Beyond the Screen: Top Filipino Filmmakers Irene Villamor and Antoinette Jadaone on a Friendship That Inspires

One struggles to begin a story, while the other finds it difficult to write the ending. Yet, somewhere between these differences, Irene Emma Villamor and Antoinette Jadaone have found a creative rhythm that has sustained not only their filmmaking journeys but also a friendship that continues to inspire them.

Both acclaimed filmmakers have made their mark on Philippine and global cinema through stories that challenge perspectives and explore the complexities of the human experience, particularly those of women. Recently, Jadaone’s Sunshine won at the Berlin International Film Festival and Villamor’s The Loved One grossed ₱300 million worldwide, reflecting their continuing impact on the industry.

Beyond their achievements, however, is a friendship built on shared experiences and a deep appreciation for each other’s craft. As talents of Cornerstone Entertainment management and gems of Cornerstone Studios, Villamor and Jadaone continue to champion stories that matter, proving that sometimes, the people who inspire us most are those who understand the stories we want to tell.

“First time natin ‘to, ‘no?” The two filmmakers were surprised to learn that this was their first time together for a photo shoot. They began the day with their respective cups of coffee, a familiar ritual for two women whose creative processes have, in their own ways, become intertwined with the everyday habit.

While sipping their drinks, Jadaone shared that she became a coffee drinker relatively late, initially buying coffee to accompany her writing sessions in cafés; today, she co-owns Basta Café in Quezon City. For Villamor, however, coffee has long been part of her daily routine. She starts her mornings with a cup, sometimes having four or more throughout the day, depending on the demands of her work.

Coffee may have been part of their first photo shoot together, but their conversation with METRO reveals a friendship that extends beyond their shared routines and work in film.

Irene Emma Villamor and Antoinette Jadaone have given the public glimpses of their friendship through guestings, podcast appearances, and photos shared online. Beyond being colleagues in the Philippine film industry, however, the two filmmakers have built a bond that extends far beyond their shared passion for cinema.

For Villamor and Jadaone, their friendship has played an important role in their personal and professional growth. As Jadaone shared with METRO, having someone to turn to for advice and honest conversations is essential, especially in an industry where creative decisions are constantly scrutinized.

“Importante na meron kang napagsasabihan, napagtatanungan, or napagsasabihan ng mga hinanakit mo, first sa film, pero later on in life din,” Jadaone expressed.

She also emphasized the importance of surrounding oneself with people who can offer honest criticism and remain trustworthy amid the many opinions and noise that come with working in the industry.

While their friendship has been visible to the public, not everyone knows how it began. Their paths first crossed through another acclaimed filmmaker, Binibining Joyce Bernal, who served as a mentor to both directors.

Villamor, who entered the industry earlier than Jadaone, was already working as an assistant director when the latter became Bernal’s script continuity supervisor. Despite their different roles at the time, the two quickly found common ground, beginning with an encounter at a coffee shop along Tomas Morato.

As fellow University of the Philippines graduates from the same Film and Audiovisual Communication program, they had plenty to talk about, including their shared appreciation for cinema.

“Pareho kami halos ng taste [sa films]. Tapos dahil nga si Direk Joyce ‘yung mentor namin, nagja-jibe [kami.] Merong instant connection or rapport, even on set, kasi assistant director ako, so nandoon ako sa set; si Tonet, siya bahala sa actors,” Irene said.

That connection eventually found its way onto the big screen when the two collaborated on the 2014 Filipino romantic comedy Relaks, It’s Just Pag-ibig. More than a decade later, their creative partnership is set to continue with collaborative projects through Jadaone’s newly established studio, Ilaya Ilaya, in partnership with Cornerstone Studios: Birdsong (produced by Jadaone, co-produced by Villamor) and Crème de la Crème (directed by Villamor).

Irene Emma Villamor and Antoinette Jadaone have become known not only for their distinctive filmmaking styles but also for the thoughtfully written female characters they have created, which have left a mark on Philippine cinema. Drawing inspiration from the people they meet, their personal experiences, and their own interpretations of life, the two filmmakers continue to bring complex and compelling women to the big screen.

Over the years, both have developed their own creative processes, each approaching the art of storytelling differently. While they share a passion for creating stories, their biggest challenges arise at different stages of the writing process.

For Jadaone, coming up with story ideas, opening scenes, and characters comes naturally. Finding the right ending, however, is another story.

“Parang laging punong-puno ng ideas, pero mahirap talaga kasi magsulat, so ang hirap niyang tapusin. Kaya minsan ang nagiging reason mo na lang talaga ‘yung deadline.  Pero dahil lover of life naman kami, hindi mahirap mag-isip ng story. Ibang question ‘yung kailan namin matatapos,” she said, while laughing.

Among the films she has written, Jadaone revealed that That Thing Called Tadhana was the quickest to finish, eventually becoming one of the most successful independent films in Philippine cinema.

Villamor, on the other hand, finds herself facing the opposite challenge. While Jadaone struggles to bring her stories to a close, Villamor finds it difficult to begin, often needing the right conditions and rituals before she can put her ideas into words. Once the story gets going, however, finding its ending comes more easily.

“’Yung kwento, kagaya ng sabi [ni Tonet], nandiyan lang siya. Minsan nga sabay-sabay na pumapasok ‘yung gusto mong gawin. Pero para sa akin, ‘yung pagsisimula, ang dami kong ritwal, parang ang dami kong hinahanap bago ako magsulat.”

Whether over coffee or a few beers, the two continue to navigate the challenges of filmmaking while refining their individual approaches to storytelling. And perhaps it is through these different creative processes that they have brought some of Philippine cinema’s most memorable female characters to life.

From Jadaone’s Mace Castillo in That Thing Called Tadhana and Jane in Fan Girl to Sunshine Francisco in Sunshine, her characters reflect the many complexities of being a woman. Villamor, meanwhile, has given audiences equally compelling portrayals through Bridgette in Camp Sawi, Aya in Sid & Aya: Not a Love Story, and, most recently, Ellie in The Loved One.

Though their approaches to writing may differ, both filmmakers share a commitment to telling stories about women that resonate with audiences long after the credits roll.

Perhaps one of the most rewarding parts of Irene Emma Villamor and Antoinette Jadaone’s friendship is witnessing each other’s stories come to life on the big screen and celebrating the milestones they have achieved throughout their filmmaking journeys.

With both directors having built impressive filmographies, choosing a favorite from each other’s body of work proved to be no easy task. Yet, among their many films, particular stories left a lasting impression on them, not only for their artistry but also for the personal journeys behind their creation.

For Villamor, one of her favorite films by Jadaone is Never Not Love You. She was particularly drawn to how the film captured the complexities of a young relationship, from living together to navigating a long-distance setup and the financial realities that come with it.

“Sobrang gusto ko siya kasi ‘yung intricacies nung ganu’n kabatang relasyon, and then live-in, and then long distance, sobrang captured ‘yung emotions, plus the economics of it,” Villamor said.

Beyond its cinematography, Villamor was especially moved by the film’s ending, which eventually inspired her own film, Ikaw at Ako at ang Ending.

For Jadaone, meanwhile, Villamor’s Ulan holds a special place in her heart. Having witnessed the film’s development over several years, she understood the personal significance of finally seeing the project come to fruition. She also admired how Villamor brought to life a love story she felt she could not have imagined.

“Napagdaanan na niya lahat ng kailangan niyang pagdaanan, hindi pa rin niya nagagawa ‘yung Ulan. So, nung napanood ko, mas personal ‘yung effect sa akin kasi fruition siya ng isang dream na alam mong matagal na niyang pinangarap, kasi ‘yung ganu’ng klaseng love story, hindi siya maiisip ng matanda. Galing siya sa isang napaka-idealistic na writer or director,” Jadaone said.

She also expressed admiration for Villamor’s Midnight Girls, particularly knowing the challenges she faced in bringing the film to life. Despite the production’s budget constraints and the many responsibilities Villamor had to take on, those struggles never overshadowed the finished work.

“Dahil magkakilala nga kami, alam ko ‘yung mga pinagdaanan niya. Parang hindi lang siya writer-director, naging producer, location manager, casting director na rin. So, siguro nung pinapanood ko ‘yun, nakaka-inspire siya as a filmmaker,” she added.

Jadaone then emphasized, “Dapat ganito lagi tayong gumawa ng pelikula kasi deserve ng mga pelikulang sinulat natin ‘yung pagmamahal natin hanggang dulo.”

Despite their overlapping experiences and the inevitable comparisons between their works, their relationship has never been about competition. Instead, their respective achievements have become sources of inspiration, reminding them of the possibilities that cinema continues to offer.

For Jadaone, seeing a great film can reignite the excitement of creating something of her own. She also finds inspiration in Villamor’s determination to pursue projects simply because she believes in their stories, even when resources are limited.

“Si Irene kasi, madalas ‘yung mga pelikula ang tawag niya ‘happy project.’ Ito ‘yung mga pelikula na walang budget pero gusto lang niya talagang gawin. So, ‘yung ganung grit, nakakahawa siya sa paggawa ng sarili mong mga kwento,” Jadaone revealed.

For Villamor, Jadaone’s influence extends beyond filmmaking itself. During their conversation with METRO, she shared that her decision to be more involved in promotional activities and engage with the press was partly inspired by her friend.

“Nandito ako ngayon sa Metro dahil kay Tonet,” Villamor revealed, prompting Jadaone to burst into laughter and ask her why.

Villamor explained that she had always been shy and rarely attended press conferences for her films because she was uncomfortable with such appearances. However, watching Jadaone passionately advocate for Sunshine changed her perspective on what it means to be a filmmaker and the responsibilities that come with telling a story.

She recalled how Jadaone championed the film despite the sensitive conversations surrounding its themes of abortion and teenage pregnancy, even bringing these issues to discussions with congressmen and senators.

“Bringing it up to the congressmen and senators, parang, ‘Wow, ang effort!’ So, even that passion to go beyond the movies, na hindi lang siya kwento, meron siyang impact sa mga tao, and she continues to do that,” Villamor revealed.

Both Irene Emma Villamor and Antoinette Jadaone expressed their gratitude to the people who have continued to support their work, especially in recent years, as they further establish their careers in filmmaking.

Recently, Jadaone took a bold step with the launch of Ilaya Ilaya Studios, a new film studio she established with producer Reign Anne De Guzman.

“Naging parang event na nandoon ‘yung mga kaibigan namin. In attendance ‘yung mga taong lagi din naman namin nakikita at mga taong hindi namin usually nakikita. So, aside from being the launch of Ilaya Ilaya Studios, parang naging impromptu get-together,” she wrote.

Among the studio’s upcoming projects is Jadaone’s return to series directing with an untitled eight-episode romantic comedy. She will serve as showrunner and director, while co-writing the series with Fatrick Tabada. The team is currently working on the script.

Meanwhile, aside from her projects under Cornerstone Studios, where she serves as a creative producer or creative director, Villamor will also collaborate with Jadaone on two films under Ilaya Ilaya Studios.

“Dalawa kami ni Irene na producers doon. It’s between Ilaya Ilaya Studios and Cornerstone. So, una naming nilapitan si Irene na kailangan namin ng co-producer for the horror film. Tapos ‘yun, nag-yes naman siya.” Jadaone revealed.

The second project is Creme de la Creme, a coming-of-age whodunit film directed by Irene Emma Villamor, written by Glenn Barit, and produced by Jadaone.

Another highly anticipated project is Boldstar, which will reunite Jadaone with actress Angelica Panganiban. The director had been developing the film even before Sunshine. The movie follows a former bold star who becomes the subject of public attention after being tagged as the woman in a leaked sex video.

As established filmmakers in the industry, Irene Emma Villamor and Antoinette Jadaone understand the changes needed to help Philippine cinema grow. For Villamor, one of the most important steps is making films more accessible to Filipino audiences, particularly those with limited opportunities to see them in theaters.

“Kung pwedeng ako mismo ang magdadala ng puting kurtina sa Sulu, para ipalabas ‘yung pelikula kasi may [problem] rin sa appreciation, ‘di ba, kasi hindi naman siya accessible sa lahat, plus the tickets,” she said.

For Villamor and Jadaone, the future of Philippine cinema depends on more than the stories filmmakers dare to tell. It also depends on whether those stories reach the audiences who need them and whether the industry gives its storytellers room to thrive. 

As they continue to collaborate and challenge each other, their friendship serves as a reminder that meaningful change can begin with people who share the same possibilities.

Photographer: Erron Ocampo of Metrophoto

Sittings editor, creative director, and stylist: Grace Libero-Cruz

Writer: Lance Martinez

Editorial assistant: Chloe Nillar

Makeup: Chuchie Ledesma, assisted by Isabelle Ng

Hairstyling: KOOP Studio in Podium

Layout: Alfred Amado

Shoot assistant: Luisa Marie Bunquin

Shot on location at the Philippine School of Interior Design “What the Pop!” exhibit – 3/F V-Mall, Greenhills

Food sponsor: Taco Bell

Special thanks to Cornerstone Entertainment and Cornerstone Studios