Human cut
Technology evolves. Tools change. But the cinema’s core remains stubbornly analog.
ITALIAN cinema has survived fashion cycles and streaming algorithms because it trusts human frailty. It lingers on doubt. Compromise. On love that curdles and reforms.
Photograph courtesy of International Circulation of Italian Cinema
Recently at the Alliance Francaise de Manille, the Philippine Italian Association and the Italian Embassy launched their first Cinemaforum with a screening of L’Ultimo Bacio, the 2001 film by Italian director and screenwriter Gabriele Muccino.
Students learning French sat alongside regular moviegoers. The invitation was simple: Come watch something good.
Italian cinema has survived fashion cycles and streaming algorithms because it trusts human frailty. It lingers on doubt. Compromise. On love that curdles and reforms.
It does not flinch from consequence. That sensibility was already present in L’Ultimo Bacio, years before Muccino would reach global audiences with The Pursuit of Happyness.
The film swept Italy’s David di Donatello Awards in 2001, winning Best Director and Best Screenplay, and went on to claim the Audience Award at the 2002 Sundance Film Festival. It is a story about relationships under strain, not melodrama: Erosion. The kind that happens slowly, then all at once.
February is National Arts Month in the Philippines. L’Ultimo Bacio offers a counterpoint: commitment is not romance as much as labor.
Italy's cinematic legacy runs deeper than one film. The Venice Film Featival, the oldest in the world, remains a summit many filmmakers still aim for.
In 2016, Filipino director Lav Diaz won the Golden Lion there for Ang Babaeng Humayo (The Woman Who Left).
The influence is older still. Italian neorealism reshaped postwar storytelling and left fingerprints across global cinema.
In the Philippines, that imprint is visible in the work of Lino Brocka, whose Maynila sa mga Kuko ng Liwanag, Insiang and Bayan Ko: Kapit sa Patalim absorbed neorealism’s moral urgency. Brocka’s Bayan Ko screened at Cannes in 1984.
Italian narrative traditions have also seeped into other art forms. The operas of Giacomo Puccini, particularly Madame Butterfly and La Bohème, helped shape modern productions such as Miss Saigon and Rent. Tragedy migrates well.
Asked about artificial intelligence in filmmaking, Ambassador Giglio did not sound alarmed. Technology evolves. Tools change. But the cinema’s core remains stubbornly analog.
The Cinemaforum did not pretend to solve the future of film and offered a rarer dark room, shared stories, the stubborn belief that human voices still matter.