by Heinrich Domingo
A puppeteer is visited by his past shown in a montage of a drowning kid and children’s laughter.
Kinatay pierces through the meat, cuts into the bones, and reveals the rawest form of Philippine Independent Cinema. It shuns gimmickry, works on reality, and delves into exposing social inequality.
Like a prophet who first gained recognition in a foreign land, Lav Diaz comes back to the Philippines with the highly-coveted Locarno’s Golden Leopard. In the international scene, his work was praised, his style applauded, and his narrative explored. Diaz’ films were treated as transcendent over those of the Western style. His work was not governed by theories and structures. But, as he presents this gleaming token to the Filipino audience, he was faced with an indifferent crowd that reeks of the West.
Much has been said about Filipino independent films being mirrors of reality; being bastions of hope for what’s left of Pinoy creativity. In this age when indie films are placed on a pedestal, one film boldly exposes every nook and cranny of unapologetic, budget-bound, and “honest” filmmaking. Ang Babae sa Septic Tank relishes and abhors itself at the same time for bearing the tag of an “Indie.” Continue reading
Brace yourselves. Cinemalaya is coming!
One of the most revered occasions for Philippine cinema is here. Cinemalaya Philippine Independent Film Festival is an annual event that showcases “new cinematic works by Filipino filmmakers – works that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity.” To know more about the festival, click here.
In light of the upcoming Cinemalaya 2015, we are pleased to bring you a countdown of our all-time favorite Filipino indie films that have redefined our cinematic experience. We shall be releasing five reviews of the most notable indie films in the coming days. Stay tuned for updates. Cinephiles unite!