I do not exaggerate when I say that we save our souls when we are able to watch good movies. It’s like reading great literature, watching riveting theater, and seeing beautiful paintings and sculpture. Good movies enlighten, enrage, and/or uplift; they makes us laugh and cry, reminds us of our history, and can change our minds, even making us act. While foreign films can have this effect, art being universal, there is nothing like Filipino films to stir our souls.
Kung Mangarap Ka’t Magising, Mike De Leon’s entry in the 1977 Metro Manila Film Festival, compelled me to climb up to to Sagada, Bontoc shortly after I watched that love story of a young music student (played by Christopher de Leon) and an unhappy wife (performed by Hilda Koronel). Two epic movies of Eddie Romero Ganito Kami Noon, Paano Kayo Ngayon? (starring Christopher de Leon as the young Tagalog who discovered he was a Filipino during the 1896 revolution) and Aguila (starring Fernando Poe Jr. as a Filipino politician who lived through most of the 20th century, witnessing the Philippine revolution, World War II, and martial law) both influenced my thinking about our national identity. And of course, the films of Lino Brocka—among others, Tinimbang Ka Ngunit Kulang, Insiang, and Maynila Sa Mga Kuko ng Liwanag—framed for many in my generation what was wrong with our society. Sister Stella L (another Mike de Leon film), Sacada (directed by Behn Cervantes) and Bayan Ko, Kapit sa Patalim (also by Brocka) were critical in awakening consciousness and inciting resistance against the Marcos dictatorship. And of course, the work of Ishmael Bernal, Celso Ad Castillo, Gil Portes, and others have provoked, disturbed, and inspired us through the years.
Lately, it’s the independent filmmakers that have carried on this spirit. Lav Diaz (Norte and other five-to-seven-hour long movies), Pepe Diokno (Above the Clouds), and Jerrold Tarog (Heneral Luna) are some of the directors whom I admire. Fortunately, someone like Brillante Mendoza (Ma Rosa and Thy Womb, among others) and Erik Matti (On the Job) have crossed over to become commercial filmmakers as well. Among documentary film makers, I will be remiss if I do not mention my friend Ditsi Carolino (Bunso, Minsan Lang Sila Bata, and others).
We need more of this crossing over from indies to commercial films. I was excited when the 2016 MMFF selection committee led by the venerable Nick Tiongson announced the eight official entries for the annual festival, applying a reformed criteria: story, audience appeal and overall impact (40 percent); cinematic attributes or technical expertise (40 percent); global appeal (10 percent); and Filipino sensibility (10 percent).
In an interview reported by the Philippine Star, Tiongson admits the risk in this decision but insisted that the changes are worth it, pointing out “Turtles only make progress when they stick their necks out.”
As expected, there has been some fallout. Lily Monteverde, whose Mano Po 7 movie was rejected, argued, “There is a time for the indie movies. But not during the Christmas season. Christmas is for the family.” Senator Tito Sotto tweeted, “First time in MMFF history, no movie for d children! They forgot that Christmas is for d children! MMFF Select comm, are you kidding?”
My friend Inday Espina-Varona, who is in Bacolod, laments: “Now we know who are killing the Philippine movie industry. The rapacious cartel of big producers and movie house chains that are spitting not just on this year’s #MMFF but on the very idea that Filipinos deserve quality cinema during Christmas.
No, neither SM Cinema nor Robinsons’ theaters in Bacolod have Saving Sally or Sunday Beauty Queen.
Instead, they continue to show two films booted out of the MMFF shortlist for their obvious lack of quality.
The only MMFF movies they are showing are from the big producers, too. At least, Rob has Seclusion, perhaps a nod to the director, who hails from Bacolod.
“Nahiya silang mapahiya ng smaller films. Talagang nakakahiya.” In an update, she messaged me that it looks like Saving Sally will be shown in one theater in Bacolod.
Definitely, Saving Sally is a must-watch film. The movie, directed by Avid Liongoren, was made over 10 years, drags a bit, and might have been more commercial if the dialogue were in Filipino; but the visuals are great, with animation and live action goes together well with excellent performances by Rhian Ramos (Naturally Gorgeous is her nickname in this movie) and Enzo Marcos. It has a great script by Charlene Sawit-Esguerra as well, with such witty lines by Rhian as Sally telling Marty played by Enzo —“The law of best friendship is that it requires you to flatter me.” Or Toto the publisher saying to Marty that he expected comics that would be about chaos and mayhem and instead got a love story, and the response of the latter will be well remembered—“Isn’t that what love is all about?”
Audiences will especially love the ending of Saving Sally. Watch out for that moment when you find out what Sally has been building all those years they have known each other since she saved Marty from a bully in sophomore year high school and the words that came out of her mouth, telling Marty: “I don’t need it, I am staying here with you.” If you have ever loved and was unrequited first but never gave up until the good unimaginable happened, then this movie is for you. But regardless of your romantic life, watch it just the same. You can always love and live vicariously.
For other movies that can make you laugh. there’s also Ang Babae Sa Septic Tank 2: #ForeverIsNotEnough starring Eugene Domingo, Sunday Beauty Queen (about OFWs in Hong Kong preparing for beauty pageants), and Vince & Kath & James (about teen love and reported to be so far the top grosser of the 2016 MMFF).
More serious are Die Beautiful with Paolo Ballesteros in the lead role, Seklusyon (a horror film by Matti), and Kabisera starring Nora Aunor and depicting a family hit by an extrajudicial killing. And then there is Oro.
Oro must be watched for its acting (Mercedes Cabral, Joem Bascon and specially Irma Adlawan are so believable; having been in islands like the setting of the movie, I have met many like them) and for the disturbing questions it raises. At the end of the movie, directed by fellow Ateneo de Manila professor Alvin Yapan, one is reminded again about how unjust our society is and why people take up arms in this country. The movie, based on actual events that happened in Camarines Sur which filming was supported apparently by Bicolano politician Wimpy Fuentebella, tells us the poor, pre- or post-Duterte, has nothing to hope for in this country. They will be killed like animals by the powerful with impunity.
I wished that the film were more balanced about the negative impacts of small scale mining but I am glad that it frames the social justice issues around this type of mining correctly. It is unafraid to take the side of small scale miners vs so-called environmentalists (goons actually who have corrupted environmentalism if the movie is to be believed) who actually also have their own self-serving material interests.
So go and watch Oro, Saving Sally and other MMFF films, and save Filipino movies from mediocrity. In doing that, we save our souls too.
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