This year is winding up, heralding some semblance to contemplate on how the world of cinema has managed to persevere and survive. Every cinephile can attest that the film industry they lean on continues to deal with major hurdles: reduction of audience numbers in theatres, monstrous streaming competition, fractious consequence of artificial intelligence (AI) on creativity, and soaring costs of production. What used to be a collective fixation to watch movies in theatres is now relegated to oblivion. The fragility of cinema’s existence rests on uncertain times, threatening more than ever the future of filmmaking.
In the face of this scathing reality, undaunted filmmakers across the globe are not slowing down, hell-bent on buttressing their cinematic dreams. Thus, movies that make its way to public screening seize every opportunity to gain box-office and critical success. Films that are shown in many festivals merit their own share of support and encouragement. Every theatrical presence they can get is worth its weight in gold.
Amid this stretch, the movie industry has mourned the loss of some great cinematic icons this year: multi-awarded actors Gene Hackman, Robert Redford, Diane Keaton, and Val Kilmer, to name a few in Hollywood. In the Philippines, superstar and multi-awarded actress Nora Aunor, multi-awarded film director, cinematographer, and screenwriter Mike de Leon, celebrated veteran actors Gloria Romero, Pilita Corrales, and Rosa Rosal, to name a few.
We have known and watched these legendaries for most of our lifetime. They belong to a golden era that is well revered. Time-honoured values, ethics, and discipline that they have persisted to keep are slowly fading. The generational gap widens even more with this so-called technological advancement. Less and less cinematic wisdom is passed on to the next generation, losing the critical link needed to sustain the rigours of the film industry.
Long after the venerated presence of these icons are indelibly gone, all we have left is reminisce wonderful masterpieces that they have bequeathed the world. We pine for edifying moments when we experience their humanity while binge watching their films. Somehow, we tend to bypass their flaws because their greatness and valuable contributions supersede everything else. The foundation they have built is unshakeable.
Ironically, in between successes and failures, we also indulge in endless conversations about the filmmakers’ private lives that somehow find its way under public scrutiny. More often than not, the transitory nature of fame slips out of their consciousness, gaping a hole that consigns them on a contrasting spotlight. Thus, our daily lives are constantly bombarded with newsfeeds about them, ranging from petty issues to shocking revelations.
Whether we like it or not, we are bound to devour these information, falling trap to false and hyped information. Wherever we go, they follow us, unabashedly crossing private boundaries that are supposed to be in place. The line between fact and fiction is jeopardized. Fiction is now more believable than truth itself.
Our cultural, historical, social, and political events are interconnected with the movie plots that we often watch and enjoy. The significant influence of the roles these actors project on screen often stays in our memory. While some of the fictional narratives are distinct from being true, the audience becomes skeptical and distrustful, yielding to the wrong direction. Fiction becomes a fact, and vice versa. It becomes more plotty because major players are brazen in weaponizing the art of filmmaking.
It is dreadful to watch a crappy film that is deceitfully promoted as a quality film. The first five minutes of watching is more than enough to decipher its worth. What is mind boggling is how a sensationalist filmmaker would impetuously believe that his/her film is good, convincing producers to invest, and lurk its way in cinemas worldwide. Worse, their films get awards and then linger on streaming platforms.
The world of cinema has a pivotal responsibility that is accountable to the audience. Every filmmaker ought to be mindful of the kind of story they tell on screen. They ought to be careful in the way they use cinema as a potent tool to reflect and shape society’s values and public opinion. For every narrative that they share on the big screen, it gets transmitted and relayed a thousand times to various communities that could make or break in preserving history.
Cinema is a crucial avenue in harnessing humaneness that can eventually lead to global positive change. A film ought to inspire and educate people from all walks of life. It should serve as a platform to challenge societal norms while allowing varying perspectives to be heard. Regardless of the outcome, a film ought to open itself for opprobrium if its intent is upright, honourable, and irreproachable.
Beyond the glitz and glamour of cinema, a heap of auspicious dreams still reside across the vast space of movie theatres. Humanity, no matter how fragile and volatile it can get, still awaits every story to be told wherever they may be. Regardless of the struggles, filmmakers who aim for good storytelling will subsequently experience their own ‘miracle’ in fulfilling a humble mission of completing their work for others to benefit from.
As these films roll in during the frenzy of a film festival, the reunion of artistry and duty comes naturally in full view. Such is the wonderful milieu of cinema. The inevitable cycle of filmmaking loops when the ardent and inalienable vow of creativity prevails again.
We bid farewell to 2025 teeming with much appreciation. We welcome 2026 imbued with a refreshed, renewed, and unflinching commitment to uphold humanity in the world of cinema. As we gather and celebrate this festive season, let us be more sensible and mindful of the narratives that seep in our consciousness. A punctilious, ethical, and thoughtful discernment makes a positive dent to the world.
Let us throng in groves to movie theatres and bring back the joy of watching films on the big screen. Such magnanimous effort is definitely a valuable gift of reciprocity anyone can give to the world of cinema. ####