Theater versus movies: What are we watching? What are we avoiding?
It is not just something to observe — it is something to analyze deeply. What works? What doesn’t? What can be replicated to ensure success?
Daily TribuneIt is not just something to observe — it is something to analyze deeply. What works? What doesn’t? What can be replicated to ensure success?
Toni Go-Yadao and Jonathan Tadion in a scene from Tanghalang Pilipino's Kisapmata.
Rico Blanco songs are featured in Liwanag sa Dilim.
Elora Espano, lead actress, Anino sa Likod ng Buwan.
To watch or not to watch? This is the perennial question audiences often ask, especially when it comes to live entertainment and movie viewing.
Live entertainment, particularly theater, has long been embraced by the middle class and the elite — audiences who recognize the value of quality performances. Their quiet yet impactful patronage has elevated the status of theater, giving it a premium and raising its market value. As a result, plays and other live performances are often on the pricier side.
These productions cater to a niche market willing to spend, not just for entertainment, but as a way of supporting the arts. For them, attending a play is not a fleeting indulgence or a mere social statement. Rather, it is a conscious choice to engage with artistic and intellectual pursuits that provide a sense of fulfillment.
The Muses move them to purchase tickets for various productions, seeing it as a way to give back to the self-sustaining, courageous theater community. By attending shows, sharing their thoughts on social media, and championing local productions, these audiences uplift Filipino theater artists — who continue to fight for recognition, public support, and a rightful place in the industry.
This is truly a golden season for Filipino theater. Whether staged at the Arete Creative Hub, the accessible PETA Theater, the exclusive Carlos P. Romulo Auditorium, the modern Spotlight and Samsung Theaters, or the heart of the dramatic arts at Tanghalang Ignacio Gimenez in CCP — current and past productions are receiving standing ovations, glowing reviews, and a strong online presence that fuels word-of-mouth marketing.
Recent crowd-drawing productions include Anino Sa Likod ng Buwan (The Idea First Live), Liwanag sa Dilim (9 Works Theatrical), and Kisapmata (Tanghalang Pilipino). Their success can be attributed to compelling narratives, stellar performances, top-notch artistic and technical execution, and the fact that they are original works by Filipino playwrights. Featuring music from iconic Filipino composers and brought to life by dedicated actors under the direction of some of the country’s finest contemporary directors, these productions prove that Filipino theater is thriving.
Despite the absence of government grants, endorsements, and major corporate sponsorships, these plays continue to succeed — demonstrating the power of audience appreciation and commitment. Encouragingly, more middle-class theatergoers are now purchasing block tickets, ensuring financial stability for production companies while introducing theater to new, eager audiences. Once bitten by the theater bug, these new patrons are likely to become lifelong supporters of the dramatic arts.
Yes, the Filipino theater scene is alive, thriving, and ready to roar.
On the other hand, the local film industry faces a starkly different reality.
Following the massive success of Hello, Love Again and the strong box-office performance of MMFF 2024’s top-grossing films, no recent Filipino movie has been able to replicate these wins. Despite significant promotional efforts across traditional and digital media, strong lead actors, and fresh narratives that stray from the usual formulas, ticket sales remain lackluster.
Queues are barely visible on opening weekends, word-of-mouth buzz is minimal, reviews often raise eyebrows rather than excitement, and cinema house staff confirm that only a handful of people watch these films. Within days, these local films are pulled from theaters and replaced with imported titles, sometimes with reduced screening schedules even before their official run ends.
Recent releases such as Sampung Utos kay Josh (Jerald Napoles, Pepsi Herrera), Paquil (Lemuel Lorca), Ex Ex Lovers (Marvin Agustin, Jolina Magdangal, directed by JP Habac), Mananambal (National Artist Nora Aunor, directed by Adolf Alix Jr.), Everything About My Wife (Jennylyn Mercado, Dennis Trillo, Sam Milby, (directed by Real Florido), The Caretakers (Iza Calzado, Dimples Romana, directed by Shugo Praico), and In Thy Name (McCoy de Leon, directed by Ceasar Soriano and Rommel Ruiz) have struggled to attract audiences. Even with block screenings, attendance numbers remain unimpressive, making it difficult to declare any of these films a box-office success.
Why are audiences hesitant to support local films? Are the lead actors not bankable enough? Do audiences now have higher standards and are waiting for the next truly groundbreaking Filipino film? Or has the moviegoing culture changed so drastically that people prefer to watch films via streaming rather than in cinemas?
Upcoming releases such as Mikhail Red’s horror film Lilim, Diane Ventura’s documentary Eraserheads: Combo On The Run, the competition entries in the Puregold CinePanalo Film Festival, and Chad Vidanes’ My Love Will Make You Disappear (starring Kim Chiu and Paulo Avelino) are expected to attract interest. But will they be enough to restore faith in Filipino cinema and bring audiences back to theaters?
The contrast between the thriving theater scene and the struggling film industry is an urgent issue for those in the entertainment, arts and culture sectors. It is not just something to observe — it is something to analyze deeply. What works? What doesn’t? What can be replicated to ensure success?
For film producers, the goal is clear: they need audiences returning to cinemas, investments generating returns, and a visible, engaged market that actively supports Filipino films.
For initiatives that fail, it is imperative that stakeholders do not simply set them aside — they must be discarded entirely. The industry must develop and implement strategies that yield tangible results. Only then can we see a genuine resurgence of local cinema, where audiences consistently flock to theaters, driven not just by hype but by the promise of truly remarkable storytelling.