‘The world is waiting to see what stories we will tell, and it’s time for us to tell them with pride and excellence.’
As the Film Academy of the Philippines (FAP) embarks on its mission to select the country’s best international feature film for the Oscars, a crucial question lingers: why haven’t we had an Oscar-nominated Filipino film yet? Is it the quality of our entries? Or is it the lack of funding for vigorous Oscar campaigns and visibility?
These questions are worth exploring, especially as we stand at the threshold of a new era for Philippine cinema, with the FAP restructured and rejuvenated under the leadership of Director-General Paolo Villaluna.
The FAP’s reorganization, facilitated by Executive Order No. 70 s. 2024, has brought new hope and determination to the Philippine film industry. With its enhanced mandate, the FAP is poised to provide substantial support to filmmakers, including programs, training and financial backing for Oscar campaigns. This shift is significant, as it acknowledges the importance of global recognition for Filipino films and the need for a more strategic approach to getting our stories seen by the world.
One of the key strategies employed by the new FAP is the early selection of films for the Oscars. By choosing a film well in advance, producers will have ample time to mount a robust campaign, increasing the chances of making it to the December 15 shortlist announcement of the Academy of Motion Picture Arts and Sciences (AMPAS). This approach, coupled with the provision of substantial financial support from the national government, could be the game-changer that Philippine cinema needs.
The selection committee, comprising seven industry experts chosen for their professional expertise, diversity and independence, will play a crucial role in identifying the best possible contender for the Oscars. Their task is not only to evaluate the films based on AMPAS rules but also to ensure that the chosen film is a worthy representative of Philippine cinema. Transparency is key in this process, with the FAP outlining clear criteria for the selection of committee members and requiring them to watch the films in their entirety.
To understand why Filipino films have not yet received an Oscar nomination, we need to examine several factors. One possible reason is the quality of our entries. While Philippine cinema has produced some remarkable films in recent years, it’s possible that they may not meet the high standards set by the Academy.
Another reason could be the lack of funding for Oscar campaigns, which can be a significant barrier for Filipino filmmakers. Without sufficient resources, it’s challenging to promote films effectively to Academy voters.
Additionally, the global reach and recognition of Filipino films can also be a factor. While some Filipino films have gained international recognition through film festivals and awards, they may not have the same level of visibility as films from other countries. This can make it harder for Academy voters to discover and appreciate Filipino films.
However, with the revitalized FAP’s commitment to providing support and resources to filmmakers, the landscape is changing. The FAP’s mandate includes recognizing outstanding films and artists, and its strategy to select films earlier and provide substantial financial support for Oscar campaigns could be the catalyst for change.
To be eligible for the Best International Feature category, films must meet specific criteria set by AMPAS. These include a theatrical release in the country of origin between October 1, 2024, and September 30, 2025, with public exhibition defined as seven consecutive days of screening at a public commercial theater for profit. Films that receive non-theatrical screenings prior to their qualifying theatrical release are not eligible, and the recording of the original dialog track and completed picture must be predominantly in a language other than English. English subtitles are required.
As the FAP embarks on this new chapter, it’s an opportune moment to reflect on the potential of Philippine cinema. The committee will look for the Filipino film that will follow the leqd of former submissions like “And So It Begins” by Ramona Diaz (2024), “Iti Mapukpukaw / The Missing” by Karl Joseph Pala (2023), “On the Job: The Missing 8” by Erik Matti (2022), “Mindanao” by Brillante Mendoza (2020), “Verdict” by Raymund Ribay Gutierrez (2019), “Signal Rock” by Chito Roño (2018), “Birdshot” by Mikael Red (2017), “Ma’Rosa” by Brillante Mendoza (2016) and “Heneral Luna” by Jerrold Tarog (2015) which showcased the country’s rich history, culture and storytelling prowess. There is no doubt that Filipino films have the talent, creativity and grit to compete on the global stage, the question is, will the revitalized FAP’s efforts be enough to propel Philippine cinema to the next level and secure that elusive Oscar nomination?
The answer lies in the collective effort of filmmakers, industry stakeholders and government agencies. By working together, we can increase the visibility and recognition of Filipino films and pave the way for future generations of filmmakers to showcase their talents on the global stage. With the FAP’s renewed commitment to excellence and its strategic approach to Oscar selection, the prospects for Philippine cinema look brighter than ever. The world is waiting to see what stories we will tell, and it’s time for us to tell them with pride and excellence.
