The Sad State Of Philippine Cinema
When was the last time you watched a Filipino movie? I must confess, I can't remember either. That just about sums up the state of Philippine cinema.
I was once a fan of Filipino movies. It was quite a long, long time ago. I was just a little girl swooning for Susan Roces and Fernando Poe Jr. It turns out, that was the golden age of Philippine movies. Filipino filmmaking, which can be dated back to as early as 1919 with Jose Nepumuceno's Dalagang Bukid (Country Maiden) was already starting to flourish when the second world war virtually halted filmmaking aside from Japanese propaganda. The end of the war saw a revival which peaked in the 1950's. Bolstered by improvements in cinematic techniques, the Big Four (Sampaguita Pictures, LVN, Premier and Lebran studios) were churning out movie after movie, to the delight of moviegoers. Local and international film awards were established. In 1953, the Filipino Academy of Movie Arts and Sciences (FAMAS) , the Philippines' answer to the United States' Academy Awards was established. With this, the Philippines set a trend in Asian cinema since FAMAS was the first film industry award-giving body in Asia. Filipino films were recognized in international circles. Manuel Conde's Genghis Khan (1952) was accepted for screening at the Venice Film Festival. Gerardo de Leon's Ifugao (1954) and Lamberto Avellana's Anak Dalita (The Ruins, 1956) garnered international awards, establishing the Philippines as a major filmmaking center in Asia. Avellana's Kandelerong Pilak (Silver Candlesticks, 1954) was the first filipino film to be shown at the Cannes International Film Festival.
The 1960's, however, saw the decline of Philippine cinema. The Big Four studios closed because of labor disputes. Film production was focused mainly on making money. Most movies were cheap imitations of foreign films, featuring Filipino cowboys and secret agents, martial art practitioners and and the so-called bomba queens, purveyors of soft-core pornography. This must have been the time I lost interest in Filipino movies.
The 1970's and 1980's were turbulent years, under martial law and film censorship. Nevertheless, young directors started to show their talent like Ishmael Bernal, Celso Ad Castillo, and Mike de Leon. Lino Brocka directed Maynila sa Mga Kuko ng Liwanag (Manila in the Claws of Light), 1975 which critics considered the best Filipino film ever produced. His recognition went beyond the local film awards. His first entry to Cannes International Film Festival was Insiang (1978) .Two of his films were later nominated for the Palm d'Oro award, The Jaguar in 1980 and Bayan Ko: Kapit sa Patalim in 1984. The Director's Fortnight featured his films Bona,1981 and Orapronobis.
In 1977, an unknown director named Kidlat Tahimik won the International Critic's Prize at the Berlin Film Festival for his work Mababangong Bangungot (Perfumed Nightmare). This heralded the arrival of alternative cinema. Out of short film festivals sponsored by the University of the Philippines Film Center and by the Experimental Cinema of the Philippines, other young filmmakers made movies that defined mainstream cinema's commercial approach to filmmaking and focused on works that "probe deeper into the human being and into society". Nick Deocampo's Oliver (1983) and Raymond Red's Ang Magpakailanman (The Eternal, 1983) received attention in international festivals. Probably the most important filmmaker of today is Lav Diaz, who has been called the heir to Lino Brocka.
As mainstream filmmakers become constrained by rising production costs, including exorbitant taxation, and competition from high-budget foreign films, the industry faces a dwindling number of filipino films. The industry turned it's hope on independent filmmakers.
To encourage young filmmakers, the Cultural Center of the Philippines, together with the Film Development of the Philippines (FDCP) and the University of the Philippines Film Institute organized the first Cinemalaya Film Festival in 2005. Combined with a film exhibition is a competition which was open to filmmakers who have not directed any commercially released film. Ten finalists in two categories, short and full-length feature, were given grants to help in production.
Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros), a story about a gay teen who is torn between his loyalty to his love for a young a cop garnered a Special Jury award for director Aureus Solito as well as a Special Citation and best production design at the first Cinemalaya festival. It eventually went on to win several international film awards, a nomination for the Grand Jury Prize at the prestigious Sundance Film Festival and was chosen as the Philippine entry to the Best Foreign Language Film at the 2007 Oscars. Another indie film, Foster Child by Brillante Mendoza was featured at the Director's Fortnight , an independent section running in parallel to the Cannes International Film Festival.
And in 2008, Brillante Mendoza's movie Serbis was nominated for the Palm d'Or award at the Cannes Film Festival. The scathing reviews it received were probably not quite what the director would have wanted. Now Showing by Raya Martin was featured in the Director's Fortnight. Donsol, the first film by writer-director Adolfo Alix Jr. was chosen to be the Philippine entry to the Best Foreign-Language Film at the 80th Academy Awards.
The so, the independents are on their way to save Philippine cinema.
References:
Cinemalaya: Discover, honor, encourage new filmmakers
Exposing the Culture of Philippine Cinema. BCHeights.com
History of Philippine Cinema. Onlineessays.com
