Alternative films

The 31st Gawad Cultural Center of the Philippines Para sa Alternatibong Pelikula at Video last August 3 to 5, 2019 was a resounding success. Considered as the longest-running independent film competition in the ASEAN region, its recent edition drew the biggest participation so far for its four categories; animation, documentary, experimental, and short feature.

Alternative films and videos provide an option in contrast to commercial media or to traditional themes and forms, dealing with subjects, perspectives, and formal components not found in the mainstream.

Film as the artistic expression can change an individual, a general public, a country. In any case, we need to stress the genuine meaning of art—that it is a construct. The theory, method, generation, dispersal, and capacity of workmanship are made or delivered by people who are shaped by the impact that sustain western-based knowledge about the world and realities.

Most Filipino filmgoers watch movies to be entertained and get distracted from their daily routine. This is fundamental and appropriate, considering the horrid conditions standing up to our nation. For all intents and purposes, be that as it may, the average filmgoer does not consider beyond the idea of films as an approach to while away time. Convincingly, film as a work of art is similarly as imperative as any painting or song. Film likewise deliberately can motivate its group of spectators, induce thought and excite to reflect. Film, as a craftsmanship exists, to make a reaction in an individual and to connect with its crowd into to a lesser extent a viewer and to a greater degree a participant. Obviously, that is the place film, as a device of excitement assumes its job as a motivator.

Watching this year’s selected films reminded me, like a hammer on the head, of the absolute importance of independent filmmaking.

Indeed, even as a person who works in alternative films, I frequently overlook the job that film plays in growing idea, conclusions, and compassion for individual people. Film producers don't have an ethical commitment to make socially cognizant, compassion prompting films. Their solitary commitment is to entertain; nonetheless, for me, I esteem the movies that settle their way into our minds, twist up and pause. Once in a while they scratch from within, beseeching you to recognize them, to recall that they immovably planted themselves into your considerations. Incredible films power you to think in an unexpected way.

Brillante Mendoza's movies "Captive" and "Thy Womb", for instance, were considered as alternative films. They were not delivered by monster film production outfits for the most part TV stations that can bear the cost of enormous budgeted motion pictures with mainstream actors yet the most essential factor that could characterize an alternative film is its substance and subject.

If we want to transform society and practice we must tell stories we accept as true. That means moving from rational-world pragmatism to a narrative vision. It means searching for a moral narrative rooted in genuine human emotion.

It is vital that programs such as Cinemalaya and venues like CCP exist because it may be the only way that some viewers see independent cinema, and therefore will see truthful filmmaking. It may be the only time they see a film that tells their story.

Any form of art must be made available to the public. Film is an art form that is potentially relevant and influential, especially those that depict and reflect realities. And so when an independent film comes to your community, please support it, champion it.