The Language Of Film In Cinemarehiyon 2010

CEBU, Philippines - The democratization of moviemaking, aided largely by now-affordable technology, has empowered many a filmmaker who, in previous years, did not have access to the tools to help them tell their stories.

In the next four years, it is expected that with the bonding of more regional filmmakers, more movies would be spoken in native tongues – Kapampangan, Pangalatok, Ilonggo, Sinugbuwano, Waray, Bicolano, to name a few.

Cebu’s producers, actors, directors and rest of the crew of Pangandoy, Eskrimadors, Kurtina nga Pula, among many others, converged for the “Cinemarehiyon 2010: Films from the Other Philippines” during the recent celebration of the National Arts Month to listen to one another, like some modern equivalent of a campfire.

According to Cinemarehiyon 2010 festival director Gabby Fernandez, they have been breaking down, at least for four days, tribal and regional barriers and divisions as they speak the one language that is common to all of those who share the warmth of this fire: the language of film.

“Since we launched this film festival last year, several national and international filmfests have taken notice of films and filmmakers from the various regions outside of Metro Manila. This is a testament to the growing movement of film communities that is rapidly spreading across the country,” Fernandez said.

As for Dr. Miguel Rapatan, who is chairperson of the cinema committee of the National Commission for Culture and the Arts, he said that an exciting feature of this year’s filmfest was the participation of regional cinemas in other countries namely the developing countries of the BRIC group – Brazil, Russia, India and China.

“The festival showed films from the regional centers of these countries, enlarging our perspective and understanding of cultures outside the capital city,” he said.

Cinemarehiyon is about the struggle of regional cinema to be included in the national discourse on Philippine cinema. A struggle that has truly begun to bear fruit, Fernandez noted.

Aside from the 11 short films and a documentary film from our very own Cebu, others came from the “other Philippines” -- seven from Bacolod, five from Baguio, two from Bohol, five from Calabarzon, four from Cagayan de Oro-Iligan, four from Davao, two from Iloilo, 12 from Naga-CamSur, five from Pampanga, one from Pangasinan, and three from Samar.

The cornucopia of shorties includes Erik Matti’s The Arrival, Eirene Figueroa’s Anak ng Sinigang (Child of the Sour Soup), Ted Ramasola’s Allan, as well as Bb. Pilipinas 2010 second runner-up Helen Nicolette Henson’s 10-minute Kapampangan film Pupul (Harvest).

Cebu inputs comprise the collaboration of (International Academy of Film and Television/Bigfoot-Mactan students) Mikey Macachor and Steve Eraña, Jr. “The Face of Sinulog”, a six-minute Cebuano docu-film tackles a dispassionate discourse on the two sides to the Sinulog Festival; its more well-known side, the revelry and street dancing, which are its more pagan side, and the spiritual dimension, which is its Christian aspect. This won the Best Docu-Film in the Sinulog 2010 filmfest.

Another is Allan Layaguen’s and Diem Judilla’s 14-minute Pangandoy, also in Cebuano. A child here named Ina suffers from a painful disease, debilitating for a child. Despite the loving care from her aunt and the accepting attention of her childhood friend, Ina yearns for the family she lost in a tragedy. It is a wish that consumes the little girl each day. She continues to struggle with a child’s hope that her prayer for a reunion will be granted soon. The emotional and physical pain seems too much for this innocent soul. But her faith in the Holy Child would make so much difference.

Pangandoy was nominated in the Best Short Film Category, as well as opened doors for the nomination of Jeny Murillo (Ina’s aunt “Bening”) in the Best Actress Category and an award as Best Child Performer for Jerica Espinosa as “Berta”, Ina’s playmate. This is not bad a film debut for art/creative director Allan Layaguen, who has emphasized his knack for editing with Pangandoy’s “fast-paced” scene transitions.

Meanwhile, Kerwin Go’s 61-minute “Eskrimadors: A Filipino Martial Arts Documentary” in a mix of Cebuano and English shared to Cinemarehiyon delegates “a glimpse into the rich and fascinating world of the Filipino martial arts as the film traces the development of the fighting art from its tribal warfare roots, its use in repelling foreign invaders, as an art of duelists, and its transformation into a sport practiced in over 25 countries.”

Earlier, Los Angeles-trained cinematographer Go expressed that he finds it quite serendipitous that the screening of the film here in Cebu coincided with the enacting into law of Senate Bill 1424 which promotes arnis as national sport.

The screenings took place at the Manuel Conde Theater of the Cultural Center of the Philippines.