As festival director Chris Millado admitted, the Cinemalaya Philippine Independent Film Festival this year almost “capsized” due to funding challenges. When cinephiles heard through the grapevine earlier this year that the future of the most prominent and important local independent film festival might dissolve, it was terrifying. Imagine just one year going without bold, story-driven Philippine cinema.

But the balangay sails on. The festival may not be happening on its usual August run, but it will return on 3 to 12 October under the banner Cinemalaya 21: Layag sa Alon, Hangin at Unos.

For the first time, the main venue will be the Red Carpet Cinemas of Shangri-La Plaza. Ayala Malls, a steadfast partner of the Cultural Center of the Philippines and Cinemalaya for over two decades, continues its support, while Gateway Cineplex also joins the roster. At its core, Cinemalaya remains a competition of 10 full-length films and 10 short features vying for the Balanghai trophies.

ALMOST CAPSIZED

At the press conference on 3 September at Shangri-La Plaza, Millado reflected:

“Now, layag can be pronounced in two different ways. Layag, as in sail, or layag, as in to sail, the verb, or to navigate. Paglalayag sa hangin talks about the wind, no? Which we know we need — the wind to billow the sails, to push us forward. And throughout the years, we’ve been relying on this creative wind to push the Cinemalaya balangay forward.

Alon, the waves. And as you know, this was where Cinemalaya started its journey. Remember, 21 years ago, the whole Philippine industry was caught in the doldrums. As in walang alon, walang waves, it was stagnant. And through Cinemalaya, it started to persevere and sort of sought the wind until it started harnessing the direction of this wave after wave of a new breed of filmmakers and their storytelling.”

The director reminded the audience that the challenges of the past year had nearly brought the festival to the brink.

“And, sa totoo lang, this year, after 20 years — last year we celebrated our 20th year — we thought everything would be smooth sailing. But no, Cinemalaya, as you might already have heard, almost capsized. Almost tumimbuwang sa tubig.”

The festival, he explained, was saved from sinking through the efforts of the Cultural Center of the Philippines, under the leadership of president Kaye Tinga; the persistence of Cinemalaya Foundation President Laurice Guillen; and the continued support of the FDCP.

“And what is more important is, after we’ve stabilized the boat, is how our filmmakers sturdily put up the sail again, believing in their wonderful, colorful, deeply profound stories that they were passionately wanting to tell.”

THE BOLD ENTRIES

In her remarks, Tinga framed the festival in its truest metaphor — sailing into seas both calm and storm.

“This year, we sail forward with our theme, ‘Layag sa Alon, Hangin at Unos.’ Films are essentially voyages, where each image flows into the next, past and present converge like tides, and where the act of sailing itself becomes a meditation on time and becoming. And sometimes, our filmmakers must navigate through unos — the storms of difficult truths, challenging subjects, and bold storytelling that refuses to stay in safe harbors.

In this 21st edition, our filmmakers have crafted narratives that will navigate us through these currents of image and time, through calm seas and necessary storms, always with the understanding that cinema’s power lies not just in the stories told, but in how they move us — how they make us feel the flow of life itself,” she said.

Competing for the Best Film Balanghai Trophy in the Full-Length Category are Bloom Where You Are Planted by Nonilon Abao, Child No. 82 by Tim Rone Villanueva, Cinemartyrs by Sari Dalena, Habang Nilalamon ng Hydra ang Kasaysayan by Dustin Celestino, Padamlágan by Jenn Romano, Paglilitis by Cheska Marfori and Raymund Barcelon, Open Endings by Nigel Santos and Keavy Vicente, Republika ng Pipolipinas by Renei Dimla, Raging by Ryan Machado and Warla by Kevin Alambra.

The Short Feature finalists are Ascension from the Office Cubicle by Hannah Silvestre, Figat by Handiong Kapuno, Hasang by Daniel de la Cruz, I’m Best Left Inside My Head by Elian Idioma, Kay Basta Angkarabo Yay Bagay Ibat Ha Langit by Marie Estela Paiso, Kung Tugnaw ang Kaidalman Sang Lawod by Seth Andrew Blanca, Please Keep This Copy by Miguel Lorenzo Peralta, Radikals by Arvin Belarmino, The Next 24 Hours by Carl Joseph Papa and Water Sports by Whammy Alcazaren.

Cinemalaya sails on, steadied by its filmmakers and their stories — proof that even after storms, the balangay will always find its way back to sea.