Indie productions have always been a source of pride and storytelling innovation for Philippine cinema. When the mainstream industry was having a hard time keeping its head above water in the early aughts, it was indie filmmaking that lifted it out of the creative doldrums, especially after Cinemalaya was launched in 2005.

Without the indies, the Philippines wouldn’t have won awards for best actress (Jaclyn Jose for “Ma’ Rosa”) and best director (Brillante Mendoza for “Kinatay”) in Cannes; the coveted Golden Lion Award (for Lav Diaz’s “Ang Babaeng Humayo”) and best actor (John Arcilla for “On the Job: The Missing 8”) in Venice; the Alfred Bauer Prize (Lav Diaz’s “Hele sa Hiwagang Hapis”) in Berlin; and the Special Jury Award (Martika Ramirez Escobar’s “Leonor Will Never Die”) at Sundance. That is why we hold indies and their creators in high regard.

But the Covid-19 pandemic has since turned moviegoing on its head, particularly in the way viewers consume films. In the aftermath of the global health crisis, we resumed watching as many movies on the big screen as we could but would often find ourself watching them alone. 

In contrast, more and more people are attending film festivals to watch productions that reflect viewers’ urgent concerns, transcend tired formula, and amplify diversity and thematic relatability. Would that a smidgen of that interest had rubbed off on mainstream moviegoers.

While rough around the edges, the seven full-length entries of the second Puregold CinePanalo Film Festival hew closely to those standards. But what sets this festival apart from the country’s other cinematic fetes?

“I think Puregold CinePanalo stands out because of the incredible support it provides its filmmakers,” festival director Chris Cahilig explained. “We offer the highest financial grants in the country (P3 million each for entries in the full-length category and P150,000 each for the 25 shorts), thus allowing participating filmmakers the chance to truly realize their artistic vision.” 

“The festival provides important opportunities to both veteran and upcoming artists by uplifting their voices and opening doors for them on the world stage,” Cahilig said. “The first Puregold CinePanalo saw many entries move on to enjoy greater success in various film fests abroad, and we hope to bring the same opportunities to our participants this year.”

Asked how different the latest batch is from last year’s entries, he said: “This year, our filmmakers had more time and higher financial grants than before. As such, we believe they have delivered at a higher level with the opportunities afforded them. 

“We also continue to diversify our lineup to attract the attention of all types of Philippine cinema fans. We have art films that cater to highly discerning viewers, we have more commercial offerings for those keeping track of their favorite mainstream stars, and we continue to showcase regional films that highlight the diversity of our national identity. We consider this year’s lineup bigger and better in every way.”

And he’s right. We sat through five of the seven full-length entries on opening day, then wrapped up our filmgoing binge the following afternoon. 

If you enjoyed Kurt Soberano’s “Under a Piaya Moon,” Sigrid Andrea Bernardo’s “Pushcart Tales” and Carlo Obispo’s “A Lab Story” from the inaugural batch last year, you’ll be glad to know there are even more films to binge on at this year’s festival, which runs until March 25 at the Gateway 2 cinemas in Cubao, Quezon City. There are also screenings allotted for last year’s entries. (Meanwhile, Clyde Cuizon Gamale’s “Champ Green” was adjudged best film among the student shorts.)

Of the seven full-length entries, there are six titles to fully enjoy and no head-scratchers to painfully endure. They are (in order of importance): TM Malones’ best picture winner “Salum,” Dominic and Christian Paolo Lat’s “Journeyman,” Mes de Guzman’s “Sepak Takraw,” Tara Illenberger’s “Tigkiliwi,” JP Habac’s “Olsen’s Day,” and Catsi Catalan’s “Fleeting.” (Baby Ruth Villarama’s West Philippine Sea documentary “Food Delivery,” the eighth finalist, was withdrawn due to “external factors.”)

Because there were so many winners announced at the awards ceremony last Wednesday night, a separate special award for best actress Ruby Ruiz (of “Tigkiliwi) would have been warranted because she turned in similarly award-worthy portrayals in two other entries—as JC Santos’ bubbly but tactless confidant in “Journeyman” and as Enzo Osorio’s rabble-rousing grandmother in “Sepak Takraw.”

We must admit we weren’t really a fan of the character actress’ vein-popping but Cinemalaya-winning role in “Iska,” but she turned us into a believer after we saw her poignant scene with Hollywood actress Nicole Kidman in the fifth episode of the six-part miniseries “Expats” on Prime Video last year. 

We weigh in on the entries below:

‘Salum’

Set in picture-pretty Gigantes Island, Malones’ gorgeously photographed domestic drama works as a deeply ruminative film on fatherly love. Allen Dizon keeps his nose to the grindstone as he breathes life into fisherman Kosko, a cash-strapped single father who becomes increasingly desperate after refusing to buy his teenage daughter Arya (Christine Mary Demaisip, similarly stirring) a cell phone for her birthday.

Devoid of any ostentatious display of heightened emotions, Allen demonstrates how to move through contrasting motives with understated confidence. It’s a winning performance that gracefully complements an exquisitely limned story told in less than one hour and 30 minutes.

‘Journeyman’ 

JC Santos is a knockout in his role as Gelo Heresano, a down-on-his-luck pugilist who idolizes two-division world champ Gerry Peñalosa. Gelo knows he can be just as formidable given the proper break. Meanwhile, he earns a living every time he “loses” in rigged boxing matches—an ego-numbing Sisyphean dilemma that comes to a head when a rare opportunity for growth presents itself. 

JC plumbs greater depths in an indelible sequence that recalls Jaclyn Jose’s iconic fish ball scene in the Cannes-winning drama “Ma’ Rosa.” And he does it with lived-in pathos, grace and aplomb. 

‘Sepak Takraw’ 

It’s been eight years since director Mes de Guzman released a full-length film (via the Sharon Cuneta starrer “Ang Pamilyang Hindi Lumuluha”), so we’re only too happy to note that the filmmaking stalwart behind such indie faves as “Diablo,” “Ang Kwento ni Mabuti” and “Ang Daan Patungong Kalimugtong” doesn’t disappoint.

Set against the indigenous Isinay people’s way of life in Nueva Vizcaya, the film follows the simple but contented life of teenage sepak takraw player Nitoy (Enzo Osorio) whose life comes undone when his womanizing father Caloy (Acey Aguilar) brings home Ayong (Niccolo Castillo), his son with his estranged OFW mistress.

De Guzman’s cinematic oeuvre has always been an acquired taste, but once you get used to the slow-grinding progression and unorthodox rhythms, it’s easy to appreciate the intimation of deeper issues inherent in every story and how they steer the cultural conversation. “Sepak Takraw,” quietly compelling despite its unhurried pace, is no exception.   

‘Tigkiliwi’ 

There’s no question Tara Illenberger’s “dramedy” is a crowd-pleaser. It is easily the festival’s most entertaining and chuckle-inducing entry, boosted further by a Hiligaynon-speaking ensemble of reliable character actors and relative unknowns. 

It tells the story of Marlin (best supporting actress Gabby Padilla) and her kid brother Tata (best actor co-winner JP Larroder) who must come to terms with grief over their mother’s death. 

But the siblings’ lives take a turn for the bizarre when they cross paths with a bunch of quirky but big-hearted strangers, including best actress Ruby Ruiz and best supporting actor Jeffrey Jiruma.

The film, while heartwarming and affable, is stymied by the tonal dissonance between horror and humor.   

‘Olsen’s Day’ 

In JP Habac’s existentialist drama, lonely birthday boy Olsen (best actor co-winner Khalil Ramos) is thrown for a loop when his abusive boss (Bodjie Pascua) orders him to embark on a last-minute 220-kilometer road trip from Dagupan to Cubao during Undas. 

When a stranger, Tony (Romnick Sarmenta), and his young son Tonton hitch a ride with him to Manila, Olsen finds an unlikely sounding board for his self-defeating personal issues and stagnating career. But there’s something about Tony’s unsolicited tales that oddly resonates with Olsen. 

The film is worth its weight in gold, setting itself apart from other ruminative dramas with its meta approach to storytelling. Adding grist to the dramatic mill is Khalil’s disarming earnestness and commanding presence. And playing in lockstep with him is Romnick, who imbues his own characterization with wisdom and restraint.

‘Fleeting’

It fluctuates between slow and easygoing in its exposition, but Catsi Catalan’s romantic drama knows the appropriate tone it wants to utilize in telling its story. It follows Gem (Janella Salvador, as charming as she is convincing), a career girl who takes a lengthy break from her busy life in Manila to pursue a dream she has grudgingly swept under the rug in exchange for inert stability. 

Will Gem’s unexpected romance with JC (RK Bagatsing, reliable as always), a self-made bachelor in Davao Oriental, help recalibrate her cynical perspective on life and love? 

‘Co-Love’

With the KDLex tandem on board, Jill Singson Urdaneta’s atypical romcom is without a doubt CinePanalo’s most popular entry—in fact, it won the Audience Prize last Wednesday. But it’s really a muted BL (boys’ love) production set in the dog-eat-dog world of content creation. 

It features two sets of influencers—Clyde (Jameson Blake) and Melody (Kira Balinger) in one corner, and Jarred (KD Estrada) and Peachy (Alexa Ilacad) in the other—whose romantic alliances are turned upside down by unexpected breakups. 

But when Clyde and Jarred decide to collaborate out of necessity, the boys quickly realize there’s more to their easy chemistry than meets the eye.

The film benefits from its stars’ mainstream visibility and youthful appeal, but its wishy-washy decision to take the thematic bull by the horns dilutes its power, almost squandering its intriguing premise with an open-ended denouement that leaves more questions than answers.

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