By Randy
Renier I. Espinoza
The
naysayers are mistaken. Philippine Cinema is not dead. And 2013 was shining
proof that it is alive and flourishing. Even pop culture commentator Jessica
Zafra was quick to say in September that 2013 heralded another golden age of
Filipino movies and could well be the best year the industry has ever had.
We’re not talking about box-office revenue, though. We’re talking about the
breadth of the year’s harvest of quality films, most of which were
independently produced.
Three
Filipino features made it to Cannes, arguably the world’s most prestigious
festival: Lav Diaz’s Norte, The End
of History and Adolfo Alix’s Death
March in the Un Certain Regard section; Erik Matti’s On the Job in the Directors’ Fortnight section. Four films made the
cut at the Toronto International Film Festival, currently the world’s most
“important” film market: Diaz’s Norte,
Jeffrey Jeturian’s The Bit Player,
Brillante Mendoza’s Sapi, and Raya
Martin’s La Ultima Pelicula (in collaboration with Mark Peranson). Not to
mention many others which were exhibited in major and minor international film
festivals and continue to make the rounds in the film fest circuit.