Yesterday, the Film Academy of the Philippines announced Brillante Mendoza’s Ma’Rosa as the country’s submission in the Best Foreign Language Film category at the 89th Academy Awards that will happen on February 2017. The film bested nine other entries which includes Berlin winner Hele sa Hiwagang Hapis, Cinemalaya Best Picture Pamilya Ordinaryo, and the last minute addition Ang Babaeng Humayo by Lav Diaz.
This is the first time for director Brillante Mendoza who has been shortlisted thrice before (2009 for Kinatay, 2013 for Thy Womb, and 2015 for Taklub). Mendoza has also won Best Director at Cannes Film Festival back in 2009, also for Kinatay. In a way, he’s – for lack of a better term – overdue for an Oscar submission. Why he hasn’t represented us thus far is really surprising.
Ma’Rosa, tells a day in the life of a poor family, headed by their matriarch Rosa (played by Jaclyn Jose), as they scramble to find the money to pay off the corrupt policemen that have arrested them or dealing drugs. Back in May, it competed at the Cannes Film Festival Main Competition section where it pulled off the historic Best Actress win for Jose, being the first Filipina and Southeast Asian actress to do so. Certainly, it has the clout and the festival exposure.
Now let’s dissect its chances. Can Ma’Rosa pull off that elusive first nomination for the Philippines? For those counting, we’ve submitted 27 times in the past — back from our very first in 1953 for Manuel Conde’s Genghis Khan up to last year’s Heneral Luna from Jerrold Tarog) to no avail. No nomination and no shortlist mention.
As mentioned above, one of the things going for Ma’Rosa is its festival exposure. Not only did it take a home a prize at Cannes, it also played at the Toronto Film Festival. It has partnered with sales agency company Films Distribution which also distributed current Best Foreign Language Film winner Son of Saul. Impressive, right? Well not in the sense you’re thinking of. It has to be clarified though. Films Distribution is not an Oscar-campaigner studio per se. It’s not the same as Focus Features or Fox Searchlight or even The Weinstein Company. Son of Saul‘s win last year was due to being campaigned by Focus Features which handled its whole awards run campaign. Ma’Rosa doesn’t have that.. yet. In reality, the most Films Distribution can do is to help the movie gain more festival exposure. Going by a quick search shows that after Toronto, it’s also heading to BFI London, which is good. More festival exposure is always better.
Reviews by foreign critics is always a factor too. It has to be mentioned first that Mendoza is really as divisive when it comes to foreign critics. Remember when the late Roger Ebert mentioned that Kinatay surpassed Vincet Gallo’s The Brown Bunny as “the worst film in Canes history?” So it’s a bit of delight that Ma’Rosa is probably one of the better-reviewed films in his filmography. While critics still had reservations, they were more welcoming than the usual. THR mentioned “Thankfully, and as in his other features, Mendoza again manages to turn his locations into a character in its own right. ” Variety’s Maggie Lee summed it best when she said “Boasting a simple, coherent plot shot with real-time, handheld verismo, it’s a work of understated confidence that will not disappoint his festival acolytes, but probably won’t win many new converts.”
A lot has been mentioned about how we, at a certain extent, can be helped by our own country’s narrative right now. As the world probably knows already, we’re very vocal in our battle with the issue of drugs. And many feel that the movie is timely and that can help buzz. Historically, not really. This category really doesn’t care about that, to be frank. A year after Brokeback Mountain lost Best Picture, a significant amount of queer films were submitted for Best Foreign language Film including our own Ang Pagdadalaga ni Maximo Oliveros. The total number of gay films nominated that year? Zero. In 2010, an election year in many countries, a lot of them rode that narrative, again including us when we submitted Dondon Santos’ Noy and Brazil went with Lula. Number of election themed nominated movies that year? Zero. This whole controversy reminded me just three years ago when we went with Transit as our submission (make no mistake, still a great film, just not a great Oscar entry) over the snubbed On the Job and the FAP’s reasoning was that they don’t want to submit a film that showed the negative side of the country. Submitting Ma’Rosa I guess is a huge leap to the other direction, if that means something.
The biggest factor that can probably help Ma’Rosa is its Cannes win. Sure its only Best Actress (and by only I mean that in the hierarchy of Cannes wins, its in the lower tier alongside Best Actor and Best Screenplay. This sentence, by no means, does not intend to take anything away from the marvelous Jaclyn Jose), but a win is still a win. And that it’s still buzz. For a movie that was perceived as a non-event of some sort at Cannes (it was one of the least buzzed films of the competition, but then it’s pretty understandable since he’s competing with the likes of veterans and/or those with Hollywood cast), how it ended up going home with a win is a win itself already.
Now let’s talk about the elephant in the room. Three days ago, it was announced that Lav Diaz’ Ang Babaeng Humayo will go for a September 23 release, which would make it eligible for this year since it’ll be meeting the necessary requirements to contend. The huge amount of buzz over its historic Golden Lion win (the highest honor ever received by a Filipino movie in history) is too much to ignore. Sure, it’s a Lav Diaz film which means it runs for more than three hours, and that didn’t help Norte two years ago. That said, foreign critics being unanimously positive about it, plus the film being called as his most accessible (especially since Diaz is another name that’s divisive to foreign critics), with a sure huge company to back its campaign (Charo Santos was the president of the biggest TV network in the country), it’s basically a decision too obvious to make by that time. That’s why it’s a tad surprising that the announcement happened yesterday. This prompted Humayo to move back to a September 28 screening, which will make it ineligible for next year’s submission too. That, and the buzz over Golden Lion and the Toronto inclusion will be old news by then. Let it be clear though that none of this should be pointed against Ma’Rosa, Mendoza, or any of his team, since decision wasn’t really theirs.
A few weeks ago pre-Venice Film Fest, I wrote about the possible submissions and strongly felt that none of the films would do the trick. In that case, why not throw a bone to Mendoza’s Ma’Rosa. But the whole Golden Lion win affected everything. My final verdict says that nope we ain’t getting that nomination nor that Top 9 mention. If anything, my takeaway with this year is that we’ve finally acknowledged and submitted Mendoza’s work (which was already beyond deserving back in 2009 when we had that tragic Ded na si Lolo submission), but at the expense of a stronger contender. I’d love to be wrong though.
Off to next year.
It’s the time of the year! By September, the Film Academy of the Philippines will submit one movie to the Academy of Motion Pictures, Arts, and Sciences (AMPAS) that will be our bid to the Best Foreign Language Film category at the 89th Academy Awards. This will be our 28th participating year and we are yet to receive a nomination.
To qualify as an eligible submission, the Academy’s rule states that “The motion picture must be first released in the country submitting it no earlier than October 1, 2015, and no later than September 30, 2016, and be first publicly exhibited for at least seven consecutive days in a commercial motion picture theater for the profit of the producer and exhibitor.”
Currently nine countries have already announced their submissions with our likely winner, Germany’s Toni Erdmann, in the longlist already. So which film will be our best bet to advance forward? I’ve divided them in three different categories.
DISCLAIMER: It has to be cleared that this ISN’T the final shortlist from the Film Academy of the Philippines yet, and are just mere speculations and recommendations.
ANINO SA LIKOD NG BUWAN
Director: Jun Lana
Screenplay: Jun Lana
Cast: LJ Reyes, Luis Alandy, Anthony Falcon
Philippine Release Date: July 20, 2016
Amidst conflict between the military and communists, three people are confronted with a difficult dilemma.
Jun Lana, no stranger from Oscar representative (he directed our 2012 submission Bwakaw), is in contention yet again for his latest effort which is a one-long two-hour take staged just like a play with only three characters interacting all throughout the movie. The film also has participated alongside many different international festivals both in Asia and Europe (though none in the Big 4 major film festivals). That said, the film is unanimously considered as one of the best from 2015 among local critics.
Director: Joel Lamangan
Screenplay: Bienvenido Santiago
Cast: Dennis Trillo, Bela Padilla, Gabby Concepcion
Philippine Release Date: October 7, 2015
Felix Ysagun Manalo is a sprawling historical epic that traces the origin of Iglesia Ni Cristo (The Church of Christ) which is established in the Philippines from its humble beginnings in 1914 through the present day.
Definitely one of the most divisive films of last year, Felix Manalo is epic in its landscape detailing one of the most important personalities among Iglesia ni Cristo’s history. This almost three-hour movie boasts so much of its lavish production design and staging, that it would tick all boxes in an “baity Oscar film” checklist. But beyond the grandeur is a straightforward storytelling, and one that was considered as “weak” and “safe” by most critics. That said, never underestimate the taste of the FAP to include this in the shortlist, as they’re one easily swayed by buzz regardless if those were organic or fabricated.
HELE SA HIWAGANG HAPIS
Director: Lav Diaz
Screenplay: Lav Diaz
Cast: John Lloyd Cruz, Piolo Pascual, Susan Africa
Philippine Release Date: March 26, 2016
In the midst of revolution, a young poet and the man that ruined his life travel through the jungle in search of safety. At the same time, a grieving widow encounters mystical beings on a mountain while searching for the body of her beloved revolutionary.
Winner of the Alfred Bauer Prize at the Berlin Film Festival earlier this year (with jury president Meryl Streep awarding them), there’s no doubt that this is one of the two most-buzzed films we have in world cinema for this year. Imagine if we submitted this and have Oscar winner Meryl Streep and Oscar nominee Clive Owen campaign this right? But let’s not get ahead of ourselves as that’s a bit of a reaching. The thing with Hele is that we have already attempted to submit a Diaz film back in 2014 via Norte which is half the running time of this one and arguably his most universal effort thus far, and yet the Academy didn’t give in to it.
HONOR THY FATHER
Director: Erik Matti
Screenplay: Erik Matti, Michiko Yamamoto
Cast: John Lloyd Cruz, Meryll Soriano, Tirso Cruz III
Philippine Release Date: December 25, 2015
A family is caught in a financial ruin after being involved in a ponzi scheme.
With an Erik Matti film in contention yet again, it reminds me of probably the biggest miss we had not submitting On the Job back in 2013. What made that more infuriating was the committee’s response that they don’t want to submit a film that shows a negative image of the Philippines. Yeah, right. Anyway, Matti is back again this time with the MMFF entry Honor Thy Father which made its premiere a year ago at the Toronto International Film Festival. Honor‘s best shot is that I can see the film appealing to the Western crowd with its theme and execution. That said, the film feels bit of an after thought by now, but with every controversy that the film has encountered, it just ended up soaring higher. Maybe, FAP atones to Erik Matti this time around?
IGNACIO DE LOYOLA
Director: Paolo Dy, Cathy Azanza
Screenplay: Paolo Dy
Cast: Andreas Munoz, Javier Godino, Julio Perillan
Philippine Release Date: July 27, 2016
In 16th Century Spain, a soldier born of nobility gives his life of luxury to become a pilgrim devoted to God and his people.
Watch out Felix Manalo, there’s another religious biography in contention. Kidding aside, I can already imagine the FAP members creaming themselves over this one. For one, the casting of a foreign star in lead role will make them think it can add extra buzz to our own entry (this isn’t an Oscar rule after all. Lots of foreign actors starred in films from other countries which ended up as submissions. Case in point: French star Emmanuelle Riva in Austria’s Amour, Mexican actor Gael Garcia Bernal in Chilean film No, and even our own Angeli Bayani in Sinagpore’s Ilo-ilo). Plus, the religious theme somehow gives it more importance and a “good image” per se in representing the country (which apparently is an unwritten rule; see: On the Job again in 2013).
Director: Brillante Mendoza
Screenplay: Troy Espiritu
Cast: Jaclyn Jose, Andi Eigenmann, Julio Diaz, Felix Roco, Jomari Angeles
Philippine Release Date: July 6, 2016
A poor family scrambles to find the money to pay off the corrupt policemen that have arrested the parents for dealing drugs.
Sure it was one of the least buzzed entries at Cannes main competition this year, until the great Jaclyn Jose earned the coveted Best Actress win and the rest, as they say, is history. Ma’Rosa is currently participating now at Toronto International Film Festival and I think it has the most buzz for any Filipino film competing for this year when it comes to foreign exposure. And at this stage, after all his trips to Cannes and Berlin and Venice and TIFF, isn’t Brillante Mendoza overdue for a Filipino Oscar submission? I lobbied that Taklub was our best shot last year, but they can make up for it with Ma’Rosa this year.
Director: Eduardo Roy Jr.
Screenplay: Eduardo Roy Jr.
Cast: Ronwaldo Martin, Hasmine Killip, Sue Prado, Moira Lang
Philippine Release Date: August 31, 2016
Jane and Aries are teenage parents. They make a living out of stealing on the streets… until fate hits back at them.
After sweeping major awards at the recently concluded Cinemalaya Independent Film Festival including wins for Best Picture, Best Director for Eduardo Roy Jr., and Best Actress for newcomer Hasmine Killip, this runaway favorite is getting an instant cinema release in time for the Oscar cutoff. Add the fact that it’s also heading to Venice under the “Venice Days” sidebar (think of it as their answer to Cannes’ Directors Fortnight section), and it’s on the right track. This also has the makings to appeal to an international audience,
POTENTIAL SHORTLIST MENTIONS:
Don’t be surprised to see any of these films in this group make it in the final shortlist.
Director: Paul Soriano
Screenplay: Froilan Medina
Cast: Enrique Gil, Ricky Davao, Christopher de Leon, Shaina Magdayao
Philippine Release Date: July 13, 2016
With Paul Soriano helming it (one of the producers of our 2013 Oscar submission “Transit“), this suspense drama about an abducted son also brags of an ensemble composed of some of the biggest names in the country both newbies and veterans.
ANG HAPIS AT HIMAGSIK NI HERMANO PULI
Director: Gil Portes
Screenplay: Enrique Ramos
Cast: Aljur Abrenica, Louise delos Reyes, Enzo Pineda, Menggie Cobarrubias
Philippine Release Date: September 21, 2016
In the tradition of our love for hero films — some of which are deserved (last year’s Heneral Luna), some of which are good (Supremo), and some which are just flat out terrible (El Presidente), let’s say hello to Hermano Puli.
Director: Sigfreid Barros-Sanchez
Screenplay: Henrie Enaje, Henry dela Cruz, Sigfreid Barros Sanchez
Cast: Dina Bonnevie, Ejay Falcon, Joonee Gamboa, Tom Rodriguez
Philippine Release Date: June 8, 2016
Only because of its serious topical theme (with them even doing special screening this National Heroes Day), I can see this political themed film making a (not so) surprise appearance in the shortlist. Think of how Kamkam by Joel Lamangan made it to the Top 4 in 2014.
A SECOND CHANCE
Director: Cathy Garcia-Molina
Screenplay: Henrie Enaje, Henry dela Cruz, Sigreid Barros Sanchez
Cast: Carmi Raymundo, Vanesssa Valdez, Cathy Garcia-Molina
Philippine Release Date: November 25, 2015
We have that one slot, almost always reserved to those box office hits that tackle more serious topics than the usual. Not to say that they aren’t deserving since most of them actually are, but they happen to end up in the shortlist. Examples include 2008’s Caregiver, or 2010’s Sa’yo Lamang, maybe even last year’s That Thing Called Tadhana can somewhat be considered.
Director: King Palisoc
Screenplay: Zig Marasigan
Cast: JM de Guzman, Nico Antonio, Rochelle Pangilinan
Philippine Release Date: February 17, 2016
As for starters, the producers of this film were also the producers of our previous submission Heneral Luna, so if anything, they;d sure be willing to campaign. This film got good to great reviews with solid performances from the leads, but if you compare it to other entries, it’s a tad low-key (in terms of buzz and not of film quality). And if it’s already low-key here, can you imagine how it would fare to the foreign market?
Director: Dan Villegas
Screenplay: Paul Sta. Ana
Cast: Jennylyn Mercado, Jericho Rosales, Lorna Tolentino
Philippine Release Date: December 25, 2015
For an MMFF film, this one got solid reviews and even swept the Gabi ng Parangal of last year. This is also from the Dan Villegas and Jennylyn Mercado team-up, which reminds us that English Only Please, was part of the short-list that year.
So these movies have appeared in different indie film festivals but haven’t fulfilled the seven-day commercial distribution yet. This does not mean that these movies are bad obviously they’re not because there have been buzz for some of them to be submitted. Well, they still have the whole month of September to book a screening if they plan to be considered eligible. Or they can wait for next year instead. For what it’s worth, some films who made it in the shortlist the previous years aren’t from the same year where they participated in festivals. As for examples, the 2008 Cinemalaya film Boses only got a commercial screening in 2012, and thus was included in the shortlist for the 2012 Oscars. Same goes for Ian Lorenos’ Alagwa which gave Jericho Rosales his Urian in 2012 but was in the 2014 shortlist.
For this year, I think we can trim it down to three films which would all be decent submissions by any means. For starters, there’s the John Lloyd starrer Hele sa Hiwagang Hapis with its Berlin victory, but is simply hindered by the 8-hr running time. Not that Lav Diaz needs Oscars anyway to validate his impressive work; it’s just that sometimes the Academy just doesn’t fit into a certain director’s style. Then there’s the other John Lloyd starrer Honor Thy Father, which I can see a scenario with it connecting to a foreign audience, if they’re gonna push it hard and run aggressive with it. That’s a big if, by the way. In the end, maybe Jaclyn Jose’s Cannes win can also be Brillante Mendoza’s first RP submission to the Academy. It’s doing its assignment by participating in TIFF and its Cannes win, but us submitting a Mendoza film for once won’t do us any harm, regardless of the end result if it gets in or not.
Share your thoughts with me! You can follow me on Twitter: @nikowl
Another year has gone by, as the world’s most prestigious festival comes to a close. The 69th Cannes Film Festival has been a whirlwind of some sort. This year featured a bad Woody Allen joke during the opening ceremony, a barefoot Julia Roberts in the red carpet, and probably the most low-key Un Certain Regard competition in a long time.
As for the Main Competition, the consensus is that it’s a bit frontloaded with the latter half of the festival ranging from underwhelming (Dardennes), to bad (Dolan), to really bad (Penn), and sadly, to the no1curr (Mendoza). That said, this is one of the hardest to predict since there isn’t any specific basis as to what the jury will go for (and the jury changes every year!), but here’s a stab at possible winner predictions.
PRIX DU SCÉNARIO
PREDICTION: Cristian Mungiu, “Bacalaureat (Graduation)”
Mungiu has already won this award four years ago with Beyond the Hills, but I can see him being the first person to win this twice. A previous Palme d’Or winner for 4 Months, 3 Weeks, 2 Days, this slow burner story about a father and his daughter is the type of thought provoking film that usually wins this category. He can find himself against the other Romanian, Cristi Piui, for equally talky film Sieranevada
ALTERNATE: Asghar Farhadi, “Forushande (The Salesman)”
Prior to the beginning of the festival, this one is touted as one of the major frontrunners especially since it was a late minute addition. While it can still happen in this jury, the relatively silent reactions around it makes me think that it can settle for a Screenplay award instead.
PRIX D’INTERPRÉTATION MASCULINE
PREDICTION: Dave Johns, “I, Daniel Blake”
Mostly known as an English stand up comic, “I Daniel Blake” is Dave Johns’ first foray into movie acting. And if it’s any indication, he should be doing more of it. His commanding turn as the title role in Ken Loach’ entry this year reportedly broke a lot of hearts and had everyone praising him. Seems fitting in this category.
ALTERNATE: Adam Driver, “Paterson”
The Jim Jarmusch film in competition this year is said to be in his upper tier of works, and if the Jury loves it so much, an award to its lead actor can be one way of rewarding it. In the event it happens, it’s quite delicious since Driver has just won the Volpi Cup two years ago for Hungry Hearts, and for him to have 2/3 of the major trifecta for a relatively short career yet is astounding, to say the least.
PRIX D’INTERPRÉTATION FÉMININE
PREDICTION: Sonia Braga, “Aquarius”
Locks rarely do happen at Cannes of all people (heck even unanimously raved Blue is the Warmest Color in 2013 wasn’t a sure thing as we entered the awarding ceremony), but if there’s one performance that was continuously raved from its premiere up to now was that of Sonia Braga’s in Aquarius. It also helps that the film has received great word too, so it can be hitting two birds with one stone in this one.
ALTERNATE: Kristen Stewart, “Personal Shopper”
To be frank, this is probably the most competitive lead actress year in Cannes for quite some time. There’s Isabelle Huppert gunning a third win for “Elle” and Sandra Huller for “Toni Erdmann” but I think both are also gunning for higher prizes. There’s also Ruth Negga who was consistently praised for “Loving“, the two women who played the title roles of”Julieta” — Emma Suarez and Adriana Ugarte, Adèle Haenel of “The Unknown Girl“, Sasha Lane of “American Honey“, Juliette Binoche of “Ma Loute“, Jaclyn Jose of “Ma’Rosa“, Elle Fanning of “The Neon Demon“, but maybe Kristen Stewart’s lead role in Oliver Assayas’ “Personal Shopper” is one that can appeal to this particular jury.
PRIX DE LA MISE EN SCÉNE
PREDICTION: Andrea Arnold, “American Honey”
I’m sure politics isn’t the be all-end all of everything, but in the history of Cannes, only one woman has won the Best Director trophy (that would be Soviet director Yuliya Solntseva 55 years ago way back in 1961). The buzz for American Honey has managed to stay throughout the rest of the competition, and while I don’t think it was unanimously raved, this type of divisive response is perfect for a Best Director trophy.
ALTERNATE: Paul Verhoeven, “Elle”
Sure he is no highly heralded auteur, but Paul Verhoeven’s comeback is enough narrative for him to win this. This is the man who gave us Starship Troopers and Basic Instinct, so winning a Cannes Best Director for his first film in ten years is something I can see the jury acknowledging.
PRIX DU JURY
PREDICTION: Park Chan-Wook, “Agassi (The Handmaiden)”
Winner of the same award back in 2009 for “Thirst“, Park Chan-Wook’s comeback film in competition can also be his third-award winning one following 2004 Grand Prix winner “Oldboy” and the aforementioned Thirst. “Agassi” surely isn’t the unanimous raved entry for this year, but between its feminist tones and deliciously looking visuals, this can be enough of a formula to win a Jury Prize.
ALTERNATE: Bruno Dumont “Ma Loute (Slack Bay)”
It’s a bit weird to see no French entry be rewarded with a win especially since this is the Cannes after all, but if there’s one, this Bruno Dumont comedy is my best guess to have a chance.
PREDICTION: Paul Verhoeven, “Elle”
Saving the latter half of the competition, Verhoeven’s comeback vehicle “Elle” was met with raves from critics and was considered as the perfect closer to the festival. Its humorous and atypical take on a serious subject matter, as well as the combination of star power and potential wide appeal is definitely right up Miller’s alley. One reason why I’m not predicting it for the Palme d’Or though is that I think it’s a tad controversial and boundary pushing for the top prize.
ALTERNATE: Andrea Arnold, “American Honey”
American press kept on harping that this is the next Palme d’Or, but I have my reservations with that. I think it’s too divisive and not even the type of divisive that will have enough champions in the group. It’s more fitting for a Jury Prize or a Directorial one for Andrea Arnold. But who knows? Maybe they know something I don’t.
PREDICTION: Maren Ade, “Toni Erdmann”
It’s really the breakout of this festival. This strange comedy from female filmmaker Maren Ade really had all the critics raving about it. As for starters, it’s one of the consistent performer across all different critics poll series. Then, George Miller hinted about wanting to reward/prefer a comedy. Add the narrative of only one female director winning the Palme d’Or (that would be Jane Campion’s “The Piano” back in 1993 but it won in a tie). Unless the jury really wants to go on a different direction, I think we’re looking at our Palme winner already.
ALTERNATE: Ken Loach, “I, Daniel Blake”
Well this is the other direction I’m referring to. If they’re not in the mood for some comedy, then this heartwarming drama which was reported as having the jury really ecstatic about it can be our Palme winner. Ken Loach won this exactly a decade ago unanimously with “The Wind That Shakes the Barley” (in a competition that included Bruno Dumont, Nicole Garcia, Andrea Arnold, and Pedro Almodovar too) so maybe history’s for rewriting this one.
As for that highly regarded film that ended up with no win, I’m leaning towards Jim Jarmusch’s “Paterson” and Cristi Piui’s “Sieranevada” as the likely victims for this year. I’m excited to see the Maren Ade, the Jim Jarmusch, the Paul Verhoeven, Asghar Farhadi, and I guess the Brillante Mendoza among the competition, but titles in other sidebars such as Pablo Larrain’s “Neruda” and “The Red Turtle.” Oh and for the sheer lulz of it, I hope we get to see Sean Penn’s “The Last Face” too!
Talk to me about it on Twitter: @nikowl