FDCP’s Ambassadors Night kicks off Phl cinema centenary
The Film Development Council of the Philippines (FDCP) held its third Film Ambassadors’ Night to pay tribute once again to films, directors, producers and actors who brought pride to the country by winning in film festivals around the world in 2018. The event takes on a much special meaning this year as the Philippine film industry celebrates its centennial year.
“Third time’s a charm so it’s bigger,” said FDCP chairperson Liza Diño of the affair held at the Samsung Hall of SM Aura last Sunday.
“We want the entire film industry to have a glimpse of how we are going to celebrate the 100 years of Philippine cinema because it’s really important for not just our filmmakers and our producers to have ownership of this event. I hope it will also trickle down to the audiences, the very people who are watching our films, that they take to heart the celebration of 100 years of Philippine cinema.”
The Film Ambassadors’ Night was started in 2016 by the lead agency for film under the leadership of Diño when “a remarkable number of films, filmmakers and artists were recognized by the biggest international film festivals.” Since then, the affair has become an annual gathering for all stakeholders in the film community.
For this year, a total of 89 honorees took the spotlight, including works that garnered awards from A-list filmfests such as Shireen Seno’s Nervous Translation (International Film Festival Rotterdam in Netherlands, Shanghai International Filmfest, Pacific Meridian International Filmfest in Russia, etc.), Treb Monteras II’s Respeto (New York Asian Film Festival, Cyprus Film Days International Filmfest, International Filmfest of India, etc.) and Brillante Mendoza’s
Alpha, The Right To Kill (San Sebastian International Filmfest in Spain).
But the highest honors that night, the Camera Obscura Artistic Excellence Award, were given to exceptional members of the local film business: National Artist for Film Kidlat Tahimik, awardwinning film producer Bianca Balbuena and the people front and center of the movie The Hows of Us, as represented by female lead star Kathryn Bernardo, producer Olivia Lamasan and screenwriter Carmi Raymundo.
Among the highlights of the event were thank-you speeches of select awardees, which ranged from sociopolitical commentary to a personal apology to a performance art of a filmmaking journey.
“(Respeto) started out as a simple coming-of-age story about the hip-hop culture in the Philippines. However, its theme changed when the War on Drugs was launched. Nung ginagawa po namin ang pelikula ang death toll was around 5,000. When we finished the film in 2017, (the death toll became) 12,000. I don’t know the exact figures… Ang gabi ng parangal na ito ay isang patunay na napakaraming magandang pelikula na ginawa, especially in 2018. But it saddens me that our films are not given that much opportunity to be shown in cinemas, and maybe what makes things sadder is some films are being used for the campaign of (those running) in the coming elections,” said direk Treb, without citing a particular film.
Alpha director Brillante was a noshow, but in his place to accept the award were the film’s actors Allen Dizon and Baron Geisler.
Baron, who grabbed headlines in the past for his personal troubles, thanked the Cannes-winning director for not getting tired of hiring him in his films and “giving me so many chances.”
“I also want to take this opportunity to ask for forgiveness for all (my foolishness) before. I will not make promises but by God’s grace, in time and time will only tell if you still accept me, and I really want to change for the better... I love my craft,” said Baron.
For her part, Bianca hopes that FDCP’s recognition will help bring about a new breed of producers who can “journey with the directors.”
“I hope this (award) inspires young film professionals and emerging filmmakers that if you want to tell a story, if you want to make films, you don’t need to be a director,” said Bianca, who has done successful international co-productions, produced internationally-acclaimed films like Lav Diaz’s Hele sa Hiwagang Hapis and Pepe Diokno’s Engkwentro, and was recently named as Producer of the Year at the Asian Film Commissions Network.
Adding mainstream color to the largely indie roster of awardees was Star Cinema’s The Hows
of Us which was recognized for being “the highest-grossing Filipino to date” with its P800M global box-office record.
Kathryn, who stars with love team partner Daniel Padilla in the film, said, “Actually, I’m nervous to be here because it’s my first time to be in an event like this and for our film to be recognized, it’s a big deal for us.”
For producer Olivia, she said they were as surprised with the film’s turnout as the rest of the industry. She recalled that despite being a major film production outfit, “We reached the point where we didn’t know what was the right formula. We were so confident before as Star Cinema, with the succession of hits and blockbusters that we had, then came a time when the tastes of the Filipino audience changed. Ang dami naming experimentation na ginawa, in fact, until now. There’s no sure formula anymore unlike before. At the end of the day, what is it really? It’s a good story… and a really good way of telling a story, compelling and relatable to the audience.” The scene-stealer at the Film Ambassadors’ Night was National Artist Kidlat Tahimik (a.k.a. Eric de Guia) who was honored with the “Prince Claus Award in Amsterdam for leading the movement for independent cinema in the country.”
True to the legendary figure that he is — of alternative and experimental cinema — Kidlat received his award through performance art and a lighthearted commentary on filmmaking.
The “father of Philippine independent cinema” offered audience a peek into his journey: How a Whartoneducated economist transitioned into an auteur, who since his now iconic 1977 film Mababangong Bangungot (Perfumed Nightmare) that was picked up by Oscar-winning director Francis Ford Coppola for distribution, has made it his life’s purpose to push for the “antiHollywood school of filmmaking.”
The 77-year-old Baguio-based artist exhorted aspiring filmmakers to “do it our own way” and not the Hollywood sex-and-violence formula for profit in making films about the community or culture. With an Ifugao gong-beating dance and calling to mind the National Cultural Treasure of the Philippines, the Banaue Rice Terraces in Ifugao province, he said, “Forget about Sex in the Terraces, Rambo and Godzilla in the Terraces. Kahit anong formula, let’s do our own films.”
Kidlat then pulled out his signature bamboo camera, a seemingly symbolic statement to tell stories through an indigenous and independent lens. “I know (the Camera Obscura) is the official and institutional recognition of indies kaya tuloy-tuloy na itong laro natin, the bamboo camera, the local stories.
Mabuhay ang mga indies!” he ended.