The walls are coming down

I got an e-mail a few weeks ago from a university student doing his thesis on the topic, “Indie versus Mainstream.”  

“I feel that mainstream has won,” he said, pointing to how actors and producers from big studios have joined Cinemalaya, the annual independent film festival at the Cultural Center of the Philippines. 

The student wanted to build a “cultural hub” — a facility for the exclusive use of independent artists — no mainstreamers allowed. 

I told him it’s a noble idea, but we don’t have to be so feudal. 

What Is ‘Indie?’

In the first place, I said, he’ll have difficulty defining what “independent” is. See, it has nothing to do with art or technology. 

For instance, “independent” doesn’t just refer to slow-paced, gay-themed, or socially relevant films. The last few years have seen a rise in indie comedies, action flicks, love stories, horror thrillers, and even period dramas. 

“Independent” doesn’t just mean digital, either, because even Hollywood has made the switch. Parts of Black Swan and 127 Hours were shot on Canon DSLRs. Upcoming films like The Hobbit and The Girl With the Dragon Tattoo had RED cameras — the same brand used by Star Cinema and some Cinemalaya productions. 

So, how would one delineate between indie and mainstream, I asked. 

Quality, he answered. He said that independent films offer “something different,” while mainstream films lack perspective because “their primary focus is to earn.” 

I said that isn’t always true. Anyone who’s seen a soft-porn “indie film” will tell you, crap isn’t limited to the confines of mainstream. And besides, the studios have produced some respectable movies lately — RPG: Metanoia and Temptation Island come to mind. 

The Bigger Picture

The truth is “independent” is just an economic term. All it means is that a film is made outside a major studio — a major studio, being a company with ties to TV, print, and other mediums. (For example, when GMA Films has a project, they get unlimited ad-time on Channel 7. Indie films don’t have that luxury.) 

But set that difference aside and you see a bigger picture: That we’re just one Filipino film industry, and it makes no sense for us to divide ourselves based on petty definitions. 

In fact, there are more things that unite filmmakers than divide them.  

All of us, whether indie or mainstream, want to better our craft. We all want our work to reach audiences. We all depend on this industry for our bread and butter. Whenever Filipino movies suffer, we suffer. Whenever Filipino movies do well, we do, too. 

Cinemalaya

If one were to build a cultural hub, I told the student, let it be for all Filipino movies. It’s time we cheer each other on rather than tear ourselves apart. 

Which brings us back to Cinemalaya. 

Cinemalaya has changed. It no longer occupies the fringes of public consciousness. Last July, its seventh edition saw record-breaking viewership — with 31 films, over 50,000 tickets sold, and packed screenings at both CCP and Greenbelt 3. 

This couldn’t have been achieved were it not for an exciting mix of independent talent and mainstream sensibilities. Big-name stars like Eugene Domingo drew audiences in, and once there, they were treated with a vast array of choices — from laugh-out-loud comedies to musicals to serious political dramas. 

The result: It wasn’t just students and film buffs at Cinemalaya, but also thousands of ordinary Filipinos going out of their way, resisting the temptation to buy tickets to Harry Potter, and instead see films that spoke to them. 

Creative Cooperation

Out of Cinemalaya, we’re finally seeing a new era of creative exchange and cooperation. 

For the first time in years, independent films are being picked up by mainstream studios. Star Cinema is distributing Cinemalaya Best Picture winner Ang Babae Sa Septic Tank, directed by Marlon Rivera. It grossed P20M on its first weekend. Regal Films acquired the fun romance flick Ligo Na U, Lapit Na Me, directed by Erick Salud. It opens on Sept. 7. 

Meanwhile, Origin8Media — which brought us Kimmy Dora — will take Jade Castro’s Zombadings 1: Patayin Sa Shokot Si Remington to theaters on Aug. 31. And Reality Entertainment promises a treat with Quark Henares’ Rakenrol, which hits cinemas on Sept. 21. 

Mainstream studios are also taking more chances on brilliant independent directors. Two of the many names to watch for are Chris Martinez and Jerrold Tarrog. Chris is the brains behind the indie hit 100, and box office wins Kimmy Dora, Here Comes The Bride, and Temptation Island. Jerrold started out with the edgy Cinema One project, Confessional, and then wowed audiences with last year’s Shake, Rattle & Roll episode Puneraria. He is now shooting Aswang with Regal Films. 

A Better Philippines

This can only be a good thing. The Philippines needs its film industry — not just for entertainment, but to build our economy. 

In the United States, Hollywood is among the few industries that are still thriving. Closer to home, our neighbor Thailand owes 12 percent of their entire Gross Domestic Product to film and related industries. Twelve percent. 

Lastly, there’s South Korea. Since 1966, their government has enforced strict laws that require theaters to play Korean movies. They protect their film industry, let it grow — and let it grow so much that it has even reached our shores. Today, Filipinos consume Korean movies, TV shows, and music. What we don’t realize is that this also increases demand for Korean fashion, food, tourism — and even markets Korean electronics and automobiles. 

These figures translate to millions of jobs created, families being fed, and children going to school.  

Imagine, if we just continue on this path we’re on — one day, it will be Koreans, Americans, and Thais buying tickets to our movies, consuming our products, and coming to the Philippines to visit our movie sets. Picture the possibilities. 

Director Jose Javier Reyes, who made such varied movies as Live Show and Kasal, Kasali, Kasalo, wrote a blog entry last month saying, “There is an entire generation of new, brave and brilliant filmmakers just waiting in the wings to bring Filipino cinema to new heights.” 

Indeed, the walls are coming down. 

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