LOVE FOR CINEMALAYA
Yes, there are films that you will loathe; nonetheless, they are still unforgettable. And unforgettable is better than mediocre fare.
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Yes, there are films that you will loathe; nonetheless, they are still unforgettable. And unforgettable is better than mediocre fare.
MARIAN Rivera
MARIAN Rivera
Short film features finalists.
PHOTOGRAPHS COURTESY OF CINEMALAYA
Laurice Guillen.
Admittedly, I am losing hope in Pinoy mainstream cinema. Yet I still crave films that are truly Pinoy — films that focus on our unique culture, idiosyncrasies, and values. Hence, I still look forward to Philippine independent films.
The Cinemalaya Film Festival is something I eagerly anticipate every year since I started covering the festival for the Daily Tribune in 2018.
Without big budgets, indie films are more focused on intimate storytelling rather than visual effects. They cast refreshing actors — new faces with big talents. And if and when they do cast A-list celebrities, you see them in more challenging roles, which is equally exciting.
For example, Marian Rivera, coming on the heels of her MMFF top-grosser Rewind, will appear in Kip Oebanda’s Balota, where she plays a school teacher during the elections. According to Oebanda, Rivera did her own stunts and accumulated injuries as a result, proving the actress’ commitment and dedication to her role.
Oebanda was inspired by real teachers who served during the elections and how electoral violence encouraged him to tell a fact-based story — in a “fun” and “action-thriller” fashion.
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THE FILIPINO TALENT
Cinemalaya is my source of stories that take me to unknown territories within my country and culture. They take me to regions and provinces, or to different areas in the capital, that I have never seen before. They open my eyes to various human conditions and a wide range of experiences.
The stories are often bold, intelligent, and incisive — even those I did not like would spark conversations over post-screening lunches and dinners.
Cinemalaya is all about love for Filipino talent and cinema — the creativity, imagination, and emerging voices. It has become an intimate community for cinephiles, with the festival always buzzing with excitement. Filmmakers, critics, film students, and film lovers congregate in spaces, talking about the films, comparing notes, and learning new perspectives.
The Q&As are equally delightful — he conversations are focused on craft rather than who’s dating whom. They are focused on the creative process rather than gossip and intrigue common in mediacons and presscons for commercial movies.
Cinemalaya is all about the art of filmmaking — never about the personalities.
And so, no matter how far the venue is, one sacrifices time and money for Cinemalaya, especially aspiring filmmakers.
August, the Cinemalaya month, always brings with it heavy rain and floods. But we brave the bad weather for the festival—because it’s worth it.
Whether going solo or with film friends, Cinemalaya is a joy. Every year promises a great lineup of competing features and shorts. Yes, there are films that you will loathe; nonetheless, they are still unforgettable. And unforgettable is better than mediocre fare.
MAIN COMPETITION
This year, Cinemalaya is 20 years old, carrying the theme “Cinemalaya Bente: Loob Lalim Lakas.”
The 10 competing full-length films are Alipato at Muog by Jl Burgos; An Errand by Sarge Lacuesta; Balota by Kip Oebanda; Gulay Lang Manong (No More Than Veggies) by Bc Amparado; Kantil (Trench) by Joshua Caesar Medroso; Kono Basho by Jaime Pacena II; Love Child by Jonathan Jurilla; The Hearing by Lawrence Fajardo & Honee Alipio: The Wedding Dance (Dawak) by Julius Lumiqued; and Tumandok (the Natives) by Arlie Sweet Sumagaysay & Richard Jeroui Salvadico.
Meanwhile, the 10 competing shorts are: Abogbaybay by P.R. Monencillo Patindol; All This Wasted Space by Cris Bringas; Ambot Wala Ko Kabalo Unsay I-title Ini by Rey Anthony Villaverde; An Baga Sa Dalan (the Red Trails) by Mariel Ritchie Jolejole & Roniño Dolim; Cross My Heart and Hope to Die by Sam Manasca; I Was Walking on the Streets of Chinatown by Ryan Capili; Mama by Alexandra Brizuela; Mariposa by Melanie Faye Tampos; Pamalandong Sa Danow (Reflection in the Marsh) by Breech Asher Harani; and Primetime Mother by Sonny Calvento.
NEW VENUE, SAME SECTIONS
Amidst ongoing rehabilitation of the CCP Main Building, this year’s fest’s temporary home will be at the Ayala Malls Manila Bay, occupying Cinema 2, 8, 9, and 10.
Apart from the main competition sections, other Cinemalaya sections include Retrospective (old Cinemalaya winning films); Best of the Festivals (a showcase of local festival favorites); Visions of Asia (award-winning Asian and NETPAC films); Premieres (never-before-screened films); Dokyu (award-winning documentaries); and Digital Classics (newly-restored Filipino classic films).
Cinemalaya will be open to the general public on 3 to 6 August at Ayala Malls Manila Bay, with the awards ceremony happening on 10 August.
