A colorized digital version of a poster promoting the movie Diwa ng Karagatan (Cropped) | Facebook
NEW YORK — A long-lost Filipino film from 1936 has been rediscovered in Belgium, reshaping the historical timeline of Philippine cinema and spotlighting the global journey of early Filipino artistry. The film Diwata ng Karagatan was discovered in the archives of the Cinémathèque Royale de Belgique (Royal Film Archive of Belgium) by renowned Filipino film historian Nick Deocampo, making it the oldest known surviving Filipino film to date.
Produced by Parlatone Hispano-Filipino and directed by Carlos Vander Tolosa, Diwata ng Karagatan was initially thought to be lost to time, especially after the destruction of Manila’s film archives during World War II. Its rediscovery not only predates the previously oldest known Filipino film, Zamboanga (1937), but also underscores the importance of international archives in preserving Philippine cultural heritage.
Deocampo, who personally traveled from Berlin to Brussels to verify the film’s existence, described the moment as “a national film treasure” and likened the find to an archaeological breakthrough. “This is not just a film,” he said. “It’s a piece of our soul, a window into our cinematic past.”
The 35 mm nitrate print was deposited in 2016 by the now-defunct Belgian lab CineLabor. The film was viewed on a Steenbeck editing machine with the help of Hugo Mestdagh, the archive’s digital restoration coordinator, and Louise Baterna, daughter of pioneering Ilonggo filmmaker Quin Baterna.
Originally exported to France, Belgium, and South America, the film was rebranded under French titles such as Ligaya, fille des îles (“Ligaya, Girl of the Island”) and Wong, le Tyran (“Wong, The Tyrant”). The Belgian version shows signs of piracy and re-editing by French promoter Gabriel Pallu, who removed the original Filipino credits, added French narration, and rearranged scenes. The runtime was shortened to 52 minutes, and Filipino names were replaced with French ones, obscuring the film’s true origins for decades.
Despite these alterations, the film’s rediscovery is a triumph for Filipino cultural preservation. It offers a rare glimpse into pre-war Philippine filmmaking, storytelling, and international distribution networks. The film’s survival abroad also raises questions about other potential Filipino cinematic treasures hidden in foreign archives.
The rediscovery comes at a time when Filipino artists and historians are increasingly advocating for the restoration and repatriation of cultural artifacts. Deocampo’s find underscores the urgency of these efforts and the need for global collaboration to preserve Southeast Asian film heritage.
Plans are now underway to digitally restore Diwata ng Karagatan and reintroduce it to Filipino audiences. Cultural institutions in Manila are expected to host screenings and discussions, while scholars prepare to reexamine the film’s historical and artistic significance.
As Deocampo noted, “We must reclaim our stories—not just from the rubble of war, but from the vaults of history.”
