Signis

58th Berlin Film Festival Salutes Six Independent Filipino Films

Berlin, February 22, 2008 (Fr. Adonis Narcelles Jr. SVD) - 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. Gone are the days of big film enterprises for the time of indie (short for independent), experimental and digital filmmaking is here.

Legendary Filipino Director Kidlat Tahimik talks with young Director John Torres before the Open Forum, "Cinemanilacs" during the Berlinale

This “new era” 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. It is quite similar to the so-called “golden age” of Philippine Cinema in the 70’s and 80’s, the time of great classical movies by Lino Brocka, Ishmael Bernal, Celso Ad. Castillo, among others.

Now, the much awaited revolution from the grassroots has arrived and with it a colourful and promising cinematic atmosphere. The emergence of independent filmmakers propelled this revolution. Directors like Raymond Red ( Bayani, Sakay ) and Kidlat Tahimik ( Mga Mababangong Bangungot ) have proven that independent filmmaking is possible. Kidlat Tahimik went against the main stream commercialized industry and worked hard for the recognition he now enjoys in the international film milieu. “The father figure of the whole independent cinema movement in the Philippines,” is how UP Film Professor Tilman Baumgärtel described this Director who in 1977 already won three major awards at the Berlin International Film Festival (Berlinale) for his film Mga Mababangong Bangungot (Perfumed Nightmares).

This year, after 31 years, Kidlat Tahimik returned to Berlin and was a guest panellist in “Cinemanilac” of the 58. Berlinale. He was joined by John Torres and Khavn dela Cruz, the two most innovative and experimental Filipino independent filmmakers at present. The teacher meets his student and time has witnessed the rapid wind of change in Philippine cinema. Berlinale 2008 was an avenue where the metamorphosis of filmmaking was acknowledge and admired. It was an 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.

Jim Libiran, Director of the Philippine film "Tribu"

This year’s Berlinale showed 383 films from around the world. 20,000 special guests, including 4,200 journalists from 125 countries participated in this grandiose film event of the year. There were about 230,000 cinema tickets sold and around 430,000 film viewers during the duration of the festival. Berlin hosted not only the famous names in the film industry but also welcomed films and the best filmmakers from around the globe, including the Philippines. There were 26 official Filipino guests, directors, actors, technical and production personnel who composed the Philippine delegation led by Directors Jim Libiran, Khavn dela Cruz, Brilliante Mendoza, John Torres and Kidlat Tahimik. 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.

Most, if not all of the six films who made it to this year’s festival are products of the blooming independent film genre brought about by the prevailing digital technology. This modern way of film-making gives way to the influx of low-budget films. Filmmakers are more free to try new tricks and express themselves using unconventional methods. And their efforts are recognized, mostly in international film festivals. This filmmaking is fast and inexpensive in comparison to films made by the existing film enterprise who are there to sell a popular product, rather than to risk a good story admired primarily by movie critics or awarded abroad. This is proven by Tirador which was shot in 11 days and Tribu in 12 days. Jim Libiran, Director of Tribu spent around 1.5 Million pesos for the film which surprised his colleagues from other countries whom he met at the Berlinale.

Brilliant Mendoza’s Tirador which showed the life of small-time crooks in Manila got the Caligari Award 2008, an award given to thematically innovative and stylistically creative films. 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 with 4,000 € prize from the sponsors: the Kommunalen Kinos (association of more than a hundred Cinemas) and the Magazine Film-Dienst (magazine of SIGNIS Germany). The board of judges chose this film because, “The physicality of the cinema experience is brought across, while not exploiting the slum as exotic scenery.” Another honour and glory for the country was ushered by the film, The Amazing Truth About Queen Raquela by Icelandic Director Olaf de Fleur Johannesson on the life and struggles of a transgender from Cebu, Philippines. It won as Best Feature Film of the Teddy 22 Queer Film Award. An award which fosters tolerance and respect to gays and lesbians.

The men behind the winning film, "Tirador": (from left to right) Producer Ferdinand Lapuz, Actor Coco Martin, Director Brilliante Mendoza and Script Supervisor Armando Lao

Another Filipino film jewel at the Berlinale was Khavn de la Cruz who showed his film The Muzzled Horse of an engineer in Search of Mechanical Saddles . He himself played live the music for his film which was likewise praised by German critics. Another tribute given by the German press to the Filipino filmmakers was the article in one of the leading German newspaper in Berlin, Der Tagesspiegel which devoted a half-page article on Tribu , Tirador and Balikbayan Box in its special feature on the Berlinale. Another famous independent and experimental filmmaker was John Torres who together with other Pinoy musicians played live the music of his film, Years when I was a Child Outside (Family Multi-Channel). This film was shown with three projections, a rare experience for the curious viewers. The film Balikbayan Box of Mes de Guzman provided a quiet contrast to the other energetic Filipino films. This film set in a rural milieu shows the dream of many Filipinos and also the effects of migration in the family. Apart from the urban restlessness portrayed in the other Philippine films, this film shows the green and nostalgia of the countryside.

Indeed, the Berlinale 2008 was a shining and a victorious moment for the Philippines and her dynamic digital and indie filmmakers who showed in different ways the realities at home - both lights and shadows. Director Khavn was happy that once again the Philippines had found a place in the international film scenery - regardless of what the future will bring, he believes that “the Filipino filmmakers are here to stay.”

The restless horse

“This is not film by Khavn.” Once you read this at the beginning of a film, then you have to be extra careful, more attentive and open for the unexpected - because a surprise awaits you in a few minutes. Khavn de la Cruz is certainly one of the jewels of contemporary Philippine Cinema and a proponent of the school of independent and experimental digital infotainment. Fortunately, the age of digital film making has revolutionized the Philippine way of filming, film-making and film consciousness. The new breeds of Pinoy directors look at social realities in various perspectives. Are the Filipinos ready for this adventure? If they are not acknowledged at home, at least they are awarded in international film festivals.

The new era of Philippine cinema present young and dynamic directors like Aureaus Solito who brought Ang Pagdadalaga ni Maximo Oliveros to festivals worldwide, likewise John Torres, Brilliant Mendoza ( Tirador ), Mes de Guzman ( Balikbayan Box ), Khavn de la Cruz and a lot more - each with his particular film identity. For Khavn it is the love for that which is abstract and absurd, poetic and philosophical, passionate and provocative.

Filipino Director Khavn dela Cruz after the showing of "The Muzzled Horse of an Engineer in Search of Mechanical Saddles"

The Muzzled Horse on an Engineer in Search of Mechanical Saddles bears certainly the longest title in this festival of 383 films around the world. It is a film which requires the depth of surrealistic understanding of Khavn’s film characteristic. One should enter into this new world, lest this 80-minute viewing becomes a boring experience, a senseless conglomeration of scenes which are eye-annoying or mind-twisting. The viewer either enjoys this unexpected exotic nuisance or leaves the cinema frustrated.

The film is a poetic essay centred on the figure of the horse - the longing, the sadness, the aspiration, the disturbance of the horse as a metaphor of the human craving. The contrasting scenes and intertwining silence make one think and create the logical connection. The symbols are too powerful, that even the dialogues are superficial Four scenes, corresponding to four ideas give the structure to this film. The first scene is set in the city with a man running along Quiapo, chasing himself, chasing the horse in himself. This relationship deepens on the second scene - a solitary communication between two lonely creatures - a man and a horse. The third part is the erotic portrayal of horse-riding at night which intensifies a love relationship which ended tragically. The last essay shows a man walking naked through the dark streets on the night of a Good Friday, during a procession with the man wearing a horse mask.

At the end, one has a taste of life and its complexities. The film shows the journey of a man in search not only of mechanical saddles, but of himself. The searching goes on in the mind of the viewers, in his or her own odyssey. And don’t dare to ask Khavn about answers because he has already given his answers in the film - it’s up for the audience to enter into his world and perhaps find the missing link.

The Amazing Queen

“As a film maker, I always try to show people different aspects of the world, both emotionally and geographically.” This is what the documentarist and Director Olaf de Fleur Johannison said and exactly did in his latest film, The Amazing Truth about Queen Raquela which narrates the interesting life of Raquela Rios (played by herself), a poor transgender prostitute from Cebu, Philippines. The film opens with a young boy playing a baby doll and was reprimanded for this is not a toy for boys. Then the boy is seen in front of the house, this black and white scene slowly metamorphosed into a colour picture, still in front of the house, this time a lady is standing there. Beside her two big vases of red flowers: colorful flowers which symbolize the life and struggle of this person - full of mystery, challenges and hardships. Raquela - the person and the film both capture the struggle of a transsexual amidst the background of poverty. It is a compelling narrative which merited the Teddy 22 Queer Film Award at this Berlin Film Festival.

“I promise to tell the truth and nothing but the truth,” she mentioned at the beginning of the film which was categorized under the Panorama Sector of the Berlinale. The thin line of distinction between a feature and a documentary film is hard to recognize, for indeed some events portrayed were based on reality. The actress herself played the role which she in reality is. The film brings back memories of the film Paper Dolls an Israeli documentary on the life of Filipino transsexual entertainers in Israel and London which won the Panorama Audience Prize at the Berlinale in 2006, the same year when the multi-awarded Ang Pagdadalaga ni Maximo Oliveros of Aureaus Solito also received a special commendation of the SIGNIS Jury at the Hong Kong film festival.

Raquela has her own story to tell. A story focused on her dream to go abroad, to go to Paris, the country of glamour and fashion. For this trip, she needs somebody who will invite her so she could get a visa, at least for Europe. In between she works as a webcam host on a profitable transgender website, a business which transcends culture and countries. Until she got to know Valerie, a transgender who lives in Iceland. She got the visa and landed at a fish factory there. Indeed, she was able to go to Paris, met and separated with her boyfriend and was confronted with her own loneliness. She discovered that going abroad could not fulfil her dreams and cravings. Her self-searching journey brought her back to Cebu where she went back to her old job, as a prostitute. Back to Cebu, she is confronted with the reality and difficulties of her life apart from her queenly dreams and ambitions.

Raquela gave a picture to the many transgender women, the lady boys, the gay and transvestites who long for recognition and acceptance in the society, not only in the Philippines but around the world. Such recognition was granted to her by the International Film Festival in Berlin with the Teddy Award for her and her film’s “ability to address race, gender and poverty in an entertaining way.”

SIGNIS