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Coco Martin earned his career in indies—Kinatay, Masahista, Serbis—before going mainstream. Dennis Trillo, Nova Villa, Vilma Santos, Judy Ann Santos, and Nora Aunor, among others, on the other hand, enjoyed the commercial limelight before starring in Cinemalaya independent films. What, wait, what’s happening? Could big actors dabbling in small-production indie movies mean they’re fed up with the default, happy-ever-after ending of our commercial flicks? Maybe. Maybe not. Could the extension of indie projects—Vilma Santos’ Ekstra had extra movie play dates—after the film fest mean that moviegoers are now ready for intellectual stimulation? Maybe. Maybe not.
Cinemalaya’s 10th year birthday ended with a bang. People from all walks of life (but youngsters were the major captured audience) laughed, cried, smiled along with the fresh, yet again, concept of this year’s roster of films—from poverty to sex and drugs and gay relationships. Last night’s fresh crop of winners is a testament to how far Pinoy indie movies have come.
Outside Cinemalaya, indies enjoyed appreciation around the world: Bwakaw, Babagwa, Transit, Engkwentro, among many others, won in internationalfilm fests.
Cinemalaya’s goal is to express and give avenues for fresh filmmakers and audiences seeking unconventional stories. And it has been successful in this aspect. But then again, changing the movie preference of the entire nation—masses included—takes baby steps. Cinemalaya is willing to crawl.
MB Lifestyle sits down with one of its guest judges, Sundance Institute’s Native American and Indigenous Program director Bird Runningwater to talk about what else, movies.
What were your expectations in this year’s Cinemalaya entries?
I tried not to have any expectation but I knew the work of Cinemalaya for the past 10 years. I knew that I would get to see something distinct, diverse, and original. We played the Blossoming of Maximo Oliveros at Sundance and we played Halaw by Sheron Dayoc. They brought something personal and interesting on the screen. I haven’t watched any mainstream Filipino movie though.
How is Cinemalaya like Sundance?
Twelve thousand movie entries are submitted to us every year and we end up picking about 200 films. We look for something original, authentic, and untold. I can feel that Cinemalaya is very similar to this approach. I’m really impressed with the audiences here in Cinemalaya, with how young they are. In the States, they are much older.
What are the weaknesses of Pinoy indies?
I can’t really say. All the films are particularly accomplished. It’s hard to believe that some of these directors are directing for the first time. They exceeded other work that I’ve seen in fests around the world. It’s really inspiring to see how committed everybody is.
If you’re to give pointers though, what would they be?
I just think that because the selection of what’s been screened is so diverse, it’s a good representation of the breadth of the Filipino society. I think you would love to avoid trying to characterize the Filipino society as just one thing. There are films coming from Metro Manila, coming from the provinces, showing that diversity.
Based on what you’ve seen, how are Pinoy movies at par with Hollywood or Sundance?
It’s competitive. I don’t work and watch Hollywood films. I work in the independent side of the American film so I think that indie films in the Philippines are the same thing as the independent films in America. We’re all fighting against commercial films. There’s an uphill struggle and I don’t think Filipino movies need to be like American blockbuster films.
But are you comfortable with Pinoy movies imitating Hollywood/American movies?
Many global movies do this, regardless. I don’t know why (Laughs). I don’t know why you try to mimic Hollywood.
What makes a movie bad and good?
Originality, of how well you can take me as an outsider, as a native American or an American, to a place I’ve never been before and to relate to a new world. I think a bad movie is trying to mimic a Hollywood film (Laughs).
What future awaits the indie movies?
I think people are getting fatigued with the typical blockbuster films that are constantly being turned out. People have more options on how they can watch a film nowadays. The advancement of technology is diversifying everything. Some filmmakers don’t even worry about getting their movie into a theater. They’ll just put it online. I think there’s a lot more hope for stories to be told just like the Cinemalaya.
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