Brillante and his truth cinema

MANILA, Philippines – “It’s always my motivation,” shared Cannes award-winning director Brillante Mendoza with The STAR about the educative and verite (truth) presenting nature of his cinema (films). “Earlier on in my career, I had the realization that film is a very powerful medium, that it would make a huge difference. Maaring hindi natin nakikita pa ngayon but eventually mararamdaman natin... I realized that film is not only for entertainment. You can (also) educate (through it).”

That’s why Brillante considers film a serious form of art. “I just don’t look at film (as a means of) entertainment. It’s an art,” he said. “You have to see it from that perspective. But not all of us appreciate (film) that way. I cannot blame the audience for not appreciating in that perspective I would see film. But I wouldn’t take it sitting down.” So the Filipino auteur will remain faithful to his cinema and continue to create narratives founded on social facts. With his efforts, the public will hopefully appreciate cinema more — as well as Brillante’s films.

“You don’t need to be rich or super educated,” said Brillante on the audience dichotomy of his cinema — and who could appreciate his films, labeled by some as art film or independent. “You just simply need to feel the truth in the story… what they say is that, that type of films is only for the rich, for the educated, for the avant-garde or for the well-off. Kahit naman ikaw ay ordinaryong Pilipino lang, basta nakaka-appreciate ka ng malalim na ibig sabihin ng buhay at ng katotohanan ng buhay, ma-appreciate mo rin naman yung mga pelikulang ganito.”

Brillante added that cinema is for everyone, except that there are films for the mainstream and for the alternative. Regardless of what film-genre fence a director is standing on, Brillante said, he has to know his audience and to make sure he does a good film made for a chosen category.

With Caffé Veloce president Stephane Triffault and Infinidad managing director Alen dela Cruz

Appreciating the support of his public, Brillante gives lectures and speeches to popularize his film discourse. Presented by Caffé Veloce Production, P-Noise Filipino Film Festival will have him as a featured artist on Nov. 18 at the Club de l’Etolle in Paris, France. He will conduct a master class and grace the avant premiere of his latest magnum opus Ma’ Rosa. This time around, Filipinos will be part of the audience. By the way, Caffé Veloce Production, which aims to strengthen the relationship between France and the Philippines, is planning to give Brillante’s works a retrospective next year and to stage Maharlika Trade Expo, Barrio Fiesta and Concert 2017 and Filipina: The Fashion Show.   

What’s the correct term to describe his cinema? “I’d rather call it alternative,” answered Brillante. “The term indie has evolved. There are many mainstream studios that are making indies, but are actually big-budgeted. They are not independent anymore. Like for instance, the films of (director) Lav (Diaz) are alternative. They are not the usual formula films. Yung mga films ko, they don’t cater to mainstream and you know they are alternative. When you are alternative, you accept the fact that you are not a priority because the priority is mainstream. When you are alternative, you are just a second choice.” It means moviegoers will watch an alternative film after watching a mainstream movie which, according to Brillante, “always conforms with formula, in all aspects, (like) themes, the way it is promoted and the way it is made.”

Being alternative is seen in the film’s visual aesthetics and it reveals the director’s school of thought in filmmaking. “It’s found story that I do,” Brillante said of his approach. “It’s not just a matter (of the film’s) rawness, na unheld siya, na shaky siya. There is a science behind that. My films are based on documentary. I came from documentary, then going to the found story that I’m propagating to show that kind of aesthetics… The look of my films is documentary, but they are not documentaries. They are fiction and they have narratives. I follow a format, a formula, a school of thought. I’m still studying this school of thought in filmmaking, hindi pa ako 100-percent perfect. I’m still in the process of learning and learning and learning until I perfect the school of thought of found story.”

From an audience’s point of view, Brillante’s found-story approach is effective in surfacing real-life personal struggles and their connection with social issues. Thus, many can’t escape perhaps from the political undertones of his films. “When your film tackles a social issue, it becomes political. You don’t have to push it. It comes naturally. You’re just telling the truth. You’re just like documenting what’s happening, you’re not adding something to it or omitting something. I’m not preaching in my films… You will notice my endings are not preachy. I don’t give false hope. I would end the films where they should end. Kasi yun lang yung kwento na gusto kong sabihin.” This stance leads Brillante to compare a director to a journalist. “You just present facts. You’re not supposed to take sides. You should keep (your personal beliefs) to yourself.”

At the end of each filming — after he has announced, “It’s a wrap,” Brillante remains “an individual, an ordinary filmmaker who tries to do things in my own little way. If there’s someone I have educated, I will be very happy. I like what I do… it is my choice that I do alternative. I find fulfillment in what I do.”

(Caffé Veloce Production is represented in the Philippines by Infinidad Events Management. For details on Caffé Veloce’s events, log on to caffe-veloce.com or e-mail [email protected], [email protected] or [email protected].)