Table of Contents
Isabel Lamers is a Filipina-German actor, writer and director based in Los Angeles, and kaya is her directorial debut β a film she wrote, produced and stars in. It follows Nia, a half-Filipina kickboxer who secretly trains with queer outcast Malic to earn a place on a prestigious Filipino Martial Arts team in Manila, only to learn that winning starts with accepting who she truly is.
The story is drawn directly from Lamers's own life: her upbringing in the Philippines and her discovery of the country's indigenous martial arts as a tool of self-expression and cultural connection. It is both an homage to home and a testament to the work of reclaiming an identity that never quite fit the boxes offered to it.
Key Takeaways
- kaya folds a deeply personal story of mixed-race identity into a female-led action film, where the emotional resolution plays out through choreography rather than dialogue.
- The film is a debut on every front for Lamers, who wrote, directed, produced and starred while working alongside collaborators including DP Cesca Lee and stunt choreographer Lauren Mary Kim.
- Lamers wants Filipino Martial Arts recognized as the art form it is β often used on screen, rarely credited.
Below, Lamers talks about heritage, the freedom of anonymity, and the terror of shooting her closing fight scene on day one.
Interview
What drew you to make this film, and why this story, why now?
I think it's so challenging for mixed-race people to assert their own identity, because you grow up feeling like you're lacking something on either side of your culture β especially if you grew up in both, like in my case. I believe more and more people will come to identify with this experience, since the world is growing more international every day. I also feel like the lacking sense of belonging is a growing epidemic that people struggle with. When times get rough, societies tend to define other-ness more harshly β maybe to feel safer? But it's also a cause of conflict. Finally, Filipino Martial Arts is being used in so many productions but often not officially credited as a martial art, and I wanted to change that.
What surprised you most about the filmmaking process, creatively or logistically?
The creative control a director has over the project. Honestly, I was very green. It was in the making of kaya that I was confronted with all these decisions I didn't know were finalized by the director β props, set design, colors, lighting, costumes, editing choices. It's good that I was the writer of this story and that it was personal to me, because, to my own surprise, I knew all the answers. But I'd be curious how it would be to direct something that isn't my writing. My other favorite thing is the collaboration with others β our talented DP, Cesca Lee, or composer Carmichael Castanos and score producer Denise Santos. These creative collaborations really set my soul on fire.
What moment in the film feels most like you, or like something only you could have made?
The focus on mixed-race identity β Nia's struggle with being white-passing β and combining that in a fight film is very unique. Both my own experience growing up in the Philippines and my discovery of our own ancient martial art are very personal, and I was able to weave them into the film.
What was the hardest creative decision you made while making the film?
The ending of the film has no more dialogue. All the resolve is held in movement and choreography and acting. It was hard because we started off the shoot with those final scenes. It was my debut as a director, and at the same time I was starring in the film. It was very stressful to start day one on a new set, being a first-timer, and then also being mentally and emotionally ready to do the closing fight scene and acting scenes.
What tool, technique, resource, collaborator, or mindset shift helped most during production?
Letting go. There were a lot of ideas, shots, set designs and other choices we had to let go of. Knowing that the film turned out well in the end β despite all those massive restrictions β is good to know. In the end, limitations make you creative.
What is the greatest strength of independent filmmaking, and how did you lean into it here?
The absence of pressure. Basically, if you're unknown, no one cares β so you have the freedom of expression and choices. We worked without any star talent, and without anyone to tell me that wasn't good. It also allowed me to make a film that some people said didn't make sense. You can step outside the box with independent film and be more creative.
What does it mean to have your film selected for HollyShorts, and where do you see it going next?
It's such a unique opportunity, and I'm so honored that our film is able to show at HollyShorts for its West Coast premiere. The talent at this festival is amazing, and I cannot wait to connect with like-minded filmmakers. I'm also working on a feature film version. For now, I'd like the film to be shared as much as possible. We've had several invitations to submit to festivals, so I'm excited to see where it goes next.
Main Cast & Crew
- Isabel Lamers β Director, Writer, Producer, Lead. A Filipina-German actor, writer and director based in Los Angeles, drawn to telling larger societal issues through intimate, character-driven, women-empowering narratives. Acting credits include TΓ‘r, Club Zero (2023 Cannes Palme d'Or nominee) and the Philippine feature SISA (Black Nights Tallinn main selection). She co-wrote and starred in the award-winning short A Dozen Suns (Cannes Short Film Festival nominee) and A Serious Game (FilAm Creative 2025 Audience Award).
- Lauren Mary Kim β Stunt Choreographer. A stunt performer and action specialist known for The Mandalorian, Clone Wars Season 7, Furious 7, The Last of Us Part II and Mortal Kombat 11, and a double for Elektra on Netflix's Daredevil and The Defenders. She specializes in Taekwondo, Wushu, Silat, Filipino Martial Arts, Jeet Kune Do and Capoeira.
- Mari Acevedo β Executive Producer. The first female CEO of Birns and Sawyer, with 30 years of broadcast camera system integration experience and a longtime advocate for gender balance across the industry.
- Cesca Lee β Cinematographer. A Manila-based Filipina cinematographer known for a soft yet intentional visual language, drawn to intimate, emotionally honest stories of womanhood, identity, vulnerability and connection.
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