The Market Monitor Minding the Nation's Business
In the advent of independent filmmaking, film festivals in practically all parts of the world have mushroomed overnight.
I have attended a few of them like Hong Kong, Bucheon International Fantastic Film Festival (BIFAN), Gwangju (the last two, both in Korea) Hanoi and FACINE in San Francisco.
What do Filipino filmmakers and other stakeholders get from attending iworld film events?
I am a living witness that exposure to international film fests bolsters one’s national pride and confidence in the field because once a Filipino film is included in the line-up (especially in A-listers and game-changing), it must be good and exceptional although, obviously, there are lackluster events.
Perks and privileges are at stake. BIFan has a lot of prizes (in cash) which were won by many of our compatriots. The chances to be produced, marketed and promoted by foreign film professionals are dreams come true for most of them.
Networking is also in the bucket list of attendees connecting to multicultural filmmakers from the intercontinental sphere.
Influences on the current trends are also in the loop.
Cannes, Venice, Berlin, Toronto, Locarno etc. must be a haven of opportunities for world-class Filipino film artists.
Manuel Conde, in the past, was recognized for his film “Genghis Khan” when it was screened at the 1952 Venice Film Festival.
National Artist for Film Lino Brocka was a darling in the prestigious Cannes International Fim Festival in the early 80s for “Insiang,” “Bayan Ko Kapit sa Patalilm” and “Orapronobis” in the 90s. He was, as a matter of fact, the purveyor of many contemporary Filipino directors who have been given attention at the La Croisette.
Brocka was a giant name at the San Sebastian International Film Festival.
Mike de Leon’s “Batch ‘81” and “Kisapmata” were shown at the Directors Fortnight of the world fest.
Brillante Ma. Mendoza bagged the Palme d’Or Best Director in 2009 for the dark film “Kinatay (The Butchered).”
A lot of Filipino filmmakers were given the chance to be exhibited in various sections of the discriminating fest like Lav Diaz, Adolf Alix, Jr., Raya Martin, among others.
Ishmael Bernal’s “Himala” was hailed at the Berlin International Film Festival in1983.
Mendoza was also a winner as well as Lav in Venice.
I would say that Hollywood’s Oscars of the American Academy of Motion Picture Arts and Sciences (AMPAS) is also a world event pursued not only by Filipino filmmakers but the Philippines as a country as well.
Look!
We have been aspiring to be, at least nominated, if only short-listed in the most elusive Best International Feature Film Award year after year when the government through the Film Academy of the Philippines (FAP) annually sends rep to the so-called Mother of All Awards.
This time, will “Magellan,” a historical film by internationally acclaimed Lav Diaz, the Philippine entry to the 98th Oscars make it to the nomination round?
Will it be a boon for the Philippines, at least, with the short list of 15 contenders revealed in December and its highlight, the top five or so nominations in January 2026?
Let’s hope and pray hard.
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Looks like Rufa Mae Quinto isn’t dampened at all by the death of her husband, Trevor Magallanes a couple of months ago.
If we judge from the outside, the public self of Rufa Mae who has been happy making faces in her social media pages.
Just for a show?
She’s back in Manila with daughter Athena Magallanes.
The actress-comedienne is having coffee drinks, too many which she nonchalantly admitted despite in an ad mode: “…after everything that happened, I’m still feeling depressed, I’m having depresso!…”
According to Rufa Mae, she will reveal all what happened in her family the soonest. “Maraming realizations after all that has happened to me recently. And I’m planning to make a statement about it on my YouTube channel…”