THE nine full-length features of Cinemalaya 22 deliver one of the most compelling slates in the history of the country’s first and oldest independent film festival.
Bold, intimate, varied, sincere, defiant-these films have completely restored my faith in the annual indie showcase after a few unworthy entries last year.
Overall, Cinemalaya has produced films that, despite the many odds, excel in technical execution, powerful storytelling, and the raw, natural acting of mostly non-mainstream cast members.
More importantly, the festival has always thrived on sparking a deep, empathetic engagement, leaving the audience to reckon with the timely social issues its filmmakers choose to tackle.
Anchored on the theme ‘Reel Reflections,’ this year’s lineup has indeed become a voice for the powerless and the marginalized (Ganggang, Hand of God, and 2 Valid IDs); a vehicle for the power of unconditional love and forgiveness (Tayo Lang ang Nakakaalam/Only Known to Us, Status: Rejected, and Kaka sa Yawan/Brothers by the River); and a stark exposition of morality and evil (A.ni.mál, Mag-iina, and Tirik).
Human dignity
INSTEAD of wallowing in misery, characters like Sylvia-brilliantly played by Pokwang (Marietta Subong in real life) in 2 Valid IDs-and Farida-performed with nuanced subtlety by Iza Calzado in Hand of God-take matters into their own hands to regain their human dignity.
Ma-an L. Asuncion-Dagñalan, the 2022 Cinemalaya Best Director (Blue Room), directed 2 Valid IDs from a screenplay by award-winning television and film writer Abet Pagdagdagan Raz. The film effectively mirrors the daily struggles of ordinary Filipinos beyond proving their identity.
Hand of God, meanwhile, marks the successful Cinemalaya feature directorial debut of television and film writer Mark Duane Angos from his own screenplay. His heartwarming story and honest storytelling techniques successfully elevate the film’s theme beyond the confines of a war-torn village.
Healing and forgiveness
A SIMILAR resilience shines through the struggle of keeping a beloved or finding forgiveness and healing as the protagonists of Tayo Lang ang Nakakaalam (Neil, achingly portrayed by Martin del Rosario), Status: Rejected (Biring, fleshed out with utmost sensitivity by Ruby Ruiz), and Kaka sa Yawan (the adult Niko, played by Beaver Magtalas) choose to remain unwaveringly hopeful in the end.
Tayo Lang ang Nakakaalam, which filmmaker and educator David R. Corpuz directed and co-wrote with fellow filmmaker, multimedia artist, and director Iar Lionel Arondaing, effectively illustrates the parallelism between an unaccepting society and an equally unaccepting family when dealing with those suffering from the human immunodeficiency virus.
First-time Cinemalaya director Vahn Leinard C. Pascual collaborated with Jaymar Castro and Ivan Villacorta Gentolizo in Status: Rejected, a painfully delightful film about succumbing to a love scam in a desperate search for real love.
Pascual succeeds in maintaining the seamless continuity of the film’s atmosphere, setting, narrative, and ensemble acting-especially with the spirited character of Tessie (played by Beverly Salviejo) as an energetic counterpoint to Biring’s gloomy character. Ruiz’s deeply believable performance delivers an emotional rollercoaster that steals the film’s every scene.
Alpha Habon also makes his Cinemalaya feature directorial and screenwriting debut in the memorably heart-tugging Kaka sa Yawan (Brothers by the River). He has beautifully woven into his stirring story of forgiveness and healing the indigenous practices, beliefs and traditions of the Tadyawan, one of the eight Mangyan communities in Oriental Mindoro.
Apart from the ensemble’s commendable performance, Noelle Polack’s subdued but strong portrayal of a grieving Tadyawan mother (Ina) to the child character Ayan stands out as a resilient emotional anchor for the film.
Complex backdrops
SET against the complex backdrops of societal injustice, moral conflict, structural decay, and the reign of evil are Ganggang, A.ni.mál, Tirik (To Set Upright), and Mag-iina (The Mothering).
The ensemble of Ganggang-a film directed and written by JL Burgos, the 2020 Cinemalaya Special Jury Prize winner (Alipato at Muog)-delivers a fierce, unyielding response to militarization, forced disappearances, and extrajudicial killings.
In A.ni.mál, multiawarded filmmaker, playwright and educator Dustin Celestino, the 2023 Cinemalaya Special Jury Prize winner (Ang Duyan ng Magiting/The Cradle of the Brave), effectively uses an act of animal cruelty as a dark metaphor for how corrupt leaders treat public service with the same callous disregard.
Celestino’s talented ensemble cast competently breathes life into their characters, but acclaimed singer and actress Bituin Escalante’s portrayal of Dr. Grace Reyes, the wife of the governor, brilliantly stands out.
Tirik shows a casual interaction turning into an intensive odyssey about justice and redemption between a conflicted priest and his taxi driver-parishioner. This spiritual collision unfolds over the course of a single day based on a screenplay by multiawarded fictionist, novelist and screenwriter Charlson Ong.
First-time Cinemalaya director May-I Guia Padilla masterfully draws out the raging psychological warfare between her two primary characters, Paring Bert and Santos-played with committed passion by Rocco Nacino and Floyd Tena, respectively-amid beautifully composed, scenic cinematography.
What sets Mag-iina apart from this year’s Cinemalaya roster is its gothic framework, spinning a horrific family saga authored by multiawarded playwright, actor, translator, and director for the stage Guelan Varela-Luarca. The screenplay is adapted from Luarca’s full-length play Corridors, which won first prize at the 72nd Carlos Palanca Memorial Awards for Literature in 2024.
Directed by filmmaker, writer, translator, dramaturg and educator Giancarlo Abrahan, 2014 Cinemalaya Best Director and Best Screenplay winner (Dagitab), the film stands out for its haunting musical score and its talented ensemble cast, highlighted by the formidable performance of Jackie Lou Blanco.
Ultimately, these nine films do more than merely mirror our current realities and collective struggles-they lay a hopeful foundation for the next visionaries of Philippine cinema.
The recently concluded Cinemalaya 22 was co-organized by the Cultural Center of the Philippines and the Cinemalaya Foundation, Inc., with support from the Film Development Council of the Philippines.