The Cinemalaya Film Festival had just concluded, and it finished boldly with a very strong lineup. 

This year’s festival felt different; most of the filmmakers weren’t really aiming for the awards. At least, that’s how it seemed to me. They want to be heard, and invite people to take action. Each film had its own advocacy strong enough to cement the premier independent film festival’s two-decade celebration. 

Overall, I watched six out of the 10 full-length entries in this year’s Cinemalaya. Here are my quick takeaways from each film:

Alipato at Muog by JL Burgos review

Alipato at Muog is the only documentary entry to the full-length competition of Cinemalaya XX. I was hesitant to watch it at first, because I tend to get very emotional for stories about real, unsolved cases. I’m glad I gave this a chance. This is a story that deserves to be known by the general public.

As we go on about our daily lives, Alipato and Muog is a reminder that there are big struggles of the Filipino people that we could only imagine. In this case — there are families of victims of enforced disappearances (called desaparecidos) in the Philippines, and they are still grieving up to this day. The saddest part is, the families haven’t received closure decades later. 

A very powerful watch — more so that the director and writer is the brother of the desaparecido in the film.

An Errand by Dominic Bekaert review

Initially, I liked the approach of this film. An Errand — a driver (played by Sid Lucero) makes his way to Manila all the way from Baguio City in the wee hours of night. I love long rides myself, and the story has an interesting narration. We get a glimpse of the characters’ backstory through different outtakes.

The cast and crew of An Errand during the Cinemalaya gala and talkback screening

However, I felt like the film was a bit long and dragging. But maybe that is the main message of the film — a metaphor of the long, exhausting hours endured by the working class, only to be exploited by the capitalists over personal (mostly absurd) gains.

Balota by Kip Oebanda review

Six Cinemalayas ago, I cried during the closing remarks of a film at Tanghalang Nicanor Abelardo in CCP. The film was Liway, based on a true-to-life story about a political detainee during the martial law era. It was directed by Kip Oebanda, son of the said detainee.

Six years later, Oebanda returns with a new film with another compelling theme. This time, it’s about the Philippine elections. 

The film’s story centers around election season in a small provincial town, and how a public school teacher (played by Marian Rivera) navigates the “dirty” and messy system. She reminds me of my aunt who is a public school teacher, and growing up, I would watch her brave the gruelling system during the elections as a poll watcher. 

The cast and crew of Balota during the Cinemalaya gala and talkback screening

Compared to Liway, the film has a mainstream feel to it (it is co-produced by GMA Pictures). Although, I think it’s a smart move – especially the decision to cast Marian Rivera as lead, and include social media personalities like Sassa Gurl and Esnyr to target the general audience. 

Overall, Balota serves as a great voters education film that deserves to be shown in the mainstream cinema.

Gulay Lang, Manong by BC Amaparado review

Out of all the entries this year, Gulay Lang, Manong may have the lightest approach. While it still deals with sensitive and relevant topics like police brutality and social injustice, the film is sprinkled with dark humor and comedic skits. It drew laughs inside the cinema, thanks to its fun cast ensemble. No wonder it got the Audience Choice award. 

Gulay Lang, Manong reminded me so much of the 2018 Filipino film, “Pangarap Kong Holdap” which similarly tackles social issues with a satire comedy approach. There were a lot of easter eggs in this film, and towards the end, it leaves you questioning some of your beliefs about certain issues. In my case, it made me read up on research about medicinal benefits of marijuana.

The cast and crew of Gulay Lang, Manong during the Cinemalaya gala screening

I was present during the gala night and I felt the fun energy of the cast and the audience. Farmers from Pampanga were also there in the gala screening, and you can tell from the vibe that the production team had fun in creating this story. The cast even gave out free tupig (Filipino rice cake) outside the cinema, which is a relevant symbol in the film. 

Kono Basho by Jaime Pacena II review

Starting with the opening credits, I knew Kono Basho would be a visual feast. Its director, Jaime Pacena is actually a virtual artist, and it is very evident throughout the film. 

The story’s main theme is grief, and how people navigate its complexities. The Japanese production style is very evident while watching Kono Basho, but somehow the story is injected with Filipino values.

Overall, Kono Basho is simple and straightforward, and what really made it stood out is the beautiful cinematography (director Dan Villegas really nailed it), plus the great acting of the two lead actresses.

Tumandok by Richard Jeroui Salvadico & Arlie Sweet Sumagaysay review

My personal favorite from the lineup this year, Tumandok is told in such a way that it doesn’t impose its audience on what to feel. It simply tells a story. While the subject matter is heavy, the filmmakers managed to make it hopeful.

Tumandok is very raw and genuine — and the main reason is that the actors are the real indigenous people themselves.

The cast and crew of Tumandok during the Cinemalaya gala screening

This film has touched my heart and opened my mind about the struggles of our indigenous people. There are important issues brought in this film like social class, politics, and capitalism, among others, but the story was narrated in the most genuine and human way. 

The film was five years in the making, and I say it is worth the wait.