Is “marriage” between mainstream cinema and indie movies possible?
The question was raised during a recent musical presentation at the Cultural Center of the Philipines, “Pinilakang Tabing: Handog sa Pelikulang Pilipino,” which looked back on local cinema’s 92 years.
Written by Floy Quintos and directed by Chris Millado, “Pinilakang Tabing” featured Dulce, Mitch Valdez, Bituin Escalante, Jolina Magdangal, Tanghalang Pilipino Actor’s Company, Ballet Philippines and the Philippine Philharmonic Orchestra, to name a few. It was organized by the Movie Workers Welfare Fund (Mowelfund), Film Development Council of the Philippines (FDCP) and the CCP.
The performances were prefaced by audio-visual presentations and commentaries on industry milestones, from Jose Nepomuceno’s 1919 film “Dalagang Bukid,” to the current indie film revolution.
Erap’s lament
But “Pinilakang Tabing” also served as an occasion to discuss pressing issues. In his keynote speech, former President Joseph Estrada, Mowelfund founder, lamented that piracy, the Internet, and new forms of audio-visual entertainment have led to a progressive decline in film production.
Estrada said that the Philippines, once a heavyweight in Asian movies, has taken a backseat to neighbors South Korea, Hong Kong, Thailand and Indonesia. He challenged industry leaders to steer Philippine cinema back to its golden years by “striving harder and exploring new formulas.” He also urged government to support the industry.
Offstage, Mowelfund executive director Boots Anson-Roa told Inquirer Philippine cinema is at a crossroads owing to the recent surge of indie films. “There’s this push and pull between mainstream cinema and the indies,” she said. “I think what would really be healthy is a marriage between the two. After all, we’re talking about just one art and one craft.”
Film Academy of the Philippines director general Leo Martinez echoed Roa’s sentiment that collaborations between mainstream and indie filmmakers would be beneficial. It’s unfortunate, he said, that people appear to have developed the notion that indie films are superior to their mainstream counterparts.
“The public seem to be confused,” he said. “Some award-giving bodies consider only indie films now. What message does that send? That mainstream movies are no good?”
The trick, Martinez said, is to strike a balance between presenting fresh ideas to viewers and making substantial profit. Aiming for profit is not essentially inimical to artistic expression, he stressed. “The dominant thinking now seems to be, ‘We don’t care about making money; we just want to say what’s on our mind.’ That’s good, but [in the long run], the industry cannot survive on that.”
Hard climb
Roa admitted that pulling up the yearly output to at least 150 films would be “a very hard and interesting climb.” She remains optimistic, though, that with Filipino filmmakers’ creativity and talent, nothing is impossible. “It may take a little while, but the seeds have been sown,” she said. “It’s just a matter of nurturing those seeds.”
She pointed out that the film industry had confronted countless setbacks, but that Filipino resiliency had helped it bounce back. “We are survivors,” Roa said. “So is our movie industry.”