Cinemalaya stands proud amidst talk of split from CCP

If any of its detractors had expected that Cinemalaya, the pioneering independent film movement in this country, would show its scars to the public, they were surely mistaken. Although the brouhaha that triggered the Ides of March has now metastasized all over the system, we refuse to believe the rumor that both CCP and Cinemalaya are seriously considering a separation. It is obvious there are issues to confront, as resignations have plagued both sides, but we still believe there is nothing that can’t be solved by a good talk. Otherwise, all the hard work and sacrifices over eight years would have been for naught.

Based on opening day last July 20, which began with a slam bang Alitaptap Kikilapkilap of Danny Dolor’s photo exhibition of The First Golden Years of Philippine Movies — 1936-1941, this year could end up the most well-attended in Cinemalaya’s eight years. Throngs of stars from the past led by Mila del Sol, Delia Razon, Lilia Dizon, Marita Zobel, Gov. Vilma Santos dressed to the nines brought back the glamour of yesterday with today’s industry leaders, director Eddie Romero, Marichu Perez Maceda, Digna Santiago, national artist Bien Lumbera and Grace Poe-Llamanzares. Our best and most beautiful opera singer Rachelle Gerodias entertained the audience with our undying kundimans. The crowd then moved over to the opening film, Mario O’Hara’s Cannes Director’s Fortnight entry Babae sa Breakwater.

First row, from left: Danny Dolor, Mila del Sol, Batangas Gov. Vilma Santos and Bien Lumbera

 On the first day, July 21, despite heavy rains and flooding all over Metro Manila, we managed to watch some entries. Raymond Red’s Kamera Obskura, a digital film in color within a silent film in black and white, showed how light entering a dark room produces an inverted image from the outside. Red had started work on this in the ’80s; he dreamt about it, had nightmares, and now that it is completed, it is sadly compared to The Artist that has taken the world by storm. Such is life.

Mga Mumunting Lihim is veteran playwright, teacher, juror Joey Reyes’ first Cinemalaya entry for the Directors Showcase, which tells the story of four friends and how truth comes in various forms. With a mainstream cast of Judy Ann Santos, Iza Calzado, Janice de Belen and Agot Isidro in non-mainstream roles, it had a full house at Ayala Mall’s Cinema 3 where a mixed crowd of young and middle-aged laughed nervously, recognizing themselves in the characters. A colleague of Joey’s whispered to us that this was actually Joey’s love story. And why not? The best films are those based on real life.

Another film said to be based on his own story is that of Mes de Guzman and his four other brothers, and a mother haunted by apparitions. Ama Quiambao as the mother is the main character and Roeder Camañag the bida-kontrabida in Diablo which asks more intriguing questions than it answers.

Standing room only was Eddie Garcia’s tale of a closet gay growing old and unloved in Bwakaw, Jun Lana’s entry in the Directors Showcase. We laughed and cried alternately along with the rest of the audience, many of whom were seeing Eddie for the first time outside of his teleserye and supporting characters on mainstream in a solo starrer that gave him a virtual tribute he deserves.

We encountered still another full house in the gripping documentary of Give Up Tomorrow by first-timers Michael Collins and Marty Syjuco of injustice which had witnesses, friends, supporters flying in from various places to lend support to its fight for justice however tenuous it might be. Its website states that the film “exposes a Kafkaesque extravaganza populated by flamboyantly corrupt public officials, cops on the take and a frenzied legal and media circus. It is also an intimate family drama focused on the near mythic struggle of two angry and sorrowful mothers who have dedicated more than a decade to executing or saving one young man, Paco Larrañaga.”

On Cinemalaya’s third day of exhibition, still in the midst of rains brought by the Habagat and an impending new typhoon, the crowd queuing for tickets had not waned, in fact, it had doubled. Were these the signs of a dying relationship? We have been told that the first years of marriage are the most difficult, the succeeding easier to live with. Whether they like it or not, fancy each other’s company or not, CCP and Cinemalaya owe it to the public to continue this partnership. Agree or disagree?

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