Postscript to the 2018 Metro Manila Film Festival

No, I haven’t seen any of the eight official entries to the 2018 Metro Manila Film Festival which reeled off on Christmas day and would end today.

It’s not because I don’t want to watch Filipino films but simply because I don’t have the luxury of time to sit down less than two hours per movie since I live in the suburb and getting to a mall cinema takes a long time. I have so many domestic chores to do aside from beating daily deadlines.

But surely, I will find time to catch the festival produce in any which way I can since all of them will be screened later in selected venues, commercial theaters or art houses farmed out in Metro Manila. It’s rigorous but that’s the way to make up for my failing.

Anyway, I harbor the impression that the Magic 8 is a diverse body of visual persuasions.

Star Cinema and Viva Entertainment’s “Fantastica: The Princess, The Prince and the Perya” directed by Barry Gonzalez; CCM Films, M-Zet Productions and APT Entertainment’s “Jack em Popoy: Pulisincredibles” directed by Michael Tuviera; Regal Entertainment’s “One Great Love” directed by Eric Quizon; Viva Films’ “Aurora” directed by Yam Laranas; Ten17 Films’ “Mary, Marry Me” directed by RC de los Reyes; Quantum Films and MJM Films’ “The Girl in the Orange Dress” directed by Jay Abello; Horseshoe Productions’ “Otlum” directed by Joven Tan and Heaven’s Best Productions’ “Rainbow’s Sunset” directed by Joel Lamangan.

On the outset, the lineup is indeed eclectic and the makers are quite interesting to keep track of their developments. Gonzalez and de los Reyes are fresh talents worth watching while Tuviera, Abello, Laranas and Tan are relatively experienced filmmakers with three or more projects to their names while Quizon and Lamangan are more veterans in the helming.

When Metro Manila Development Authority (MMFF) and the Selection Committee of the MMFF chose the final eight, they considered the cultural and artistic significance as well as the commercial viability and box-office potential of each entry but apparently, the some judicious choices were swept under the rug. If the artistic valuation of each film was taken in context, why was “Alpha: The Right to Kill” directed by the 2009 Cannes International Film Festival Best Director Brillante Ma. Mendoza was tossed out of the selection?

According to a very reliable source, one of the top brass in the MMDA voted it out in favor of another aspirant because Mendoza’s masterpiece allegedly was no moneymaker and wouldn’t fit into the interest of kids and the Christmas spirit because the festival mostly cater to children and wholesome entertainment despite its relevant content and aesthetics.

Anyway, that’s water under the bridge but is a filmfest supposedly a serving of quality films as could have been the offering of such film as “Alpha…”?

Last year’s fest of harvests has seeming values of fun and human stories told in a lot of manner.

The MMFF being a source of political economy of the state should at least be open to all types of films to be able to generate curiosity let alone funds for the government coffers. If only Brillante’s project was given the chance. If the public is stirred rightly to patronize the international film festival caliber of the likes of Mendoza’s productions, I think the moviegoers will also flock to see them no matter their depressing or unconventional narratives on a cheering mood of the Yuletide season.

There was also a failure on the way MMDA handled the 2018 MMFF Parade of Stars which took off in Parañaque City where the event was delayed for hours because some of the floats included in the event were buried in mud they couldn’t hit the road anymore. Sadly, there weren’t precautionary measures to get them off the hook. There was no foresight on the part of the organizer about the effects of heavy rains on the wheels of the trucks made heavier and transformed into decorated platforms. Why on earth did the organizer park the floats in a soil ground when it could easily mire the tires once drenched? Like in any disaster risk reduction management, a campaign mandated by the state, a faux pas like this could be troubleshot immediately by the LGU concerned using knowledge they have learned from seminars and actual operations being funded in many ways by the MMFF.