, a leading manufacturer of consumer electronics and accessories, where she coordinates with cross-functional teams to create compelling visual stories for packaging. As she continues to grow in the design space, Melody continuously seeks new opportunities and projects that allow her to express her passion for storytelling through design, ensuring each project she undertakes is engaging and impactful.
Sofia Lazarro (Promotional Artist)
Sofia Lazzaro is an artist and illustrator based in Washington. A recent graduate from Western Washington University, where she majored in Studio Art, Sofia is passionate about bringing stories to life through art. She recently served as a key promotional artist for the film, I Watched Her Grow, where she collaborated closely with director Shea Formanes. he immersed herself in the project, breathing life into captivating characters through her artistic talents.
Spencer Lu (Graphic Designer)
Spencer Lu is an experienced graphic designer and illustrator based in New York City. A recent graduate from Adelphi University, where he majored in Computer Science with a minor in Graphic Design, Spencer is passionate about motion graphics, 3D animation, and making precise, geometric logos and fonts. Since 2024, he has become an expert in using Adobe Illustrator, Photoshop, Blender, and InDesign, which has completely changed his life.
Katherine Muñoz-Castaño (Storyboard Artist)
Katherine Muñoz-Castaño has used storytelling in film and television to learn about everything. Whether it was drawing on their childhood bedroom walls, learning better English, or understanding more about how to make pictures move, storytelling in film and television has been their guide on the world since they were a child. Through majoring in Art and Cinema & Media Studies at the University of Washington, they learned more about the technical work in film and jumped right into smaller projects, all the way up to storyboarding on their first feature film, I Watched Her Grow. Katherine is now looking to tell their own stories for the world to see.
Azra Alkan (VFX Artist)
Azra Alkan, a Washington-based VFX professional, filmmaker, and Unreal Engine enthusiast, brings over a decade of industry experience to her work. She’s made her mark on major films like Spider Man: Far From Home, Ant Man and the Wasp, Gran Turismo and popular TV series such as Stranger Things and The Flash. Beyond post-production, Azra is an on set VFX presence, enhancing music videos and TV shows. Additionally, she’s a skilled filmmaker, crafting captivating stories for film festivals. Her versatile approach and dedication to pushing creative boundaries continue to mix innovation with traditional film-making tools in the entertainment industry.
(Bad Animals® Audio Post Production House)
Bad Animals® is a Seattle based full-service audio post production studio specializing in voice recording & casting, sound design, original music, & sound mixing for tv, film, radio, & corporate events.