Last May 24, online film and arts platform Pelikulove partnered with the University’s Harlequin Theatre Guild (HTG) for Shoutout Pinas 2023: Maghayag at Lumikha, a hybrid screening of film and theater shorts rehearsed and filmed at the height of the COVID-19 pandemic. Conducted at the Yuchengco Seminar Rooms on the fourth floor of the Don Enrique T. Yuchengco Hall, the event collaboration did not fall short of its goal of enabling artistry through sociopolitical portrayals of love in its various forms.
Act one, act on!
Before the start of the viewing proper, Pelikulove gave the audience an exclusive look at what it meant to be an artist in the current political landscape. Pelikulove Chief Executive Officer and founder Ellen Ongkeko-Marfil clarified that the word “love” in their company name does not stand for the romantic trope alone; rather, it stands for the love for “kapwa, sarili, pamilya, [at] komunidad”. Testaments to this were the hard-hitting shorts that followed, which were shot under the artistic direction and mentorship of National Artist for Film and Broadcast Arts Ricky Lee and Palanca Hall of Famer Rody Vera.
(Others, self, family, and community.)
The four-hour event started with the showing of How to Make an Effective Campaign Ad. Even with a runtime of less than 15 minutes, the short film captured the very essence of traditional politics. It follows two filmmakers who accept a campaign ad project from their scholarship sponsor, a politician. Set in the confines of an overpopulated prison, the film highlights the ironies of overt religiosity, pedophilic perversity, and the hierarchical nature of correctional facilities, which cleverly reflected the harsh realities inside the judicial and executive systems of the country. With the help of Roman Perez Jr.’s direction, writer Paul Exequiel Dela Cruz’s intent to emphasize the persisting culture of “utang na loob” among Filipinos was skillfully conveyed.
Following suit was the screening of No Trespassing, a 30-minute docu-fiction on the tragedies faced by the farmers of Negros Island told through the coverage of local development workers Ivy and Fel. Inspired by a true story, the film follows a family of magsasakas who have dealt with attacks from privately funded goons for generations over territorial disputes. The short film captured the enduring dilemma of prying journalists—to either divulge a controversial breakthrough or to ensure the safety of their interviewees. Reporting on extrajudicial abuses of power has always been a treacherous mission, and No Trespassing did not miss out on echoing such a thought.
Rounding up the first half of shows, the filmed play, When A Manananggal Loves A Man, was the breather everyone needed from the string of heavy screenings. Director Niel Arkhe Azcuña brought to life writer Raymund Barcelon’s humanized portrayal of the often-feared monster by incorporating the typicalities of a teenage rebel. In this theatrical short, Mother Ba-e talks to her half-torsoed daughter, Sabel, about the dangers of her rendezvous in Manila—including the temptations of changing her diet, routine, and residence for a human boy named DJ. When Manananggal Meets a Man proves that Filipino mythology can indeed sustain momentum in the new flood of mainstream storylines and archetypes.
Enter the digital age
The latter half of the participating films were shown after a short intermission, starting with writer and director Jovi Juan’s experimental masterpiece, Hyper_ext. This high-concept short film is set in the fast-approaching future of London in the year 2028. The protagonist, an unnamed Filpina financier, argues with her husband over a chain of text messages about experimenting with high-end technology to spice up their sexual relationship.
Next up was the investigative buddy comedy Libro for Ransom, directed by Arjanmar H. Rebeta. The short film follows an old-fashioned journalist on her quest to solve the real-life case of the disappearance of the original manuscripts of Jose Rizal’s Noli Me Tangere, El Filibusterismo, and Mi Ultimo Adios in 1961. Together with her quirky and chronically online junior reporter, she must reconcile her traditional methods of delivering news and information with the changing habits of the young generation in the age of social media.
A proshot of the play Quarantine 5 was the day’s final presentation. Directed by Sari Saysay of Bicol-based multi-arts organization Sining Banwa, the play is a virtual drinking session of four estranged friends during the height of the COVID-19 pandemic. The script captured the feeling of isolation amid the then-omnipresent health crisis. It was heightened by depicting the political turmoil caused by frequent red-tagging and the passing of the Anti-Terror Law at the time.
The new frontier
After an exhilarating ride through the festival’s many stories, the creatives assembled as a panel to give the audience a chance to delve deeper into their works and ask questions. The group was composed of HTG Artistic Trainer Raffy Tejada, his co-star in Libro for Ransom Danica Duno, No Trespassing director Julius dela Peña, and Ongkeko-Marfil. Also in the panel were the writers of some of the showcased pieces—When A Manananggal Loves A Man’s Barcelon, Quarantine 5’s Andrew Estacio, and Hyper_ext’s Juan.
Sharing the inspirations for their unique stories, Barcelon disclosed that When A Manananggal Loves A Man was based on the urban legends about manananggals that were once prevalent in the streets of Tondo, Manila. Meanwhile, Juan noted that his story was borne out of his anxieties about technology and artificial intelligence. However one wants to go about with crafting their stories, Ongkeko-Marfil emphasized, “Know your story. Know your facts. Art is a lie that tells the truth.”
Looking back on all their film masterpieces, the panel made sure to highlight the hardships that occurred throughout the creative process. It was not a breezy stroll in the park, they said; it required determination and critical thinking. Dela Peña cited the creation of their film’s approach as a major hurdle because of the raw documentary style of their film. Their first cut ended up too long to be eligible as a short film, but after guidance and further editing, they created a final product that they were proud of.
Duno then spoke on behalf of the films’ actors, sharing her reluctance to take on her role in Libro for Ransom. Her concerns were due to the script’s hint of politics, which may cause a stir of controversy among its audience. Ultimately, she agreed and gave justice to the part. “I took the brave step to take the role [kasi] super ganda ng piyesa,” she disclosed.
(I took the brave step to take the role because the piece was very well-written.)
Like the artists of Pelikulove’s film festival, we are called upon to share our stories with the world. Tejada advises, “Huwag matakot maghayag. Huwag matakot lumikha.” More perspectives allow for wider conversations on the issues that plague our society. Once we realize and understand each other, we can have true empathy for those stuck on the outskirts of the mainstream.
(Don’t be afraid to speak out. Don’t be afraid to create.)
Each of us has a tale to tell. And Shoutout Fest 2023: Maghayag at Lumikha assures us that there are many who are ready to listen. All that’s necessary is for us to take the first step toward letting our voices be heard.
