FDCP, FAP, Mowelfund show ‘solid front’ for Philippine cinema
Three Filipino films are currently getting attention here and abroad — Antoinette Jadaone’s “Sunshine,” Baby Ruth Villarama’s “Food Delivery: Fresh From The West Philippine Sea” and Lav Diaz’s “Magellan.”
At the first-ever Araw ng Pagkakaisa ng Pelikulang Pilipino held Aug. 9 at the Valencia Events Place in Quezon City, Film Development Council of the Philippines (FDCP) chairperson Joey Reyes celebrated the achievements of these films, which are proof that local productions can compete on the global stage while resonating with audiences at home.
“Guys, alam nating lahat na suwerte-suwerte lang na may pumatok na pelikulang Pilipino,” direk Joey told the audience of industry veterans, artists and government officials.
“Suwerte-suwerte lang. Sa katunayan, masaya nga kami dahil ang balita sa amin… meron daw kumikitang pelikulang Pilipino ngayon. Hindi kasing lakas katulad ng dati, pero ang importante, kumikita siya. Pumalakpak naman kayo. Lahat tayo, makikinabang diyan.”
He continued, “We know that there are two films that are recognized not only for their excellence but are also acclaimed worldwide. These are ‘Sunshine’ by Antoinette Jadaone and ‘Food Delivery’ by direk Baby Ruth Villarama.
“And soon to be shown as well is the film that opened at Cannes last May, this is Lav Diaz’s ‘Magellan.’”
“Sunshine,” starring Maris Racal, has been reportedly holding strong at the box-office for three weekends, while the documentary “Food Delivery” has been drawing audiences in block screenings and will begin its commercial run in select Ayala Malls cinemas starting Aug. 13, according to Pep.
In a previous interview with The STAR, producer-director Paul Soriano said that they are working on a local theatrical release for “Magellan,” which opened at the prestigious Cannes Film Festival last May with Gael García Bernal in the title role.
“Ang saya-saya na Agosto pa lamang ay meron nang tatlong pelikula tayong namamayagpag at pwede nating ipagmalaki sa mundo,” direk Joey said.
“Sunshine,” “Food Delivery” and “Magellan” have set new examples or standards of Filipino film talent capturing attention beyond local shores.
“We cannot rely on the Filipino audience alone,” he said. “We cannot be happy with the harvest just in our backyard. We must learn to conquer the world. And never underestimate the genius of the Filipino.”
Meanwhile, the Aug. 9 gathering marked what the FDCP chair described as a historic first — the uniting of the FDCP, the Film Academy of the Philippines (FAP) and the Movie Workers Welfare Foundation (Mowelfund) in a common cause.
In the words of direk Joey, the “three important agencies dedicated to the protection of the interests of the Filipino film community have come together to manifest a solid front meant to push local cinema back to the forefront.”
“For the very first time — I can’t explain why it’s only happening now — the Film Development Council of the Philippines, the Film Academy of the Philippines and Mowelfund have aligned," he said during the event, which also served as a reunion and fellowship among stakeholders.
The move of these three key film institutions to “join forces” comes at an important and interesting time. The FAP is now under the Office of the President and with its own budget allocation. It’s no longer dependent solely on contributions from the Metro Manila Film Festival (MMFF).
FDCP, for its part, has been actively rolling out programs aimed at education, professionalization and globalization. Many of these projects are in partnership with Mowelfund, which has been championing the welfare and training of movie workers for decades now.
This “teamwork” also sends a clear signal to the community that they are ready and willing to help.
“The agencies are ready to help you,” he said. “But remember, the real help must come from you. You have to work hard because the agencies are useless unless you also bring the value of professionalism in your work.”
Reviving the Philippine film industry cannot be left solely to government initiatives, according to the filmmaker.
Government agencies, guilds, producers, artists and theater owners must align their vision to help bring Philippine cinema back to life.
“Kahit ano ang gawin namin sa FDCP, kahit ano ang gawin ng Film Academy, kahit ano ang gawin ng Mowelfund, kung hindi tayo nagkakaisa at mayroon tayong natatanging layunin na iangat ang pelikulang Pilipino… walang mangyayari sa atin,” direk Joey said.
Aside from unity, he also stressed the importance of adaptability to changing audiences and the drive to create stories that connect with the world.
He reminded industry members that global success begins with Filipinos themselves valuing their own films. His point was that if the local audience and the industry do not actively support and take pride in homegrown productions, it would be unrealistic to expect foreign audiences and markets to embrace them.
“If we don’t believe in our own work, who will believe in us?” he said. “If we don’t support our own products, how can we expect foreigners to believe in our work?
“So, we have to fight for this, and this will only happen if all of us here are united.
“Not just the producers, not just the actors, not just the guilds, not just the theater owners — all of us must share the same vision, and that is to give back life to Philippine cinema.”
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