 |
| So, who's top and bottom here? |
2019 is coming to a close, and it's time to take a look back at the year that was. Compared to the absolutely fantastic 2018, 2019 was just... okay. It's not that there were a lot of really bad films this year; instead, average or mediocre films clogged the theaters and the tubes this year. Few films really stood out amid the noise.
Some film festivals took a break, leaving some space for moviegoers to breathe. The stalwarts of the festival circuit (Cinemalaya, C1O, QCinema) churned out some hits, though QCinema has now gone truly international with a mixed slate of local and international films. The MMFF is still (unfortunately) chugging along in its original state, victimizing four new films to sacrifice to the altar of capitalism. There are now talks of a "Summer MMFF," which is weird considering we already have the PPP for that. It looks like overly commercial filmmaking is poised to crush smaller mainstream productions and independent films in larger, mall complex cinemahouses.
Meanwhile, films are finding their second wind with microcinemas and streaming sites. iWant, Iflix, HOOQ and Netflix now all host a variety of Filipino films, and the collection is growing. The production of the first Filipino Netflix original, Dead Kids, as well as the emergence of streaming-only iWant originals, is a sign that streaming may be a potential major platform for many films in the future.
There's an influx of new blood, previous first time filmmakers are creating fantastic sophomore works, and previous indie darlings are finding themselves experimenting with mainstream studio productions. It's an uncertain world, more than it has probably ever been in the past five years, and the future looks uncertain. Who knows what 2020 will bring.
Like last year's rundown, this will be split into three parts: 1) my favorite local films of 2019, honorable mentions and my least favorite films of 2019, and notable international films of the year. This is actually a record year for Philippine Cinema: in one form or another, 132 films have been released in theaters or streaming. The number may differ depending on the inclusion criteria; mine excludes one time screenings and coproductions. Of those 132 films, as of this writing, I have seen 127, which is around 95-96 percent, a personal best.
 |
| I even saw 12 Days to Destiny. What's 12 Days to Destiny, you ask? EXACTLY. |
Rules are: 1) must be a commercially released local film this year, 2) re-edits and re-releases are accepted, 3) favorites, not necessarily best. Strap yourselves in and let's get ready to dance with the devil in the pale moonlight.
Here is
John Tawasil's
15 FAVORITE LOCAL FILMS OF 2019
15. Elise (dir. Joel Ferrer) - Elise is a polarizing film, for sure, but I really don't care. Its structure of vignettes and its depiction of a person's life as defined by other people is something rarely seen in contemporary cinema. Elise is a roughly hewn gem that deserves more attention.
14. Last Fool Show (dir. Eduardo Roy, Jr.) - The only Roy film on this list, Last Fool Show is an entertaining film that serves both as metafictional commentary and as exploration of an artist's struggle between his/her desire for art and his/her desire to earn money.
13. Babae at Baril (dir. Rae Red) - There is something tantalizing about Rae Red's solo full length directorial debut, specifically in its depiction of the genealogy of violence, a lineage of power and blood that leads men to wreak violence onto (other) (wo)men.
12. Tayo, Sa Huling Buwan ng Taon (dir. Nestor Abrogena) - Abrogena's follow up to the surprise hit Ang Kuwento Nating Dalawa is on a completely different level compared to his previous film, depicting the inevitable pull others have on us, even over great distances and over long periods of time.
11. Sila-Sila (dir. Giancarlo Abrahan) - perhaps this year's best-written film, Sila-Sila is an intimate exploration of relationships that feels universal and inclusive. It also manages to be very profound and very funny at the same time.
10. Ulan (dir. Irene Villamor) - There's something powerful about narratives, in the stories we tell ourselves and others. Ulan explores the notion of narrative in ways we've rarely seen in local cinema. It's a departure from Villamor's previous two films, featuring the director at what may be the height of her creative experimentation.
9. LSS (dir. Jade Castro) - Perhaps the most feel good film in this list, LSS is a pleasant exploration of what art, and the mutual love of art, can do to people. As it turns out, it can bond people together, help people mend, and even change lives for the better. In a sea of crushingly depressing films, LSS is a breath of fresh air.
8. Verdict (dir. Raymund Ribay Gutierrez) - No contemporary local film, even the films helmed by Raymund Ribay Gutierrez's mentor Brillante Mendoza, has managed to capture the massive structural failings of the justice system as well as Verdict. It deservedly got the blessing of the FAP to represent us in next year's Oscar Best International Film race.
7. John Denver Trending (dir. Arden Rod Condez) - One of two Cinemalaya 2019 gems, John Denver Trending is a hard watch, because it is so heartbreaking and because it parallels real life events. In a time where the internet can ruin anyone overnight, it's also quite terrifying, because the same thing can happen to you.
6. Kalel, 15 (dir. Jun Lana) - Jun Lana has been exploring themes of sexual identity for years now, from Ang Dalawang Mrs Reyes to the more mainstream Panti Sisters. His latest film talks about the way we talk about sex (we don't), and the hypocrisies inherent in one of the few support systems we have. It is a film where silence is its greatest tragedy.
5. Edward (dir. Thop Nazareno) - Edward is one of many coming of age films that came out in 2019 (and one of a handful included in this list.) What sets it apart from the others is Thop Nazareno's own bittersweet storytelling flavor, poignant and heartbreaking in equal amounts.
4. Lucid (dir. Victor Villanueva) - Victor Villanueva steps out of his comfort zone and he, along with screenwriter Nats Jadaone, makes this fascinating film about a very specific kind of loneliness. It's also Alessandra de Rossi's best performance in a really long time. Its only drawback is the limitations inherent in the creation of festival films, but if there were no limitations, this would be a film for the ages.
3. Cleaners (dir. Glenn Barit) - Few films have managed to follow its artistic vision and captivate even casual audiences in 2019 as well as Glenn Barit's Cleaners. It's well-made, relatable, socially conscious and a pure delight to watch.
2. For My Alien Friend (dir. Jet Leyco) - Jet Leyco may be familiar to mainstream audiences by way of his horror film Second Coming, but this is the film that made Leyco one of the year's best filmmakers in my eye. It's formally creative (perhaps one of the most creative films in this entire list), playful (thus avoiding the pretension some other experimental films have by leaning into their seriousness) and intimate at the same time. For My Alien Friend is simply a phenomenal work.
1. Isa Pa, With Feelings (dir. Prime Cruz) - When I tried to compile this list, I tried to recall which film hit all the right notes, was thematically lush, and had great lead performances. This film hit all the criteria for me. Isa Pa, With Feelings is a great romantic film, and it also serves as a call for empathy and understanding and for inclusion and acceptance, in a world that is quickly running out of those things. While far from perfect, Isa Pa, With Feelings is my favorite local film of 2019.
***
In the next installment of this rundown, we'll be talking about honorable mentions, special citations and my UnFavorite film list of 2019. Stay tuned.
No comments:
Post a Comment