Cinemalaya’s short films shine even without big stars

2015 will be gloriously remembered as the year the organizers of the Cinemalaya Film Festival took a colossal risk and won big-time by featuring only short films.

There were no full-length films in competition crafted by the so-called famous and veteran (whatever this means) directors.

Many indie film and movie fans welcomed the respite from full-length indie films, several of which feature big-name stars of entrenched production companies.

Finally, finally, Filipino short film-makers are basking in their own glorious moment.

Audiences are filling the venues of the Cultural Center of the Philippines showing the short films as well as independent films from other Asian countries, such as China’s “Coming Home,” Japan’s “The Tale of the Princess Kaguya,” and Cambodia’s “The Last Reel.”

One of the most impressive conversations at the CCP Main Theater lobby this reporter overheard while waiting for the screening time involved a group of freshmen college students who saved money to buy tickets for the short films.

“Tiis, tiis, makapanood lamang ng Cinemalaya short films,” one of the students said.

“Alipin kami ng indie short films,” added another student.

They did not have money for meals in between screenings and several of them had not eaten lunch yet, but there were no traces of regret on their faces. They were energetic and looking forward to completing their mission: to watch the 2015 Cinemalaya short films.

One could only wish that Laurice Guillen, Chris Millado, and Mel Chionglo, the Cinemalaya Foundation triumvirate, and the tandem of Vicky Bellarmino and Minda Casagan, of the Cinemalaya Secretariat, overheard this conversation. The words may have warmed their hearts and salved their headaches.

On Thursday afternoon, Cinemalaya Festival director and CCP vice president Millado announced additional screenings for the two short film groupings: on August 15 at the Tanghalang Manuel Conde (Dream Theater). Shorts A will start at 12:45 p.m., and Shorts B at 3:30 p.m.

Intended or not, the decision (or gamble) by the Cinemalaya Foundation officials to focus only on short films is paying off. The re-discovery here is that there is are audiences still willing to pay to watch a festival of short films at the CCP, despite the “ma-indie” films of the past several years of Cinemalaya.

Now to the 10 exciting short films in competition: revealing, sharp, sensitive, and fascinating in their approach to portray slices of the human condition.

Several of the films are biographical and captured the writers’ personal journeys, as confessed by at least two scriptwriters-directors.

Kenneth Dagatan’s “Sanctissima,” a horror film about a woman who lives and shares a dark secret with her child, is enjoying the loudest buzz on social media and the most rambunctious applause after each screening.

Dagatan, a Cinemalaya first-timer, is overwhelmed by the audience’s reaction to his clean, well-executed, well-narrated, and full-bodied film. Actress Ligaya Rabago, playing the quiet, caring mother, delivers a tour de force performance.

Milo Tolentino’s colorful “Nenok” is another laurel added to the director’s body of work on children. Mischievous, nine-year-old Nenok takes the audience around the Barasoain Church in Malolos, Bulacan as he plays tricks on Mang Johnny, the church’s handyman and keeper.

The agony of loving your best friend in high school and not being loved in return is the theme of Petersen Vargas' “Lisyun Qng Geografia” (Geography Lessons). The edge of Vargas’s graduation film thesis over the other entries is his effective use of flashbacks in eliciting emotion. The silent scenes are the most powerful ones.

Darwin Novicio’s "Papetir" (Puppeteer) runs only 5:44 minutes but has the impact of a powerful bomb in laying bare a puppeteer’s genuine emotions as he attempts to make his audience happy during a children’s party.

The swift and seamless shift of scenes between past and present and the convincing characterization by the actors are enough for this film to be seriously considered for a nomination.

Martika Ramirez Escobar’s “Pusong Bato” is an enjoyable trip to the realm of fetishism. With the sheer delight of watching a woman fall in love with a piece of stone and the unexpected ending, Escobar’s film rocks and conquers the audience.

“Wawa,” Angelie Mae Macalanda’s silent film about a son coping with his father’s death, declare that unspoken truths are more punchy and cogent. The film's first-rate photography must also be cited.

Ryanne Murcia’s “Apasol” (Chasing Sun) features an afternoon in the life of a same-sex couple before they separate. The fluttering of paper strips tied to a tree is an effective metaphor about how transitory life's moments can be.

Glenmark Doromal and Eero Yves Francisco’s “Gatilyo ng Baril” attempts to use chapters in modern Philippine history to weave an engaging tale about the assassination attempt on the life of Imelda Marcos and the murder of Ninoy Aquino.

Annemikami Pablo’s “Mater” is a cogent appeal for family members to communicate effectively and sincerely. A mother and a daughter might think they know each other well, but the ending reveals all the lies and the truths.

Arvin Belarmino’s “Kyel” may tests one’s patience and perseverance initially. But hang on, and enjoy the well-planned and almost perfect shots. Imagine yourself trying to penetrate your friend’s mental state. This is the key to appreciating this film. — BM, GMA News

The Cinemalaya Festival runs until Aug. 15. For the screening schedule and more information about the festival, visit www.cinemalaya.org or the Cinemalaya Facebook page.