Cinemalaya’s Awarding Night marked the end of the festival, celebrating the best of Philippine filmmaking. Yet, behind the scenes, countless individuals—from production managers to service providers—worked tirelessly to make it all possible, deserving their own recognition.
While we have the filmmakers who produced and brought their compelling stories to the big screen, we also have the technical crew, led by technical director Rodel Valiente. For the past 20 years, he has been making sure that all Cinemalaya films are ready to be screened, making sure that there are no problems with the KDMs and DCPs.
In one Cinemalaya edition, he was rushed to the emergency room but left after eight hours to ensure the films were ready for the 10:00 a.m. screening. That’s true dedication.
I love what director Chuck Gutierrez wrote in one of his Facebook posts: “Through every challenge and technical hiccup, [Rodel] has skillfully navigated a myriad of formats and hard drives, ensuring that each film finds its way to the screen. Rodel’s patience and commitment have gracefully handled every delay and excuse, consistently making it possible for stories to be told and dreams to be realized. His quiet perseverance and unwavering support have made him an indispensable part of the Filipino film community, touching countless lives with his dedication to the art of film.”
Then, there is the production design team, led by Nes Noviza and Ricardo Eric Cruz, who always make sure that there are Instagrammable marquees. The Balanghay at the Central Garden of Ayala Malls Manila Bay is simply ingenious. It took them days to build it from scratch. And since they could only work after the mall hours, the crew lost sleep just to finish the Cinemalaya display.
We have the Front of House staff, led by Jocel Pacada and Zham Pescadero. They are the festival’s frontliners — the individuals who constantly face criticisms and complaints from audiences and yet they handle everything professionally and with dignity.
We wouldn’t have exhibits without the Visual Arts Division, led by Rica Estrada and Ado Enciso. The Visual Arts staff, along with the production and technical crews, are often the first to arrive and the last to leave. They ensure that every film’s iconic objects, behind-the-scenes photos, posters, and filmmaker portraits are prominently displayed.
Of course, the production managers and stage managers, led by Nikki Torres, Soc Amon, Alfa, Bojo Barnes, Baha Vergara, and others, who make sure that all the special events and talkbacks would run as smoothly as possible.
Cinemalaya, for me, is more than just a festival. It is a community. Filmmakers, production staff, and audiences come together to celebrate the best of Philippine filmmaking, to converse about controversial topics presented by the films, and to connect.
This is the reason Cinemalaya is also the most fulfilling event.
Filmmakers often support one another despite the competition. They read scripts, watch films, celebrate victories, and share struggles, empathizing through shared experiences. Cinemalaya alumni return each year to back new filmmakers, understanding the challenges of working with limited budgets and finding supportive producers.
When the news on the cancellation of a documentary broke out, Cinemalaya drew flak from netizens, calling it “duwag” and questioning its being “malaya.” I remember the frustration I felt when I could not defend the festival because anything I said would probably end up on news pages.
And then, a post from a Cinemalaya alumnus came. It was shared around among the production staff. I messaged Dustin Celestino, thanking him for his post. His reply – “Mahal namin kayo ni Janel. Alam naming ang mga tao sa likod ng Cinemalaya ay matatapang” – brought tears to me, and it still does even now.
Our staff went above and beyond: one secured a ticket for a teacher from Kidapawan who couldn’t buy one due to a sold-out screening, and an assistant production manager walked a long distance to help a supplier.
There were many interesting interactions with the audience. I remember a mother and her son who asked how they could buy or reserve tickets for Balota because Mommy Weng (as she introduced herself) is a big fan of Marian Rivera. Days later, I felt a tap on my shoulder. When I turned around, I saw Mommy Weng and her son. They were able to buy tickets for that day’s screening. She said they recognized me from that previous day and wanted to thank me for accommodating them.
“Pasensiya ka na, baka nakukulitan ka na sa akin,” I remember her saying, to which I answered that was not the case. I was just happy to help and talk with them.
Cinemalaya taught me the value of responding to inquiries, checking on staff, showing gratitude, accommodating others, and trusting our team. While the festival may have ended, its impact remains, championing marginalized voices and social justice. With dedicated supporters, Cinemalaya will stay with us long after the credits roll and the lights fade, and endure for many years to come.
