Two decades ago, the Cinemalaya Philippine Independent Film Festival was born with the main aim of encouraging new cinematic works by Filipino filmmakers.

The foundation, headed by its president Laurice Guillen, provides financial grants for the production of up to 10 full-length feature films with compelling narratives that reflect Filipino life experiences.

The final motion pictures in competition for this year’s festival were chosen by a committee chaired by Carlos Siguion-Reyna for monitoring and competition. With a fresh batch of full-length and short films, the legacy of Cinemalaya continues, and its relevance is seen and felt through its lineup of cinematic gems.

Memories

In its two decades of existence, Cinemalaya has presented its adoring public with truly memorable films directed by both new filmmakers and film masters.

Some of its most unforgettable classics include Aureus Solito’s Ang Pagdadalaga ni Maximo Oliveros, where Maxi (Nathan Lopez), a pubescent gay man, falls in love with an older guy, Victor (JR Valentin), a policeman. Maxi is adored and protected by his family, composed of a father and brothers who are all macho thugs. It’s a film that evokes feelings of kilig, bittersweetness and relatability.

In Alvin Yapan’s Ang Sayaw ng Dalawang Kaliwang Paa, two college students (played by Rocco Nacino and Paulo Avelino) dance their way through life with poetry, the Muses and desire, one apparent, the other hidden.

Janice O’Hara’s Sundalong Kanin portrays boys forced to become men during the Japanese occupation of the Philippines, with fine performances from a young Elijah Canlas and an impressive supporting turn from Enzo Pineda.

Treb Monteras II’s Respeto is about a young rapper and the friendship he forms with a bookstore owner, who happens to be a seasoned poet with a dark secret.

And the films of Eduardo Roy Jr., namely his three most hailed Cinemalaya contributions: Quick Change, Pamilya Ordinaryo and Fuccbois. These films of the late Roy portray gritty, slap-to-your-face realities made larger than life on the silver screen, with flawed characters that, in a weird way, one ends up cheering and rooting for.

First-time winners of the Balanghai trophy, particularly in the acting categories, further enhanced the festival’s legendary status.

Highlighting some notable examples, among the last four movie queens, only Vilma Santos for Extra and Nora Aunor for Hustisya have won Balanghai trophies. Theater legends Ama Quiambao (+) won Best Actress, while Dido dela Paz and Lou Veloso won Best Supporting Actors. AiAi delas Alas also received a Balanghai trophy for School Service. The youngest Best Actor recipient of a Balanghai was Noel Comia Jr. for Kiko Boksingero. GMA 7’s pride, Barbie Forteza, won Best Supporting Actress for Mariquina. And, of course, the most talked-about Best Actor win was Mimi Juareza for Quick Change.

Winning and bringing home a Balanghai trophy from Cinemalaya was more than just a nod or stamp of approval for an actor’s talent. It was akin to being knighted or dubbed a dame, signifying that the actor truly understands not only the essence but also the essence of great acting.

Cinemalaya Now

From 2 to 11 August, under the theme “Cinemalaya Bente: Loob Lalim Lakas,” the pioneering and now considered the most prestigious independent film festival returns to Ayala Cinemas. This edition features 10 full-length and 10 short films in competition. For its 20th edition, Cinemalaya promises top-tier visual storytelling that sparks imaginations and amplifies diverse voices in cinema.

Competing for the Best Film Balanghai Trophy in the Full-Length Category are:

JL Burgos’ Alipato at Muog; Dominic Bekaert and Sarge Lacuesta’s An Errand; Arlie Sweet Sumagaysay and Richard Jeroui Salvadico’s Tumandok; Kip Oebanda’s Balota;

BC Amparado’s Gulay Lang Manong (No More Than Veggies); Joshua Caesar Medroso’s Kantil (Trench); Jaime Pacena II’s Kono Basho; Jonathan Jurilla’s Love Child; Lawrence Fajardo and Honee Alipio’s The Hearing and Julius Lumiqued’s The Wedding Dance.

Competing for the Best Film Balanghai Trophy in the Full-Length Category are JL Burgos’ Alipato at Muog; Dominic Bekaert and Sarge Lacuesta’s An Errand; Arlie Sweet Sumagaysay and Richard Jeroui Salvadico’s Tumandok; Kip Oebanda’s Balota; BC Amparado’s Gulay Lang Manong (No More Than Veggies); Joshua Caesar Medroso’s Kantil (Trench); Jaime Pacena II’s Kono Basho; Jonathan Jurilla’s Love Child; Lawrence Fajardo and Honee Alipio’s The Hearing; and Julius Lumiqued’s The Wedding Dance.

Sheron Dayoc’s The Gospel of The Beast serves as the opening film, while the restored version of National Artist for Film Lino Brocka’s 1980 classic Bona will close this year’s festival.

The continuing relevance of Cinemalaya lies in its steadfast commitment to showcasing films that embody truthful storytelling and vivid imagery. Its promise, turned vow, is to discover, encourage, and support the cinematic works of both emerging and established Filipino filmmakers who boldly articulate and interpret the Philippine experience with fresh insight and artistic integrity — more than mere lip service or promotional rhetoric.

Cinemalaya, the Philippine independent film festival, champions Filipino cinema, its artists and its audiences!