QCinema 2015: Third Time's a Charm
QCinema, or the Quezon City Film Festival, had produced only three films in its inaugural year in 2013. It ran for three days in two cinemas, and since three films didn't seem enough to conduct a festival, several entries from the recently concluded Cinemalaya accompanied them.
The following year delivered a stronger lineup — with production and post-production grants offered to features, documentaries, and short films — including a number of current international movies (Winter Sleep; Ida; Two Days, One Night; Leviathan; Mommy; Jauja) which delighted cinephiles pining for the incomparable big screen experience. This time it ran for a week, and something interesting happened: it overlapped with the schedule of another film festival, the Cinema One Originals, which was then celebrating its 10th year, in the same venue. It was such a nice, busy time for hard-core local moviegoers.
Now in its third year, QCinema has reached a key turning point, boasting more than 200 screenings of eight new features, five documentaries, and over 20 foreign films in six cinemas in three malls in Quezon City, all in 10 days. These may be modest figures by overseas standards, but in the Philippines this is a big deal. Over the years the challenge has always been to sustain a film festival — Cinemanila stopped indefinitely in 2013; Cinemalaya, though it managed to go past a controversy, had only short films in competition this year; and World Premieres, alas, continued its annual display of failure — but even more difficult is the ability to sustain a growing audience. Just on these two accounts, QCinema 2015 has made a major leap.
Festival director Ed Lejano is completely aware that a festival cannot live on good intentions alone — it must be run with astute consideration for both the business and artistic side of programming, or else it will be another case of taxpayer's money put to waste. He knows that the Quezon City government is keen on self-promotion, and branding is a priority. From the ridiculously catchy jingle to every piece of publicity material, the QC centricity is all over, but he ensures that the goal of this initiative — the promotion of cinema and the creation of better compromises for local filmmakers — is not lost in the seeming tourism feel of the event.
QCinema, on one hand, succeeds at having a clear identity and imprint; with goals to promote the city and its artistic legacy while also helping the industry produce new films. On the other, it provides opportunities for moviegoers to see works that will never reach the cinemas (because no distributor would bring them). The idea of putting current world cinema in a Filipino festival is always good because local films can be better appreciated (or gauged) in a larger, more dynamic context, allowing this foreign sensibility to enrich understanding and offer comparison and contrast.
For instance, American classic Apocalypse Now (by Francis Ford Coppola) finds itself in the company of Filipino classics Ganito Kami Noon, Paano Kayo Ngayon (by Eddie Romero) and Oro, Plata, Mata (by Peque Gallaga), all of which deal with war and its effect on people but each with different historical perspectives and depth. The stunning long take of German film Victoria (by Sebastian Schipper) achieves something different from the impressive long take of Filipino work Anino sa Likod ng Buwan (by Jun Lana).
Local filmmakers, always curious about the potential of technology to discover uncharted terrains in storytelling, can derive inspiration from Tangerine (by Sean Baker), not just because it was shot fully on iPhone 5S, but also because it managed to go beyond this selling point with a mature and persuasive handling of its subject. And who would have thought Gaspar Noé's Love, with long scenes of actual fucking and cum spurting in 3D, will find its way on these highly conservative shores, with not just one screening but two?
QCinema's efforts to offer variety have resulted in something remarkably satisfying. Screen International includes films that earned recognition from prestigious festivals abroad (Tale of Tales and Cemetery of Splendour from Cannes; Court from Venice; Victoria and How to Win at Checkers (Every Time) from Berlin; and Videophilia (and Other Viral Syndromes) from Rotterdam. The Asian Cinerama section includes A Simple Life (by Ann Hui), Nader and Simin: A Separation (by Asghar Farhadi), Overheard (by Alan Mak, Felix Chong), and Niño (by Loy Arcenas), all of which have strong voices and distinct cultural roots. Curated by Carlo Manatad, Asian Shorts is composed of short films from the Philippines, Thailand, Cambodia, and Taiwan that look at the preoccupations of common people who struggle to survive every day. Music Genius presents three documentaries — Heaven Adores You (by Nickolas Rossi), Gainsbourg by Gainsbourg: An Intimate Self-Portrait (by Pierre-Henry Salfati), and 20,000 Days on Earth (by Iain Forsyth, Jane Pollard) — exploring the lives and deaths of music icons Elliott Smith, Serge Gainsbourg, and Nick Cave, respectively.
But by all means the highlight of QCinema 2015 were the eight Circle Competition and five DoQC entries. Filmmakers of full-length features had only six months to realize their scripts, crossing that thin line between attainable and unthinkable. With the ownership of their work given to them — something that other grant-giving festivals are hesitant to offer — most were able to secure additional funding to help in the completion of their films. Several of the competition entries were co-produced by Eduardo Rocha and Fernando Ortigas, two of the main producers of Heneral Luna, the ground-breaking surprise of 2015 which had an unprecedented nine-week run in theaters to become the highest grossing Filipino independent film of all time. Together, freedom and finances can do wonders, and despite the limited production time, all of the films have managed to be interesting talking points after their premieres, whether by virtue of quality, subject, or posturing.
Apocalypse Child (by Mario Cornejo), Water Lemon (by Lemuel Lorca), and Matangtubig (by Jet Leyco) have strong attachment to their settings, with the characters explored in the context of their association with these places, and the drama being uncovered slowly to reveal wounds and mysteries. Iisa (by Chuck Gutierrez) is set in a remote community in southern Philippines hit by a tragedy reminiscent of Typhoon Haiyan, focusing on a group of people trying to get back on their feet but held down by the complexities of their situation. A different kind of tragedy happens in Kapatiran (by Pepe Diokno), in which a series of violent rites of a law school fraternity is interspersed with scenes of varying thematic similarity, mostly emphasizing confinement and absurdity. Patintero: Ang Alamat ni Meng Patalo (by Mihk Vergara) has a world of its own in which children discover success and defeat in a beloved street game, while Gayuma (by Cesar Hernando) wanders between fantasy and reality, with sex serving as the thin line separating them.
It's worth noting that four of the eight features were made by first-time directors, with Hernando, acclaimed production designer of Mike de Leon's films, making his debut at 69 years old.
Compared with the Circle Competition entries, the DoQC documentaries are more challenging to watch. Audio Perpetua (by Universe Baldoza) makes use of a concept that links two seemingly disjointed things, but was unable to make the crucial connection. At the center of Bingat (by Choy Pangilinan, Brian Quesada, Joolia Demegilio, Abet Umil) is the raging struggle to recognize the importance of archaeological work in the country, mixing interviews and experimental techniques, but the length and tedium tended to weaken its strong sentiments. Traslacion: Ang Paglakad sa Altar ng Alanganin (by Will Fredo) features interviews with gay, lesbian, and transgender couples, drowning them in ineffective music and unhelpful staged flourishes. The magic of Of Cats and Dogs, Farm Animals and Sashimi (by Perry Dizon) is it unfolds gently and freely, allowing the viewer to acclimatize to the pace of provincial life.
The NETPAC jury — composed of film critic Philip Cheah, Korean director Doo-yong Lee, and writer Richard Bolisay — was unanimous in awarding the prizes to Crescent Rising (by Sheron Dayoc) and Sleepless (by Prime Cruz). Crescent Rising is a current and urgent document of the state of war in Mindanao, touching on the many aspects of the conflict from jihad and the Bangsamoro Basic Law to the families and civilians helplessly caught in between. It is far from being an authoritative work —it can still be improved with tighter editing and careful selection of footage — but it is powerful and potent as it is, the many cracks leaving a profound impression of this long struggle for the end of hostility.
Socio-political issues are never in the fore of Sleepless, but they are present in the periphery, in its strong undercurrent. Two call center agents become friends, and they turn to each other to idle the sleepless nights (or mornings) away while dealing with their own personal troubles. No romance is pursued, and no hint is ever given that a romantic relationship between them will be their escape. Sleepless is a break from the pervasive and undying trend in local movies of treating romance as the end-all and be-all of life. By upholding the vastly underrated worth of unconditional companionship, it reveals a truer portrait of urban disquiet without resorting to clichés and empty spectacles.
These two NETPAC jury prize winners, in a way, are descriptive of QCinema 2015's achievement: relevant, timely, charming, and wise, with modesty to recognize improvement and brimming with a desire to join the awake and awakened Filipino audience for another year of festive movie going.