Actually, I’m not even questioning the quality of Kutob and I respect and accept the judges’ decision to make this slasher film Third Best Picture because that is a matter of taste.
But to give it the Gatpuno Villegas Cultural Award is unacceptable and questionable because the MMFF guidelines state that the winner of this category should "best depict Filipino Historical and/or Cultural Values."
So what is so historical or cultural about this film that is a poor copy of Anthony Perkins’ Psycho? We have here a lead character (played by Marvin Agustin), who is deranged and kills people. That is historical and cultural? Maybe in the tradition of mad killer Waway.
Kutob is produced by the Canary Films outfit of Orly Ilacad, a man I respect because he has done so much for the local record industry and has contributed in his own little way to the growth of Philippine cinema – having produced in the past (under the OctoArts Films banner) quite a number of quality films like Bakit Labis Kitang Mahal with Lea Salonga and Aga Muhlach (who won a Metro Filmfest Best Actor trophy for this film) and Dahil Mahal Kita: The Dolzura Cortez Story, which gave Vilma Santos one of her many grand slam wins.
I actually find it terrible that Mr. Ilacad’s name is being dragged unfairly in this controversy. But I liked what he said when he was interviewed by Ricky Lo for last Saturday’s edition of Showbiz Stripped. According to Orly Ilacad, he should not be answering all these questions because "I am a recipient." True – he did not ask for the award and should not be made to explain it.
Unfortunately, we are not getting satisfactory answers from the people who gave Kutob this controversial award either. And this brings me to my next point: Next time around, the MMFF should carefully select the members of the board of judges. I looked at the list of this last filmfest and I’d like to say that I admire and respect at least a couple of names in the roster. But the rest of the people there, I have no idea where they came from (some are political appointees). Maybe they are respected and are accomplished in their respective fields. But surely, they have no background on film and you start questioning their capabilities when it comes to appreciating cinema.
I also find something wrong in the criteria for selecting the Festival Best Picture. Just look at what’s indicated in the guidelines:
Best Festival Picture
A. Artistry, creativity, technical excellence, innovativeness, thematic values and global impact: 40 percent
B. Commercial viability: 40 percent
C. Filipino Historical and/or Cultural values: 20 percent
–––––
Total: 100 percent
I find that there is something terribly wrong with the fact that the MMFF is giving so much weight to (or even considers) commercial viability in the criteria for selecting the Best Picture winner.
Had this rule been imposed some 20 or 30 years ago, the now-classic Kisapmata would never have made it as the MMFF Best Picture in 1981 because that film may be outstanding in all aspects, but definitely will score zero when it comes to commercial viability.
With this kind of ruling, the MMFF is discouraging our filmmakers from making movies that are experimental and daring – and this will pose as another setback to Philippine cinema.
Commercial viability? Why hold a film festival when – before the advent of digital films – we get flooded all year round with films that pander to popular tastes and are sure-fire hits at the box-office?
The trouble with the Metro Manila Film Festival now is that it’s all money, money, money – and this is where all the problems begin because everyone wants to dip their fingers into the festival coffers. Why do you think people fight all the time during the festival?
And next year, for heaven’s sake, please resolve the perennial problem about Mrs. Lily Monteverde being able to enter as much as four festival entries (some with her as co-investor). I don’t blame Mrs. Monteverde for this because I would have done the same thing if I were in her position. The trouble is, this was already a nasty issue in the 2004 filmfest and this reared its ugly head again in this last one. But did anyone from the festival committee bother to solve this nagging problem? Obviously not – because Kutob director Jose Javier Reyes was already complaining about this even at the start of the festival.
In last Thursday’s Debate (with Oscar Orbos and Winnie Monsod), one of the panelists, screenwriter and journalist Pete Lacaba, offered a valid suggestion to the MMFF. Cancel the awards and make the festival simply an exhibition of quality films – the way they do it in Toronto.
I agree with Pete because that would surely solve more than half of the problems the MMFF faces every year. Of course, producers will still be quarrelling about getting into the festival – but aren’t they yet?
To end this piece, allow me to reiterate what I’ve been saying all these years about the Metro Manila Film Festival: Let us not forget the main objective and purpose of the annual film festival – and this is to showcase the best of Philippine cinema.
It is just unfortunate that the Metro Manila Film Festival had been turned by the government into a virtual milking cow. And so don’t be surprised anymore that year after year, everyone moos with complaints when the festival comes around.