Aside from the primary—essentially mainstream—line-up of films, the annual Metro Manila Film Festival has also committed to an “indie” section called New Wave, which will run starting tomorrow, December 17th thru 24th. We have asked the five directors of this year’s competing films to send us their own best description of their films.
Easily recognizable: this post is a reply to Pelikula’s “Ten on Ten” feature for the recent Cinema One Originals Festival.
Ato Bautista on Gemini:
Gemini is a complex psychological thriller, the kind of which is rarely seen in the world today and totally unexpected to emerge from the Philippines. I am delighted to present a film that stands on its own, razor-sharp in its composition and meticulous in its undertaking. Through Gemini, I hope that both local and foreign audiences alike recognize our capabilities as Filipino filmmakers to produce thrillers that leave moviegoers clamouring for more.
Jason Paul Laxamana on Magkakabaung:
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The emotional costs of a loved one’s death are great. But for members of the lower class, the financial costs of giving a deceased loved one’s body a respectable disposal are equally staggering, if not far greater. The bureaucracy involved in the procedures of disposing dead bodies as prescribed by law, combined with the shady opportunism of enterprising individuals, has given birth to the illegal trade of buying and selling cadavers in certain parts of the Philippines, sometimes at the expense of the poor and weak. During difficult times, the poor are coerced not only to turn the lifeless bodies of their loved ones into cold cash, but also to turn away from traditions that require people to not dishonour the dead. As one of the characters in the film says, “Death sure costs a lot these days.”
Arlyn Dela Cruz on Maratbat:
Experiencing violence and abuse first-hand could be the best foundation to achieve peace. To embrace the path to peace is to experience first their deadly and brutal costs. Yes, this is a political story and yes, it will remind you of a horrendous crime that served as the extreme display of arrogance of wealth, power and position in government. Regardless of social stature, pride and honor of clans are held sacred that it could lead to unity or destruction–even annihilation–of families. There is more to the expression “Ubusan ng Lahi“. We as human beings have a course of action to take, not to pay blood for blood but rather to resolve in peace and love. When one overcomes the anger and revenge, a war is won from within as the real JIHAD triumphs.
Zig Dulay on M (or Mother’s Maiden Name):
M is a mother and son relatioship story. Lagi nilang sinasabi na “mothers know best,” ngunit gaano nga kakilala ng anak ang kaniyang ina sa kabilang banda? (We always say “mothers know best,” but how does a child really know his/her mother?) M. tackles not only the identity of the mother and the son, but it implicitly presents the face of the ailing health care system of the country. M. is a tribute to my mother who died before the actual shoot of the film.
Maria Diane Ventura on Mulat:
I was always fascinated with the concepts of perception and consciousness so I decided to develop a story containing these themes. A multi-faceted complex love story, Mulat touches on the evolution of relationships and how our experiences mold us into the people that we are and how much choice we actually have in determining that. It poses a question on whether what we become is random (based on circumstances we have no control over) or the conscious choices we make. Relationships have always been one of my main fascinations in life. Everyone is on the pursuit of happiness and one of the determining factors of our happiness is based on the kind of relationship we have with ourselves and others.
