MIMIC
Los Angeles, California | Film Short
Horror, Drama
Amid increased ICE and National Guard presence in Los Angeles, a conservative man searches the home of his missing sister, who is undocumented. His investigation takes a terrifying turn when he encounters a shapeshifting vampire-like monster from Filipino folklore known as The Aswang.
MIMIC
Los Angeles, California | Film Short
Horror, Drama
1 Campaigns | California, United States
Green Light
This campaign raised $10,188 for production. Follow the filmmaker to receive future updates on this project.
131 supporters | followers
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Amid increased ICE and National Guard presence in Los Angeles, a conservative man searches the home of his missing sister, who is undocumented. His investigation takes a terrifying turn when he encounters a shapeshifting vampire-like monster from Filipino folklore known as The Aswang.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
THANK YOU FOR YOUR SUPPORT!
WE'VE HIT 100% OF OUR INITIAL CROWDFUNDING GOAL
BUT IT ISN'T OVER YET. THE ASWANG'S HUNT CONTINUES BELOW...
This is a community effort! By helping us hit these milestones, your pledges guarantee our crew's ability to bring their A-game throughout our shoot. The Aswang is a big part in selling this and we hope to provide our Make-Up team with all the support they need in sourcing the best materials to create the most terrifying look!
Our film opens with the phrase, “eyes are a window into the soul.” Through the tired, wrinkled eyes of a conservative Filipino man in his 50s, we explore his descent into madness as he fears for the safety of his estranged, undocumented sister during the anti-ICE and National Guard protests in Los Angeles, June 2025.
Film still from Cure (1997)
His sister is missing, and all he has are remnants of a once beautiful home and VHS tapes of past memories when times were brighter and there was a hopeful outlook of their future. As he explores deeper into her disappearance, he’s confronted with an existential awakening that puts him in the terrifying path of a shapeshifting vampire-like monster known as the Aswang, from Filipino folklore.
I’ve been dreaming of the Aswang for 7 years. I remember when I first learned about this mysterious and utterly frightening creature, I was graduating film school. I had just seen the Japanese horror film, Kuroneko, for the first time and felt transformed. A tragic premise that ushers in a revenge ghost story so unique in its tone and atmosphere - there was always a constant state of dread and stunning visuals that made my skin crawl, yet I was rooting for the demise of the many antagonists who get their comeuppance. To make things more complicated, a loved one enters the crosshairs and is forced into a difficult decision.
Film still from Kuroneko (1968)
I was inspired to write a horror film that was rooted in my Filipino culture, and to my delight, discovered the Aswang after reading this book. While there are many classifications of an Aswang - think werewolves, spirits, vampires - I was intrigued by the history in which Aswang, as an identity, was weaponized by a ruling class. Think Salem Witch Trials - you point and scream monster, and that’s all it takes to be ostracized by the community and put to the stake.
Film still from The Wailing (2016)
We see this blatant tactic today in Donald Trump’s ferocious executive crackdown on immigration, the sweeping normalization of ICE raids, and increased militarized surveillance which only emboldens the far right into justifying their fascist agenda and demonization of working class migrants.
In Filipino culture, many accounts suggest that it was Spanish colonization that weaponized Aswang mythology, where they convinced indigenous Filipinos to denounce their spiritual beliefs in exchange for Christianity. American CIA operatives turned rural countryside Filipinos on communist militias who hid out in the mountains. Duterte’s iron fist approach to the “war on drugs”, targeting suspected drug dealers, turned neighbors against each other.
This barbaric demonization of a group of people based on prejudice and baseless evidence is a tool of our oppressors.
And what if that “monster” is a loved one? Do you let them be taken away?
The visuals of Mimic bridge the frenetic energy of Sinners’ dynamic cinematography with the eerie stillness often found in Asian horror films such as The Wailing or Cure.
Film still from Sinners (2025)
Our protagonist finds himself in his missing sister’s home that is a shadow of a once ornate home that was decorated with warmth and attention to detail. Our cinematography aims to capture this starkness through framing and lighting that feels isolating and cold. As he searches for answers, and we get the feeling he’s not alone, the visuals take on a heightened sense of dread, especially as the story employs found footage elements.
Inspired by iconic films like The Blair Witch Project, we catch a glimpse of his sister’s life before her disappearance and what led to their estranged relationship. Stills below are existing footage from my parents' Sony camcorder, which will be used to record key family moments and the Aswang.
28 Years Ago...
The score highlights the analog horror soundscapes of Akira Yamaoka or the surrealism of Angelo Badalamenti.
Our film is projected to cost upwards of $30K, with a large emphasis placed on resources (i.e. practical effects, equipment, rentals). We've already locked our location (see photos below) and have begun scouting for departmental needs. Your money goes directly into ensuring our team can fulfill our collective vision!
On September 28, 2025, we were awarded a camera grant of $5K worth of gear from the LA based rental company, Birns & Sawyer. While this massively helps our budget, a portion of raised funds will go towards additional gear, such as G&E equipment rentals.
Some photos from our location.
What makes our team special can be found in our past work. In 2025, our production company, Empowerhouse, produced 3 original short films, while acquisitioning narrative short films and documentaries from indie filmmakers we've met in the film festival circuit, with the mission to build a community around accessible filmmaking. We carved this beautiful road that allowed for filmmakers of all skill-levels to collaborate on meaningful projects that tap directly into the zeitgeist, while providing nuanced perspectives of what makes our inclusive community so unique.
BTS from our recent production, Lola Never Smiles (2025)
BTS of Kiersten directing his previous short film, Buzz Cut (2023)
Every dollar counts! Make a pledge today and help us fully realize our vision
in bringing the Aswang to the big screen.
Keep up to date with us on our Website and Instagram.
We can't make Mimic without you! Donate Today!
Don't be shy, she's waiting...
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
LOCATION
Costs $3,000
We've found the perfect location for our film and need your help in securing it! Money goes directly to the location owners.
MAKE UP and PROSTHETICS
Costs $1,500
We're bringing the ASWANG to life! We're working with a talented Make Up team and need your help in the resources (i.e materials and kits)
PRODUCTION DESIGN
Costs $1,500
We need your help in capturing the look and atmosphere of the missing sister's home. Imagine a museum of forgotten memories.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Kiersten Villanueva is a Filipino American independent filmmaker based between the Bay Area and Los Angeles, and is the founder of Tribu Tales and Head of Film/TV/New Media at Empowerhouse. He has written and directed over a dozen character-driven films centering the Filipino American community and experience. Beyond writing and directing, Kiersten has 10+ years of experience creatively collaborating on and off set and wearing many hats — from editing, assistant directing, and producing — to industry assistance roles, including James Wan’s Atomic Monster, Trevor Noah’s Day Zero Productions, CBS show So Help Me Todd, and AMC shows Mayfair Witches and Talamasca.
Gigette Reyes is no stranger to Filipino viewers. She first rose to prominence in the 1970s, debuting in Ang Tatay Kong Nanay (1978), directed by National Artist Lino Brocka and starring Dolphy. From there, she built a decades-long career across film, television, and theater.
On television, she became a reliable supporting actress in hit dramas that defined the golden era of teleseryes – Pangako Sa ’Yo (2000), Hiram (2004), Darna (2005), Sana Maulit Muli (2007), and Lobo (2008). She also appeared in films like Chasing Fire (2013) and in Vic and His Nanay (2024), a short film that screened at the Los Angeles Asian Pacific Film Festival. She was recently in Disney's iconic comedy Freakier Friday (2025).
Mike Maliwanag (pronounced MAH-lee-WAH-nahg) is a Filipino American cinematographer based in Los Angeles. His work has premiered at Sundance, SXSW, Tribeca, Outfest, and other festivals across the world. Mike’s purpose is to continue to shoot films for underrepresented communities. When not shooting he likes to travel and eat food from different parts of the world. He is currently obsessed with okonomiyaki from Hiroshima, Japan.
Rachel Leyco (she/her) is an award-winning queer Filipino American multihyphenate filmmaker, actress, and content creator. Rachel is the founder of Empowerhouse, a mission-driven company that aims to empower storytellers through creativity and community.
Notably, she won a student Emmy at the 2013 College Television Awards, for her web series, The Sub Club. Her short films, Bicultural, and web series, Crazy, were official selections in film festivals around the world, including Outfest, BFI Flare: London LGBTQ+, and others. Her feature film script for Violet, Violet landed her the Runner-Up award in the 2020 Script Pipeline Screenwriting Competition. Rachel was named Network ISA’s Top 25 Screenwriters to Watch in 2021. She is in development for the 2022 GLAAD LIST x BLACK LIST Trans-led rom-com feature film, Re-Live, which she co-wrote with Emmy nominated actress, Rain Valdez, and executive produced by Rosario Dawson. Recently, she wrapped her forthcoming magical narrative short film, Thank You for Breaking My Heart, which is set to make the 2025 film festival circuit. Rachel is a grantee of the 2025 CAPE Julia S. Gouw Short Film Challenge for her short film proof-of-concept, Milk & Honey.
April Edquiban is a Filipino-Haitian filmmaker whose work draws from their cultural heritage and personal upbringing. April primarily works as a Producer, 1st Assistant Director, and Production Coordinator, shaping authentic, emotionally resonant narratives. They are proudly a part of the Empowerhouse Co Creative and Producing Teams.
They have co-produced music videos including “No Good” by SOBBRS and “On Your Face” by Kid Souf, as well as producing the short film “Black Mold” by Cara Delos Reyes. Their work reflects where they come from—and the voices they’re committed to amplifying.
Nicole Mairose Dizon is a first-generation Filipina-American writer/director/producer from Baldwin Park, CA. Growing up around mines, her work explores class, strivers, and the overlooked through genre and surrealism. She worked at Scott Free and various scripted and unscripted shows including Amazon's Blade Runner 2099 and Netflix’s Trinity. She did Project Involve, Kundiman and the California Arts Council fellowships. Dizon's producing work was recognized by the NAACP and The New Yorker. She completed the 2025 Deutsche Bank Frieze Los Angeles Film Award Fellowship with Fifth Season and Ghetto Film School. Her latest short about a T’boli dreamweaver, Ruya, won Best Narrative Experimental Film at Urbanworld Film Festival and Best Cinematography Panavision Grant Award at Rehoboth Beach International Film Festival. Outside of work, she loves music production, baseball (Go Dodgers!) and F1.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
THANK YOU FOR YOUR SUPPORT!
WE'VE HIT 100% OF OUR INITIAL CROWDFUNDING GOAL
BUT IT ISN'T OVER YET. THE ASWANG'S HUNT CONTINUES BELOW...
This is a community effort! By helping us hit these milestones, your pledges guarantee our crew's ability to bring their A-game throughout our shoot. The Aswang is a big part in selling this and we hope to provide our Make-Up team with all the support they need in sourcing the best materials to create the most terrifying look!
Our film opens with the phrase, “eyes are a window into the soul.” Through the tired, wrinkled eyes of a conservative Filipino man in his 50s, we explore his descent into madness as he fears for the safety of his estranged, undocumented sister during the anti-ICE and National Guard protests in Los Angeles, June 2025.
Film still from Cure (1997)
His sister is missing, and all he has are remnants of a once beautiful home and VHS tapes of past memories when times were brighter and there was a hopeful outlook of their future. As he explores deeper into her disappearance, he’s confronted with an existential awakening that puts him in the terrifying path of a shapeshifting vampire-like monster known as the Aswang, from Filipino folklore.
I’ve been dreaming of the Aswang for 7 years. I remember when I first learned about this mysterious and utterly frightening creature, I was graduating film school. I had just seen the Japanese horror film, Kuroneko, for the first time and felt transformed. A tragic premise that ushers in a revenge ghost story so unique in its tone and atmosphere - there was always a constant state of dread and stunning visuals that made my skin crawl, yet I was rooting for the demise of the many antagonists who get their comeuppance. To make things more complicated, a loved one enters the crosshairs and is forced into a difficult decision.
Film still from Kuroneko (1968)
I was inspired to write a horror film that was rooted in my Filipino culture, and to my delight, discovered the Aswang after reading this book. While there are many classifications of an Aswang - think werewolves, spirits, vampires - I was intrigued by the history in which Aswang, as an identity, was weaponized by a ruling class. Think Salem Witch Trials - you point and scream monster, and that’s all it takes to be ostracized by the community and put to the stake.
Film still from The Wailing (2016)
We see this blatant tactic today in Donald Trump’s ferocious executive crackdown on immigration, the sweeping normalization of ICE raids, and increased militarized surveillance which only emboldens the far right into justifying their fascist agenda and demonization of working class migrants.
In Filipino culture, many accounts suggest that it was Spanish colonization that weaponized Aswang mythology, where they convinced indigenous Filipinos to denounce their spiritual beliefs in exchange for Christianity. American CIA operatives turned rural countryside Filipinos on communist militias who hid out in the mountains. Duterte’s iron fist approach to the “war on drugs”, targeting suspected drug dealers, turned neighbors against each other.
This barbaric demonization of a group of people based on prejudice and baseless evidence is a tool of our oppressors.
And what if that “monster” is a loved one? Do you let them be taken away?
The visuals of Mimic bridge the frenetic energy of Sinners’ dynamic cinematography with the eerie stillness often found in Asian horror films such as The Wailing or Cure.
Film still from Sinners (2025)
Our protagonist finds himself in his missing sister’s home that is a shadow of a once ornate home that was decorated with warmth and attention to detail. Our cinematography aims to capture this starkness through framing and lighting that feels isolating and cold. As he searches for answers, and we get the feeling he’s not alone, the visuals take on a heightened sense of dread, especially as the story employs found footage elements.
Inspired by iconic films like The Blair Witch Project, we catch a glimpse of his sister’s life before her disappearance and what led to their estranged relationship. Stills below are existing footage from my parents' Sony camcorder, which will be used to record key family moments and the Aswang.
28 Years Ago...
The score highlights the analog horror soundscapes of Akira Yamaoka or the surrealism of Angelo Badalamenti.
Our film is projected to cost upwards of $30K, with a large emphasis placed on resources (i.e. practical effects, equipment, rentals). We've already locked our location (see photos below) and have begun scouting for departmental needs. Your money goes directly into ensuring our team can fulfill our collective vision!
On September 28, 2025, we were awarded a camera grant of $5K worth of gear from the LA based rental company, Birns & Sawyer. While this massively helps our budget, a portion of raised funds will go towards additional gear, such as G&E equipment rentals.
Some photos from our location.
What makes our team special can be found in our past work. In 2025, our production company, Empowerhouse, produced 3 original short films, while acquisitioning narrative short films and documentaries from indie filmmakers we've met in the film festival circuit, with the mission to build a community around accessible filmmaking. We carved this beautiful road that allowed for filmmakers of all skill-levels to collaborate on meaningful projects that tap directly into the zeitgeist, while providing nuanced perspectives of what makes our inclusive community so unique.
BTS from our recent production, Lola Never Smiles (2025)
BTS of Kiersten directing his previous short film, Buzz Cut (2023)
Every dollar counts! Make a pledge today and help us fully realize our vision
in bringing the Aswang to the big screen.
Keep up to date with us on our Website and Instagram.
We can't make Mimic without you! Donate Today!
Don't be shy, she's waiting...
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
LOCATION
Costs $3,000
We've found the perfect location for our film and need your help in securing it! Money goes directly to the location owners.
MAKE UP and PROSTHETICS
Costs $1,500
We're bringing the ASWANG to life! We're working with a talented Make Up team and need your help in the resources (i.e materials and kits)
PRODUCTION DESIGN
Costs $1,500
We need your help in capturing the look and atmosphere of the missing sister's home. Imagine a museum of forgotten memories.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Kiersten Villanueva is a Filipino American independent filmmaker based between the Bay Area and Los Angeles, and is the founder of Tribu Tales and Head of Film/TV/New Media at Empowerhouse. He has written and directed over a dozen character-driven films centering the Filipino American community and experience. Beyond writing and directing, Kiersten has 10+ years of experience creatively collaborating on and off set and wearing many hats — from editing, assistant directing, and producing — to industry assistance roles, including James Wan’s Atomic Monster, Trevor Noah’s Day Zero Productions, CBS show So Help Me Todd, and AMC shows Mayfair Witches and Talamasca.
Gigette Reyes is no stranger to Filipino viewers. She first rose to prominence in the 1970s, debuting in Ang Tatay Kong Nanay (1978), directed by National Artist Lino Brocka and starring Dolphy. From there, she built a decades-long career across film, television, and theater.
On television, she became a reliable supporting actress in hit dramas that defined the golden era of teleseryes – Pangako Sa ’Yo (2000), Hiram (2004), Darna (2005), Sana Maulit Muli (2007), and Lobo (2008). She also appeared in films like Chasing Fire (2013) and in Vic and His Nanay (2024), a short film that screened at the Los Angeles Asian Pacific Film Festival. She was recently in Disney's iconic comedy Freakier Friday (2025).
Mike Maliwanag (pronounced MAH-lee-WAH-nahg) is a Filipino American cinematographer based in Los Angeles. His work has premiered at Sundance, SXSW, Tribeca, Outfest, and other festivals across the world. Mike’s purpose is to continue to shoot films for underrepresented communities. When not shooting he likes to travel and eat food from different parts of the world. He is currently obsessed with okonomiyaki from Hiroshima, Japan.
Rachel Leyco (she/her) is an award-winning queer Filipino American multihyphenate filmmaker, actress, and content creator. Rachel is the founder of Empowerhouse, a mission-driven company that aims to empower storytellers through creativity and community.
Notably, she won a student Emmy at the 2013 College Television Awards, for her web series, The Sub Club. Her short films, Bicultural, and web series, Crazy, were official selections in film festivals around the world, including Outfest, BFI Flare: London LGBTQ+, and others. Her feature film script for Violet, Violet landed her the Runner-Up award in the 2020 Script Pipeline Screenwriting Competition. Rachel was named Network ISA’s Top 25 Screenwriters to Watch in 2021. She is in development for the 2022 GLAAD LIST x BLACK LIST Trans-led rom-com feature film, Re-Live, which she co-wrote with Emmy nominated actress, Rain Valdez, and executive produced by Rosario Dawson. Recently, she wrapped her forthcoming magical narrative short film, Thank You for Breaking My Heart, which is set to make the 2025 film festival circuit. Rachel is a grantee of the 2025 CAPE Julia S. Gouw Short Film Challenge for her short film proof-of-concept, Milk & Honey.
April Edquiban is a Filipino-Haitian filmmaker whose work draws from their cultural heritage and personal upbringing. April primarily works as a Producer, 1st Assistant Director, and Production Coordinator, shaping authentic, emotionally resonant narratives. They are proudly a part of the Empowerhouse Co Creative and Producing Teams.
They have co-produced music videos including “No Good” by SOBBRS and “On Your Face” by Kid Souf, as well as producing the short film “Black Mold” by Cara Delos Reyes. Their work reflects where they come from—and the voices they’re committed to amplifying.
Nicole Mairose Dizon is a first-generation Filipina-American writer/director/producer from Baldwin Park, CA. Growing up around mines, her work explores class, strivers, and the overlooked through genre and surrealism. She worked at Scott Free and various scripted and unscripted shows including Amazon's Blade Runner 2099 and Netflix’s Trinity. She did Project Involve, Kundiman and the California Arts Council fellowships. Dizon's producing work was recognized by the NAACP and The New Yorker. She completed the 2025 Deutsche Bank Frieze Los Angeles Film Award Fellowship with Fifth Season and Ghetto Film School. Her latest short about a T’boli dreamweaver, Ruya, won Best Narrative Experimental Film at Urbanworld Film Festival and Best Cinematography Panavision Grant Award at Rehoboth Beach International Film Festival. Outside of work, she loves music production, baseball (Go Dodgers!) and F1.