No Data Plan and A.K.A. Don Bonus
12 May 2020
Watch Miko Revereza’s latest feature. Plus a second title selected by the filmmaker
Watch a double-bill featuring No Data Plan by experimental filmmaker Miko Revereza, screened at IFFR 2019. Plus a second film, A.K.A. Don Bonus (1995) by Sokly 'Don Bonus' Ny and Spencer Nakasako, which Revereza selected especially for IFFR Unleashed.
No Data Plan by Miko Revereza had its world premiere at IFFR 2019, as part of the Bright Future Main Programme. It’s Revereza’s personal account as an ‘undocumented documentary filmmaker’ living in the United States illegally for more than twenty years, after moving from Manila. After showing at IFFR, the film went on to win an Art Doc Award at Sheffield International Documentary Festival.
As a documentary maker, interested in immigration-related issues, Reverza found something that resonated with him in Sokly Ny’s film co-produced by Spencer Nakasako, about a Cambodian-born boy struggling at school in San Francisco:
“It was a revelation for me to discover Sokly ‘Don Bonus’ Ny, whose first foray into video-making would already demystify that portrait so precisely. I felt an instant affinity for this film, having also grown up in the [San Francisco] Bay Area. The project was facilitated by the vision of director Spencer Nakasako. It was through this extremely collaborative approach towards documentary that made Don Bonus both the subject and author of his reality. With the minimal training he was given, he seems to always have the camera ready during his family's most vulnerable moments.”
No Data Plan
Miko Revereza, 2019, USA, 70'
Living in the United States illegally for over 20 years, Miko Revereza takes the Amtrak train from Los Angeles to New York in this critical moment of hostility against migrants in the country he has come to know as home. The journey seems daring, perhaps reckless, yet urgent and necessary.
A.K.A Don Bonus
Sokly Ny, Spencer Nakasako, 1995, USA, 56'
Cambodian teenager Don Bonus films and reflects on his daily life as a refugee in the United States, where incidents of racism, violence and family problems abound. With a camcorder in hand, he creates an intimate self-portrait that remains as relevant as ever.