Cinemalaya 2018 Awards Predictions

Cinemalaya 2018 Awards night is tonight, and this is probably this year's most unpredictable year with no clear standout and with people championing different films. 

Here are my predictions:

Best Feature Film - Full Length

While Liway had an overwhelming reception from social media and the box office, I think Dapithapon is going to win the top prize.

WILL WIN: Kung Paano Hinihintay ang Dapithapon
COULD WIN: Liway
SHOULD WIN: Kung Paano Hinihintay ang Dapithapon


Special Jury Prize: Liway
Netpac Jury Prize: Pan de Salawal
Audience choice: Liway


Best Director

Bendict Mique's ML has the flashiest direction among this year's entries. On the other hand, Cinemalaya might reward Kip Oebanda for his deeply personal film, Liway. But Carlo Catu's masterpiece Dapithapon is still my pick.

WILL WIN: Carlo Catu, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Benedict Mique, ML
SHOULD WIN: Carlo Catu, Kung Paano Hinihintay ang Dapithapon


Best Actress

It's a great Cinemalaya year for actresses with six out of 10 entries front-headed by a female lead--Ai-Ai delas Alas in School Service, Iza Calzado in Distance, Perla Bautista in Kung Paano Hinihintay ang Dapithapon, Glaiza de Castro in Liway, Miel Espinoza in Pan de Salawal, and last but not the least, Celeste Legaspi in Mamang. As one of the great veterans in this list and with her film not as trashed as Ang Pamilyang Hindi Lumuluha, I think Celeste Legaspi is going to win it for Mamang.

WILL WIN: Celeste Legaspi, Mamang
COULD WIN: Glaiza de Castro, Liway
SHOULD WIN: Perla Bautista, Kung Paano Hinihintay ang Dapithapon & Celeste Legaspi, Mamang


Best Actor

While Eddie Garcia's Cinemalaya comeback is superb in ML, I have a feeling that him being a past winner would work against him. Ogie Alcasid's turn in Kuya Wes is memorable, but I think Dante Rivero's heartbreaking performance in Dapithapon will be rewarded.

WILL WIN: Dante Rivero, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Ogie Alcasid, Kuya Wes
SHOULD WIN: Dante Rivero, Kung Paano Hinihintay ang Dapithapon


Best Supporting Actress

Teri Malvar's big scene in Distance is going to be a highlight for the viewers, but I'm not counting out Moi Villanueva who's also great in last year's Ang Pamilyang Hindi Lumuluha for her work in Kuya Wes.

WILL WIN: Teri Malvar, Distance
COULD WIN: Moi Villanueva, Kuya Wes
SHOULD WIN: Teri Malvar, Distance


Best Supporting Actor

I'd be happy to see Menggie Cobbarubias win this award for Dapithapon. If he does, it'd be comparable to Yayo Aguila's win last year whose subtle but effective supporting performance trumped over the flashy ones. Although I wouldn't be surprised to see Ketchup Eusebia nab this award for the acting showcase Mamang.

WILL WIN: Menggie Cobbarubias, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Ketchup Eusebio, Mamang
SHOULD WIN: Menggie Cobbarubias, Kung Paano Hinihintay ang Dapithapon


Ensemble – Kung Paano Hinihintay ang Dapithapon
Screenplay - Kung Paano Hinihintay ang Dapithapon
Cinematography - Kung Paano Hinihintay ang Dapithapon
Editing – ML
Production Design – Kuya Wes
Original Music Score - Kung Paano Hinihintay ang Dapithapon
Sound - ML


SHORTS

Best Short Film - Sa Saiyang Isla
Best Director - You, Me and Mr. Wiggles
Best Screenplay - You, Me and Mr. Wiggles
Special Jury Prize - Si Astri Maka Si Tambulah

Netpac Jury Prize - You, Me and Mr. Wiggles
Audience Choice - Sa Saiyang Isla

Ranking 2018 Cinemalaya Feature-Length Films

What a great Cinemalaya year this has been! This year's roster of films gave us more than what we've bargained for. There's something for everyone--from feel-good movies like Pan de Salawal, to the timely ML and Liway, from breakthrough actors Tony Labrusca, to Cinemalaya returnees Glaiza de Castro and Eddie Garcia, to legendary local artists Celeste Legaspi. This festival has evolved over the years, but it still has the distinct flavor it is known for. Cinemalaya will always be the original indie film fest in the country.

Many goers say that the quality of the films in the past few years have downgraded. I may agree to an extent, but I personally really like this year's lineup. With that, here's my ranking of this year's feature-length entries.

1.

Kung Paano Hinihintay ang Dapithapon

One would think this film is about jealousy, and finding one's true love. But it's totally the other way around as this is about death, closure, and the power of humanity. It's refreshing to see characters, or a film, that doesn't dwell on eruptive conflicts. Rather it lets the film simmer and boil through restrained but impactful resolve, reminding us so many things about life where closure is closure however good or bad the process is, and that humanity trumps any form of hatred or jealousy...(Full Review)

2.

Pan de Salawal

Like a big ball of positivity, it's absolutely impossible not to smile while and after watching the film. It's a magical film that we don't need to know the origins of Aguy. She's so cute, that we assume she's simply (Full Review)

3.

Mamang

...Mamang reaffirms her greatness that it's almost a crime that she's given this lead film role only now in her career. She is the reason to watch this film, and it's worth mentioning that she's actually got the expressive eyes of Bette Davis. (Full Review)

4.

Distance

Distance effectively delivers a family situation where there's really no right or wrong. Albeit almost hopeless, one would root for the family to find their happiness within the four walls of their home. (Full Review)

5.

Kuya Wes

As comedic as this was, it might be a hard watch for some. Watching a guy being taken for granted by almost every character in the film is as painful as it could get, especially when he also has no one to count on...(Full Review)

6.

ML

A good and relevant action film that falls short of being a great one. ML tries to be more than a genre examination but behind its facade, it pushes its fixation on violence to actually be an effective wake-up call, and to be honest, the violence is not at all gore, as in GORE. (Full Review)

7.

Musmos na Sumibol sa Gubat ng Digma

...the film boasts of breathtaking imageries and dream sequences that seldom blur the line between imagination and reality, making its narrative a little disjointed. Its slow pacing also might prove to be a challenge for some, but I personally don't mind especially because of its superb cinematography. (Full Review)

8.

School Service

On one hand, it is actually effective because it repeatedly highlights the characters' unconscious misery. But on the other, it's something that we've seen before that it needs a whole new direction for it to be fresh. (Full Review)

9.

Liway

There is no denying that Liway's story is important and authentic. It's a story that needed to be told. Its loose treatment to the material, however, makes it a bit melodramatic and detached. (Full Review)

10.

The Lookout

There's too much going on, and anyone watching it wouldn't be able to keep up with all the emerging random plot details that continuously pop-up. (Full Review)

Photo Credits: Cinemalaya

Cinemalaya 2018: 'Kuya Wes' Teaches Us a Thing or Two About Love and Depression

Ogie Alcasid as Kuya Wes; Photo Credit: Cinemalaya

Director: James Mayo
Cast: Ogie Alcasid, Ina Raymundo, Moi Bien, Alex Medina, Karen Gaerlan

This seems like this year's light-hearted hugot film if we solely base our judgements on its cheerful posters, teasers, and marketing ads. No one would predict that James Robin Mayo's sophomore film Kuya Wes is one of this year's darkest entries. And it doesn't involve death, or blood, or gore. It tackles something deeper, and closer to home. I commend this year's Cinemalaya entries for its diverse themes, and Kuya Wes has one of my favorites, and definitely needs to be told more.

Kuya Wes is about a timid and earnest remittance clerk played by Ogie Alcasid, who falls for his customer named Erika (Ina Raymundo). Often taken advantage by his brother's family and his customers, Kuya Wes reaches rock bottom.

As comedic as this was, it might be a hard watch for some. Watching a guy being taken for granted by almost every character in the film is as painful as it could get, especially when he also has no one to count on... at least at first. Thanks to Moi Bien's character for changing that. As a matter of fact, she's the only one who eventually sees Wes' worth. She's the much needed friend Wes can rely on when he needs advice and confidence to face the world.

Ogie Alcasid and Moi Bien's duo is absorbing, and here they do comedy with humor, wit and most especially, heart. Ogie's Wes is nothing short of funny, yet he'll break hearts in the end. Moi Bien, on the other hand, has never been this good and natural. Definitely a level up from her naive yaya role in last year's Ang Pamilyang Hindi Lumuluha.

James Robin Mayo's light treatment of a dark subject is impressive, often disguising its darkness with relaxing music and cheerful colors. This method creates an intensified climax that involves Kuya Wes walking on the streets livid, eventually breaking down along with the fourth wall, and one can't help but feel for him.

I wish its underlying theme of depression is further explored as it might be too subtle to teach its audience how to deal with someone who’s struggling with it. Good thing is it ends on a high note, leaving hope for anyone who's been taken advantage of, teaching us that we all deserve love, and we must stand up for it.

Cinemalaya 2018: Impossible Not to Smile Watching 'Pan de Salawal'

Miel Espinosa as Aguy; Photo Credit: Cinemalaya

Director: Che Espiritu
Cast: Bodjie Pascua, Miel Espinosa, Madeleine Nicolas, Anna Luna, Felix Roco, Soliman Cruz, Ian Lomongo, Ruby Ruiz, JM Salvado & Lorenzo Aguila

We miss the feel-good local movies of the 90's. Lately, it's all about romance, action, and family drama, that we forget how it feels to watch flicks about a harmonious community, or anything magical. When Camille Prats touched her neighbors to fulfill their wishes in Hiling and Jolina Magdangal cheated global warming to cover Manila with snow in Wansapanataym The Movie, we were blessed with scenes in Philippine cinema that will never leave our memories.

In this year's Cinemalaya, Pan de Salawal brings the magic back with its simple theme of helping others. When a lonely baker named Sal (Bodjie Pascua) suffering from kidney problems wants to end his life, while his neighbors deal with their own battles, a young and cute Visayan lass named Aguy (Ouch in English) came to the rescue. How? By hurting them..yup, in her own little cute way.

Che Espiritu's ironic concept for Pan de Salawal stands out among this year's feature-film entries. After a series of tearjerking dramas and thought-provoking ideologies, this felt like a needed catharsis from all of the darkness of others. Like a big ball of positivity, it's absolutely impossible not to smile while and after watching the film. It's a magical film that we don't need to know the origins of Aguy. She's so cute, that we assume she's simply godsend.

Miel Espinosa's Aguy is going to be in my top movie characters for 2018. She's a delight to watch. Her confidence shines, even when she's surrounded with veteran actors. She's simply a star in a great crowd.

Pan de Salawal is what our country needs right now. It doesn't need any satire, or a dramatic depiction from our history to be relevant. This simple movie about love, life and hope, will make anyone who watches it kinder to a degree.

Cinemalaya 2018: 'School Service' is a Hopeless Case of Children in Poverty

Ai-Ai delas Alas as Rita in School Service; Cinemalaya

Director: Louie Ignacio

Cast: Ai-Ai delas Alas, Joel Lamangan, Celine Juan, Therese Malvar, Felixia Dizon, Joe Gruta, Kenken Nuyad, Kevin Sagra, Santino Oquendo & Ace Café

A young girl named Maya (Celine Juan) is taken captive by a small-time syndicate in a stolen school service. Led by Rita (Ai-Ai delas Alas) and along with other juveniles, they beg, steal, and hustle for money in the streets of Manila.

Much like EJK, Martial Law era, corruption, and any current issue in our country, poverty is one thing that needs to be told again and again. And Louie Ignacio's School Service exploits its darkness, focusing on the hopelessness of his characters' situation. It can be heavily compared to Eduardo Roy Jr's Pamilya Ordinaryo except this doesn't have something new to tell.

On one hand, it is actually effective because it repeatedly highlights the characters' unconscious misery. But on the other, it's something that we've seen before that it needs a whole new direction for it to be fresh. It's the opposite of films like BuyBust or ML where the message overshadows its narrative.

Ai-Ai delas Alas leads the pack as the group's brutal but caring mother hen. Her superb performance here is no surprise. She's always been a good actress may it be comedy or drama. The rest is brave to portray the hopeless children, and kudos to whoever briefed them that they had to be slapped, cursed, and abused to get their message across.

Cinemalaya 2018: 'ML' is a Relevant Film Almost Overshadowed by Gore

Photo Credit: Cinemalaya

Director: Benedict Mique Jr.
Cast: Eddie Garcia, Tony Labrusca, Liane Valentino, Henz Villaraiz, Jojit Lorenzo

Carlo (Tony Labrusca), his girlfriend,  (Liane Valentino) and best friend (Henz Villaraiz) find themselves playing with fire after Carlo's research assignment about Martial Law goes dangerously wrong.

A good and relevant action film that falls short of being a great one. ML tries to be more than a genre examination but behind its facade, it pushes its fixation on violence to actually be an effective wake-up call, and to be honest, the violence is not at all remarkable gore, as in GORE.

Instead, it becomes a bit cliché of what we've already seen before. Electrocution, blood, poking one's skin with a cigarette, more blood, and then in the end they're all going to survive in a lame fashion. And yet, the film attempts to make a statement about Martial Law. Albeit relevant, and timely for that matter. Its biggest flaw is that it doesn't know if it wants to thrill or disturb.

There's no problem with relevant films being thrilling. As a matter of fact, most of the torture scenes are done well but a lot of it lacks a certain weight in the blood and gore, or that's probably just me.

Its technical achievement is really notable, though. Great sound design, believable execution, and great cinematography despite its setting--a classroom, and a simple house. The difference in music during the torture and simpler scenes are also noteworthy and beautiful. It demands to be listened to. Mike Hanopol's original song is good.

The importance of this film and its technical achievement is highly noticeable and established. But going back, its goal in addressing the atrocities of Martial Law can sometimes be overshadowed by the gore and the greatness of its technological aspects. Then again, reality is stranger than fiction and I definitely don’t want to sound like an apologist, I’m sure the real horrors of Martial Law cannot ever be documented in a film, in a torture genre to boot.

It's a good watch, overall. Eddie Garcia rules!

Cinemalaya 2018: 'The Lookout' is Unintentionally Epic, Entertaining and Major

The Lookout | Cinemalaya 2018

Director: Afi Africa

Cast: Yayo Aguila, Rez Cortez, Efren Reyes, Alvin Fortuna, Jeffrey Santos, Benedict Campos, Aries Go, Lharby Policarpio, Jemina Sy, Jay Garcia, Elle Ramirez, Andres Vazquez, Nourish Icon Lapuz, Xenia Barrameda, Dennis Coronel Macalintal, Ahwel Paz & Mon Gualvez

Most of the time, it's hard to articulate the words to describe a great film. No words can match its greatness, nor can suffice the good experience one has while watching it. It's the same thing for The Lookout... which is an incredible cinematic experience, to say the least. It is epic, entertaining, and major, except all for the wrong reasons. This film is the perfect example of a so-bad-it's-good movie that it piques more attention than other decent films.

The Lookout follows Lester Quiambao, a serial killer with a dark past that pushed him into a life of crime and insanity. Travis Concepcion, a hired 'lookout'-turned-Lester'silover struggles to find where his loyalty lies. This results in a crazy and puzzling game of espionage, betrayal, and romance revealing ghosts from their past, and non-stop twists along the way.

On the surface, the story has a lot of potential. Like a story straight from a pocket book, writer-director Afi Africa packs this film with seemingly any theme he can think of. It's a mystery-thriller, a provocative gay romance, a tragic family drama, so-on and so forth. There's too much going on, and anyone watching it wouldn't be able to keep up with all the emerging random plot details that continuously pop-up. Make no mistake, Afi Africa sees to it that all things make sense. But he sacrifices the credibility of the material in the process by adding too much spoon-feeding details that  it seems as if even he forgets to keep up with all that's happening.

It's ridiculous, absurd, and borderline idiotic that it's insanely hard to believe everything about it wasn't unintentional. Flashlight and torch in Ponderosa mountain? Over-the-top delivery of lines? Cheesy pick-up lines? Explaining the difference of love, and in-love? Excessive and unnecessary nudity? A random Jeffrey Santos cameo? Countless plot-holes and inconsistencies? I choose to believe that this is Afi Africa's masterpiece, and that he is a genius for making this.

Best enjoyed as a comedy.

Cinemalaya 2018: 'Musmos na Sumibol sa Gubat ng Digma' Advocates Peace Amid Familial Wars

Musmos na Sumibol sa Gubat ng Digma

Director: Iar Arondaing
Cast: Junyka Sigrid Santarin, JM Salvado, Star Orjaliza, Jun Salvado Jr., Romerico Jangad, Darril Ampongan & Haide Movero

An old man tells his grandson a coming-of-age story about Eshal, a Muslim lass in Marawi during an age-old culture of inter-familial war called 'rido'.

Like Sharon Dayoc's Women of the Weeping River, Iar Arondaing's Musmos na Sumibol sa Gubat ng Digma tackles the effects of Muslim wars between clans. The former is focused on women, the latter, in families across generations, and both, advocate peace.

Shot in Palawan, the film boasts of breathtaking imageries and dream sequences that seldom blur the line between imagination and reality, making its narrative a little disjointed. Its slow pacing also might prove to be a challenge for some, but I personally don't mind especially because of its superb cinematography.

The film is also harmonized with religious chants from the Quran as it alternates from the old man and his grandson's journey, with Eshal's survival in the forest after escaping the 'rido'. The relationship between these stories eventually go full circle and later revealed to be connected, adding further proof of the consequences and effect of old generations' feud to the next.

Musmos, however, doesn't dwell on the consequences and instead aims more attention to how peace prevails against any form of war. That message alone makes this film one of the most relevant films of our time. Without discrediting the importance of films about war on drugs and the Martial Law era, our Muslim brothers and sisters also deserve our attention.

Cinemalaya 2018: 'Distance' is a Complicated Family Drama

Iza Calzado as Liza; Photo Credit: Cinemalaya

Director: Perci Intalan
Cast: Iza Calzado, Nonie Buencamino, Therese Malvar, Alessandra Malonzo

Five years after leaving her family without warning, Liza (Iza Calzado) receives a visit from her husband, Anton (Nonie Buencamino), asking her to return to him and their two children (Therese Malvar, Alessandra Malonzo).

There is so much to digest in Perci Intalan's family drama, Distance. On the surface, one would say that it's a simple take on an ordinary family, but the family involved is definitely not one. It's complicated, as each of the family member has different emotional needs, and Intalan slowly and surely  builds them up one by one throughout the film. His treatment is certainly intriguing, keeping questions unanswered until everything blows up, almost losing the audience's grip in the process but grabbing them back tighter and more assured. There's an affair, and there's almost no way to look back.

Thinking about it, this complicated family scenario gives everyone something interesting to discuss. The affair started a negative chain reaction to the family in subject, and yet it feels like there is no one to blame with the consequences and effects of their actions. Everyone in the family has emotional baggage and everything also seems valid because of the situation. It all really depends on how one would look at it. It's such a complicated story, and honestly plot-wise, it's a thing of beauty.

It's slow and quiet, relying mostly on stares and awkward gestures, but one can tell that a thunderous climax is looming, and all hell breaks lose once it did. Thanks to Therese Malvar's passionate scene-stealing performance who's deeply affected by her mother's liaison and sudden disappearance. It says a lot about her prowess especially with Nonie Buencamino and Iza Calzado's presence. The ensemble is all in their A-game effectively leveling up the film's caliber.

In the end, Distance effectively delivers a family situation where there's really no right or wrong. Albeit almost hopeless, one would root for the family to find their happiness within the four walls of their home. It continuously grows on me, as I ponder about it.

Cinemalaya 2018: 'Mamang' Reaffirms Celeste Legaspi's Greatness

Ketchup Eusebio and Celeste Legaspi in Mamang; Photo Credit: Cinemalaya

Director: Denise O'Hara
Cast: Celeste Legaspi, Ketchup Eusebio, Peewee O’Hara, Alex Medina, Gio Gahol, Elora Espano & Paolo O’Hara

Mamang (Celeste Legaspi) is battling dementia to be with her son Ferdie (Ketchup Eusebio), who is looking for a teaching job away from their home. As her condition worsens, the ghosts of her past visit her in their home with visions only Mamang can see.

Written and Directed by Denise O'Hara, the film revolves around the mothr-son love story of Mamang and Ferdie who only have each other as their companion. Both are afraid to lose one another, and at the same time, they don't want to lose themselves for each other. Their dilemma is they're running out of time--Mamang is battling dementia, and Ferdie must find a job to support their growing needs.

Worth mentioning first is Celeste Legaspi whose spectacular charisma lingers throughout the film. In a sense, Mamang reaffirms her greatness that it's almost a crime that she's given this lead film role only now in her career. She is the reason to watch this film, and it's worth mentioning that she's actually got the expressive eyes of Bette Davis. She's delightful to watch even in this heartbreaking role. Ketchup Eusebio is also noteworthy in his dramatic turn as Mamang's only son, Ferdie. I haven't followed Ketchup's career, but this is also possibly his career-best.

Their duo elevates the film entirely in a new level, and I wish I could say the same to the story which is impassioned but predictable, and fun but repetitive. Several foreshadowing gives too much of the twist, that it's been anticipated the first time it gives a hint. As new characters are introduced, we all know that Mamang's condition, and eventually, situation is kind of hopeless.

Despite these, Mamang is one of my favorites this year. I'd pay to see another Celeste Legaspi lead comedy-drama.

Cinemalaya 2018: 'Liway' is a Deeply Personal Account Inside a Martial Law Prison

Director: Kip Oebanda
Cast: Glaiza de Castro, Dominic Roco, Kenken Nuyad, Soliman Cruz

Photo Credit: Cinemalaya

Liway tells many stories about the harrowing effects of Martial Law in Inday’s (Glaize de Castro) life such as the consequences of being imprisoned with her son, Dakip, (Kenken Nuyad) whom she protects from the horror and reality of their condition by telling folklores about an enchantress named Liway; the strain in her relationship with fellow activist and husband, Ric (Dominic Roco); and the atrocities prisoners get through in Camp Delgado, a prison camp containing all captured criminals and rebels of Martial Law. This results into an uneven and convoluted movie despite its heavyweight subject. Strangely, it also works effectively as it is eager to tell these eye-opening stories, opposite to Inday's hand-shadows and sanitized bedtime stories to Dakip.

Glaiza de Castro's Inday/Liway is touching, brave, and seemingly captures the heart of the titular role. She carries the whole weight of the film with much needed confidence and passion for the role, very much like Brie Larson in Room, and one would also think of Roberto Benigni in Life is Beautiful. She makes prison-living safe and warm for Dakip, also heavily felt beyond the screen, especially when she sang Lolita Carbon's Himig ng Pag-ibig. Truly a career high for the actress.

There is no denying that Liway's story is important and authentic. It's a story that needed to be told. Its loose treatment to the material, however, makes it a bit melodramatic and detached. One quibble is how there seems to be minimal danger in the prison camp that they're living in wherein there are only a few wardens in which some of them even bend the rules, walls that look like they can easily be broken, and so on. Case in point: as much as it preaches the abuse of Martial Law, it's not as believable in its depiction. Authenticity in the story is one thing, but authenticity of the depiction is another.

It pretty much picks up by its third act with its steadier score, stronger dialogues, and more compelling events. But the biggest twist is when we learn that this is a deeply personal account of director Kip Oebanda that leaves everyone woke and touched, evoking a huge applause from the festival viewers.