Cinemalaya Philippine Independent Film Festival has been at the forefront of Philippine independent filmmaking for over a decade and a half, discovering new cinematic voices while cultivating and developing a rising audience for independent cinema.
Cinemalaya continues to banner Philippines cinema with its 17th edition. For this year, 13 Short Films will compete for the Balanghai trophy.
Here is my review of Cinemalaya Shorts B:
During the quarantine, Lolang Keyag Kudyaman lives with her young grandson Eli in a humble yet peaceful home in Baguio City, Benguet.
While she plants, cooks, and takes care of young Eli, she quietly hopes and waits for the lockdown to be lifted so they can visit Eli's parents.
“Namnama En Lolang” is a sweet mother-to-son love letter with a bitter ending.
Although it is inevitable to feel sad and agony as the credits roll, it is also valid to be enraged by the fact that frontliners should be at home taking care of their family rather than patients.
COVID-19 necessitates that medical frontliners continue their work despite restrictions. That means longer hours and more viral exposure to the virus. Nowadays, it is difficult to tell the difference between normal duties and going above and beyond with their work.
But despite that, doctors and nurses bravely face the danger of illnesses, death, and moral discomfort. They are not supposedly ‘heroes’ because even if they are going beyond their duty and putting themselves at risk, they cannot be expected to put their own lives at risk in the care of the patients.
Unfortunately, people treat frontliners as soldiers. Even depicting them as heroes for their unnecessary sacrifice. The pandemic is not a war, it is a call for cooperation and community.
“Namnama En Lolang” creates a space for that discussion. It might paint an optimistic picture of a grandmother standing strong for her grandson, but in hindsight, this is a cry to protect and help our doctors and nurses.
3/5
Kids on Fire
During a religious camp, J.C. (Alexis Negrite) discovers the power of his sexuality by fantasizing over Sister Evelyn’s (Mystica) body. But he soon realizes that when he indulges in self-pleasure, he can create earthquakes. Is this God’s sign or the devil himself?
Coming of age is a significant milestone for kids, but it may also be a tough transition for some youngsters who are reluctant to leave their childhood behind. “Kids on Fire” recognizes prepubescent dilemmas and doubles down on them by touching on religion and moral beliefs.
For the longest time, self-pleasure has been considered a sin, an act that can harm the person physically and spiritually. The debate of whether it is right or wrong is still ongoing. That is why it is a compelling topic to discuss, which movies such as “Yes, God, Yes” was able to expound and articulate. But this film seems like it couldn’t care less about this problem, instead, it wants to make fun of it.
Hence, “Kids on Fire” offers nothing substantial to the sin-or-not narrative. It is a short meant to be comical and nothing beyond that. It is stylish, of course, thanks to Tey Clamor’s wonderful cinematography. However, the story itself is borderline disturbing and nonsensical.
2/5
Beauty Queen
After losing her father during World War II, Remedios Gomez (Carina Febie Agustin) becomes a part of the Hukbalahap (Hukbong Bayan Laban sa Hapon) along with her brother. Even though the group wants her to be part of the medical team, Gomez secretly joins the army in a fight against the Japanese.
War images are predominantly masculine. But that doesn’t mean that women have no place in fighting for our freedom. “Beauty Queen” is a film that stands beside this notion.
Women have the potential to be among the most compelling and inspiring military mouthpieces and warriors. In fact, as the film suggests, they can be much better fighters than their peers. They are brave, smart, and strong.
At its core, this is an ode to women and the significant challenges they have to face because of their gender. They are typically underrepresented in power and decision-making roles, but through the story of Remedios Gomez, Myra Aquino hopes that women will be empowered to take the lead.
3.5/5
Ate O.G.
Ate (Merle Cahilig), an old house servant, struggles with the gradual, boring, day-to-day despair of home quarantine. It also didn’t help that her two adolescent bosses (Kara and Keenan Mayuga) took out their frustrations on her.
But one day, Ate finds a familiar medicine that will uplift her mood and take away the weariness she feels.
Abuse and drug usage are two of the most pressing issues in society. And “Ate O.G.” relates both of them in the most head-scratching way.
There is no denying that being a Yaya is hard. Just imagine leaving your own children to take care of the kids of others. They are often treated as slaves. And because of the social difference between caretakers and owners, it is easy to be aggressive and exploitative towards them.
“Ate O.G.” addresses this mistreatment to a ruthless degree. But, for some reason, it headed nowhere.
As the film moves along, Ate soon discovers a stash of Marijuana, and all of a sudden this commentary on abuse and mistreatment disappears like a puff of smoke. People around her are suddenly friendly and kind. And it all feels unearned.
“Ate O.G.” surely approves of Marijuana use, but there are other million ways to promote it. The existence of that drug in the film overshadows and besmirches the struggles faced by our nannies and caretakers.
1/5
The Dust in Your Place
A comic strip illustrator (Chaye Mogg) decides to tell her writer (Boo Gabunada) about his problems with other girls after witnessing an embarrassing fight between him and his girlfriend. But the discussion quickly goes off the rail as it deep dives into relationships, social standards, their history, and their probable future.
I am not certain what “The Dust in Your Place” wants to convey. Or if there is a meaningful message beneath its narrative. The conversation moves in circles and the ideas presented are not new or groundbreaking. There is no plot, no clear intention, and no path that it wants to go to. Like dusts, it just floats around in space.
Also, the conflict in “The Dust in Your Place” is so dense that it's bewildering that this is 20 minutes long. The fact that both of the characters are toxic to each other also adds to the agony of watching this.
There is not much to say about “The Dust in Your Place” besides that it heads nowhere and is outright boring.
1/5
Ang Mga Nawalang Pag-asa at Panlasa
“Ang Mga Nawalang Pag-asa at Panlasa” is a documentary about the efforts of local food businesses. It talks about their passion and love for their culture and the name they had built over the years.
But because of the virus outbreak, they are challenged to keep up with the economy, putting the fate of their businesses and culture in peril.
“Ang Mga Nawalang Pag-asa at Panlasa” feels like a long advertisement for Ilokano foods and culture. But it is nice that it is very straightforward about what it wants to achieve.
“Ang Mga Nawalang Pag-asa at Panlasa” takes some time to really get interesting. It highlights how the pandemic has exacerbated their daily struggle while keeping everything optimistic.
The pandemic sees the emergence of advocacy associations. Amidst the hardship of getting customers, vendors made a community to help each other. Donations and support from people outside of Ilocos Norte also play a huge role in keeping the Ilokano culture alive.
“Ang Mga Nawalang Pag-asa at Panlasa” is a reminder that during a crisis, we need to unite and cooperate with one another to rise up.
Watch17th Cinemalaya Independent Film Festival 2021 on KTX.ph from August 6 to September 5.
COVID-19 necessitates that medical frontliners continue their work despite restrictions. That means longer hours and more viral exposure to the virus. Nowadays, it is difficult to tell the difference between normal duties and going above and beyond with their work.
But despite that, doctors and nurses bravely face the danger of illnesses, death, and moral discomfort. They are not supposedly ‘heroes’ because even if they are going beyond their duty and putting themselves at risk, they cannot be expected to put their own lives at risk in the care of the patients.
Unfortunately, people treat frontliners as soldiers. Even depicting them as heroes for their unnecessary sacrifice. The pandemic is not a war, it is a call for cooperation and community.
“Namnama En Lolang” creates a space for that discussion. It might paint an optimistic picture of a grandmother standing strong for her grandson, but in hindsight, this is a cry to protect and help our doctors and nurses.
3/5
During a religious camp, J.C. (Alexis Negrite) discovers the power of his sexuality by fantasizing over Sister Evelyn’s (Mystica) body. But he soon realizes that when he indulges in self-pleasure, he can create earthquakes. Is this God’s sign or the devil himself?
Coming of age is a significant milestone for kids, but it may also be a tough transition for some youngsters who are reluctant to leave their childhood behind. “Kids on Fire” recognizes prepubescent dilemmas and doubles down on them by touching on religion and moral beliefs.
For the longest time, self-pleasure has been considered a sin, an act that can harm the person physically and spiritually. The debate of whether it is right or wrong is still ongoing. That is why it is a compelling topic to discuss, which movies such as “Yes, God, Yes” was able to expound and articulate. But this film seems like it couldn’t care less about this problem, instead, it wants to make fun of it.
Hence, “Kids on Fire” offers nothing substantial to the sin-or-not narrative. It is a short meant to be comical and nothing beyond that. It is stylish, of course, thanks to Tey Clamor’s wonderful cinematography. However, the story itself is borderline disturbing and nonsensical.
2/5
After losing her father during World War II, Remedios Gomez (Carina Febie Agustin) becomes a part of the Hukbalahap (Hukbong Bayan Laban sa Hapon) along with her brother. Even though the group wants her to be part of the medical team, Gomez secretly joins the army in a fight against the Japanese.
War images are predominantly masculine. But that doesn’t mean that women have no place in fighting for our freedom. “Beauty Queen” is a film that stands beside this notion.
Women have the potential to be among the most compelling and inspiring military mouthpieces and warriors. In fact, as the film suggests, they can be much better fighters than their peers. They are brave, smart, and strong.
At its core, this is an ode to women and the significant challenges they have to face because of their gender. They are typically underrepresented in power and decision-making roles, but through the story of Remedios Gomez, Myra Aquino hopes that women will be empowered to take the lead.
3.5/5
Ate (Merle Cahilig), an old house servant, struggles with the gradual, boring, day-to-day despair of home quarantine. It also didn’t help that her two adolescent bosses (Kara and Keenan Mayuga) took out their frustrations on her.
But one day, Ate finds a familiar medicine that will uplift her mood and take away the weariness she feels.
Abuse and drug usage are two of the most pressing issues in society. And “Ate O.G.” relates both of them in the most head-scratching way.
There is no denying that being a Yaya is hard. Just imagine leaving your own children to take care of the kids of others. They are often treated as slaves. And because of the social difference between caretakers and owners, it is easy to be aggressive and exploitative towards them.
“Ate O.G.” addresses this mistreatment to a ruthless degree. But, for some reason, it headed nowhere.
As the film moves along, Ate soon discovers a stash of Marijuana, and all of a sudden this commentary on abuse and mistreatment disappears like a puff of smoke. People around her are suddenly friendly and kind. And it all feels unearned.
“Ate O.G.” surely approves of Marijuana use, but there are other million ways to promote it. The existence of that drug in the film overshadows and besmirches the struggles faced by our nannies and caretakers.
1/5
A comic strip illustrator (Chaye Mogg) decides to tell her writer (Boo Gabunada) about his problems with other girls after witnessing an embarrassing fight between him and his girlfriend. But the discussion quickly goes off the rail as it deep dives into relationships, social standards, their history, and their probable future.
I am not certain what “The Dust in Your Place” wants to convey. Or if there is a meaningful message beneath its narrative. The conversation moves in circles and the ideas presented are not new or groundbreaking. There is no plot, no clear intention, and no path that it wants to go to. Like dusts, it just floats around in space.
Also, the conflict in “The Dust in Your Place” is so dense that it's bewildering that this is 20 minutes long. The fact that both of the characters are toxic to each other also adds to the agony of watching this.
There is not much to say about “The Dust in Your Place” besides that it heads nowhere and is outright boring.
1/5
“Ang Mga Nawalang Pag-asa at Panlasa” is a documentary about the efforts of local food businesses. It talks about their passion and love for their culture and the name they had built over the years.
But because of the virus outbreak, they are challenged to keep up with the economy, putting the fate of their businesses and culture in peril.
“Ang Mga Nawalang Pag-asa at Panlasa” feels like a long advertisement for Ilokano foods and culture. But it is nice that it is very straightforward about what it wants to achieve.
“Ang Mga Nawalang Pag-asa at Panlasa” takes some time to really get interesting. It highlights how the pandemic has exacerbated their daily struggle while keeping everything optimistic.
The pandemic sees the emergence of advocacy associations. Amidst the hardship of getting customers, vendors made a community to help each other. Donations and support from people outside of Ilocos Norte also play a huge role in keeping the Ilokano culture alive.
“Ang Mga Nawalang Pag-asa at Panlasa” is a reminder that during a crisis, we need to unite and cooperate with one another to rise up.
2.5/5
Watch17th Cinemalaya Independent Film Festival 2021 on KTX.ph from August 6 to September 5.