AFTER THE HOLLYWOOD STRIKES
sound systems, comfortable seats, and enhanced online ticketing systems.
Given these technical advantages, the question that emerges is: What experiences do cinemas offer that (admittedly convenient) streaming platforms don't? Many point to the communality of watching with a crowd and the sense of exploration provided by an in-person venue, program, or festival.
“There's something about watching films collectively, with the audience reacting together, that strengthens bonds,” said Mariel Nini, officer in charge of the National Commission for Culture and the Arts' (NCCA) Sentro Rizal International Cultural Affairs Office.
FILM FESTIVALS GO ON-SITE
At the sidelines of the Tingin Southeast Asian Film Festival in September, she noted that although many online platforms have mushroomed, moviegoers are still coming back to the theaters. “There has been clamor for in-person screenings,” she added, on why film festivals are now veering away from the purely online format they adopted during the COVID-19 pandemic.
Patrick Campos, a University of the Philippines Film Institute (UPFI) professor and Tingin's festival programmer, said that the lockdown “has certainly changed people's viewing habits, although Filipinos' exposure to Southeast Asian and world cinema remains the same.”
“Our interest in films from the region is piqued not by popularity, but by thoughtful programming, and audiences turn to festivals to gain insight into other cultures and histories,” he told BusinessWorld back in September.
This is also the reason the Film Development Council of the Philippines (FDCP) licensed the rights to various world cinema titles for commercial release in Ayala Malls Cinemas in August. These included Cannes-winning titles Aftersun by Charlotte Wells and Return to Seoul by Davy Chou.
“More than its aim to encourage audiences to return to the cinemas, this program aims to further expose moviegoers to titles that would help them expand their horizons,” said FDCP Chairman Tirso Cruz III in a statement.
2023 also saw a colorful array of film festivals from embassies such as Japanese, Korean, Spanish, Italian, and so on — all held in person — as well as a much bigger QCinema International Film Festival.
In November, QCinema screened nearly 70 films from the Philippines and around the world, welcoming three times more guests and filmmakers compared to last year, said Ed Lejano, its festival director.
“We know there's a strong filmgoing market here. Yes, streaming platforms have become the most popular form of entertainment for Filipinos nowadays, but film festivals are back with a vengeance,” he told the press at the launch.
Moving forward, these festivals showing independent and acclaimed foreign titles will be providing a variety to complement the blockbusters peddled by the Philippines' major cinema operators.
Both SM and Ayala have said they are eagerly anticipating the Hollywood movie lineup for 2024, despite the delays caused by the actors' and writers' strikes in the USA.
“Currently, the ratio of foreign movies to local movies stands at 70:30,” said Ms. Aganon of Ayala Malls Cinemas. “We hope that this will improve with more contribution from local movie producers.”
She added that partnerships with foreign distributors will be broadening their offerings. This includes concert films featuring the successful live performances of popular global artists such as Taylor Swift, Beyoncé, Coldplay, BTS and other notable K-pop groups.
For renowned Filipino screenwriter Ricardo “Ricky” Lee, the variety of films in theaters is essential to not only entertain audiences, but also inspire them.
“Aspiring artists and writers, upon seeing the variety of films in theaters, get a strong push to explore storytelling possibilities. These avenues embolden the youth,” he told BusinessWorld at the sidelines of QCinema's opening night.
“I'm also very optimistic about Filipino audiences. I don't think streaming will go away because it's convenient, but I think people are realizing how great it is to watch on a big screen. There will always be a place for it,” Mr. Lee added.
UPFI's Mr. Campos concludes that pitting movie theaters against streaming platforms is not necessary: “It is not that one is better than the other, but that each mode of distribution and consumption should be considered distinct and worthy of being explored separately.”