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BINUKOT: The Hidden Princesses of the Philippines

BINUKOT: The Hidden Princesses of the Philippines

Nestled in the mountainous heartlands of Panay Island in the Philippines lives a unique community of women – the Binukot – who are revered as living symbols of beauty, purity and tradition. They are largely secluded from the outside world to preserve their role as guardians of ancient stories, dances and oral histories. 

British film-makers and brothers Ed and Luke White travelled to the Philippines to make a short documentary film about the Binukot people. The result is a stunning film that takes the viewer on a captivating journey into their culture, exploring how they have safeguarded their heritage and tradition in the face of modernisation.

Through intimate interviews and beautiful landscapes, Ed and Luke convey this story of isolation, strength and cultural survival. The film will be of particular interest to SIGMA users, as it was shot entirely on the 18-35mm F1.8 DC HSM | Art (excluding drone footage).

Watch the film and hear from the film-makers below.

Ed and Luke, congratulations on the film, it’s really beautiful work. And thank you for sharing the final piece with us. What was it like working in such a remote part of the world, and how long did it take to film?

Thank you! Really glad you like it. Yes, filming in such an isolated area was a logistical challenge. There were no proper roads, so getting there required off-road vehicles. We originally planned for a week, but delays with permits and unexpected typhoons left us with just two days to shoot. The mayor of Calinog provided essential support, including 4x4s and armed protection, which made the shoot possible despite the difficulties.  
 

What were some of the main challenges you faced when making this film?

Time was our biggest constraint. With only two days to film, we had to work fast while ensuring everything was captured properly. The extreme heat and humidity also made conditions difficult, both for the crew and the equipment. Logistically, the remote location meant no backup power, unreliable transport, and unpredictable weather, which all added to the pressure.  
 

Was it difficult to convince the Binokot to talk to you? Were they hesitant to be on film?

They were reserved at first, but that was more due to unfamiliarity with the process than outright reluctance. The Binukot are elderly, and some had traveled long distances to meet us, so we had to be mindful of their comfort. Building trust was key – once they felt at ease, they were willing to share their experiences on camera.  

How did you get around the language barrier?

We worked with two interpreters, but since Karay-a isn’t widely spoken outside the region, there were still challenges in making sure they fully understood our questions and that their responses were accurately conveyed.  
 

In terms of kit, you filmed virtually all of this on one lens – the SIGMA 18-35mm F1.8 DC HSM Art. Why did you choose that lens, and what made it so good for this type of film?

The SIGMA 18-35mm F1.8 Art was perfect for this project. Its fast constant aperture across the zoom range gave us excellent low-light performance, which was crucial with minimal lighting gear. Actually, it was the only zoom on the market that had a constant F1.8 so it was an easy choice. We also love the quality of the bokeh the lens produces. 
 
The focal range covered everything from wide establishing shots to close-up interviews without needing to swap lenses – an invaluable advantage in such tough conditions. And finally, the Art series’ build quality, combined with outstanding sharpness and compact size, made it ideal for handheld and gimbal work

BUILDING TRUST WAS KEY – ONCE THEY FELT AT EASE THEY WERE WILLING TO SHARE THEIR EXPERIENCES.

If you were to film a second part, and you could take another lens as well, what would be your second choice and why?

We actually did take a second lens – the SIGMA 70-200mm F2.8 DG OS HSM – but we shot almost everything with the 18-35mm. That said, I think we’d take the same two lenses again. The 70-200mm didn’t get much use, but we slept better knowing we had it with us, just in case. We prefer being physically close to our subjects when filming, but having that extra reach is always reassuring.  
 

What’s the next project?

We’re currently documenting the work of composer and sound artist Satya Hinduja for a series of videos on the transformative power of sound. Most recently, we filmed her composition Essence at Chelsea and Westminster Hospital, exploring its impact on patients, staff and visitors. We’re also developing a new series about the fertility crisis in the UK, examining the challenges people face in starting families. Sigma lenses continue to be our first choice for projects, just as they were for Binukot.  
 

Where can readers see more of your work?

People can find our work at boxclever.media or on Vimeo at vimeo.com/boxclevermedia. From our website, you can also find our social links for behind-the-scenes content and updates on our latest projects.

FAST APERTURE ZOOMS

The ultimate in versatility

There are still only two lenses on the market that offer a zoom and an F1.8 aperture, both from SIGMA. The 18-35mm F1.8 DC HSM, used by Ed and Luke to film Binukot, is a DSLR lens for crop sensor cameras. The newer 28-45mm F1.8 DG DN is a full-frame mirrorless lens for L-Mount and Sony E-mount. The fast aperture mixed with the zoom functionality makes these unique lenses high versatile tools for both stills and video.

SIGMA 18-35mm F1.8 DC HSM | Art âž”

SIGMA 28-45mm F1.8 DG DN | Art âž”

About Ed and Luke White /

Boxclever Media, founded by twin brothers Ed and Luke White in 2015, is dedicated to creating innovative and captivating content across various media formats, leveraging a talented team and embracing new technologies to deliver high-quality projects.
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