Bigger grants, greater freedom
At P5 million, the production grant awarded to the next year’s batch of CinePanalo finalists is the biggest yet—not only in the event’s three-year history, but among all local competitive film festivals. This figure is especially notable, considering that other new and established events generally offer seed or production grants ranging from P1 to P3 million. For the seven recipients, this can only mean greater freedom to realize their creative vision.
“Having a comfortable budget is important because it allows you to focus more on the creative aspects and spend less time agonizing over where to get funding,” BC Amparado, director of “Mono No Aware,” tells Lifestyle Inquirer.
The title, which roughly translates to “the poignant sadness of impermanent things,” tells of a Filipino working as a death cleaner—which, in Japan, refers to professionals who specialize in sanitizing homes of people who die alone and aren’t discovered immediately.
The P5 million will come in handy, he points out, because he plans to shoot his film in Kobe. He will need to travel there for pre-production work and collaborate with foreign talents. If he hadn’t secured a spot in next year’s festival, he adds, “the project would likely have to wait longer.”
More storytelling possibilities
Actor Ian Pangilinan, making his directorial debut with “Patay Gutom (Dead Hungry),” points out that budget constraints often hinder storytelling and influence who you can—or can’t—collaborate with.
The film, which he envisions as a love letter to his aging parents, asks the questions: “If you’re lying on your deathbed, will you have regrets? Are there things you wish you could have done differently in how you lived your life?”
He didn’t want to reveal too much too soon, but he says that achieving “the kind of scale and scope” he and his co-director, Carl Joseph Papa, envision for the movie might require considerable funding. But now he can breathe a sigh of relief. “With this kind of budget, you get to explore more storytelling possibilities. We know that,” he tells Lifestyle Inquirer.
“Apol of My Ai” director Thop Nazareno, on the other hand, recalls some of the most amusing sacrifices he made just to get a film made. “There was a time I used to bring rice and a rice cooker to our meetings just so I can feed my team,” he shares with Lifestyle Inquirer. “There were times I had to borrow millions para maitawid lang.”
He will likely no longer need to resort to such measures in making his upcoming film—a kundiman‑filled, feel‑good tale about a 10‑year‑old boy who falls for his teacher, only to discover that his fiercest rival is his own father.
“We can create our films with extra care,” Nazareno says.
Just be an artist
To put things into perspective, Joseph Abello—director of “Wantawsan”—notes that there are mainstream films that have budgets in the same P5 million range. And then you still have to consider the whims of producers and the tastes of the masses.
Because you don’t have to worry about recouping the funding or “hitting targets,” you can just “be free and be an artist.” “To be an indie filmmaker and have the freedom to just create what you want is a big deal,” he tells Lifestyle Inquirer.
“It’s a rare opportunity,” adds Abello, whose film is expected to offer a socio-political commentary, grounded in the story of a parent willing to do anything to make their child happy.
The other three finalists are: Rodina Singh’s “Multwoh,” a film about a queer person who dies before they can say “I love you,” and now must find a way to do so to their easily spooked crush; Lawrence Fajardo’s “Beast,” about a provincial farmer and his carabao who decide to walk all the way to Manila; and Mikko Baldoza’s “Stuck on You,” a riotous romp following a hopelessly romantic manicurist who goes from extracting ingrown nails to becoming a hitman.
Dignity on the set
The Puregold CinePanalo 2026 will be held next year across the Gateway Cineplex 18 and Ayala Malls. The seven full-length feature entries, each supported by the P5 million grant, will compete for the festival’s top awards. They will be screened along with twenty short films made exclusively by student filmmakers.
“CinePanalo has served as a platform for intrepid Filipino filmmakers to bring their dream projects to life…We’re proud that we have grown to this level and given so many Filipino filmmakers the opportunity to produce world-class movies,” says festival and Puregold executive Ivy Hayagan.
But beyond the artistic and logistical sides of filmmaking, having an ample budget, the filmmakers agreed, ensures dignity on the set.
“You have to respect the people you work with, and part of that is taking care of them and paying them right,” says Amparado. This principle extends to the crew’s collaborative environment. “You have each other’s back,” he adds.
