Cinemalaya 22 dives deep and resurfaces…
Like divers going deep into “memory, trauma, joy and parts of our consciousness we don’t usually show,” the filmmakers of this year’s Cinemalaya Philippine Independent Film Festival—in keeping with the theme “Reel Reflections”—resurface with stories that might otherwise “languish if we didn’t search for them.”
Anyone can dive, festival director Chris Millado points out, “but only a few have the lungs to come back up with the truth and still be able to speak.”
As such, giving these voices a platform is more urgent than ever, says Film Development Council of the Philippines chair Jose Javier Reyes, as Philippine cinema reaches a critical point in its history. Amid rapid changes brought by technology and streaming, he says filmmakers “must continue to innovate, push boundaries, and think beyond conventions.”
This year’s nine competing full-length features, Reyes says, are among those that will help chart the direction and future of Philippine cinema—not only through the stories they tell but also through the audiences who choose to “appreciate the value of Filipino creatives.”
1. “A.ni.mál”
Dustin Celestino
A mayor’s daughter stumbles upon a compromising video involving the governor, forcing her family into conflict over whether to protect a political ally or expose the truth.
“Magsisimula siya sa isang insidente kung saan mahuhuli ang governor na may ginagawang hindi maganda sa isang aso,” Celestino says of the incident that sparks the clash between two political dynasties in a provincial town. It also gives viewers a glimpse “beyond [the] curated image our pathetic officials carefully manufacture to deceive and control our people.”
2. “2 Valid IDs”
Ma-an L. Asuncion-Dagñalan and Abet Pagdagdagan Raz
Sylvia, a poor farmer, races against time to secure two valid IDs so she can claim money for the medical treatment of her husband—only to find herself trapped in a maze of bureaucracy.
The story was inspired by Raz’s experience caring for his late mother during her month-long hospitalization. “Parang mamamatay ka ‘di dahil sa sakit, pero sa desperation at awa sa sarili dahil pinabayaan ka ng lipunan,” he says.
3. “Ganggang”
JL Burgos
After losing a fighting spider match to the school bully, Ilay and Ten-ten find an ally in Mel, a newcomer from the city who joins them in their fight back. But their search for spiders soon leads them to a web of more serious conflicts within their community.
“Habang naghahanap sila ng gagamba, sari-saring sapot ng kaguluhan sa kanilang baryo at lipunan ang kanilang makikita,” Burgos says of the film, which was inspired by real-life stories and the struggles of farmers, teachers, and other people in rural communities.
4. “Hand of God”
Mark Duane Angos
A military lieutenant sets up a football post in a remote village in the Southern Philippines to gain the trust of a community suspected of links to terrorism. This tactical strategy soon becomes personal when he forms a bond with Khaleel, a 10-year-old child soldier.
Angos believes that a sports film can be a powerful vehicle to show the complexities of social realities. “Regardless of your background, ideologies, religion, or economic upbringing, when it comes to access to opportunities and the right to play, pantay-pantay tayo,” he says.
5. “Mag-Iina”
Giancarlo Abrahan and Guelan Varela-Luarca
After 21 years in New York, Anj returns to the Philippines to mourn her estranged father’s death. Back in the ancestral home she fled, she confronts the grief, guilt, and buried secrets that have haunted the women of her family for three generations.
Based on Varela-Luarca’s acclaimed stage play “Corridors,” the film completes a creative exchange between Luarca and Abrahan, who previously adapted Abrahan’s film “Dagitab” for theater. “Guelan turned my film into a play. Now it’s my turn to make his play into a film,” Abrahan says.
6. “Kaka sa Yawan (Brothers by the River)”
Alpha Habon
As Niko returns to Mindoro, memories of his childhood friendship with Ayan, a Mangyan-Tadyawan boy, come rushing back. Seeking to honor an unfulfilled promise, he rediscovers the healing power of friendship and belonging.
Habon says the film, which celebrates the richness of Mangyan-Tadyawan culture, is also a “reflection on how grief can transcend time and distance—and how love and compassion can do the same.”
“Together, we create something bigger than ourselves,” he adds.
7. “Status: Rejected”
Vahn Leinard Pascual
After her fourth US visa rejection, 69-year-old Biring turns to the digital world, where she finds connection and meets Steve, a charming stranger who makes her feel wanted again. As her dream of America leads her toward an unexpected romance, Biring comes of age anew.
“Para maabot niya ang kanyang American dream, sinabihan siya ng kanyang kumare na maghanap na lang ng AFAM. It’s a reminder na walang pinipiling edad ang kalandian!” Pascual quips. “Walang pinipiling edad ang muling pagtuklas sa sarili.”
8. “Tayo Lang ang Nakakaalam”
David Corpuz
Bong, a gay man in a long-term relationship, falls ill. His partner, Neil, must then come together with Bong’s family to care for him while navigating fear and grief. Through everyday acts of care, the film explores queer intimacy, trust, and chosen family.
“Ang pride ay hindi lamang magmahal, kundi mag-alaga, maalala, at magkuwento ng sariling mga kuwento,” Corpuz says.
9. “Tirik”
May-i Guia Padilla
Paring Bert, a weary priest, and Santos, a taxi driver haunted by his past, set out for a funeral visit that turns into an unexpected trip through Manila’s unforgiving streets. As one thing leads to another, their simple act of compassion unwittingly tests their sense of right and wrong.
“Tinatanong ng pelikula kung hanggang saan kaya mong itayo ang kandila ng tama at kabutihan,” Padilla says.
Cinemalaya 22: Reel Reflections runs from Aug. 6 to 18 at Red Carpet Cinemas in Shangri-La Plaza, with Ayala Malls and Gateway Cineplex as partner venues
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