Why P1,000 won’t cut it anymore for moviegoers
Joel Lamangan isn’t one to mince his words. The state of Philippine cinema, he says, is “not good.” And it hasn’t been for a while.
While the decline in box office attendance stems from multiple factors—piracy, the rise of streaming platforms, stiffer competition from alternative entertainment, and pandemic-related disruptions—soaring ticket prices and accessibility are arguably the most immediate barriers for many moviegoers.
Once one of the cheapest forms of entertainment, with theater entrance fees around P2 to P5 in the 1970s, cinema-going has now become almost an event in itself, with people expected to shell out P300 to P1,000 per ticket. And that’s not even counting the cost of commuting, food, and other expenses, which can double or triple depending on your company.
As such, Lamangan points out, the masses—who, for decades, have been the lifeblood of cinemas—have been effectively shut out. In turn, they have turned to the smaller screens in their hands, where internet content is more convenient, cheaper many times, and even free. After all, why pay an exorbitant amount for a single movie when you can spend the same—or even less—for a month of access to a full catalog of titles, or nothing at all?
Speaking at a recent panel announcing the finalists for the seventh edition of the Sinag Maynila film festival, Lamangan says: “People earning minimum wage won’t spend P300 or P500 just to see a film—they would rather buy food to eat. Those were our former audiences. Now, it’s the middle-income earners who can spare that amount.”
The shift from standalone theaters to mall-based cinemas adds yet another layer of exclusivity. While not the sole driver, it does play a role in driving up ticket prices—and, ultimately, to changing cinema-going habits. “Almost all cinemas are in the malls now. You need money; ‘di na kasya ang P1,000,” points out Lamangan, whose entry “Madawag,” is one of the five finalists in said festival’s main feature film category.
Yes, there are still sparks of clamor that light up the scene. Last year, the romantic drama “Hello, Love, Again,” starring Alden Richards and Kathryn Bernardo, became the highest-grossing Filipino film, reportedly amassing P1.6 billion in the worldwide box office. Most recently, the acclaimed film “Sunshine” has shown enough legs to reach its fifth week in theaters.
But such successes are few and far between, especially during regular playdates, or for films released outside the Christmas boom of the Metro Manila Film Festival (MMFF). “There are some that do well, but there are way more that don’t. These days, the people only really get interested during the MMFF when they have a little extra in their pockets,” Lamangan says.
Bringing cinema to viewers
Lamangan’s fellow finalists—Topel Lee (“Jeongbu”), GB Sampedro (“Selda Tres”), and Kevin Piamonte (“Candè”)—echoed his lament about the current state of local cinema. (The fifth finalist, Serville Poblete of “Altar Boy,” couldn’t attend.) But still, they also offered much-needed counterpoints.
“There’s a crisis,” they concede. But as they say, in every crisis, there’s an opportunity. Contrary to common belief, there’s no shortage of Filipino talent producing quality films. But the problem, Lamangan points out, often lies in where to screen them. So maybe it’s time for industry professionals to look at emerging forms of media—not as threats, but as new avenues to showcase their works.
And perhaps the question now isn’t so much about wooing people back to theaters, but about bringing cinema to them.
Lee points to the video-sharing app TikTok and vertical cinema (bite-sized, portrait-mode films) as promising new formats for storytelling. “Things are hard because there’s a lot of competition for viewership,” he says. “But on the flip side, the playing field has widened; there are more grounds to work and play in. There are so many things to explore.”
Lamangan cites the embrace of streaming and the continued prevalence of block screenings. And of course, film festivals—many of which offer grants to filmmakers and price tickets considerably lower—remain a crucial platform for independent cinema.
Local stories with universal appeal
The confluence of such new and time-tested platforms, Piamonte observes, has helped give rise to regional filmmakers. In Iloilo, for instance, the province’s longest-running film festival—the Bantayan Film Festival, held in the town of Guimbal—screens movies in the public plaza. According to Piamonte, also a professor at the University of the Philippines Visayas, these open-air screenings attract around 5,000 to 6,000 viewers each night.
There are also cinematheques, he adds, where screenings are far cheaper than in cinemas. “Rental fees are expensive. And you can’t really require students to go to cinemas because their allowances aren’t enough,” Piamonte points out. “Films shouldn’t be limited only to cinemas.”
For its part, Sinag Maynila—founded by Solar Entertainment president Wilson Tieng and Cannes Best Director winner Brillante Mendoza—aims to continue providing a platform for “stories that are uniquely Filipino.” Screenings will run from Sept. 24 to 30 at Gateway Mall, Robinsons Manila, Robinsons Antipolo, SM Mall of Asia, and SM Fairview, with tickets priced at P250—considerably lower than the current average.
Its theme, “Sine Lokal, Pang-International,” also urges filmmakers to develop concepts not only for the Philippine market, but also for the international audience—a move that can further potentially expand their reach. This is something the Korean film industry has achieved to great effect. And it may be worth looking into.
“Peter Chan (Hong Kong filmmaker) touched on this in a lecture in Busan (South Korea). How do we create stories with a universal appeal? He said the way to do it is to write a story that’s very personal because it ultimately becomes universal,” Piamonte relates. “Your pain and sadness are other people’s pain and sadness, too. Write the story you want and serve that story.”
Persistence is key
Aside from the five feature films, Sinag Maynila will also screen four documentaries, 16 short films, 11 student documentaries, and 25 student short films. While discussions about the local film industry may sometimes sound a little bleak, they shouldn’t deter young aspiring filmmakers from pursuing their craft.
“Keep on dreaming,” Sampedro tells young filmmakers. “Everything starts with that. Continue working toward success—all while keeping that passion. Don’t be too dependent on what others think. Go for what you think is good,” he says.
“Stay immersed in the society you’re part of. You have to know what’s happening around you, because the truth you tell is based on the realities around you,” stresses Lamangan, who also emphasizes the importance of not letting the prospect of failure paralyze you. “Don’t be afraid to make mistakes. I’m not perfect. I’ve made many mistakes in my life, but I learned from them.”
And given the current film landscape, persistence is more important than ever, Lee adds. “There will be times when you have projects and times when you don’t. But you have to keep working, keep hoping, and keep honing your talent and craft.”
