Crafting the potential for the Filipino film

Something I wrote for my final Asian Cinema paper. 

           The world of cinema is a gateway, a figment of one’s imagination. Oftentimes, we watch films for leisure – to immerse ourselves in a temporary escapade from the troubles and pressures we find ourselves in. For a momentary period, we find a strong connection to the characters as they go through a whirlwind of life’s state of affairs – we laugh when they find themselves in a funny situation, cry because of their failures and frustrations, gasp in horror when they suddenly find themselves in a situation that’s more than they bargained for.
         Thanks to the astounding technological combination of image and sound, a story can be told in an enchanting way where another medium, let’s say a radio or a mere picture simply cannot interpret.

There is no doubt that films serve as reflection of a country’s culture. Aside from the blockbusters and romantic comedies that Hollywood offers or the quintessential European films that may portray artistic movements like the new wave or expressionism, Asian cinema is also making a firm stamp on the film industry. 
The diverse world of Asian cinema happens to echo a nation’s unique cultural background. Simply said, a film from China will give a viewer a different experience with a film made in Thailand. Films from Japan like Shall We Dansu and Departures exemplify the high influence of respect and image that the country is often distinguished for. In films from the Middle East, like Iran’s Children of Heaven and Afghanistan’s Kite Runner, the political turmoil plays an immense role in the storyline. It is their manner to tell a story in a humanizing perspective, something that you won’t get from the daily news.

There is one common thing that has been the recurring theme in the contemporary Asian films watched in class – a collectivist culture that has struggled to sustain itself through the modern times, especially when it comes to societal norms and family relationships. This exemplifies the fact that despite the thousands of miles that separate each country in the Asian region, family love and togetherness is simply boundless.

In the Taiwanese movie Eat, Drink, Man and Woman shows the struggle between an estranged father and his three daughters, seeking to find both acceptance and independence into womanhood. Chen Kiage’s Together, revolves around a father who would do anything for his son, a prodigy violinist, to make his talents heard.  Such storylines can be applicable to the Filipino viewer;  topped with the theme of a family’s undying love for each other will triumph in the end.

One of the main reasons why the Philippine film industry is not flourishing on an international level is because it is still struggling to find its own identity. Other Asian countries have already achieved this. Bollywood films with their sudden burst of song-and-dance numbers. Films from Japan reflect on its high standards of conforming to societal image and reputation. Films from the Middle East portray humanizing stories amidst political instability.

So what exactly is the trademark of the Filipino film?

Filipino films nowadays do not hesitate to address the poverty and working-class culture which mirrors an indispensable bearing in a Southeast-Asian third world country. From the shots of slums scattered within the city to the blue-collared jobs they take to make ends meet not only for themselves, but also for their families too.  Such candid facts about the Philippine society have the utmost potential to tell a story of disoriented passion, struggles and desperation. Nevertheless, the film industry is constantly overshadowed by films that can be defined as the total opposite of meaningful.

La Visa Loca gives us a pragmatic and honest portrayal of how working-class Filipinos live in a comedic context. Robin Padilla sheds off his macho action-figure persona in this film and portrays Jess Huson, a taxi driver with a nursing degree who dreams of migrating to the U.S to live with his girlfriend. From the pasyon chorus that continually pop out of nowhere and sing about Jess’s woes to the treatment towards the Westerners as if they were his superiors, it gives the audience viewer something to ponder about when the credits start to roll.  We don’t know whether to laugh or cry on our bemused state of a national identity.

Nevertheless, mainstream films like La Visa Loca only come out once in a blue moon. Let’s face it, our mainstream film industry does not thrive when it comes to artistic integrity and story content – bleak storylines, over-the-top cheesy romantic dramas and Western spinoffs constantly define the films that may flock to in cinemas. It sticks to lacklustre content and relies too much on slapstick humour that becomes repetitive on a daily basis. Ded na Si Lolo pokes fun at of Filipino culture. From the incessant fainting of the women to the homosexual brother who struts around in the flashiest outfits in the room during a time of a loved one’s departure, it goes to show that Filipinos simply have no difficulty in looking for humour when the going gets worse.

The independent film industry of the Philippines is where the real artistry of filmmaking prospers. Critically-acclaimed films like Jay provide fresh insight and artistic integrity, giving a glimmer of hope in the future. An eye-opener on the country’s use of sensationalism in journalism nowadays, it is able to portray multi-faceted characters in the Philippine society. What we need now are more films like Jay and not ones that rely on mediocrity – films that rely on a celebrity’s status to generate high earnings and stereotypical, one-dimensional characters. Films that show the audience what the real characteristics, the struggles and daily realities of a Filipino should be the ones that epitomize the trademark of this country’s film industry.

While films in India have their song-and-dance routines figured out, the Middle East films giving a humanistic portrayal amidst the political turmoil and Korean films balancing sentimentality and comedy, a majority of Asian countries have found their niche when it comes to films. In order for our film industry to flourish, it must identify and then become comfortable with its own identity, which can be reflected through the brilliant art of filmmaking. Remember, these are the mediums that will forever be a testament and expression of the nation’s culture distinctiveness through the test of time.