Cinemalaya has always served as a platform for Filipino filmmakers to voice their perspectives and inspire social, political, and ethical change — or at the very least, raise awareness.

As in previous years, the 20th edition’s short films in competition continue to tackle significant issues, much like the full-length features. However, I had hoped for more impact and creativity in the short film lineup. Commentary and advocacy alone are not enough; we expect prominent film festivals like Cinemalaya to curate and select films that demonstrate exceptional filmmaking craftsmanship.

Out of the 10 shorts, I only managed to like three:

‘MARIPOSA’

The 20-minute short documentary follows Des, a 16-year-old rape victim, who was first sexually abused when she was seven — by an uncle. Shot, directed, and edited by Melanie Faye, the short is monochromatic with an animated bright yellow marker to cover the eyes of the victim.

The documentary is straightforward, giving voice to Des as she painfully recounts her story, providing the audience with insight into the psychological impact of her experience. The trauma never goes away.

When Faye asks if she still believes in God, Des responds with a “yes” and wonders aloud if perhaps God finds her courageous enough to bear the pain.

The short also offers a glimpse into the methods of the People’s Recovery, Empowerment, and Development Assistance (Preda) Foundation. This registered, licensed, and accredited non-government organization in the Philippines helps trafficked and abused children.

Although Preda provided Des with a year of assistance and rehabilitation, she continues to carry her trauma. When she expresses a wish to be a bird, flying free, it breaks your heart. You can’t help but feel anger, wondering what the country’s justice system is doing about this heinous crime that destroys souls — especially when Des’s abusers remain at large.

‘CROSS MY HEART AND HOPE TO DIE’

Sam Manacsa’s 17-minute short opens with a strong, evocative scene. We find the central character, Mila — played by Jorrybell Agoto — hoping to die. The scene, a wide shot of a decrepit upstairs room, evokes both dark humor and pathos.

Cross My Heart and Hope to Die, which competed in last year’s Venice Film Festival Orizzonti Short Films Competition and later won the Best Live Action Short award at the PÖFF SHORTS 2023 festival in Tallinn, is steeped in despair. Set mostly within the confines of a depressingly dark, seedy office space, it depicts the tragic life of the underpaid Mila. Why can’t she quit? We never find out.

A suitor then brings a small ray of hope into her inferno — and suddenly, life seems tolerable. The suitor, just a voice on the phone, offers respite. But something soon happens, and the film ends with a jarring twist.

Manacsa’s visual language is impressive. The production design is so authentic that the mere sight of the dingy office, possibly a back room of a small-time merchant, evokes a deep sense of despair.

Manacsa trusts the audience to understand Mila’s plight — shared by thousands of others like her in the country who are exploited — using only minimal dialogue. The themes are palpable and linger long after the film ends.

‘PRIMETIME MOTHER’

Sonny Calvento, known for the acclaimed Excuse Me, Miss, Miss, Miss (the first Filipino short film to premiere at Sundance), delivers another sharp social commentary in his compact, surrealist 15-minute short

Meryll Soriano stars as Minda, a middle-aged mother who takes a chance on a popular televised game show called My Amazing Mama in hopes of winning cash to help care for her sick son.

Calvento touches on themes of poverty and exploitation, delivering laughs while making an impactful statement on how the poor are deprived of adequate government support, relying on cash prizes to get by.

For the sake of her children, a mother is forced to sacrifice her dignity to the greedy, exploitative showbiz industry. It’s a grim reality, and one that’s hard to escape.