There is a gentle revolution happening in the Philippines. It is neither political nor economic. The revolt happens in the very heart of filmmaking. Its proponents and followers are the numerous film “guerillas” who have finally found an avenue to express their creativity and freedom. There is a breeze of fresh air which invigorates the contemporary scenario of Philippine Cinema. The Filipino achievement in this era of indie (short for independent), experimental and digital filmmaking has come. “Tirador,” in winning the Caligari Prize at the Berlin International Film Festival on February 15, 2008, proves that this Pinoy revolution works—in the world of filmmaking.
This “new epoche” of filmmaking in the Philippines brings out a new breed of young and dynamic filmmakers. This is the advent of the independent digital filmmaking. The emergence of affordable and user-friendly digital cameras and editing softwares make this rapid evolution possible resulting to a new film consciousness in the Philippines with a profound interest in festivals abroad, like the 58th Berlin Film Festival. The Berlinale this year was an avenue where the metamorphosis of filmmaking was acknowledged and admired. It was a historical event for the Philippines. This prestigious, glamorous and one of the biggest film festivals in the world recognized the international quality of digital Filipino films. For the first time in the long history of Philippine Cinema that six Filipino films were shown at the Berlinale from February 7 to 17, 2008. Indeed, this Berlinale documents the greatness of this creative spirit present in various characteristics of Filipino filmmaking—experimental, documentary, live musical accompaniment and screening with three projections.
“This is one of the hardest films I have shot,” Director Brilliante Mendoza admits the challenges he encountered in making “Tirador” (Slingshot). He spoke before the international audience after the first screening, the European Premiere of his film at the Colosseum Cinema in Berlin on February 9, 2008. He worked on three cameras to shot the scenes in the dangerous areas of Manila, particularly in Quiapo in order to capture the life and operation of poor small-time crooks, the “little criminals” who do dirty tricks to earn money. His guerilla film-making has been recognized around the world. “Tirador” has been shown at film festivals in Toronto, Singapore, Granada, Pusan and in Marraketch where it won the International Special Jury Prize.
Director Mendoza also impressed the judges in Berlin that they awarded “Tirador” with the much-coveted Caligari Award 2008. It is the first Filipino Film to win this award which is given to a film in the Berlinale Category of International Forum of Young Films. It is the most important recognition of a film under this category. This award, given for the 23rd time this year, has been awarded to films which are thematically innovative and stylistically creative.
This award includes an endowment of 4,000 € prize from the sponsors: the Bundesverband kommunalen Filmarbeit, the German Federal Association of 150 cultural cinemas and the film journal “Film-Dienst”.
The judges gave the Award to “Tirador” with this reason: “Well-thought-out paradigmatic sequencing shows daily survival between pickpocketing, gambling, part-time-jobs, arbitrary police acts and corrupt politicians. Dramatic highpoints are blended into scenes of everyday life.” Indeed this film blends fiction and reality to portray the life of street criminals who are exposed to crimes, drugs, and abuses. What was originally planned as a documentary film turned out to be a feature film with the local election and the Holy Week as its backdrop. “Tirador” refers figuratively to somebody who makes a hit (tira) which refers to hired killer, drug addict, thief and the like. Director Mendoza worked closely with the film’s writer Ralston Joel Jover and even interviewed “little criminals”, went to their houses and in places where they do their petty crimes in order to show authenticity in his film which was originally planned to be documentary.
The corruption of politicians and abuses of police officials are also portrayed in the film. The drama of Philippine elections with rampant vote-buying and empty promises of politicians were also shown. The movie ends with the little criminals joining the people in a prayer rally in Manila, an event which was attended by senatorial candidates who promised a better life and future for the people.
Director Mendoza was born 1960 in San Fernando, Pampanga and studied Advertising at the University of Santo Tomas. He worked in television and theater before focusing into filmmaking. His fifth major film gathers film legends like Jaclyn Jose, Julio Diaz and several young actors whose films have been shown and recognized in film festivals abroad: Jiro Manio (“Magnifico”, Best Children Film at Berlinale 2004), Nathan Lopez (“Ang Pagdadalaga ni Maximo Oliveros”, Best Children Feature Film and Teddy Award, Berlinale 2006), Kristofer King (“Ang Babae sa Breakwater”, Cannes 2004) and Coco Martin (“Masahista”, Locarno 2005). His major films which were shown in major international film festivals which include: “Masahista” (The Masseur, 2005), “Kaleldo” (Summer Heat, 2006), “Manoro” (The Aeta Teacher, 2006) and “Foster Child”, 2007. Director Mendoza was joined in Berlin by other “Tirador” staff: Producer Ferdinand Lapuz of Centerstage Productions, Script Supervisor Armando Lao and Actor Coco Martin.
Indeed, “Tirador” and the other Filipino films who made it to this year’s festival are products of the blooming independent film genre brought about by the prevailing “digital revolution” in the Philippines. Filmmakers are more free to try new tricks and express themselves using unconventional methods. And their efforts and creative achievements are being recognized, if barely at home, then in many international film festivals, like at the Berlinale. (Berlinews)
