“Have you seen any of the films?”
From Day 1 of the Cinemalaya 19 until the last screening day, I’ve heard this question a hundred times from people I know and even from random strangers who were buying tickets from our takilyera whose Box Office counter was stationed right beside the media counter.
Unfortunately, I’ve only seen three films; two and three-fourths if I must be specific. In one film screening, I needed to run out of the cinema because people were looking for me and there were small issues to resolve.
I confessed, without any disregard for the other competing films, that I was rooting for Iti Mapukpukaw, the first full-length animated film in the history of Cinemalaya competing in the Main Competition section.
Partially, because I like its filmmaker, director Carl Papa. I first met the director when we arranged an interview with an online magazine. Director Papa and one of his lead actors, Gio Gahol, did the shoot somewhere in Quezon City. Their interview was funny, but full of insights. I like how he’s passionate about Philippine animation, championing the promotion and development of this industry.
He’s one of the easiest filmmakers to work with, always replying to queries and very generous with his time for interviews. He’s very down-to-earth and approachable. So, I was so happy his entry won Best Film and two more awards.
Bringing home the Balanghai trophy for Best Film in the Full-Length Category, Iti Mapukpukaw was cited “for boldly taking on the challenges of technology in crafting a very engaging narrative of a young man confronting the demons of his past, and for its overall cinematic excellence.”
Papa’s film also received the NETPAC ((Network for the Promotion of Asia Pacific) Award “its finely nuanced, masterfully crafted, tale of healing, friendships, and young love, effectively utilizing state-of-the-art technology that is integral to its storytelling.”
There’s also the Best Supporting Actress award for Dolly de Leon, who starred in the film Iti Mapukpukaw. She was recognized for her “pellucid performance of an affectionate mother helping her son confront the demons of his past.”
Another big winner was director Arvin Belarmino, another filmmaker I admire. Despite his achievements in filmmaking, he is very humble and generous in sharing his knowledge. His short film Hinakdal, co-written with Kyla Romero, won Best Screenplay for “its very striking narrative that remakes the horror genre while humanizing zombies and endowing them with heart and soul.”
It also received a certificate from NETPAC because of Hinakdal’s “pithy, layered, and strong social commentary laced with dollops of humor.” Also, it received the nod of the audience, garnering it the Audience Choice Award, along with Rookie for the full-length.
During the after-party, I teased director Belarmino that I would be expecting a full-length entry from him soon, maybe in 2026? Crossing my fingers.
Meanwhile, Januar Yap’s Sibuyas ni Perfecto won the Best Film in the Short Film Category for its “quiet but coruscating take on social iniquity and how the poor’s exploitation by the rich is driven by their own denigration and self-abasement.”
Best Director trophies go to filmmakers Ryan Espinosa Machado and Mike Cabarles. For his film Huling Palabas, director Machado has effectively summoned “the resources of art to come up with a deeply personal film that evokes fond memories of pre-digital cinema while paying homage to one’s small-town roots, and how all of this contributes to fashioning self-respect and self-identity.”
Director Mike Cabarles, on the other hand, employed “the resources of cinema in effectively evoking the loneliness of two brothers missing their mother whom they have lost to the sea” in his film Makoko sa Baybay.
Jopy Arnaldo’s Gitling received the Best Screenplay awards for the Full-Length category. The film Gitling was cited for “its very tender tale of two persons bridging the divide between races and cultures and, through constructed language and silence and even evasion, coming to a poignant understanding of the heart.”
Actor Mikoy Morales and actress Pat Tingjuy were cited for their Best Performance of An Actor and An Actress, respectively. Morales won the jury’s nod for “his compelling performance of a charming but predatory womanizer who gets his just desserts” in the film Tether; while Tingjuy won the award for “her refreshing portrayal of a young girl coming to terms with her sexual identity as she comes of age in the exciting world of volleyball.”
Young actor Bon Andrew Lentejas won the Best Performance of a Supporting Actor for his “engaging portrayal of a young man trying to understand his best friend’s difficult ways as the latter comes of age” in the film Huling Palabas.
Dustin Celestino’s Ang Duyan ng Magiting won the Special Jury Prize, cited for “its trenchant portrait of the wages of political violence, for its highly discursive and dialectical take on the culture of impunity that seems to have entrenched itself in Philippine politics, and for arousing among audiences the awareness on the need to come to grips with the country’s escalating political violence.”
The Best Ensemble Acting, a Special Award, was given to Ang Duyan ng Magiting for the “powerful acting that credibly renders the opposing viewpoints in the history of political violence and culture of impunity that seem to have bedevilled the Philippines since the turn of the new century.”
I’ve always seen Celestino’s works at the Virgin Labfest. I know that his works can be both gripping and thought-provoking. Celestino and his partner/producer Janel Gutierrez are my favorite couple this year; always ready to give a smile whenever I saw them in the Cinemalaya exhibition area. Looking forward to Celestino’s next artistic project, whether in another Cinemalaya edition or VLF. And I’ll make sure to keep updated on his personal project of reaching his ideal weight.
Sam Villa-Real and Kim Timan’s Hm Hm Mhm received Special Jury citation for “its boldly experimental verve to depict a woman revisiting the darker aspects of her childhood.”
Technical awards include:
Best Editing – Ilsa Malsi (Rookie), for “effective splicing and intercutting that unravels a girl’s coming-of-age in the exciting world of volleyball.”
Best Cinematography – Martika Escobar (When This Is All Over), for her “effective camera work and lighting to depict the world of drugs and the lifestyle that sustains it.”
Best Original Musical Score – “Kindred,” composed of Justin Punzalan, Vince Dalida, Luis Montales, Jaime San Juan, Moses Webb, Fern Tan, Jorge Juan Wieneke V, Othello Intia, (When This Is All Over), for “its original musical soundtrack that helps propel its depiction of the drug subculture obtaining in high condominium living.”
Best Production Design – Kaye Banaag (When This Is All Over), “for successfully conjuring the contrasting worlds of affluence and want in condominium living.”
Best Sound – Gian Arre (Tether), “for its effective sound design in which both noise and silence are melded well together to heighten psychological realism.”
There were small hiccups along the way, but I would say this year’s Cinemalaya was a resounding success. We hope to see everyone again in the 20th year of the country’s biggest independent film festival in 2024.
See you at the cinema!
