The Tioseco-Bohinc Film Archive

CEBU, Philippines - Russian-American national Misha Anissimov names his library of world cinema in Pajac, Lapu-Lapu City after slain Filipino film critic and professor Alexis Tioseco and the latter’s Slovenian fiancée and filmmaker Nika Bohinc.

He found Tioseco’s blog entitled “Concentrated Nonsense” first and an exchange followed. He was supposed to meet Tioseco in Manila, but arrived there last October 2009 too late. Alexis and Nika got murdered inside their house reportedly by a burglar.

In memory of the two cinephiles and all those who worked for the flourishing of cinema across diverse cultures, Misha dedicates the Tioseco-Bohinc Film Archive.

According to Misha, Alexis is the only Filipino film scholar at the University of Toronto. “One who has a Masters in Cinema Studies, who takes to heart lessons on the history, development, theory, and criticism of film arts, the basic principles of filmmaking and film production.” And that his loss directly impacts Philippine cinema.

Misha is an alumnus of the San Francisco State University with a degree in engineering. But because of his deep interest in world cinema, he took up this particular interest seriously and is even working on a film on Russian refugees in Tubabao, Samar in the 60s. Detailed account would be divulged in the next 12 months as work progresses from current sequence treatment to a developed script.

However, Misha made it clear that the Tioseco-Bohinc Film Archive is not for those who are driven only by curiosity. He said he would want to share his private collection of over 2,000 films primarily to scholars, film students, film critics, screenwriters and production crew interested to learn more, to further hone their craft, to take up in their discourses and criticism classes Tioseco’s “Wishful Thinking for Philippine Cinema.”

Some of these, enumerated on the firewall of the archive, are as follows: That the Film Development Council of the Philippines would understand the value of the money they’re given and consider going to Paris and spending P5 million of their P25-million allotment for a showcase given by a young festival an investment, and not just a vacation;

That instead of supporting filmmakers with finished films to go abroad to festivals for the pride they bring their country, they would support local films and help these get seen by a larger Filipino audience (like the musical “Emir”?);

That there were more books on Philippine cinema and that a book series was started which published classic screenplays; that there’s a fully supported film museum; that films were taught in high schools; and that we had more film lovers and less bureaucrats in important positions in the field of cinema;

That we had more regional feature films, and more support for regional filmmakers; a film library that people could go to in order to read books on cinema; and that more film teachers were approaching cinema from cinema.

It is the purpose of the archive to serve as a venue for cinephiles and students to experience an adventure in appreciation, serious study and pure education of world cinema, he said.

If we Filipinos get the right training on how we should watch movies, then maybe we would be able to appreciate “Perfumed Nightmare” (Mabangong Bangungot), a 1977 Kidlat Tahimik classic or Mike de Leon’s Sister Stella L. (1984).

Alexis’ and Nika’s support, love and hope for Filipino cinema is their legacy that inspires others to continue the movement to revitalize the moviemaking industry in the Philippines by “teaching people through film.”

So that by the next time the Ayala Malls in cooperation with the Filipinas Heritage Library would present “Filipino Screen: The Second Golden Age Now,” it would draw a greater portion of the viewing public.

While six interesting Pinoy films were screened for only P65 at the Ayala Center Cinema 3 from June 29 to July 1, moviegoers animated the tills for “Eclipse” (of the Twilight saga) instead.

Though decades old, the said films (along with Eddie Romero’s Ganito Kami Noon, Paano Kayo Ngayon released in 1976, Ishmael Bernal’s Himala, 1982; Peque Gallaga’s Oro, Plata, Mata; and Bayan Ko: Kapit sa Patalim in 1985 by Lino Brocka) remain timeless. Their visions are as relevant today as they were when the films were first screened. In a short talk, it has been expounded by professors Patrick Campos and Yason Banal of the UP Film Center that through these pieces, we gain a better understanding of contemporary Filipino life and society. Now more than ever, that glorious past in national cinema needs further exploration and renewed appreciation.

The Tioseco-Bohinc Film Archive is determined to be of help in providing training for Pinoy film appreciation. That is if materials are made available and if the Tagalog moviemakers themselves are willing to reach out and share the advocacy with regional filmmakers,” says Anissimov.

The archive can also host premiere of local Cebuano film productions, for preview and evaluation – the pre-screening. Thursdays ago, a private, free screening of the 1941 Orson Welles masterpiece “Citizen Kane” (in its restored form), became the main event. Citizen Kane is hailed best movie of all time, which Welles himself wrote, directed and starred in.

Other classic films which could be requested for viewing pleasure include Metropolis, stop-motion animation Fantastic Films of Ray Harryhausen (Legendary Monster Series), the Bond series and the 1930s Frankenstein movies.

Film stock also covers indie horrors, movies by Italians Mario Bava and Roberto Rossellini; shorts and documentaries from Iran, Germany; among many others.   

Thursdays and Fridays are Cinephile Nights. For reservation, email the curator Lito Tabay at [email protected]. The film archive is located in Camella Homes, Phase 1.

Certain books on filmmaking and other journals are also available. ?