PRAY, TELL, ASIDE from the Gawad Urian of the Manunuri ng Pelikulang Pilipino (MPP) or perhaps Young Critics Circle (YCC) what other award-giving bodies in the Philippines during awards rites act as mouthpieces of the exposition, discussion and recommendation of social problems that are surely related to show business, scrutiny of their root causes and panaceas or suggestions if not advisories on what to do next?
It is safe to say that the presentation of the awards night of the 22nd Cinemalaya Philippine Independent Film Festival held at the Grand Atrium of the Shangri-La Plaza in Shaw Boulevard last night made a distinct and meaningful announcement of its winners and the corresponding acceptance and thanksgiving speeches of the recipients of the Balanghai trophies who addressed the current social ills that are affecting the lives of the citizenry from the wide spectrum of social classes and an array of media industry denizens (read: filmmaking stakeholders such as producers, directors, screenwriters, actors, talent managers, bookers, censors, distributors, publicists, fans, moviegoers etc.).
Balanghai is the symbol of Cinemalaya’s plum for the last twenty-two years as a tribute to the oldest boat used by Filipinos for socio-political, economic, spiritual and cultural exchanges during the ancient era of pre-colonialism of the West.
That night’s bombastic tirades of the winners against bad governance that also highjack well-meaning local movies, and the lives of its many entertainers, creatives, actors and actresses and all movie workers, galvanized the sentiments of many Filipinos about injustice, exploitation, poverty, inequality in many aspects of life, subservience, among others.
Director Lot-lot Hermosura whose film “The River Flows in Different Places” won the NETPAC (Network for the Promotion of Asian Cinema) for Short Film opened her acceptance speech with thank you notes to her producers who, she said, haven’t stopped supporting her.
Reject Pax Silica!
Later, she dedicated the awarded film to all Filipinos, most especially to the beleaguered ones. “…Ito ay para sa lahat ng mga Filipino, sa mga Palestinian refugees na ngayon ay nasa Pilipinas. Ito ay para sa lahat ng mga Lumad at mga mangingisda sa Siargao. Ito ay para sa mga displaced na Moro, sa ating mga kapatid na Moro. Ito ay para sa lahat ng mga katutubo at magsasaka sa Central Luzon, para sa Toboso 19 at sa lahat ng tumitindig para sa karapatang pantao. Ulit-ulitin namin, ang lupa ay buhay! (This is for all the Filipinos, for the Palestine refugees in the Philippines. This is for all the indigenous peoples, the Lumad and the fisherfolk in Siargao. This is for the displaced Moros, our Muslim brothers. This is for all the IPs and farmers in Central Luzon, for the Toboso 19 and all who stand up for human rights. We shall reiterate, soil is life. Reject Pax Silica! Free Palestine!)” gushed Lot-lot in which the next presenter, filmmaker Kip Oebanda, before announcing the winner in the NETPAC Full-Length Feature said affirmatively, “…tama naman. Agree ako sa kanila (…that’s right. I agree with them),” he said referring to the battle cries of Hermosura who stood in the rostrum together with her other creative and production staff.
“The River Flows in Different Places” won the award “…for its authentic storytelling that cleverly works around limitations of the subject, remaining personal and still resonant with the audience,” according to the Cinemalaya citation.
Vahn Leinard Pascual’s “Status: Rejected” romped away with NETPAC Award for Full-Length Feature for “its effective use of cinematic elements to tell a character study with an unapologetic portrayal of desire and the reality of aging.”
Award-winning actor John Arcilla presented the Best Actor and Best Actress categories but before he proclaimed Martin del Rosario as the Cinemalaya Best Actor for “Tayo Lang ang Nakakaalam,” the Volpi Cup Best Actor victor at the 2021 or the 78th Venice International Film Festival in Italy quipped “…ang mga pelikula ng Cinemalaya ay hindi tayo pinapatakas sa mga katotohanan ng buhay (Cinemalaya films don’t let us escape the realities of life).”
Martin del Rosario, Best Actor
Martin was ecstatic when he accepted the Balanghai trophy. “…ang pelikula po namin ay tungkol sa struggles ng queer relationship ng LGBT. May mga bagay na dapat nilang itago at huwag sabihin dahil sa takot na madya-judge sila ng ating lipunan (…our movie is about gay love. There are things that are meant to be hidden and not spoken because of fear to be judged by our society),” he echoed the crux of the matter of the film.
Then, del Rosario momentarily thought of a historical benchmark to merit his observation. “…ang setting ng pelikula, (paused and looked up) 2012, ngayon, marami nang nagbago. Sabi nga nila, malayo na pero malayo pa. Marami pang puwedeng gawin (the time and place of the movie), many things have changed now. Accordingly, it’s been a long time since. But still, it’s far from over. There are a lot of things that could be done). So, let’s end the stigma towards LGBT. End the stigma now sa HIV,” he said.
Del Rosario was cited for winning the Best Actor award for his “deeply affecting and sensitive presence; for his remarkably restrained and effective performance which carries the film’s profound emotional weight through non-verbal mastery; for his gentle, nuanced expressions during quiet moments eloquently conveying the quiet grief, heartbreak, and resilience of a gay man fighting to look hopeful and strong while caring for his dying partner.”
Meanwhile, before presenting the Best Actress winner, Arcilla seemed not to dismiss the flooded Metro Manila on Monday, a situation he has been harping in his social media posts about corruption in government that led to this horrendous water disaster and a warning on the erroneous choices of the electorate on political candidates.
John Arcilla and Metro Floods
Although vaguely, John mouthed in an ad lib during the awarding ceremony. “…at ang hirap hindi banggitin ng baha ngayong gabi dahil ako ang umulit dito…(…and it’s hard not to mention the floods tonight because I am here again at this point…).”
To drop the anticlimax for the outstanding lead performance by an actress that evening, Arcilla wittingly and proudly declared as per script, “it’s a tie” which sent the audience in frenzy.
Prior to the awarding, though, socmed, particularly Facebook, was flooded with fearless predictions that the Best Actress award would be shared by Pokwang for “2 Valid IDs” and Ruby Ruiz for “Status: Rejected” which inevitably come true.
Then, during the awards night proper, John read the citations for the twin wins, firstly, without naming names, one was cited for “an absolute masterclass in screen acting; for her pitch-perfect balance of mischievous spunk and delicate melancholy; for making herself a deeply human center of Pinay folly and absurdity; for making complex, heavy emotional scenes look entirely effortless; and for grounding a quirky online romance in the quiet, heartbreaking vulnerability of an aging woman yearning for love and companionship,” the other for “a deeply transformative and devastating performance; for courageously shedding her comedic roots to deliver a riveting, grounded portrayal; and for her touching emotional control, impressively encapsulating in her portrayal the raw frustration, quiet dignity.”
The former citation was meant for Ruby while the latter description was attributed to Pokwang, this time, using her real name Marietta Subong on the cue card.
Arcilla called in Marietta and Ruiz onstage.
Actresses, Kiss Each Other
When the two actresses were together, they exchanged friendly kisses on both their lips.
It was Pokwang who first went up to the podium, thanked her parents comically for their support in spite of herself and the moviegoers for patronizing her film. “…naku, mahirap ang buhay ngayon. Pero nand’yan kayo at sumuporta. Pinatunayan ninyo na kaya ng Filipino. Kaya natin ‘to. Kaya bangon, industriya. Kayang-kaya natin, matapos ‘yong Kaia…Kaya ni Ate Ruby. Sa lahat ng mga Sylvia na may pinagdaraanan. Huwag po tayong mawalan ng pag-asa. Laban lang (…oh, life is hard these days. But you’re there to support us. You have proven that the Filipino can. We can do this. Rise, local film industry. We can do this, after the performance of Kaia (an all-young female Philippine-pop or P-Pop group) that preceded the announcement of the Best Actor and Best Actress winners…Ate (a term of endearment to an older woman by affinity or elder sister by blood) Ruby could do it. To all the Sylvias (Sylvia the hapless wife of a sick man being victims of a poor health system and rotten bureaucracy in the country was the character of Pokwang in the film) who are struggling. Let’s not lose hope. Just fight),” she shouted out.
Another tied win went to Best Supporting Actors Lucas Andalio for “Mag-iina” and K.D. Omalin for “Hand of God”.
The young Andalio was cited for “taking on a most complex role; for seamlessly navigating through intense, grotesque character shifts alongside seasoned co-stars; for instantly owning the screen, holding his own among an elite cast to pull off a jarring, grotesque transformation from innocent child to dark force that remains crucial to the film’s impact; and for an astonishingly mature performance for someone so young.”
The equally young Omalin was cited for “a deeply moving performance and extraordinary screen presence, for fully capturing the spirit of a young boy torn between conflict and hope, and for effectively rendering the sensibility of a Mindanao child soldier whose life transforms as he discovers a love and talent for football, giving powerful life to a dream of escaping violence for a brighter future.”
Bituin Escalante Shines
Singer and actress Bituin Escalante of “A.ni.mal” won the award for Best Performance of A Supporting Actress for “delivering a ferocious performance of incredible brilliance; for effortlessly pivoting from mordant dark comedy to trenchant drama; and for capturing the deep pain and tight resilience of a woman navigating political scandal, commanding every scene with incredible presence and show-stopping mastery.”
Meanwhile, “2 Valid IDs” directed by Ma-an L. Asuncion-Dagñalan and Abet Pagdagdagan Raz and “Para-Paraan” directed by Mae Chan Li won the Special Jury Prize, respectively.
“2 Valid IDs” won for “its gripping, socially vital storytelling; for fearlessly exposing systemic decay and institutional absurdity; for transforming mundane bureaucratic red tape into a devastating, life- or-death struggle; and for powerfully capturing the quiet dignity of common Filipinos in their everyday struggle for survival.”
Asuncion-Dagñalan thanked her family and producers for supporting her in this film.
Ma-an also decried Pax Silica, rallied behind nationalist contents and encouraged the proliferation of women filmmakers.
“Para-Paraan (Finding a Way Through),” on the other hand, was cited for “its stark, grounded documentary style; for its piercing look into the physical and systemic barriers of urban life; for challenging audiences to rethink accessibility, inclusion, and the ordinary spaces around us; for its masterful but economical narrative; and for its powerful advocacy for the rights of the disabled.”
“2 Valid IDs,” “Mag-iina”
Its moviemakers scored the significance of films that tackled Persons with Disabilities (PWDs) in bringing equal opportunities in a pluralized society.
The most grandiloquent messages came from Giancarlo Abraham who went up onstage to receive his Best Director and Best Film Awards for “Mag-iina” which was cited for “pushing the boundaries of filmmaking; for its layered narrative, unraveling dark family secrets, deep-seated grief, and a matriarchal dynamic that subtly exposes broader truths about Philippine society and politics; for its exceptional technical artistry; for the commanding performances from its predominantly female cast; and for its bold, fearless, and visionary filmmaking.”
Giancarlo called on the moviegoers to look beyond the abominable and disgusting images of “Mag-iina” that mirror Philippine society and politics and to focus on the corrupt practices of politicians and to defy them which are equally horrible and sickening outside of the filmic frames.
“Sinasabi nila na nakakasuka ang pelikula namin pero mas nakakasuka ang mga nangyayari sa Malacanang, sa Senado, sa Kongreso. Ang mga pulitiko ang nakakasura sa katiwalian sa (What are happening in Malacanang, Senate and Congress are more nauseating. The politicians are more gross in) flood control projects. We also have to reject Pax Silica,” Abraham feistily said as if he was in a political rally.
For direction, the film, according to the Cinemalaya citation has shown Abraham’s “fearless and visionary filmmaking; for effectively orchestrating cinema’s technical resources into a richly layered family drama reflecting broader Philippine socio-political realities; for his bold, boundary-pushing choices and command of atmosphere; and for drawing out transcendent, deeply resonant performances to construct a haunting cinematic masterpiece.”
Meanwhile, “Mag-iina” won Best Screenplay in the Full-Length Category. Writer Guelan Varela Luarca was commended for a “masterfully written, fearlessly complex script; for its layered, visionary storytelling; for crafting a hauntingly rich narrative filled with fascinating, grotesque characters; and for turning a deeply resonant tale of domestic grief and family dysfunction into a sharp, provocative reflection of the underlying dark realities of Philippine society.”
For the Short Film section, Lysa Catolico and Jazmine Gin Pateña’s “Runo!” received the Best Screenplay award for “crafting a witty yet deeply emotional narrative; for capturing hearts through a perfect blend of high entertainment and buoyant artistry; for its moving tribute to unconditional loyalty; and for its fine animation that illustrates the profound bonds of love and sacrifice that define man’s best friend.”
“Silkscreen,” Best Short Film
For the Best Short Film, “Silkscreen” directed by Rey Anthony Villaverde clinched the award because “of its textured cinematography, precise color grading, and meticulous sound design; for brilliantly capturing the tangible, tactile world of a fading craft; for its emotionally resonant story of legacy and reconciliation, beautifully balancing the silent tension and tender affection between a struggling son and his aging father as they navigate time, family, and changing times.”
For the Best Direction of Short Film, Gabriela Serrano took home the plum for “Elenita, Elena, Elaine” for “seamlessly harmonizing every technical element to craft a powerful, visually mesmerizing story of women struggling to live out their dreams amidst heartbreak and failure; and for guiding her exceptional female cast to deliver profoundly nuanced, authentic performances that radiate raw vulnerability, elevating a dreamless Manila into a transcendent, deeply emotional reflection on hope, sacrifice, and the courage to say goodbye.”
Meanwhile, “Mag-iina” won Best Screenplay in the Full-Length Category. Writer Guelan Varela Luarca was commended for a “masterfully written, fearlessly complex script; for its layered, visionary storytelling; for crafting a hauntingly rich narrative filled with fascinating, grotesque characters; and for turning a deeply resonant tale of domestic grief and family dysfunction into a sharp, provocative reflection of the underlying dark realities of Philippine society.”
For the Short Film section, Lysa Catolico and Jazmine Gin Pateña’s “Runo!” received the Best Screenplay award for “crafting a witty yet deeply emotional narrative; for capturing hearts through a perfect blend of high entertainment and buoyant artistry; for its moving tribute to unconditional loyalty; and for its fine animation that illustrates the profound bonds of love and sacrifice that define man’s best friend.”
Technical Awards
The technical awards include:
Best Editing –John Rogers in “A.ni.mal” for “razor-sharp narrative pacing and punchy cutting that sharpen the film’s dark humor and biting satire; for precise rhythmic timing heightening the absurdity of provincial patronage and dynastic politics, turning a tense household conflict over a compromising video into a hilarious, expertly paced critique of power and corruption in Philippine society.”
Best Cinematography—Adam Dumaguin in “Tayo Lang ang Nakakaalam” for “evocative visual storytelling; for its powerful, piercing imagery that’s a masterclass in controlling of light and shadow alongside deliberate camera angling; for its intimate visual composition that heightens the raw emotional weight of the narrative, capturing the heartbreaking isolation and tender grief of a man watching his partner ravaged by a vicious deadly disease.”
Best Production Design—Katrish Aristoki in “Mag-iina” for “immersive art direction; for crafting the haunting, gothic atmosphere and spatial design that effectively mirror a family’s deep dysfunction, trapping three generations of women within an unforgettable visual landscape of grief, madness, and dark domestic secrets.”
Best Musical Scoring—David Yuhico in “Mag-iina” for “a masterfully subtle and haunting soundtrack; for using evocative piano melodies to build intense atmospheric dread; for providing acoustic complement to a crucial narrative thread; for deeply enriching a movie’s gothic tone while accentuating the silent tension, grief, and dysfunction consuming a deeply estranged family.”
Best Sound—Elian Idioma in “Tayo Lang ang Nakaalam” for “exceptional achievement in sound design; for effectively crafting audible silence to heighten the film’s intense emotional weight, with every subtle sound and quiet pause intimately drawing the audience into the room, amplifying the heartbreak and misery of watching your partner painfully wither away.”
Best Ensemble Performance for the cast of “Tayo Lang ang Nakakaalam” by David Corpuz for “their deeply cohesive and moving portrayals; for authentically rendering through their characters the tender dynamics and throbbing warmth of Philippine family life; for bringing profound tenderness to an agonizing existential crisis; and for portraying a devoted partner and a loving family united in care and grief as they stand by their terribly sick loved one’s side.” The ensemble was composed of actors Martin del Rosario, Yayo Aguila, Miguel Oldron and Epy Quizon.