Part 2 – FROM THE GOLDEN AGE OF PHILIPPINE CINEMA
Just like the “70s and ‘80s, the late National Artist Lino Brocka ushered the ‘90s with his last film entitled “Gumapang Ka sa Lusak” under Asian Horizons, together with “Dreaming Filipinos” by Manny Reyes. There was one in 1992, “Ang Totoong Buhay ni Pacita M.” by Elwood Perez. In 1993, director, writer, cinematographer, and producer Mike De Leon who recently passed on was the only director featured with “Aliwan Paradise” showcased in “Southern Winds”.
The ‘90s saw the emergence of Carlitos Siguion-Reyna and Joel Lamangan. Siguion Reyna’s two films, “Hihintayin kita sa Langit” and “Saan ka man Naroroon,” joined “Midnight Dancers” by Mel Chionglo under Asian Horizons in 1994. Siguion Reyna’s “Inagaw Mo ang lahat sa Akin,” “Paalam Flor Contemplacion” by Joel Lamangan, and “Eskapo” by Chito S. Rono were all selected in1995. In 1996, Siguion Reyna’s “Abot-kamay ang Pangarap” joined “Lahar” by Mel Chionglo, “Scorpio Nights” by Peque Gallaga, and “Segurista” by Amable Aguiluz, all under Contemporary World Cinema.
Siguion Reyna’s two films, “Ang Lalaki sa Buhay ni Selya” and “Ligaya ang Itawag mo sa Akin”; “Rizal sa Dapitan” by Amable Aguiluz; and “Diliryo” by Peque Gallaga and Lore Reyes were screened in 1997. In 1998, the late National Artist Marilou Diaz-Abaya was selected with her opus,“Sa Pusod ng Dagat”, together with “Curacha – ang babaing Walang Pahinga” by Chito S. Rono; “Gangland” by Peque Gallaga & Lore Reyes; and “Tatlo… Magkasalo” by Carlitos Siguion Reyna. It was in 1999 when Lav Diaz was ‘discovered” via “Kriminal ng Baryo Concepcion.” Other films were “Burlesk King” by Mel Chionglo; “Bulaklak ng Maynila” by Joel Lamangan; and “Pusong Mamon” by Joel Lamangan & Eric Quizon.
In 2000, Siguion Reyna’s two films “Kahapon May Dalawang Bata” and “Azucena” were shown together with Mel Chionglo’s “Lagarista” and Joel Lamangan’s “Death Row”. One film was showcased in 2001: Mel Chionglo’s “Markova: Comfort Gay.” In 2002, it was Erik Matti’s “Prosti”; “Mga Munting Tinig” by Gil Portes; and “Hubog” by Joel Lamangan. There was one in 2003: “Ang Huling Birhen sa Lupa” by Joel Lamangan.
In 2004, Lav Diaz’s “Ebolusyon ng Isang Pamilyang Pilipino” was the only film selected. Brillante Mendoza’s first inclusion was in 2005 when he was the only one chosen with “Masahista”. There were two films in 2006: “Kubrador” by Jeffrey Jeturian and “Twilight Dancers” by Mel Chionglo. In 2007, it’s Diaz’s “Kagadanan sa banwaan Ning mga Engkanto,” “Tirador” by Brillante Mendoza; and “Pisay” by Auraeus Solito.
There were two in 2008: “Adela” by Adolfo Alix, Jr. and “Serbis” by Brillante Mendoza. In 2009, it’s “Dinig Sana Kita” by Mike Escareal Sandejas; and “Independencia” by Raya Martin. None was showcased in 2010. However, there were five in 2011: “Siglo ng Pagluluwal” by Lav Diaz ; “Isda” by Adolfo Alix, Jr.; “Ars Colonia” by Raya Martin; “Cuchera” by Joseph Israel Laban; and “Class Picture” by Tito & Tito.
“Sinapupunan” by Brillante Mendoza and “Bwakaw” by Jun Robles Lana made it in 2012. There were four in 2013: “Norte, Hangganan ng Kasaysayan” by Lav Diaz under Masters; “Sapi” by Brillante Mendoza under Vanguard; “Ekstra” by Jeffrey Jeturian under Contemporary; and “La Ultima Pelicula” by Raya Martin and Mark Peranson under Wavelengths. In 2014, it was Carlitos Siguion Reyna’s “Hari ng Tondo;” Joel Lamangan’s “Hustisya”; and Lav Diaz’s “Mula sa Kung Ano ang Noon”. In 2015, there were three: “Honor Thy Father” by Erik Matti; “Imbisibol” by Lawrence Fajardo; and “Beast” by Sam McKeith and Tom McKeith.
In 2016, there’s “Ma’ Rosa” by Brillante Mendoza under Masters; “The Woman Who Left” by Lav Diaz under Wavelengths; and “Imago” by Raymund Ribay Gutierrez under Short Cuts. In 2017, “Jodilerks de la Cruz, employee of the month” by Carlo Francisco Manatad under Short Cuts; and “Madilim ang Gabi” by Adolfo Alix, Jr. under Contemporary. In 2018, there were only two short: “Baga’t Diri Tuhay Ta’t Pamahungpahung” by Carlo Francisco Manatad; and “Judgment” by Raymund Ribay Gutierrez. In 2019, “Reminiscences of the Green Revolution” by Dean Colin Marcial under Short Cuts; “Verdict” by Raymund Ribay Gutierrez; and “We Still Have to Close our Eyes” by John Torres.
There was none in 2020 due to pandemic. In 2021, there was one: “Kun Maupay Man It Panahon” by Carlo Francisco Manatad. There were three in 2022: “Ang Pagbabalik ng Kuwago” by Martika Ramirez Escobar under Midnight Madness; “Autobiography” by Makbul Mubarak ; and “Plan 75” by Chie Hayakawa under Contemporary. There were two in 2023: “Anak Ka ng Ina Mo” by Jun Robles Lana under Centrepiece, and “Nowhere Near” by Miko Revereza under Wavelengths. In 2024, “M?a tren canh b??m” by D??ng Di?u Linh under Centrepiece, together with “Sunshine” by Antoinette Jadaone. In 2025, it’s Lav Diaz’s “Magellan” under Wavelengths; and “Agapito” by Arvin Belarmino and Kyla Danelle Romero under Short Cuts which won an Honourable Mention for Best International Short Film.
Since 1978 when TIFF introduced the People’s Choice Award, viewers somehow leaned towards voting the more popular Hollywood films. Platform Award was only introduced in 2015 and Tribute Awards in 2019. This year, TIFF50 introduced for the first time the International People’s Choice Award where feature films from outside of North America are eligible to compete. This seems like a viable recognition wide open for future Filipino filmmakers and other global directors to achieve.
The absence in recent years of triumvirate directors Lino Brocka, Mike de Leon, and Ishmael Bernal who steered the second golden age of Philippine cinema to the golden age of TIFF may have created an uncanny space reserved only for iconic masters. But at the same token, these three have already passed the cinematic baton to past and present filmmakers who continue to look up to their legacy through their own work. Thus, every Filipino ought to be grateful and acknowledge the immortal contributions of these three masters. After all, their creative influence will always be found in every Filipino film that was shown at TIFF within the last fifty years, and undoubtedly, their impact will persist in the years ahead. ####