The Cinemalaya Philippine Independent Film Festival returns from October 3 to 12 for its 21st edition, carrying on its legacy as the country’s premier platform for independent storytelling. With the theme “Layag sa Alon, Hangin, at Unos,” the festival sails forward with renewed purpose of navigating turbulent social, political and personal landscapes through the fearless visions of Filipino filmmakers.
This year’s full-length competition lineup presents ten films that explore an array of genres and themes, all anchored in the Filipino experience. Nonilon Abao’s “Bloom Where You Are Planted” opens up questions about belonging and identity, while Tim Rone Villanueva’s “Child No. 82” reflects on state systems and forgotten lives. Sari Dalena’s “Cinemartyrs” delves into activism and sacrifice and Dustin Celestino’s “Habang Nilalamon ng Hydra ang Kasaysayan” offers a metaphor-laden confrontation with historical amnesia. Jenn Romano’s “Padamlágan” touches on gender and tradition, while Cheska Marfori and Raymund Barcelon’s “Paglilitis” examines justice and accountability. “Open Endings” by Nigel Santos and Keavy Vicente explores the quiet aftermaths of heartbreak, while Renei Dimla’s “Republika ng Pipolipinas” interrogates the surreal absurdity of political life. Ryan Machado’s “Raging” reveals the rage and tenderness of youth, while Kevin Alambra’s “Warla” reclaims queer identity in a society defined by erasure.
The short feature category is equally dynamic, with ten films competing for top honors. These include Hannah Silvestre’s satirical office descent “Ascension from the Office Cubicle,” Handiong Kapuno’s unsettling social horror “Figat” and Daniel de la Cruz’s surreal aquatic allegory “Hasang.” Elian Idioma’s “I’m Best Left Inside My Head” delves into the quiet complexity of internal struggle, while Marie Estela Paiso’s “Kay Basta Angkarabo Yay Bagay Ibat Ha Langit” offers a regional, poetic meditation on memory. Seth Andrew Blanca’s “Kung Tugnaw ang Kaidalman sang Lawod” provides a visually rich coastal tale, while Miguel Lorenzo Peralta’s “Please Keep This Copy” reflects on transience and longing. Arvin Belarmino’s “Radikals” tackles rebellion and ideology, Carl Joseph Papa’s animated “The Next 24 Hours” captures the passage of time and trauma, and Whammy Alcazaren’s “Water Sports” challenges norms through sensual absurdity.
Cinemalaya 21 expands its reach by partnering with several key cinema venues. Red Carpet Cinemas at Shangri-La Plaza joins as a main screening hub for the first time, while long-time collaborator Ayala Malls Cinemas continues its support. Gateway Cineplex also becomes part of this year’s rollout, bringing a wider slate of screenings to a broader audience.
Running alongside the main competition is the 37th Gawad CCP Para sa Alternatibong Pelikula at Video, Southeast Asia’s longest-running independent film competition.
Since its inception in 2005, Cinemalaya has produced and presented more than a thousand films that have not only garnered critical acclaim locally and internationally but also shaped a new generation of Filipino filmmakers committed to truthful, boundary-pushing cinema.
