KANTA
San Francisco, California | Film Short
Horror, Fantasy
Joseph, a young half-Filipino metal musician must perform a song passed down to him at family party while having to escape the haunting mind games of a terrifying beast known as the Tikbalang, hailing from Filipino mythology. Joseph must tame the beast, and ultimately, his own insecurities.
KANTA
San Francisco, California | Film Short
Horror, Fantasy
1 Campaigns | California, United States
25 supporters | followers
Enter the amount you would like to pledge
$2,425
Goal: $6,000 for production
Joseph, a young half-Filipino metal musician must perform a song passed down to him at family party while having to escape the haunting mind games of a terrifying beast known as the Tikbalang, hailing from Filipino mythology. Joseph must tame the beast, and ultimately, his own insecurities.
Participating In
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Kanta is a horror coming-of-age short that twists Filipino mythology, metal music, and family tensions into a never-before-seen narrative that explores the struggles of mixed identity, self-expression, and embracing one's true self.
Joseph is an outsider in his large Filipino family in two ways: he's half-white, and he aspires to be a metal musician. These insecurities come to a head at a family party where his extended family gathers to watch him perform a song passed down through generations.
Tensions turn supernatural as Joseph finds himself haunted by the Tikbalang, a legendary Filipino monster that appears as a monstrous human-horse hybrid. As Joseph is thrown between his chaotic family and the escalating attacks of the mythical monster, he must find strength in his music and identity to finally tame the beast.
Whether you're a horror enthusiast, a dedicated fan of metal music, yearning to finally see more authentic exploration of Asian stories and characters on screen--or all three... this is the film for you.
Films that explore mixed-race identity are rare—especially within genre storytelling. Horror, in particular, has seldom been used to examine the fear, tension, and isolation that come with existing between cultures. Filipino representation in Western cinema is also limited, and when it does appear, it is too often reduced to stereotypes rather than authentic lived experiences.
Kanta aims to fill that gap by placing a mixed-Asian, Filipino perspective at the center of a genre film. By using horror as a lens, the film transforms internal conflict into something visceral and cinematic, offering a story about identity, belonging, and the courage to be seen.
Outside of my grandparents and extended family, I struggled to connect with other full-blood Filipino Americans. I joined Filipino clubs in high school and college, hoping to find a sense of belonging, but it never quite clicked. Those experiences planted the seed for Kanta, which in its earliest drafts came from a place of self-doubt, sadness, and a deep desire to understand my Filipino heritage.
My lifelong love for horror, monsters, and metal music slowly became the backbone of the story. These influences—once things that made me feel like an outsider—helped carry me through every draft of the screenplay. In many ways, creating Kanta became an act of healing, allowing me to rebuild my self-esteem and embrace my mixed-race identity.
Through Kanta, I want to share a mixed-Asian perspective shaped by social anxiety and fear, while also celebrating self-acceptance. At its heart, this film is a reminder that we all come from somewhere and that there is power in embracing who we are and finding comfort in our own skin.
Kanta draws inspiration from a wide range of monster films and psychological horror, blending visceral scares with emotional depth. The film borrows the unsettling, shape-shifting menace of Pennywise from IT, where fear becomes personal and ever-changing, while also embracing the slow-burn atmosphere and folkloric dread of The Witch.
These influences are paired with the raw power of self-expression through music, inspired by films such as Ryan Coogler’s Sinners, where sound becomes both identity and release.
Together, these elements shape a film that balances intensity and intimacy. Kanta aims to make audiences rock their heads to its sonic energy while staying on edge, anticipating the next scare.
Harana, a traditional Filipino form of serenade, represents legacy, ancestry, and cultural memory. Its gentle, melodic guitar playing reflects the weight of tradition and the connection to one’s roots. Artists such as Florante Aguilar and Ruben Tagalog serve as key influences, grounding the film in a sound that feels intimate, historical, and deeply personal.
In contrast, Metal (specifically the metalcore subgenre), represents Joseph’s primary form of self-expression and identity. Aggressive, emotional, and cathartic, this music channels his inner turmoil and creative voice. Bands like Knocked Loose, Intervals, and Spiritbox are major influences, helping define a sonic language that is raw, modern, and unapologetic.
Together, these two styles reflect Joseph’s internal conflict and dual identity, using music as a bridge between heritage and self-expression.
In Kanta, color drives the story, especially during Joseph’s encounters with the Tikbalang. Red bursts in moments of ambition, passion, and rage, igniting tension and emotional intensity. Purple washes over scenes of creativity and introspection, hinting at spirituality while also reflecting pride and inner conflict. This palette mirrors Joseph’s inner turmoil: the pull between desire and doubt, courage and fear, self-expression and self-doubt.
Lean, tall, and scrawny, the Tikbalang is the Philippines' take on the minotaur. There has been no clear origin for the creature, though some say it goes back much further than Spanish colonization. Around the sixteenth and seventeenth centuries, the characteristics of a horse would be implemented. According to some historians, Spanish conquistadors helped shape its appearance and indoctrinate fear into the local population. The Tikbalang is known to have shapeshifting powers and can turn into someone familiar to its victims. Its true form is being lean, bearing large claws with large arms and legs. In Filipino folklore, you cannot kill a Tikbalang, but you can tame one by plucking three golden hairs from its long, thick mane.
Kanta will be shot over 4-5 days locally in the Bay Area, California, with a small cast and crew of 30-40 people. The majority of the budget for this project is going towards paying our cast and crew a fair and livable wage and covering food, gas, and other necessary production expenses. We also need funding to bring the monstrous Tikbalang to life through special effects makeup and prosthetics, as well as the right equipment and locations to bring a classic and truly haunting horror film to the screen.
Money’s tight right now all across the board. We know that there are a lot of good causes out there to put your money to and that a short film might not be people’s top priority. However, it costs money to make a film. It costs money to make art.
Many filmmakers and artists with amazing work and important things to say never get the proper chance to work on the level they need to, due to financial barriers and levels of privilege within our industry. Our Bay Area team is made up of independent filmmakers, excited to show the world a film that highlights Asian characters, folklore, and representation in ways we haven’t seen before. If you have a dollar to spare, please consider helping us overcome the financial barriers to bringing this story to your screens.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Equipment
Costs $500
Renting the right cameras, lights, and equipment to bring this horror to life.
Props & Special Effects
Costs $300
Building the Tikbalang with practical prosthetics for the perfect amount of scare.
Direct link:
Share this update!
About This Team
Nicholas Stinson, Writer and Director
Nick Stinson is an award-winning filmmaker from Sacramento, California. Stinson earned his Bachelor of Arts in Cinema from San Francisco State University in 2023, where he focused on sound production, writing and directing. Soon after graduating, Stinson competed in The Bay Area 48 Hour Film Project, an international film competition. Stinson’s film won Best Picture and automatically qualified to be shown at the Filmapalooza Film Festival, held in Lisbon, Portugal in 2024. His film won additional awards for best writing, use of genre and acting. Stinson aspires to create films of many genres that draw inspiration from animation, music, and the ever-changing environment around him.
Michael Soleta, Producer
Michael Soleta is a Filipino-American filmmaker born and raised in the Bay Area. Specializing in Production Sound and Foley, he crafts immersive audio that enhances a director’s vision. His producing debut, Plan C, earned an Audience Award, marking a key milestone in his creative journey. While working as a boom operator on the horror feature Mary Kwon Mary Kwon, he observed how tension and atmosphere come together on set, experience that now informs his work producing Kanta. When he’s not on set, he enjoys covering songs on his synthesizer and experimenting with a talkbox to create distinctive sounds.
Laeli Ella, Producer
Laeli Ella is a producer, assistant director, actor, and musician working in the Bay Area. Founder of Sixth String Pictures, a local production company that specializes in independent short films and music videos. As a producer she works to bring meaningful and unique stories to life in a way that is collaborative, accessible, and ethical. Whether working on cast or crew, she seeks to push forward creative work that is fresh, expansive, and diverse in its representation of our communities and what they have to offer. As a musician who is also mixed race (Korean), she is deeply invested in the story that Kanta explores and is excited to bring it to your screens!
Julia Li, Production Coordinator
Julia Li is an Asian American producer based in the Bay Area. Her most ambitious producing project, Welcome to the Windup, brought together a team of more than thirty cast and crew members. The experience taught her the value of communication and collaborative leadership, lessons she’s excited to carry into Kanta to create an efficient and positive set environment. She recently joined the San Francisco Art Department (SFAD) as the resident producer, a film collective that blends visual art and cinema to explore identity and community. During her time, she produced two commercials and a short film, Missing Boy, which is currently on its festival run. Drawing from her own experiences, Julia is passionate about empowering young Asian and Asian American women to break barriers and pursue above-the-line roles in film and television.
Marcus Gomez, 1st Assistant Director
Our 1st Assistant Director, Marcus is a Mexican-American filmmaker based in San Francisco. Marcus grew up in Dixon, CA and earned his B.A. in Cinema Studies at San Francisco State University in 2023. Though he writes his own projects, Marcus has found his passion in helping other directors bring their vision to life on set. As 1st AD, Marcus prioritizes the safety of the crew while fostering a fun and productive environment. Although his passion lies in independent narrative film, Marcus has served as 1st AD on multiple music videos and documentaries within the Bay Area.
Nikolas Welchel, Director of Photography
Nikolas Welchel moved from Illinois to the SF Bay Area at 14 and started directing and shooting films in his high school film program. He built his repertoire as a cinematographer at San Francisco State University, shooting several thesis films and earning a B.A. in Cinema. His short film Flutter won Best Cinematography at SFSU’s 63rd Film Finals. Nikolas and Nick Stinson have worked together as DP and Director on two previous short films, KANTA marking their third and most in-depth collaboration yet.
Ryan Tam, Gaffer
Ryan Tam is a filmmaker specializing in both the lighting and camera departments. Ryan has been trying to build a career as a gaffer, Board Op and DP in the Bay Area. He is gaffing Kanta and is excited to contribute his expertise to bringing its visual world to life.
Emily Murphy, Production Designer
Emily Murphy is a Bay Area-based creator and a graduate of the San Francisco State University School of Cinema. Originally from Tucson, Arizona, she cultivated her passion for storytelling through theatre, which now informs her work in film. With experience leading the art department on a variety of short film projects, Emily also explores hair and makeup and sound design when she's not searching the city for unique props. Holding a background in Art History, she enjoys creating detailed and immersive environments that bring scripts to life! In addition to her film work, Emily contributed to the décor team for Enchant San Jose in 2023 and offers videography services in the legal field.
Carla Fajardo, SFX
Carla Grace Fajardo (She/Her) is a queer pinay artist native to and based in San Francisco. She is a multidisciplinary performing and media artist with a B.A in Cinema from San Francisco State University. Her background as a photographer and dancer informs her current freelance work as a theater artist, filmmaker, film producer, HMU and SFX artist. Her current work delves into queer and cultural identity within the surreal and supernatural horror genre. Her biggest inspirations are queer comics, horror manga/graphic novels, video games, jazz music, and jasmine green tea.
Caitlin Williams, Editor
Caitlin Pacita Williams is a bi-racial Fil-Am editor based in Oakland. After graduating from SFSU, Caitlin worked on numerous SF State and indie film productions as a DIT and/or editor. Most recently, as co-editor on Jiya Day’s SFSU MFA Thesis Estranged (2025). In 2024, she started working at Glass & Marker, an Oakland-based corporate video production company servicing the investor market. Her latest film To See Our Own History (2024) is an experimental-documentary short on the horrors of Marcos’ martial law in the Philippines. It received an Honorable Mention for Direction at the Dreamanila International Film Festival in late 2024.
Samantha Williams, Composer
Samantha Williams is a film and media composer born and raised in Silver Spring, Maryland. Whether it be for live ensembles, or for the screen, Samantha's compositions breathe life into stories and highlight the creatives behind the projects. Her most recent scores include “Oh Honey, Take Me Away!” dir. Theo Garvey, “The Babysitter” dir. Dianne Catsburrow Linette and “Juno: The Graveyard of Memories” dir. Tariq Stone. Samantha also recently wrapped working with Red Bull Media House for their upcoming album release. Having a B.M in composition from Berklee College of Music, she is now based in Boston, MA and dedicated to creating stories through music.
Alexis Lynn Ellis, Marketing and Design
Alexis Lynn Ellis is an award-winning copywriter & creative marketer based in San Francisco. Alexis' past roster of clients include PlayStation, PopSockets, and eBay. Her work focuses on making a consumer feel seen and creating meaningful experiences that go beyond a traditional ad. Ellis was struck by Stinson's story and jumped onboard to support this meaningful short.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Kanta is a horror coming-of-age short that twists Filipino mythology, metal music, and family tensions into a never-before-seen narrative that explores the struggles of mixed identity, self-expression, and embracing one's true self.
Joseph is an outsider in his large Filipino family in two ways: he's half-white, and he aspires to be a metal musician. These insecurities come to a head at a family party where his extended family gathers to watch him perform a song passed down through generations.
Tensions turn supernatural as Joseph finds himself haunted by the Tikbalang, a legendary Filipino monster that appears as a monstrous human-horse hybrid. As Joseph is thrown between his chaotic family and the escalating attacks of the mythical monster, he must find strength in his music and identity to finally tame the beast.
Whether you're a horror enthusiast, a dedicated fan of metal music, yearning to finally see more authentic exploration of Asian stories and characters on screen--or all three... this is the film for you.
Films that explore mixed-race identity are rare—especially within genre storytelling. Horror, in particular, has seldom been used to examine the fear, tension, and isolation that come with existing between cultures. Filipino representation in Western cinema is also limited, and when it does appear, it is too often reduced to stereotypes rather than authentic lived experiences.
Kanta aims to fill that gap by placing a mixed-Asian, Filipino perspective at the center of a genre film. By using horror as a lens, the film transforms internal conflict into something visceral and cinematic, offering a story about identity, belonging, and the courage to be seen.
Outside of my grandparents and extended family, I struggled to connect with other full-blood Filipino Americans. I joined Filipino clubs in high school and college, hoping to find a sense of belonging, but it never quite clicked. Those experiences planted the seed for Kanta, which in its earliest drafts came from a place of self-doubt, sadness, and a deep desire to understand my Filipino heritage.
My lifelong love for horror, monsters, and metal music slowly became the backbone of the story. These influences—once things that made me feel like an outsider—helped carry me through every draft of the screenplay. In many ways, creating Kanta became an act of healing, allowing me to rebuild my self-esteem and embrace my mixed-race identity.
Through Kanta, I want to share a mixed-Asian perspective shaped by social anxiety and fear, while also celebrating self-acceptance. At its heart, this film is a reminder that we all come from somewhere and that there is power in embracing who we are and finding comfort in our own skin.
Kanta draws inspiration from a wide range of monster films and psychological horror, blending visceral scares with emotional depth. The film borrows the unsettling, shape-shifting menace of Pennywise from IT, where fear becomes personal and ever-changing, while also embracing the slow-burn atmosphere and folkloric dread of The Witch.
These influences are paired with the raw power of self-expression through music, inspired by films such as Ryan Coogler’s Sinners, where sound becomes both identity and release.
Together, these elements shape a film that balances intensity and intimacy. Kanta aims to make audiences rock their heads to its sonic energy while staying on edge, anticipating the next scare.
Harana, a traditional Filipino form of serenade, represents legacy, ancestry, and cultural memory. Its gentle, melodic guitar playing reflects the weight of tradition and the connection to one’s roots. Artists such as Florante Aguilar and Ruben Tagalog serve as key influences, grounding the film in a sound that feels intimate, historical, and deeply personal.
In contrast, Metal (specifically the metalcore subgenre), represents Joseph’s primary form of self-expression and identity. Aggressive, emotional, and cathartic, this music channels his inner turmoil and creative voice. Bands like Knocked Loose, Intervals, and Spiritbox are major influences, helping define a sonic language that is raw, modern, and unapologetic.
Together, these two styles reflect Joseph’s internal conflict and dual identity, using music as a bridge between heritage and self-expression.
In Kanta, color drives the story, especially during Joseph’s encounters with the Tikbalang. Red bursts in moments of ambition, passion, and rage, igniting tension and emotional intensity. Purple washes over scenes of creativity and introspection, hinting at spirituality while also reflecting pride and inner conflict. This palette mirrors Joseph’s inner turmoil: the pull between desire and doubt, courage and fear, self-expression and self-doubt.
Lean, tall, and scrawny, the Tikbalang is the Philippines' take on the minotaur. There has been no clear origin for the creature, though some say it goes back much further than Spanish colonization. Around the sixteenth and seventeenth centuries, the characteristics of a horse would be implemented. According to some historians, Spanish conquistadors helped shape its appearance and indoctrinate fear into the local population. The Tikbalang is known to have shapeshifting powers and can turn into someone familiar to its victims. Its true form is being lean, bearing large claws with large arms and legs. In Filipino folklore, you cannot kill a Tikbalang, but you can tame one by plucking three golden hairs from its long, thick mane.
Kanta will be shot over 4-5 days locally in the Bay Area, California, with a small cast and crew of 30-40 people. The majority of the budget for this project is going towards paying our cast and crew a fair and livable wage and covering food, gas, and other necessary production expenses. We also need funding to bring the monstrous Tikbalang to life through special effects makeup and prosthetics, as well as the right equipment and locations to bring a classic and truly haunting horror film to the screen.
Money’s tight right now all across the board. We know that there are a lot of good causes out there to put your money to and that a short film might not be people’s top priority. However, it costs money to make a film. It costs money to make art.
Many filmmakers and artists with amazing work and important things to say never get the proper chance to work on the level they need to, due to financial barriers and levels of privilege within our industry. Our Bay Area team is made up of independent filmmakers, excited to show the world a film that highlights Asian characters, folklore, and representation in ways we haven’t seen before. If you have a dollar to spare, please consider helping us overcome the financial barriers to bringing this story to your screens.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Equipment
Costs $500
Renting the right cameras, lights, and equipment to bring this horror to life.
Props & Special Effects
Costs $300
Building the Tikbalang with practical prosthetics for the perfect amount of scare.
Direct link:
Share this update!
About This Team
Nicholas Stinson, Writer and Director
Nick Stinson is an award-winning filmmaker from Sacramento, California. Stinson earned his Bachelor of Arts in Cinema from San Francisco State University in 2023, where he focused on sound production, writing and directing. Soon after graduating, Stinson competed in The Bay Area 48 Hour Film Project, an international film competition. Stinson’s film won Best Picture and automatically qualified to be shown at the Filmapalooza Film Festival, held in Lisbon, Portugal in 2024. His film won additional awards for best writing, use of genre and acting. Stinson aspires to create films of many genres that draw inspiration from animation, music, and the ever-changing environment around him.
Michael Soleta, Producer
Michael Soleta is a Filipino-American filmmaker born and raised in the Bay Area. Specializing in Production Sound and Foley, he crafts immersive audio that enhances a director’s vision. His producing debut, Plan C, earned an Audience Award, marking a key milestone in his creative journey. While working as a boom operator on the horror feature Mary Kwon Mary Kwon, he observed how tension and atmosphere come together on set, experience that now informs his work producing Kanta. When he’s not on set, he enjoys covering songs on his synthesizer and experimenting with a talkbox to create distinctive sounds.
Laeli Ella, Producer
Laeli Ella is a producer, assistant director, actor, and musician working in the Bay Area. Founder of Sixth String Pictures, a local production company that specializes in independent short films and music videos. As a producer she works to bring meaningful and unique stories to life in a way that is collaborative, accessible, and ethical. Whether working on cast or crew, she seeks to push forward creative work that is fresh, expansive, and diverse in its representation of our communities and what they have to offer. As a musician who is also mixed race (Korean), she is deeply invested in the story that Kanta explores and is excited to bring it to your screens!
Julia Li, Production Coordinator
Julia Li is an Asian American producer based in the Bay Area. Her most ambitious producing project, Welcome to the Windup, brought together a team of more than thirty cast and crew members. The experience taught her the value of communication and collaborative leadership, lessons she’s excited to carry into Kanta to create an efficient and positive set environment. She recently joined the San Francisco Art Department (SFAD) as the resident producer, a film collective that blends visual art and cinema to explore identity and community. During her time, she produced two commercials and a short film, Missing Boy, which is currently on its festival run. Drawing from her own experiences, Julia is passionate about empowering young Asian and Asian American women to break barriers and pursue above-the-line roles in film and television.
Marcus Gomez, 1st Assistant Director
Our 1st Assistant Director, Marcus is a Mexican-American filmmaker based in San Francisco. Marcus grew up in Dixon, CA and earned his B.A. in Cinema Studies at San Francisco State University in 2023. Though he writes his own projects, Marcus has found his passion in helping other directors bring their vision to life on set. As 1st AD, Marcus prioritizes the safety of the crew while fostering a fun and productive environment. Although his passion lies in independent narrative film, Marcus has served as 1st AD on multiple music videos and documentaries within the Bay Area.
Nikolas Welchel, Director of Photography
Nikolas Welchel moved from Illinois to the SF Bay Area at 14 and started directing and shooting films in his high school film program. He built his repertoire as a cinematographer at San Francisco State University, shooting several thesis films and earning a B.A. in Cinema. His short film Flutter won Best Cinematography at SFSU’s 63rd Film Finals. Nikolas and Nick Stinson have worked together as DP and Director on two previous short films, KANTA marking their third and most in-depth collaboration yet.
Ryan Tam, Gaffer
Ryan Tam is a filmmaker specializing in both the lighting and camera departments. Ryan has been trying to build a career as a gaffer, Board Op and DP in the Bay Area. He is gaffing Kanta and is excited to contribute his expertise to bringing its visual world to life.
Emily Murphy, Production Designer
Emily Murphy is a Bay Area-based creator and a graduate of the San Francisco State University School of Cinema. Originally from Tucson, Arizona, she cultivated her passion for storytelling through theatre, which now informs her work in film. With experience leading the art department on a variety of short film projects, Emily also explores hair and makeup and sound design when she's not searching the city for unique props. Holding a background in Art History, she enjoys creating detailed and immersive environments that bring scripts to life! In addition to her film work, Emily contributed to the décor team for Enchant San Jose in 2023 and offers videography services in the legal field.
Carla Fajardo, SFX
Carla Grace Fajardo (She/Her) is a queer pinay artist native to and based in San Francisco. She is a multidisciplinary performing and media artist with a B.A in Cinema from San Francisco State University. Her background as a photographer and dancer informs her current freelance work as a theater artist, filmmaker, film producer, HMU and SFX artist. Her current work delves into queer and cultural identity within the surreal and supernatural horror genre. Her biggest inspirations are queer comics, horror manga/graphic novels, video games, jazz music, and jasmine green tea.
Caitlin Williams, Editor
Caitlin Pacita Williams is a bi-racial Fil-Am editor based in Oakland. After graduating from SFSU, Caitlin worked on numerous SF State and indie film productions as a DIT and/or editor. Most recently, as co-editor on Jiya Day’s SFSU MFA Thesis Estranged (2025). In 2024, she started working at Glass & Marker, an Oakland-based corporate video production company servicing the investor market. Her latest film To See Our Own History (2024) is an experimental-documentary short on the horrors of Marcos’ martial law in the Philippines. It received an Honorable Mention for Direction at the Dreamanila International Film Festival in late 2024.
Samantha Williams, Composer
Samantha Williams is a film and media composer born and raised in Silver Spring, Maryland. Whether it be for live ensembles, or for the screen, Samantha's compositions breathe life into stories and highlight the creatives behind the projects. Her most recent scores include “Oh Honey, Take Me Away!” dir. Theo Garvey, “The Babysitter” dir. Dianne Catsburrow Linette and “Juno: The Graveyard of Memories” dir. Tariq Stone. Samantha also recently wrapped working with Red Bull Media House for their upcoming album release. Having a B.M in composition from Berklee College of Music, she is now based in Boston, MA and dedicated to creating stories through music.
Alexis Lynn Ellis, Marketing and Design
Alexis Lynn Ellis is an award-winning copywriter & creative marketer based in San Francisco. Alexis' past roster of clients include PlayStation, PopSockets, and eBay. Her work focuses on making a consumer feel seen and creating meaningful experiences that go beyond a traditional ad. Ellis was struck by Stinson's story and jumped onboard to support this meaningful short.