PISTA NG PELIKULANG PILIPINO: Films of Alternative and Other Stories

Underneath its grandeur, the intent of cinema is to preserve a fragment of history; to immortalize the momentary flames of revolution and freedom. It capitalizes on the human experience; our predicaments and pleasures—nothing but mere materiales fuertes. It is as intricate as it is blatant.

strongest in cinema. But now is the end of that era—Filipino films are here to reclaim its rightful place, and Pista ng Pelikulang Pilipino is here as one of its catalyst.

The Filipino Psyche

Engr. Amoyo, Patrick B.

Engr. Atienza, Andrew P.

Engr. Avenido, Ma. Lynel M.

Engr. Balba, Richie G.

Engr. Baldeo, Eloise B.

Engr. Biago, Trisha Marie

Engr. Cagaoan, Leandro

Engr. Calatin, Allan

Engr. Caldo, Amelia M.

Engr. Camartin, Rolly G.

Engr. Caparal, Jonald V.

Engr. Catan, Bryan Anthony P.

Engr. Celestial, Elmar L.

Engr. Chavez, John Karlo S.

Engr. Cosico, Nelyn

Engr. Cruz, Jemsel C.

Engr. Cuevas, Aeron Glen N.

Engr. Custodio, Maria Cecilia A.

Engr. Delos Santos, Aaron G.

Engr. Deomampo, Meljohn A.

Engr. Dioses, Jeovanie C.

Engr. Domingo, Hillary May

Engr. Fadullo, Anthony M. IV

Engr. Faminial, Maria Bernadette pictures like Bakwit Boys (2018) and Balangiga: Howling Wilderness (2018) the contrast between the imaginary and mundane are evident, attesting to the festival’s range and inclusivity. In 2017, hits like 100 Tula para kay Stella and Patay Na Si Hesus served as confirmation to PPP’s ability to congregate the visceral and intellectual, as the former and latter appealed both to the masses and critics. In showcasing our collective danas of the bizarre and simple, the Filipino psyche was amplified through these films in a way it has never been before.

Engr. Garcia, Jean Lyneth D.

Engr. Gomez, Lexter James A.

Engr. Lanting, Emmanuel Engr. Laxamana, Lord Jayson V. Engr. Legapi, Venny Rose G. Engr. Lirio, John Michael Engr. Luna, Lee Andrew Engr. Luna, Prince Roque Engr. Macasadia, Jayvee J. Engr. Macayanan, Ralph Julius T. Engr. Malipol, Alvin M. Engr. Malipol, Cee-Jay Engr. Mañibo, France Kevin Engr. Mitra, Emmanuel S. Engr. Moresca, Marphyl D. Engr. Mutuc, Ruel O. Engr. Polido, Jake M. Engr. Ramos, Kristian Jay S. Engr. Recillo, Jovele M. Engr. Ruiz, Justine V. Engr. Sandoval, Ronald Rey M. Engr. Sarabia, Jasha Engr. Saribong, Princess P. Engr. Seno, Abelyn B. Engr. Sotto, Shane Joy D. Engr. Velasco, Vijay R.

Filipinos are, to say the least, enamoured by the beauty of film: from its subtle elegance to its bigger-than-life theatrics. But in the context of prejudice and identity, the cinema we consider consummate to consume defines and reveals who we are as a nation. We are aficionados of Hollywood pictures—these movies, we put them on top of pedestals like the pseudo-divinities they are. For ages, we were led to believe that imagination and depth are exclusive to the foreign reel, and everything else is mediocre if not atrocious.

Our danas or experiences as a nation are often misrepresented in local mainstream films. There was never a shortage of cinema in the Philippines—in fact, productions are launched almost in monthly tranches. But since most of these films are focused on emulating the aesthetics of its foreign counterpart, the essence of being a Filipino, the becoming and undoing of one, is often lost. While it is true that there are independent films that dissect our danas, these films are supposed for art houses and a select, elite few. They require an in-depth critique of nuances and allusion in order to be understood (and appreciated) which a casual movie-goer does not have time for.

Renaissance Of Philippine Cinema

The Golden Age of Philippine Film are over but masterpieces like Himala (1982) and Oro Plata Mata (1982) are still revered up to this day. But there is a phoenix rising up from the ashes of its former self. It is Philippine Cinema—destined for a renaissance.

ensured. The Filipino consumer’s taste, along with the evolution of cinema, becomes more complex. While our preferences are relative, and the Hollywood state-of-mind is still at default, our inclinations are now slightly swerved to our own. Rebirth comes from within, and only if we take it as our own, support our own cinema, that renaissance can commence. Films are periodicals as it is fiction. It reveals and revels itself with our humanity as Filipinos; our desires, our shortcomings. Festivals like PPP serve as platforms for these stories, and in return, make us introspect and contemplate about our own. In moments when we are faced with a choice, in line at a movie house, torn about what to see—I hope we remember our psyche, and choose to see the Filipino danas

Aguinaldo, Aya Mikhaela G., RPm

Alejandro, Julius Isaac, RPm

Andaya, Izamari C., RPm

Bautista, Zyrone Arao, RPm

Belen, Maria Bianca A., RPm

Casapao, Arianne L., RPm

Cruz, Ruth Jezreel F., RPm

Cura, Jerome A., RPm

De Leon, Fatima Joie L., RPm

Dizon, Clarice Andrea R., RPm

Gimenez, Rohm Iber G., RPm

Inot, Mary Ann T., RPm

Lim, Michaella L., RPm

National Passing: 47.73% PUP-STB First Timers: 71.5% National Passing 25.18% PUP-STB First Timers: 22.22%

Glociel Jojo dela Cruz, CPA

Rhealou Aquino, CPA

Jennet Castillo, CPA

John Patrick Javier, CPA

Joahna Opulencia, CPA

Mary Glaine Punzalan, CPA

Jenlyn Parducho, CPA

Maria Carmella Vibal, CPA

Lino, Bea Loujane R., RPm

Lirio, Trendy Anne Lourdes G., RPm Marasigan, Cheryl T., RPm

Marqueses, Jeffrey M., RPm

Mulingbayan, Katherine A., RPm

Pacia, Jhovy Angel A., RPm

Palmiano, Rafael G., RPm

Parjan, Abbygail G., RPm Pellerin, Samantha Gabrielle M., RPm

Perez, Lita Mindy C., RPm

Platon, Ronald Allan D., RPm

Rodriguez, Jezel L., RPm

Sapin, Adrienne Ruth A., RPm

Siegrist, Alyssa N., RPm

Soberano, Angelyn C., RPm

Tolentino, John Allen P., RPm

Neocolonialism manifests itself

Gravitas Of A Bridging Fest

This is the goal of PPP: to bridge the eccentric with the typical. Started in 2017, the festival’s mission is “to recognize Filipino artistry in films, promote our country and its talents globally, and protect our film cultural heritage.” Although not the first of its kind—with Cinemalaya, C1 Originals, QCinema, and other film fests pioneering the movement—it is the first one to be statesponsored. In

Directors like Lav Diaz (Hele sa Hiwagang Hapis, Ang Babaeng Humayo), Brilliante Mendoza (Ma Rosa, Thy Womb), Kidlat Tahamik (Perfumed Nightmare, Turumba), and Pepe Diokno (Engkwentro) have been dominating international film festivals with their genius. With PPP not only encouraging but also funding young Filipino filmmakers to create pictures about the Filipino experience, the progress of the art form is, without a doubt,

Maria Carmella Vibal, CPA

FINDING EVERYONE’S, LOSING HERSELF

When something’s misplaced

And the finder is in haze

As things were in the brink of uncertainty, She’s the one who grants someone’s plea.

She sees unintended hidden patches

Her eyes are water stream of limpidness, A glass in transparence, Could have lent even the slight evidence.

She serves her spirit so the missing fragments would be filled up

Over herself, putting anyone’s sake on top

She offered the nation a light to be its lamp: Her son, Apolaki, the god of Sun.

Yet, behind the courage and full dress, There’s the striving broken lens Bursting drops at times of darkness, Agonizing mind in restlessness.

She, Alagonay, the goddess of lost things, Whom people seek to find for their absent piece Had already lost her own soul, Became a castaway of her own ghoul.

Ang Modernong Bakunawa

Pitong buwan na nilikha ni Bathala

Magandang liwanag ang nililikha

Ganid na ugali ng Bakunawa

Anim na buwan ang kinain at nilapa

Isang buwan na natitira

Pilit na pinaglaban ni Bathala—

Para sa kaniyang masa.

Mga mamamayang lumalaban

Mga kawali at palayok ang naging sandigan

Sa eklipse na kanyang nililikha

Magagandang musika ang kinukumpas

Umaasa na tuluyang mapatulog ang ganid na buwaya

At mapatumba hanggang sa kanyang wakas

Parang mga lider ng bayan

Anim na taong nasa pwesto

Korupsyon ang umiiral sa kanyang pag-upo

Ganid sa salapi at yaman

Tila kinain na ng sariling mundo

Mga mamamayan naman ang nagsasamo

Pilit pinaglalaban ng mamamayan

Kanyang karapatan sa lider na nakalugmok

Tila bingi at bulag sa katotohanan

Iniiwasan ang tunay na kaganapan

Paligid niya’y nababalutan ng itim na usok

Para sa sariling kaligayahan

Umaasa ang nasasakupan

Magandang kinabukasan para sa bayan

Sa bagong lider na mauupo

Pangako na hindi napapako

Malinis na sistema ng bayan

Para na rin sa mga kabataan