Artistic freedom and recognition in the Cinemalaya Film Fest

(This article was first published in print in issue 6 of the Philippine Collegian on 18 July 2012.)

by Inah Anunciacion

Screencaps at https://www.you-
tube.com/watch?v=f1oWIYRoaEE

The UP Cine Adarna theater was packed with an audience of around 800 indie fans and casual moviegoers on July 7 for the Philippine premiere of Emerson Reyes? full-length film debut.

The film, MNL 143, was disqualified from joining this year?s Cinemalaya Philippine Independent Film Festival after the film festival?s organizing committee disagreed with the director?s casting choices for the lead actors.

Cinemalaya claims to be a film festival which fosters artistic freedom and an organization whose very existence seeks to provide alternatives to traditional contemporary filmmaking. However, the case of MNL 143 opens up a relevant question: how faithful can filmmakers remain to their own vision of independent filmmaking without risking their chances in the festival?

Editor?s Cut

Already in its 8^th year, Cinemalaya has attracted aspiring filmmakers through its reputation of encouraging freely conceptualized films by local filmmakers. Every year, 10 film projects are chosen, funded with a seed grant of P500, 000 and allotted 12 months to be completed.

Early this year, Cinemalaya made headlines because of its selection committee?s objection to Reyes? preferred actors for the lead roles. The committee did not favor the casting of actors Alan Paule and Joy Viado, believing that these actors do not suit the characters of the film.

?The basis of our interest in casting is that we want competence, suitability to the role, and greater audience acceptability,? according to the letter sent by Cinemalaya Competition Chairperson Laurice Guillen Feleo to MNL 143 producer Nestor Abrogena.

Creative control over the film was not part of the general agreement of the 8^th Cinemalaya. But as the provider of the seed grants, Cinemalaya is in partnership with all the films participating in the event, hinting suggestions towards a more remarkable festival, Guillen explained.

Reyes, however, did not comply with Cinemalaya?s casting recommendations, eventually resulting in his film?s disqualification from the festival. The film?s slot was consequently replaced by Gino M. Santos?s The Animals.

?For certain Cinemalaya officials to insist on replacing the director?s choices with their own [cannot] be countenanced because it strikes at the core of the filmmaker?s freedom to pursue his original artistic vision,? according to UP Film Institute?s statement on the issue.

Cinemalaya was envisioned as a track for beginning filmmakers by providing them with the freedom to employ their artistry in their craft. Should the festival committee insist on intruding into artists? creative processes, Cinemalaya will no longer be pushing for a free Philippine cinema.

Director?s Cut

As an independent filmmaker, Reyes has the artistic license to meld his film in what he thinks is best. MNL 143 promises to be nothing like a stereotypical indie film with high contrast, low saturation, and shaky camera shots that unabashedly exploit images of third-world poverty. In one sequence, the film romanticizes the Metro by showcasing in full colors the main character Ramil?s last trip as an FX driver around Metro Manila. He plans to return abroad as an OFW after five years of hopelessly searching around Manila for Mila, a woman he left behind when he left the country to work abroad.

The film explores the concept of space in the context of the Filipino urban experience. Filipino commuters grudgingly share the limited space of public vehicles every day, providing involuntary contact among strangers, and making themselves accidental characters in each other?s stories. The fragments of the passenger?s lives, overheard conversations, silent tears, and hypocrisies all define the social setting, allowing Ramil?and the audience?to take a wider look at the reality outside the cramped space of the FX.

Romantic films typically feature an attractive, young couple as lead actors. In MNL 143, Reyes attempts to go against this expectation by casting Paule and Viado in what was supposed to be realistic love story. This casting decision is central to the film?s message: that feelings of longing and heartbreak is a universal human experience, regardless of social class or even physical appearance.

In a third world city, romantic quests like that of Ramil?s may seem to be the least of the people?s priorities. However, tales of romance remain popular, especially among people looking for escape from their harsh everyday realities.

The film?s romantic tone contrasts sharply with the bleak city as its backdrop. However MNL 143?s skilfully edited highly saturated composition presented an unnaturally fantastic take of Metro Manila. By distorting reality, MNL 143 seems a form of escape. The director?s original vision in his material and cast were evidently unheeded by Cinemalaya.

Final Cut

Originally intended to be a non-profit, non-government organization that supports the artistic growth of Philippine independent cinema, Cinemalaya seems determined to pull in audiences this year. Besides the disqualification of MNL 143 over casting choices, prominent actors like Dennis Trillo, IzaCalzao, Coco Martin, and JM de Guzman also grace this year?s line-up of films. This issue may have played a role when film critic Francis Joseph Cruz resigned from the Cinemalaya selection committee in February, saying he can no longer work for a system he no longer believes in.

The film festival is funded by Cinemalaya Foundation Chairperson Antonio Cojuangco, Jr. with the support of the Cultural Center of the Philippines and Econolink Investments, Inc. Its films are entered into different international film competitions such as the Cannes Film Festival. While Cinemalaya claims to encourage filmmakers? artistic freedoms, profit remains an important aspect in this business. The relative unpopularity of independent films and the lack of venues willing to risk showing these films inevitably lead to limiting the film?s access to Metro Manila and select urban centers. While most independent films point their lenses at marginalized sectors of the Philippines that are hardly explored by mainstream cinema, the core audience of independent films are still middle class academicians, critics, and the cultured elite.

Local mainstream cinemas are flooded with romantic comedies and fantasies that are specifically designed for a transitory entertainment purpose. At this age of an audience-oriented cinema, there is a dire need for independent films in the country that takes risks in creating innovative art, a far cry from the profit-based mainstream cinema. Cinemalaya must uphold this purpose.??

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