In recent years, a new buzzword has sprung up in the Filipino film industry: “Maindie.” It is the term being used for the current influx of films that exude both mainstream and indie qualities.
What makes it interesting is that it features a wide variety of combinations from each category, keeping it free of a strict definition. It could be an independent production that casts actors known for roles in mainstream films, a major production company taking on storylines that are edgier than the usual romance formula, or it could be a small budget project earning lots of publicity accompanied by a nationwide release.
Taking each category separately, though, there has already been plenty of critique regarding both mainstream and independent cinema. There have been debates on which camp produces better films, which breeds better directors and actors, whether a film should be categorized as this or that, or even whether or not such categories should be used at all.
Personally, though, I think that the distinction of each lies in budget and creative freedom. Mainstream production has the budget for more promotions, commercials and theater screenings, as well as stories that appease the masses to ensure financial returns. On the other hand, independent production tends to execute the best that they can with their limited expenses, production teams are given more creative room and they sometimes try to tackle unique plotlines with fresh themes.
Nonetheless, each has its fair share of well-made films. And when they are put together, how exciting it must be to have the resources while being able to keep the daring creative themes that make maindie what it is today.
How I see it, the Cinemalaya Philippine Independent Film Festival and Skylight Films, a sister company of Star Cinema, have been the foremost breeding grounds of maindie films.
Established in 2011, Skylight Films has deemed itself a maindie production company and released three films last year and two this year. One of the two recent ones, Tuhog, just had a cinema release last month and was promoted through film symposiums in universities, of which the Ateneo was part. The film revolves around three protagonists, Fiesta Dacanay (Eugene Domingo), Tonio Sucat (Leo Martinez) and Caloy Sicat (Enchong Dee), who find their fates intertwined when a bus accident skewers them on a single steel bar.
Cinemalaya 2013 has had its share of actors from box office hits as well. Among them are Ekstra, featuring leading lady Vilma Santos in a drama-comedy shedding light on the experience of soap opera extras, and Instant Mommy, which features Eugene Domingo and focuses on the life of a pregnant wardrobe assistant for TV commercials. Gretchen Barretto, although more associated with television dramas, was also cast in a leading role in The Diplomat Hotel.
In addition, films are being made through the partnership of commercial production companies and independent production houses. One such upcoming film is On the Job, featuring Piolo Pascual, Gerald Anderson and Joel Torre, co-produced by Star Cinema and Reality Entertainment, an independent production house. Moreover, Tiktik: The Aswang Chronicles, another indie film produced by Reality Entertainment, was reported to have a budget of 80 million pesos, a large budget considering the average gross revenue of 67 million pesos per local film last year.
To have more of these maindie films may actually be beneficial. Filipinos do watch and enjoy Filipino films but I think it’s about time that we create more opportunities to share films with diverse themes to the public, despite the riskiness of more box office flops.
Perhaps this is the chance for the mainstream audience to get accustomed to a variety of genres different from the entertaining norm and for film critiques to cringe less at wide-release films. With greater variety, Filipino viewers have more film choices to enjoy—or, at the very least, talk about—and there will be more possibilities to showcase Filipino filmmaking prowess. Perhaps better recognition and attention will also be given to the Filipino film industry as a result of the maindie movement.
Some film critics say that we should avoid labeling films according to mainstream, indie or maindie because there are really only good films and bad films. Maybe one day the Filipino audience won’t care about mainstream and indie branding, but focus instead on content and execution, something that matters even more. Films continually created by Filipino hands, good or bad, and appreciated by Filipino eyes: This sounds like good news to me. It motivates a thriving set of filmmakers to continue their craft, one that has been around locally since the early 1900.
The next time you see a Filipino film in a theater near you, give it a chance. You never know, you might come across an unexpected gem. Support Philippine cinema!
Joycee Mejia is a communications technology management senior and is the current Loyola Film Circle president. She has eye bags the size of half moons. Two of her current favorite films are Eternal Sunshine of the Spotless Mind and Sana Dati.
