Liza Diño and Ice Seguerra’s “Funeral Flowers” takes place entirely inside a chapel during the four-day wake of Manuel Santos, a beloved public servant and notorious womanizer, as his daughter Maya leads funeral arrangements while mistresses arrive, siblings clash and political guests hijack the space with towering wreaths.
The Philippines production, produced by Krisma Fajardo through Fire & Ice Media, marks the feature directorial debut for both Diño and Seguerra. The drama, filmed in English and Filipino, is one of 17 in-development projects selected for the 24th Hong Kong-Asia Film Financing Forum.
The real-time narrative centers on Maya, the daughter from the legal wife, whose private grief is eclipsed by public spectacle as the wake becomes an explosive reunion.
“This story comes from something deeply personal. I grew up around politics in the Philippines and witnessed how powerful men are mourned when they die,” Diño said. “The public narrative quickly turns them into monuments — heroes, visionaries, patriots. But inside the family, the story is often far more complicated.”
Diño added: ”’Funeral Flowers’ began as my way of examining that contradiction. What happens when a man who was loved by a nation was also a deeply imperfect father? What happens when the people who carry his name are forced to grieve him together, even if they never really belonged to the same family?”
Co-director Seguerra highlighted the intimate nature of the project. “What drew me to this project was how intimate the story is, despite its political backdrop. At its core, this film is about children trying to understand a parent who shaped their lives but never fully belonged to them.”
Diño described the film’s central question. “The film asks a simple but uncomfortable question: Who has the right to mourn someone? When a public figure dies, grief becomes almost ceremonial. It follows protocol. Speeches are made, wreaths arrive from politicians, cameras appear. But in the middle of that spectacle are people who are grieving privately — and sometimes ambivalently.
“Through Maya, the eldest daughter, trying to control the funeral arrangements, we explore how grief can coexist with resentment, longing, and unfinished love,” the director said. “Ultimately, the film is about a daughter realizing she cannot control her father’s legacy — but she can decide how she carries her own.”
Producer Fajardo outlined her reasons for backing the project. “What immediately drew me to the project was how personal the story is. It explores a political family from the inside, but it doesn’t sensationalize that world. Instead, it focuses on the human dynamics within a family coming together during a wake.
“From a production perspective, the single-location structure is also very compelling,” Fajardo said. “It allows the audience to stay inside the chapel and experience the emotional tension as it unfolds in real time.”
Fajardo outlined objectives for HAF. “At this stage, we are primarily looking for co-production partners and financiers who are interested in supporting a Southeast Asian story with strong festival potential.”
The producer noted: “We’ve also completed a short film version of ‘Funeral Flowers,’ which we plan to submit to international festivals and development labs, while continuing to present the feature at project markets like HKIFF to build momentum and support for the full-length film.”
Diño previously served as head of the Film Development Council of the Philippines. Seguerra is a multi-awarded Filipino musician, actor and director with a career spanning more than three decades. Fajardo’s credits include “The Hearing,” which played at Busan in 2023, and “Gensan Punch,” which won the Kim Jiseok Award at Busan in 2021.
The project is seeking funds, co-producers and pre-sales at HAF, which runs March 17-19 at the Hong Kong Convention and Exhibition Centre.