Will we see more groundbreaking films like the documentary and best picture winner “Sunday Beauty Queen,” and the animated feature “Saving Sally,” which recently brought home prizes from the Fantasporto fest in Portugal?
Or will we see the return of formula crowd-pleasers like Enteng, Vice and their ilk?
The future may seem uncertain, but for these filmmakers, members of Batch 2016, who slugged it out against all odds (and persevered in spite of extreme resistance from some industry insiders), hope springs eternal.
Here’s their wish list for MMFF 2017.
AVID LIONGOREN
Director, “Saving Sally”
I am not super familiar with the new people in the execom (as I am a newbie in the industry), but I hope they will be as good as (2016 execom member) Moira Lang, who took the time to guide newcomers like me on the ins and outs of the business.
BABY RUTH VILLARAMA
Director, “Sunday Beauty Queen”
The MMFF is about finding the best-produced stories of the year and giving the Filipino audience something memorable and worthy of their ticket purchase. I hope the submission rules will stick to picture-lock (finished) films (as a requirement) to give a fair chance to all filmmakers across the Philippines and also to give the annual festival its edge.
CHRIS MARTINEZ
Scriptwriter, “Ang Babae sa
Septic Tank 2”
I hope that having new members on board doesn’t mean going back to the old ways. We should take the learnings from last year’s successes, as well as the lessons from its failures. Whatever the perfect model is for the MMFF cannot be achieved with just one try. One thing is for sure, though: There is only one direction for real change and that is never backward; always forward.
CHUCK GUTIERREZ
Producer, “Sunday Beauty Queen”
I personally welcome the new execom members. They will surely bring fresh ideas to the table. What’s troublesome is the inclusion of certain personalities involved in the 2015 MMFF scandal. We’ve already proven that Filipinos yearn for great Filipino films during the festival. We cannot afford to go back to the dark ages again.
THEODORE BOBOROL
Director, “Vince & Kath & James”
I would like the MMFF to continue what it started last year, especially in selecting the movies. I believe, and I am hopeful, that based on last year’s results, the producers will be challenged to submit high-quality work. The priority should still be … selecting “quality” movies for the festival, regardless of whether they’re produced by independent producers or mainstream studios.
PERCI INTALAN
Producer, “Die Beautiful”
Of course, with the box-office result of our entry “Die Beautiful,” we definitely view last year’s MMFF as a success and have to thank last year’s execom for making that happen.
Bravo to them for laying the groundwork, no matter how challenging it was.
I would like to think that the new execom also means well for the industry and the audience, and I trust that they will look into how to make things even better.
I hope they continue to bring out the best in filmmakers and continue to rally both the audience and theater owners to celebrate how great Philippine cinema can be.
And I hope there won’t be any “us” versus “them,” no more “indie” versus “mainstream” mentality. We are one industry, and it’s time we all work together and bring out the best in one another.
SHANDII BACOLOD
Producer, “Oro”
It is comforting to think that the largest festival in our country got some balls! If MMFF 2016 was all about “change,” I think it was a success. Their so-called “reelvolution” was remarkable. With the new execom, the fitting question would be: Will they continue the [process of] “change?” Will the “reelvolution” prosper? Or will they take the same old path?
Whatever direction the new execom will take us, I hope it will be for the industry, as we move forward toward a positive evolution.
And when I see MMFF head Tim Orbos in person, I want to ask him: “What happened to Moira Lang and Ed Cabagnot?”
REAL FLORIDO
Director, “Kabisera”
MMFF 2016 was one for the books. It was successful in introducing big game-changers to the festival. The changes in the current execom are rather interesting. Why call it a new execom when in fact only two major players were removed from the group: Moira Lang and Ed Cabagnot?
This year’s edition should offer more improvements, based on the learnings from past editions, especially from last year’s.
The committee must maintain the standards set by MMFF 2016. Quality should still be the top priority.
This year’s execom must address issues on fair cinema distribution, marketing strategies and stronger alliances with theater owners and other stakeholders that will promote all entries.