A sense of astonishment came over me as I watched the trailers for this year’s Cinemalaya at a recent press conference held at the Cultural Center of the Philippines. I’m no film connoisseur but I gave my undivided attention and watched in awe at the cinematic proceedings. I shed a few tears at some point, feeling staunchly overwhelmed by the festival’s art and intensity, and then I felt goose bumps run up and down my spine at some point.
The music underscoring each one of these digitally shot films of the new wave filmmakers was heart pounding. The cut-to-cut of scenes took me through this escalating, sometimes undulating, journey. After all, the trailers were short but the anticipation ran long. Just goes to show how important editing is to the craft. It can make anything look (and sound) good, quality of content notwithstanding.
The press spilling out to a second floor because of an overflow of attendance was moving, in as much as Supreme’s Don Jaucian and I were asked to physically move ourselves to the upstairs portion of the press con for the time being since the press con hadn’t yet begun. Tables were full and everyone engaged in frenetic, energetic conversation. It was a far cry from how the “all-digital film festival” started eight years ago. It made me hope that the same excitement and enthusiasm could someday happen for the theater industry in the country.
There was palpable energy in the air. And the stars coming out in droves to support and promote their films was a sight for sore eyes. They mixed and mingled with the filmmakers and the press, went onstage, bade their token hellos as cameras rolled to capture both their glitz and glamour and better yet, the industry’s solidarity. It was neither a Kapuso nor a Kapamilya event. It was more of Katoto and Kabalikat — filmmakers and practitioners in arms.
There was a time when indie filmmakers had to beg for these stars and supernovas to be part of their films — whether it was for the kind of press and unprecedented buzz that they could bring to the table, or even just the skill set of being themselves, superstars of their craft. Nowadays, it seems the opposite. It is on the bucket list of every actor to take part in an indie film. Every leading man in tinsel town wants a Marty Escudero star turn in their very own Zombadings. Every leading lady or character actress wants a Eugene Domingo award-winning performance in Ang Babae Sa Septic Tank (and a kiss from Hong Kong star Andy Lau). This year’s industry hopefuls? Eye-spied: JM de Guzman, Iza Calzado, the Roco twins, Joross Gamboa, and yes, even Albie Casino, among others who weren’t able to make it to the press con.
This year, 25 new digital films will compete at the 2012 Cinemalaya Independent Film Festival and Competition from July 20-29, 2012, to be screened at the Cultural Center of the Philippines, Greenbelt 3 and TriNoma. This was announced by CCP artistic director Chris Millado who spoke alongside competition chairperson Laurice Guillen, but not before giving a moment of silence to honor two of Philippine theater’s fallen heroes — Mario O’Hara and Gantimpala Theater’s Tony Espejo.
With the addition of TriNoma this year as a venue for screening, he hopes that the festival that has been gaining traction of late will be able to accommodate the growing number of audiences that attend the Cinemalaya.
The festival’s main competition categories are the New Breed full-length feature category and the Short Feature category featuring works by new directors. Among the 10 films in the New Breed full-length feature (and possibly the most hyped and anticipated among the young and happening set) is Ang Nawawala, a film by Marie Jamora who has directed over 40 music videos that have won accolades from MTV to MYX. This is her first time to join the Cinemalaya and brings to the table years of video-making experience that givews her film an edgier and more youthful cut. Ang Nawawala is a piece on redefining relationship with family, friends and self, shot against the backdrop of the vibrant local music scene. It stars Dominic and Felix Roco, Dawn Zulueta, Marc Abaya and Jenny Jamora, among others.
With Ang Nawawala in this category are Aparisyon by Vincent Sandoval, set in the martial law era (not so much a political film as a character study, Sandoval reveals); Ang Katiwala by Aloy Adlawan; Mga Dayo by Julius Sotomayor Cena (this is the first Cinemalaya film to be shot outside of the Philippines); Diablo by Mes De Guzman about a man’s fallen wife; Intoy Syokoy ng Kalye Marino by Lemuel C. Lorca, a love story between a tahong caretaker and a cheap prostitute (the film stars JM de Guzman, LJ Reyes, and Joross Gamboa); Oros (which means gold coins in the Spanish deck of cards) by Paul Sta. Ana; REquieme! by Loy Arcenas (which stars the award-winning Shamaine Buencamino); Santa Nina by Emmanuel Quindo (which stars Coco Martin and Alessandra de Rossi and was inspired by Palo’s hometown experiences of Pampanga, post-Lahar); and The Animals by Gino M. Santos (about privileged children and their Dionysian indiscretions).
Similarly, 10 films will compete in the Short Film category, and five films in the Directors Showcase, including Bwakaw by Jun Robles Lana, Kalayaan (Wildlife) by Adolfo B. Alix Jr, Mga Mumunting Lihim (Those Little Secrets) by Jose Javier Reyes, Posas (Shackled) by Lawrence Fajardo, and Kamera Obskura by Raymond Red.
This year’s highlights will include a retrospective of vintage and rare Filipino film ads in the collection of art patron Danny Dolor, and a special retrospective on the works of Mario O’Hara, not to mention the participation of Pixar Studio’s Ralph Guggenheim.
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For more info, please call CCP Film Office at 832-1125 local 1704/05 and the CCP box office at 832-3704, or visit www.cinemalaya.org.