Year after year, the Cinemalaya Philippine Independent Film Festival has been producing films that are worth watching. This year, 10 full-lengths are competing for the Balanghai trophies. Who will be named the Best Film?
The competing directors tell why you should watch their films:
Dustin Celestino, Ang Duyan ng Magiting: “Ang Duyan ng Magiting is a film about grief. It is a contemplation and a meditation on the agony of an entire nation. The film grieves for the courageous men and women who have suffered in the name of nation and nationalism.”
John Rogers, As if it’s True: “As If It’s True started out as a simple premise of a friends-with-benefits kind of situation, but in the lens of internet fame and influencer culture. A full-on transactional relationship. The exploration of a romantic relationship being built as a brand.”
Kenneth dela Cruz, Bulawan Nga Usa: “The folklore from my hometown serves as a fitting backdrop to the story. There is something profoundly heartfelt, magical, and humble about the tales passed down from one generation to another. And there is no better way to tell this story but to make this film with an all-Ilonggo production team and cast with promising talent and humility.”
Jopy Arnaldo, Gitling: “Words are the best way to deceive and confuse people, whether intentional or not. And when you throw different languages in there, the main purpose of words, to convey meaning, becomes even harder. I’ve always found that fundamentally fascinating, so I wanted to create a film situated in, and obsessed by, language. In a world where we undervalue the voices of others, mostly focusing on our own in a conversation, I wanted to make a film that explores the act of genuine understanding between people. To try to understand one another in a meaningful fashion is an act of kindness. And this film is an invitation to be kind.”
Ryan Espinosa Machado, Huling Palabas: “My debut full-length film is set in 2001, in the town of Romblon, Philippines, during a time of transition from VHS to VCD. While it may appear to be a conventional coming-of-age and end-of-an-era narrative, I try to defy genre expectations by infusing the film with sensuality, lyricism, and mysticism honed through my work as a playwright. By grounding the story in my small hometown, far removed from the city, I aim to offer a fresh and regional perspective on a genre that has often followed a generic trajectory.”
Carl Joseph E. Papa, Iti Mapukpukaw: “Writing the story of Eric and reliving memories was a welcome coping mechanism. Speaking up is never too late. And with this, I hope to encourage others to speak up too. It was always clear to me that this was going to be another animated film. It’s still quite rare to see animated feature films in the Philippines, much so an animated film that deals with adult themes that are not usually seen tackled by animated films. With the films that I make, I continuously strive to make a statement that animation is not a genre but a visual form, and it can do stories that live-action films do.”
She Andes, Maria: “Making this documentary is my assertion that as storytellers, we have an obligation to use our voice and skill to tell the story of the marginalized, not to romanticize their issues and stories, but to be a medium in advocating their rights and hopefully can influence the audience and policymakers towards a better society. This documentary also highlights women’s voice, role (and lens) and participation in shaping the future of our society.”
Samantha Lee, Rookie: “Rookie is about the moments in our life that shape us. It‘s about how the lessons and the people from our younger days come together to help make us into a person. It’s about learning and losing and how to learn from all that losing. And ultimately it’s about how society is still very much rigged against women but we continue to play to win anyway.”
Gian Arre, Tether: “Tether blurs the line between romance and horror. It explores our darkest impulses when we’re stripped of our agency and left completely vulnerable at the hands of someone else. It is a story about abuse, self-harm, suicide, sexual awakening, the subversion of gender roles, and the helplessness of becoming a victim. It explores what we’re capable of when we’re handed the lifeline of another person and asks how much is left of who we are when another person is handed the reigns to our own lives.”
Kevin Mayuga, When This is All Over: “I was never acutely aware of my privilege more so than when the pandemic hit. While I was fortunate enough to be comfortable, countless others were struggling and literally fighting for their lives. That awakened feeling has turned into some sort of guilt of having privilege in this exaggerated class divide. We all saw this out-of-touch apathy with a lot of the privileged, but it made me ask myself if I’m also guilty of that same ignorance. In this unequal world, how could you not feel guilt for having more and not doing anything about it? I realized that what really just separates all of us is luck.”
