The Cinemalaya Independent Film Festival of the Philippines has come a long way, indeed.
Now on its sixth year, the ever first state-sponsored film event is barking on the newly launched component, the Open Category which is an equally intriguing part of the program not only because it is an arena for the veteran filmmakers but more so, the presence of the experienced and the so-called local movie mainstream fixtures would show how they dip their fingers into the independently managed filmmaking pie.
In his speech, former Cultural Center of the Philippines president Nestor Jardin said that the Open Category will bring complications to the festival.
Of course, it isn’t a conflict that would arise from the mundane and petty concerns of filmmakers but the tension that would crop up to add dimension and color to the Cinemalaya landscape.
You see, the usual New Breed Directors so called dominate the ten slots in the annual Full Length Category. These young, vibrant and indie spirited artists have always shown what it takes to become truly worthy of the independent filmmaking sense.
Meanwhile, the old timers—directors who have made at least three full-length features shown theatrically—and who have always been associated with commercial film productions of big companies, are also artists of vision and precursors of free artistic expressions these young film directors have initially embraced belatedly when they went to the field.
Joel Lamangan, for one, has always been anti-censorship and welcomes innovations and experiments in his works while Mario O’Hara has proven his mettle in many postmodern approaches while allowing himself transactions with people of various shades and persuasions in and outside the film business. Gil Portes is one of the predecessors of indie filmmaking when he started pastoral films most of his production expenses from philanthropists or innovative leaders and businessmen of many industries in the country.
Two relatively veteran film artists, Mark Meily and Joselito Altarejos, have been in the forefront of marching on the paths of both commercial and independent moviemaking.
This year, Lamangan is fielding “Sigwa,” a saga of student activism in the late sixties and early seventies. Portes is readying “Two Funerals,” a serious-comic tale. O’Hara is making historical data controversial in “Ang Paglilitis ni Andres Bonifacio,” a never revealed court account on the conflict between Emilio Aguinaldo and Andres Bonifacio which led to the murder of the latter allegedly ordered by the former. Meily is foraying on organs for sale in “Isang Pirasong Buhay” and Altarejos is hip in “Pink Halu-Halo.”
All these against the fresh air of such new directors as Gutierrez Mangansakan’s “Limbunan” about the hidden world of the “limbunan” where brides-to-be are kept away from public view; Sheron Dayoc’s “Halaw” about the journey of a Badjao father and daughter as they saneak through the Southern backdoor and make the illegal crossing to the island of Sabah; Arnel Mardoquio’s “Sheika” about a woman ravaged by the war in search of peace; Dan Villegas and Paul Sta. Ana’s “Mayohan” about the Mayflower festivities in Infanta, Quezon; Kim Homer C. Garcia’s “Magkakapatid” about the Filipino sense of filial relationships; Danny Añonuevo’s “Rekrut” about military training in the country; Francis Xavier Pasion’s “Sampaguita” about the national flower; Art Katipunan’s “Si Techie, Si Teknoboy at si JuanaB” about marriages of OFWs; Dennis Marasigan’s “Siya and Mayor Ko” about election campaign and Ian-Dean S. Lorenos’ “The Leaving” about the fusion of Filipino and Chinese cultures.
Judging from the lineup, 2010 is an exciting year for Cinemalaya.
The tension between the veterans and the new breed is quite felt and this hopefully will add not only luster but substance to the materials in the advancement of the Philippine film industry.
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