Pista ng Pelikulang Pilipino (PPP) is a film festival in the Philippines in celebration of the Buwan ng Wika. It is organized by the Film Development Council of the Philippines. The shortlisted films are shown in cinemas all around the country. For this yearâs PPP, ten films were featured, which are the following: Cuddle Weather, G!, Iâm Ellenya L., LSS: Last Song Syndrome, Open, The Panti Sisters, and Watch me Kill for the main entries, and Circa, Lola Igna, and Pagbalik for the showcase films. It also featured Verdict, a feature film not competing for any accolades for the festival. Aside from these full-length films, there were Sine Kabataan Shorts that were created by aspiring filmmakers.
This yearâs Pista ng Pelikulang Pilipino kicked off last September 13, 2019, which also celebrates the centennial year of the Philippine Cinema. Hence, these films were distributed in all cinemas nationwide until September 19, 2019. However, due to popular demand of some films, many have extended their release in commercial and independent cinemas.
Pista ng Pelikulang Pilipino aims to promote Filipino artistry in films and to promote the country and its talents in the global scale. It also aims to protect our film cultural heritage and to empower every Filipino through film development and education. The Film Development Council of the Philippines envisions reaching to every Filipino in creating a thriving and self-sustaining film industry that contributes to the cultural and economic development of the country.
Film 1 â LSS: Last Song Syndrome
From the creators of First Day High, My Amnesia Girl directed by Jade Castro presents a runner up film from the PPP or Pista Ng Pelikulang Pilipino 2019 celebrating the 100th cinema viewing in our country presents LSS or Last Song Syndrome, starring Gabbi Garcia as Sarah and Khalil Ramos as Zak, a film that heartbreaks and hardships intertwine that gives inspiration, chase-your-dream-teen, romance, family lesson, and the important theme of this theme revolves around music. Music that creates or gives connection to everyone you meet throughout your entire life. Music that sends you to a different dimension changing your entire being into another you. Music that affects your spirit lifting you to a higher ground relating to what you feel towards your unending journey to an unknown place.
The morning starts with Zak going to commute on his way to visit his crush while holding the precious gifts that he will deliver for her to admire and to try understanding Zakâs feeling towards her best friend. To which he tries his best to court her but ends up failing otherwise because of her having sudden surprise relationships that he was not able to relay her emotions towards her and canât find any will to confess.
As they both end up in the same place of transportation area, Sarah was able to spot Zak unknowingly because they both ended up singing the tune played in the film. After awhile of finding seats among the crowded people, Sarah and Zak was able to sit together during the trip. They both introduced that they like the same band and idolises Ben & Ben then after, they both told each other their dreams and goals in life wherein Sarah wanted to be a composer of music and that she also joined the music camp back then but wasnât chosen and thus decided to try harder for them to notice her and then saving their family of hardships and to finally attain her goal in life. While Zac introduced Ben & Ben too, saying his dream to become a producer and saying that his away from his father, living with his mother when he was young.
After all those confrontations and chat they heavily went onto a deep conversation wherein Zak decided to give his empty disk then after wrote Sarahâs first lyric onto the disk with a permanent marker making her more inspired and to not give up on her dreams and goals in life. While for Zak, after all those confrontations and confidence he decided to put up all of his courage and would confess to her best friend so that sheâll finally understand his feelings for her. The two promised to meet each other again at the latter date gig of Ben & Ben. With the trip ending, their conversations were like a glimpse of what it would feel like for their dreams to be achieved and prosper together with their loved ones. But taking a look on their backs as they go in their separate ways apart from the bus that theyâve enjoyed their moments felt that they were destined and was fated to meet to change their entire aspect of life and that they would go higher to achieve their goals and never stop believing into something they can do.
For Sarahâs side of the story further in the film at one point Sarah ended up fired for all the hard work sheâs putting up for to let her brother to graduate already but has no choice but to find another job and since her dream is to become a composer but for now toss all dreams aside for the ones you love to support them until they are able to walk on their on steps. But along the way, when the moment that all earned cash for Sarahâs brothers graduation gift was used to buy an expensive branded shoes Sarahâs brother confessed that all of the earned money that Sarah gives to him to be used for the tuition fees as well as the miscellaneous expenses that the school gives but all went to fund his band studio and said that he stopped coming to school ever since and that made Sarah literally broke down and tried to quell her anger upon her younger brother because she knew that as someone as herself achieves to reach and feel her dreams but has to sacrifice, she understood that if it is for her brotherâs goal so be it, so she finds another place to work.
Along the way of the two protagonists, Sarah and Zak had gone into a breaking moment that they were both fated to meet at a bar where Ben & Ben will have their gig, there along the crowds full of surprises and endless stream of mixed emotions Sarah and Zak met in the middle of the fans while tearing and crying, looking at each other pretending to not notice the whole crowd going wild for cheering not realizing that Sarah and Zac is behind them going closer to each other wanting to hold each other trying to understand each otherâs pain and suffering, until the two Sarah and Zac could reach each other like a dream of wanting to see and know how they ended up going at the same venue, getting closer to each other together with time slowing down as if fate led them together as both of them went nearer giving them their very special moment until they had their first kiss, giving a sign of their affection to each other that the perfect moment was now.
Film 2 â The Panti Sisters
The Panti Sisters is a Filipino comedy film directed by Jun Lana, starring Paolo Ballesteros as Gabriel, Martin del Rosario as Daniel, and Christian Bables as Samuel. It premiered during the Pista ng Pelikulang Pilipino 2019, and has won several awards, thus extending its release in local cinemas. Aside from the Audience Choice Award, the picture won Best Production Design Award and del Rosario won as Best Actor.
The Panti Sisters consist of Gabriel, Daniel, and Samuel who have discovered their homosexuality at their young ages, but were not supported by their controlling father, Don Emilio y Panti (starring John Arcilla). At the start of the film, Gabriel hops off a jeepney, returning to their patriarchal house after years of being in exile. Reuniting with her parents and her sister Daniel, Gabriel asks their father what is the reason that they were both summoned. Their stepsister Samuel and her mother Vilma Panti were also in attendance, much to Nora Pantiâs dismay over seeing her husbandâs mistress.
It was then revealed through numerous flashbacks that all of them have received cold treatment from their father that they have never considered returning to their home. Samuel had longed to meet her father, as she never grew up close to him. For a comedic film, their journey as homosexuals were at best, sad and very timely to the Philippine societyâs acceptance of the LGBTQ+ community. Don Emilio then revealed that he was about to die from cancer, and he is willing to give his 300-million-peso inheritance to his children fairly, but under one condition.
With Don Emilio disagreeing with the sistersâ gender identity, he challenged them that the only way they could get their share of 100 million pesos each is to give him a grandchild before he dies. Much to the sisterâs surprise, they jumped to the deal, with Vilma being completely supportive of Samuel impregnating Chiqui, a childhood friend, for the sake of getting monetary benefits from Don Emilio. Gabriel, at first, hesitated, but when her friend Kat decided to help him out, he gave in to the deal. Daniel wasnât about to jump to the challenge, but after rescuing a pregnant neighbor named Joy from her abusive boyfriend, they made a deal to claim that Joyâs child was Danielâs instead.
When Chiqui, Kat, and Joy all presented to Don Emilio as pregnant with his grandchild, he still doubted the authenticity of it, so he ran DNA tests to them in order to ensure the kids have Panti genes in them. Kat was indeed pregnant, but she wasnât sure if his ex-boyfriend or Gabriel was the father. Chiqui was pregnant too, but she agreed to do it with Samuel with believing Samuel loves her the way she loves Samuel. After reuniting with some old family and friends and a friendly volleyball match, in which the sistersâ cousins mock their sexuality, Chiqui found out that Samuelâs main reason for conceiving a child with her was out of dire need for financial gain.
This resulted in a spat between the two, but Chiqui had a miscarriage, in which the sisters felt the true weight of this challenge. Samuel came to her senses about this, and amid his motherâs insistence, he backed out of the deal, especially when Don Emilio didnât even visit the hospital to mourn for his lost grandson. Don Emilio also found out that Joyâs child wasnât Danielâs, also Katâs child. Both disheartened at their fatherâs demands, they ran away along with their mother Nora.
After fixing up bad blood with one another, Daniel and Gabriel decided to patch up things together with their stepsister Samuel. One night after bonding together as three sisters, they were faced with trouble. Several men attacked them in the parking area, but they didnât win over the sistersâ innate martial arts skills. Leaving Daniel alone, she was faced with another group of men, seeking revenge over their defeat. This time, however, they brought a gun with them, and shot Daniel without any hesitation. It was too late when the sisters found her; she was already dead from a bullet through her chest.
On Danielâs funeral, which was all pink instead of the traditional neutral color scheme, Don Emilio was still hesitant to show his love to his children, in which both Samuel and Gabriel have accepted. However, days after burying Danielâs body, Don Emilio visited her grave, much to the surprise of the sisters. He then confessed that he had been too hard on them, that the reason for his rough upbringing is that he loves his children so much, and now he is ready to accept his surviving children with all his heart. The tearful family hugged each other, signifying their reunion as one family, and Don Emilio now allows his daughters to call him âPapaâ.
The film ends in Katâs and Gabrielâs wedding, that, despite Gabrielâs gender identity, she chose to be a âsecond fabulous momâ to Katâs unborn child and that they will raise the kid together. The cast takes some photos, with Gabriel and Samuel of course, stealing the spotlight one last time.
The Panti Sisters is a refreshing take on typical Filipino films that has homosexual, flamboyant characters, in which Vice Ganda (Jose Viceral) often takes the centerstage. Sure, the color schemes are often bright, vibrant, even trippy at times, but it masks the darkness that the conflicts and the issues of the film. The comedic relief makes it easier to tackle the serious issues, yet The Panti Sisters had scenes wherein the message was delivered in an obvious manner. Jun Lana couldâve done this intentionally to avoid confusion among its target audience, the masses.
The film tackled on a lot of issues that it failed to give proper nods and spotlights to some of the scenes, and without the makeup and the slapstick comedy, Gabriel, Daniel, and Samuel would stay as one-sided characters with stereotypical personalities. Putting it aside however, the film featured wonderful production designs that catches the attention of its viewers. The Panti Sisters also highlights empowerment of people from the LGBT community, breaking away from the barriers that homosexuals are physically and mentally weak. It also shows women empowerment and the effects of toxic patriarchal culture and sexism of the Philippines.
The Panti Sisters is a representation of what the LGBT community wants the rest of the Filipinos to see, not just for the sake of comedy and their entertainment. Through this film, Filipino traits were highlighted both in a good and bad way, which is a wakeup call for all of the masses. Lana emphasizes the negative effects of having an overly-dominant figure in the household, as it stunts the emotional growth of young children. It resulted in an emotionally-constipated family that they only came around when theyâre missing one Panti. Hence, albeit being a homosexual-themed film, The Panti Sisters gives emphasis on the importance of acceptance and and love from the family first.
Lola Igna is a 2019 Philippine film directed and written by Eduardo Roy, Jr., and was one of the entries for Pista ng Pelikulang Pilipino 2019. It stars Angie Ferro as the titular character and Yves Flores as his great-great-grandson. It was released last September 12, 2019, which is close to the celebration of Grandparents Day. The film was a great success as it received generally positive reviews from critics, even snagging Best Picture, Best Screenplay, Best Musical Score, and Best Actress for Ferro. Due to high demand from the public, it extended its release in commercial and independent cinemas across the country until October 3rd, 2019 in UP Film Institute and Cinema â76.
Lola Igna follows the story of Igna, a 118-year-old woman who is leading a simple life by herself in the rice fields. The film starts with a shot of her waking up, peeing on a pot, scaring away the birds from her farm using stringed tin cans, and cooking adobong kangkong for breakfast with a mug of tuba (coconut wine), in which she takes time to talk to a framed photo of her husband, Carias. Igna already shows signs of longingness to die the moment she buried a dead bird she found in her farm; even congratulating the bird that it had died, and wished its luck as the bird travels in the other life. Albeit a sweet, sentimental scene that recurs in multiple parts of the film, it is obvious that the flying birds are computer-generated. For the untrained eye, it retains its sentimental message, yet if you spot the artificial birds flying around while the cans clang against each other, it showed some form of comedic relief.
Unlike other Filipino films that âglorifiesâ poverty so much, Roy has found the perfect balance of portraying poverty in a way it does not fetishize the idea of being poor in the Philippines. Instead of focusing on the economic status of the main characters, through its camera angles and mostly-silent scenes, Roy showed the audience how Igna is content in such a solitude as she waits (rather impatiently) for her death to arrive. Her relatives then arrive in her humble hut, telling her to get ready to meet the mayor. Igna was hesitant, amid Nidaâs coaxing, and she refuses to wear the dress that her great-granddaughter, Ana, left inside her cabinet. The red dress, according to Igna, is the one she wants to wear for her funeral.
After dressing up in a simple white ensemble, Igna jokingly tells Nida that her makeupâs fitting for her funeral, which Nida frowned upon. After all, Igna is one of the candidates for the longest-living grandmother not only in the Philippines, but the whole world by an organization named Amazing People of the World. Upon meeting the mayor, it was made clear that when Igna gets the title, she will be awarded $50,000 for every living year she already passed, giving a total of $5.9M. Obviously, the mayor and Nida are both invested in keeping Igna alive, even if the mayor explicitly says that they are not doing this âfor the moneyâ. A press conference then follows, with Igna sharing her secret to her long life is to eat fresh vegetables, breathe fresh air, and drink coconut wine from time to time. One press asked Igna if there is anything sheâs waiting to happen, given her long time alive, and Igna, with all confidence, she answered that she wants to die. Of course, everyone was in shock at the stark difference of Ignaâs wishes to what everyone else wants her to achieve. The mayor dismisses it as part of Ignaâs sense of humor, yet it showed some distress on his part, also with Nidaâs.
Yet, it is obvious that Igna is pressured by the community with âtouristâ activities and stuff, such as taking photos with them, letting people in her home, and Nida exclusively selling shirts, mugs, pins, and magnets with Ignaâs face in it. These merchandise, although shows capitalism at one side, gives a connection between the poverty of the town and their desire to improve their resources with Lola Ignaâs winning as the oldest living grandmother.
It comes to the point that Igna is already too furious with noisy tourists waiting for her to look out of the window and take photos with her. She takes her urine-filled pot, and pours it to the annoying tourists, with a young man named Tim (Yves Flores) taking most of the hit as he is in front. After driving the tourists away, Tim stays, introducing himself as the son of Lola Ignaâs missing great-granddaughter, Ana (played by Merryl Soriano). Igna is overjoyed that she quickly hugs Tim even if heâs still soaking in her own piss. Afterwards, Tim shows his intent to make a vlog about his grandma as one of the oldest living in the world, much to Ignaâs confusion (even calling âvlogâ as âblaâ).
Igna shows Tim a special place in her house, with photographs of her relatives who have passed away. Tim sees the photo of his mother Ana, and it made Igna relieved that after all this time, her missing great-granddaughter is still alive and doing well. Tim stays in for the night, only to be in shock seeing his own great-great-grandma peeing on the pot in front of him. She then starts to open up about her previous job as a midwife after a couple requested to birth their child (in which Igna refused as sheâs too old and weak to deliver a baby).
When evening comes and Tim is fast asleep, Igna is left in the dining area drinking her coconut wine. However, she notices someone outside her hut, so she shouts at the figure, but the person doesnât answer. With slow movements and the suspense coming the background music, Igna goes outside to face the unknown figure, only to find out that it is her husband, Carias. In Filipino superstition, âseeingâ your dead loved one, or pagsundo, means that your death is nearing, which makes Igna hopeful that she will be reunited with her husband real soon. The next morning, she goes to Gusting, her gay friend who is also the first child she helped to deliver to the world, and asks if she can borrow her axe and hammer. She also shares to Gusting that Carias was already âfetchingâ her and she would make her own coffin. Gusting then wonders who would be there to fetch him when he dies as he never got the chance to marry and have children. She and Tim then goes to a lumberjack, asking for some scrap wood, in which Tim carries back to their hut without knowing the reason for it
Igna, overjoyed, then tells Tim her secret about meeting Carias and then requests Tim to make her coffin for her. Tim, obviously confused and hurt with his great-great-grandmotherâs request, quickly refuses to do it, saying that theyâve only met for a short time and he wants to spend more time knowing his grandmother. He shares about his struggles back home, where Ana has met another guy and theyâre expecting a child real soon. Tim confesses that he feels out of place at home because he doesnât feel loved, so one of the reasons he went to Ignaâs place is that his mother wonât step foot on that place. Igna contemplates on this, and when morning arrives, they learn that Gusting never woke up from his sleep.
Being the first baby that she delivered, Igna shares her grief over Gusting dying ahead of her. Igna shares that she has assisted in the delivery of all the citizens of the town. She then jokingly says that her long life could be credited to her selfishness in being a midwife; that with every child she delivers, it adds more years to her life. However, it doesnât make her happy anymore because of the long years of her life, sheâs the one who always being left behind grieving when someone passes away. Igna also says that she doesnât know the people from the town anymore, and sheâs already tired of living. Tim listens to all of this and after sharing tuba together, he starts building his great-great-grandmotherâs coffin.
Over the next few days, Igna has grown kinder to the tourists since her sole wish of having her coffin built is now materializing. She offers to take photos with them, but due to exhaustion, she fainted, and eventually as the story progresses, the doctor explains that Igna had hit her head as she fainted, leading to stroke and comatose. This scene, albeit emotional and filled with suspense, felt rushed and disjointed to the whole film since it wasnât clearly shown how Igna actually passed out. The transition left viewers wondering how would Igna have hit her head when the tourists near her were quick on their feet to catch her from falling.
Moving on, with Igna unconscious, Nida and Rene finds out that Tim is supporting Ignaâs wish of building a coffin, and, thinking it is the source of the evil surrounding Igna (according to a faith healer), Rene destroys it without hesitation. Tim pleaded not to do so since Igna has been telling him over and over again that she wants to die soon, and Nidaâs selfishness showed up; she told Tim that if Igna dies, her business and merchandise will suffer a lot. The mayor also forces the family to keep Igna alive, as the results of the award will be announced really soon. Tim finally calls Ana to visit Igna as soon as possible, and he wishes to bond longer with his great-great-grandmother.
Ana, few days into giving birth yet her face filled with beating scars, arrives to the town, in which made Nida angry and resentful over her sister finally returning after many years of abandoning them. Ana tries to wake Igna up over tearful eyes, and in a cliche âfinger-jerkingâ moment, Igna wakes up, wanting to pee. She rips the IV off her wrist, and hugs Ana right away. Tim runs to the town, sharing everyone the good news that Igna is now awake and doing fine. It leads to Nida and Ana reconciling in front of Igna, and it makes her feel happy and grateful to have witnessed it.
Igna opens the windows again to more tourists and fans, even asking who wants to take a selfie with her. After a long day, everyone gathers for dinner and with the mood being set that Igna is satisfied with her simple life as it is, especially with her great-granddaughters reuniting and her family being complete, she shares that death should not be a thing to be afraid of. It obviously set some of her relatives back, especially Tim, but they accept what Igna wishes and now they support her in any way she wants. After dinner, with everyone asleep, Igna sees Carias again, this time, Igna is sure that her time is finally up.
Ana and Tim walk around the farm when morning arrives, confessing to Tim that she already left her boyfriend. Timâs face lightens up when he finds out that no matter what happens, Ana still loves him as her son. However, she then cries out in pain; sheâs about to give birth. With no one with them, Tim calls Igna, pleading her to help Ana to give birth. She carefully delivers the child in the middle of the farm, and from the distance, Carias appears again, but instead of Igna seeing him, it was Ana who sees her great-great-grandfather, and immediately dies after giving birth to a daughter (who remained unnamed until the end of the film). The red dress, that Igna wants to wear for her own funeral, is worn by Ana instead.
In the end, Igna did not get the title as she is being outlived by another woman in Geogria. Merchandise stop selling, and things are slowly becoming more peaceful and quiet around Ignaâs small hut, now housing the newborn baby and Tim. One night before going to sleep, Tim records Igna singing a lullaby to the baby, until Igna notices that Tim has been recording her all this time.
For the final scene in the movie, it comes full circle with the first scene where Igna is sleeping by herself; this time, the baby is right next to her, sleeping as well. It isnât specified how long it had been since the baby looked significantly older. The scene then cuts to Timâs final vlog, which shows Igna from his point of view, and uploads it to YouTube. Igna carries the baby outside, looking at the fields with his face showing various emotions. At one side, it looks like she found a new meaning to live now that she has to take care of her great-great-great-granddaughter. At another side, however, she looks frustrated as she had helped deliver another human being, which means her years on earth is still far from over.
Lola Igna shows a kind of existential crisis that is not often told and shown to the audience. Usually, this type of crisis is often seen in coming-of-age films marketed to the youth, however, this is the same crisis, but in a different perspective. When we think of âexistential crisisâ, the common conception that the crisis only affects those who are still not sure of what to do with their life and whatâs the point of being alive. Lola Igna, on the other hand, have been living for so long she has lost the will and purpose of staying alive.
Through this film, although marketed as a âcomedyâ film, has tugged our heartstrings with every life (and death) moment that Igna faces. It is a drama lightened up with Ignaâs quick humorous comments and simply our appreciation with the wisdom of the elderly. Lola Igna is a recommended movie for Filipino families who want a feel-good film thatâs still etched with various emotions that will make you laugh, cry, and contemplate the value of life that we have.
How do these films represent Filipino Cinema the way they want to?
These three films represent Filipino Cinema in at least three different perspectives. LSS: Last Song Syndrome represents Filipinoâs love for music and pursuing their passion, but is often frowned upon if thought of as a source of income or a career choice. It also represents the youthâs longing for love â be it from someone we like or a parent we havenât seen yet. The Panti Sisters represents both the good and the bad aspects of how Filipinos treat and regard the LGBT community, especially in the familial structure. Lola Igna represents how Filipinos can literally âidolizeâ anyone that trends on social media that we often become victims of capitalism and consumerism. It also shows Filipinosâ connection with their loved ones even if theyâre far away from us. The stories â both main and side stories â show a slice of the Filipino life that, albeit being formalist in nature, builds a connection between the film and the viewers.
LSS: Last Song Syndrome has a coming-of-age feel, with the addition of Ben&Ben songs to add and emphasize certain parts of the film and to give more context to the audience what the film is all about. It is a musical in essence, but unlike most musical films with original songs written for them, Ben&Ben, being one of the executive producers of LSS, made sure that their existing songs and the plot of the film are connected with one another. Aside from the music, colors of the scenes provide the emotions intended. The Panti Sisters has an extravagantly colorful and vibrant color scheme, with filming techniques similar to the typical Filipino slapstick comedy films that the masses are used to. It could be done intentionally since the film targets this part of the audience; the message they want to send is on a serious, even darker, note that if such was delivered in a dramatic, realistic manner, it will not fulfill its purpose. Lola Igna has a lot of still, silent sequences with Igna going about with her life alongside loud, dynamic sequences with Igna being distressed in front of many people shows. The closeup shots are often used with the main character since her emotions are a vital part of the film. Using wide shots to show Ignaâs home, especially with Tim alongside her, is a representation of their bonding as grandma and great-great-grandson.
Each film depicts a story in the life of an ordinary Filipino. They can be viewed as a chapter in what the Filipino society was like that can be looked back on by future generations. In celebration of the centennial anniversary of Filipino cinema, LSS: Last Song Syndrome, The Panti Sisters, and Lola Igna are prime faces of how the industry has evolved over the past 100 years. Yet, with all the innovation in filming techniques and change in socio-political and economic structure of our society, there are still traces of the traditional Filipino cinema that survived through time. They still possess a strong Filipino identity, aside from the language, but the cultures they portray in the film. Such cultures include, but not limited to: patriarchy, tolerance (but not acceptance) of the members of the LGBT community, indifference of elders over the creative/music industry, consumerism, and strong family ties.
The future of Philippine cinema
Like all countries improving and flourishing with their way of living and how technological advancement will eventually come to appear and support the establishment like our country, the Philippines slowly changing from old its system to the new progress of the government and nation. The Philippine cinema from its old times improved beautifully from the computer-generated imagery or CGI to the plots of the story lots of variants for different improvements up to now. Actually some of the screened films from our country get to international cinemas and some even get achievements that is how amazing our film directors have improved all these years.
Inspiration for future filmmakers
For the future filmmakers, there are plenty of inspirations and motivations that enables then to get references as idea for their desired film, like drawing you have an artist to follow to be inspired more like that idea for movie making for the upcoming directors that will soon reach the top and change the people that will watch. Films can be easily accessed and made nowadays as well with the boom of the Internet and social media. You can now make a short film with your phone, and watch them with the same platform. With its accessibility to aspiring filmmakers, it can be used to explore and generate new techniques and new perspectives for audiences to watch in the films of the future.
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