Why is the Philippines still making bad films?

Summary

The video script explores the evolution of the Filipino film industry, comparing it to the global entertainment landscape. It discusses the challenges faced by Filipino cinema, including marketability over creativity and the impact of taxes and piracy. The script highlights the success of other film industries like South Korea's Hallyu Wave, China's market influence, Bollywood's worldwide diaspora, and Nigeria's Nollywood. It emphasizes the potential for Filipino cinema to thrive by learning from these models, supporting local narratives, and leveraging the Filipino diaspora. The script also mentions initiatives like JuanFlix and the Academic Film Society, which aim to increase accessibility and industry connections for Filipino films.

Takeaways

• 🌍 Viewers in America and the Philippines prefer non-Filipino content, particularly from Korea, the West, and Spain.
• 🎬 South Korea's film industry evolved from making poor-quality films to becoming a global powerhouse through government strategy and financial backing.
• 🌐 The global film industry is diversifying, with markets like India, China, and Nigeria emerging as significant players, challenging Hollywood's dominance.
• 📊 The success of countries like China and India in the film industry is attributed to leveraging their large audiences and creating distinctive, culturally resonant content.
• 🏆 'Parasite' and 'Squid Game' are examples of South Korea's deliberate strategy to grow its entertainment industry, which includes financial backing and a screen quota law.
• 💡 The script suggests that the Filipino film industry's reliance on romcom genres and Hollywood's approval may be limiting its potential for success.
• 💸 Financial challenges, including taxes and revenue sharing, have historically constrained the growth and risk-taking of Filipino filmmakers.
• 🌟 The script highlights the potential of the Filipino diaspora in supporting and growing the Filipino film industry, both domestically and internationally.
• 📽️ The Film Development Council of the Philippines (FDCP) is taking steps to improve accessibility to Filipino films and support the industry through initiatives like JuanFlix.
• 🌱 There is a growing demand for high-quality, well-written Filipino stories, as evidenced by the success of films like 'Deleter' at the Metro Manila Film Festival.

Q & A

What is the current global trend in the film industry regarding non-Hollywood films?

The film industry is becoming less Hollywood-centered and more global, with markets like India, China, and Nigeria challenging Hollywood's dominance and creating new pathways for cultural storytelling.

How did South Korea's film industry overcome its past challenges to become successful?

South Korea overcame challenges by using spoofs and unlicensed remakes to learn from others, implementing a screen quota law, financial backing from large companies, and investing in original screenplays, leading to the Hallyu Wave.

What strategies have been employed by China to influence Hollywood and its own film industry?

China has leveraged its massive market size to influence Hollywood by limiting foreign film screenings and boosting domestic production through social media and e-commerce.

How has Bollywood managed to become an established film industry?

Bollywood has engaged its worldwide diaspora, increased accessibility via streaming platforms, and developed a distinctive style with elaborate musical numbers and melodrama.

What is Nigeria's strategy that has made it the world's second-largest film industry by volume?

Nigeria has focused on relatable local stories and innovative distribution networks with a 'high volume, low budget' strategy, leading to the creation of Nollywood.

What are the common perceptions of Filipino cinema and how do they impact the industry?

Filipino cinema is often perceived as 'baduy' or lame, with a focus on 'love teams' and romcom genres, which can limit its storytelling potential and audience appeal.

How has the Philippine government historically impacted the film industry through taxation?

In the 90s, the Philippine government required a 30% amusement tax, which was reduced to 10% in 2009, impacting the industry's revenue and ability to take risks on innovative projects.

What changes have been observed in the Filipino audience's preferences and how might they affect the industry?

The 2022 Metro Manila Film Festival showed a shift in audience preferences towards non-traditional comedy, indicating a potential demand for diverse and well-produced Filipino stories.

What steps is the Film Development Council of the Philippines (FDCP) taking to improve the industry?

The FDCP is working on improving accessibility to Filipino films through platforms like JuanFlix, fostering industry connections through film festivals, and advocating for tax relief for local productions.

How does the support of the Filipino diaspora play a role in the success of Filipino films?

The Filipino diaspora can support filmmakers through an online presence, which can lead to consistent high revenue and influence the quality of future films produced.

What is the vision for the future of Filipino cinema according to the script?

The vision for the future of Filipino cinema is to create its own path, honor its stories and talents, and ensure that all Filipino voices around the world are heard, without needing Hollywood's validation.

Outlines

00:00

🌍 Global Entertainment Shift and Filipino Cinema's Identity

The video script discusses the current global entertainment landscape, where viewers from America and the Philippines show a preference for non-Filipino films, especially Korean, Western, and Spanish. It highlights the transformation of the South Korean film industry from making low-quality films to becoming a global powerhouse through government strategies and financial backing. The script also explores the success of other film industries like China, India, and Nigeria, which have challenged Hollywood's dominance. It questions the state of Filipino cinema, suggesting that it may be limited by a focus on romantic-comedy genres and seeking Hollywood's approval. The video introduces the host, Leo Albea, and sets the stage for a discussion on how Filipino cinema can redefine itself and find success in the global market.

05:02

📉 Challenges and Opportunities for Filipino Cinema

This paragraph delves into the challenges faced by the Filipino film industry, including high amusement taxes, piracy, and censorship issues that have historically affected its growth. It discusses how these factors have led to a decrease in film production and a reliance on formulaic, low-risk movies. The script also touches on the impact of these challenges on the Filipino audience's tastes and preferences. It mentions the 2020 pandemic and how it affected the industry, with a shift in audience preferences being noted during the 2022 Metro Manila Film Festival. The paragraph emphasizes the need for funding, manpower, and a change in the industry's approach to storytelling. It also highlights the efforts of One Down, an independent Filipino media company, in supporting Filipino filmmakers and stories to reach a wider audience, both in the Philippines and the diaspora.

10:03

🌟 Revitalizing Filipino Cinema through Innovation and Support

The final paragraph outlines the steps being taken by the Filipino film industry to revitalize itself. It discusses the importance of accessibility, with initiatives like JuanFlix and the Philippine Film Vault making local films available to the global Filipino audience. The paragraph also highlights the value of industry connections through film festivals and the establishment of the Academic Film Society. It mentions the potential benefits of a temporary pause on the amusement tax for local productions, as suggested by government officials. The script concludes with a call to action for supporting local Filipino movies, emphasizing the importance of representation and the potential for the industry to regain its past glory and make a significant impact on the global stage.

Keywords

💡Filipino Cinema

Filipino Cinema refers to the film industry in the Philippines. It is central to the video's theme as it explores the industry's challenges and potential for growth. The script discusses the history, current state, and future of Filipino Cinema, including its Golden Age, the impact of government policies, and its comparison with other global film industries.

💡Hollywood

Hollywood represents the American film industry and serves as a benchmark for global success in the video. It is mentioned as a point of comparison to illustrate the dominance and influence of Western cinema, as well as the aspirations of other film industries, including the Philippines, to achieve similar recognition and impact.

💡Hallyu Wave

The Hallyu Wave, or Korean Wave, refers to the global spread of South Korean culture, particularly in entertainment. The video uses the Hallyu Wave as an example of how a nation can successfully promote its cultural products, including K-Pop, K-Drama, and K-Cinema, and how the Philippines might learn from this strategy to enhance its own film industry.

💡Cultural Storytelling

Cultural storytelling is the act of conveying narratives that reflect a culture's values, history, and identity. The video emphasizes the importance of Filipino Cinema as a medium for cultural storytelling, suggesting that a focus on local stories and narratives can help the industry compete on the global stage and resonate with audiences.

💡Diaspora

Diaspora refers to a community of people living outside their homeland. In the context of the video, the Filipino diaspora is highlighted as a potential audience and source of support for Filipino Cinema. The script suggests that engaging this global community could provide a significant market and boost for the industry.

💡Screen Quota Law

The screen quota law is a policy that mandates cinemas to show a certain percentage of domestic films. The video mentions South Korea's implementation of such a law as a strategy to grow its domestic film industry. This concept is relevant as it is presented as a potential model for the Philippines to consider in order to support its own cinema.

💡Amusement Tax

Amusement tax is a tax levied on entertainment activities, such as movie screenings. The video discusses how the Philippine government's imposition of an amusement tax has historically affected the profitability and production of Filipino films. It also mentions recent discussions to reduce this tax as a means to support the local film industry.

💡Golden Age of Filipino Cinema

The Golden Age of Filipino Cinema refers to a period from the 1950s to the 1980s when the industry produced critically acclaimed and culturally significant films. The video references this era to contrast with the current state of the industry and to highlight the potential for a resurgence of quality Filipino filmmaking.

💡Indie Films

Indie films, or independent films, are movies produced outside of the mainstream studio system. The video discusses the importance of indie films in the Philippines as a source of innovative storytelling and artistic expression. It also mentions efforts to increase the accessibility and recognition of these films both locally and internationally.

💡Film Festivals

Film festivals are events where films are screened and often compete for awards. The video highlights the role of film festivals, both local and international, in showcasing Filipino talent and films. It also mentions the establishment of the Manila International Film Festival in Hollywood as a significant step for the industry.

💡Digital Age

The digital age refers to the era influenced by digital technology and the internet. The video discusses the impact of the digital age on the film industry, particularly in terms of piracy and the shift to digital distribution, which has both challenges and opportunities for Filipino Cinema.

Highlights

Viewers in America and the Philippines prefer non-Filipino films, particularly Korean, Western, and Spanish.

South Korea's film industry evolved from making poor-quality films to becoming a global powerhouse.

The global film industry is becoming less Hollywood-centered, with markets like India, China, and Nigeria emerging.

Filipino cinema's current state is questioned, with a possible fixation on romcom genres and Hollywood's approval.

The potential for Filipino diaspora to influence the success of Filipino movies is discussed.

Korean entertainment's success is attributed to government strategy and financial backing.

China uses its market size to influence Hollywood and boost its domestic film production.

Bollywood's success is linked to engaging its worldwide diaspora and a distinctive film style.

Nollywood's strategy of high volume and low budget has made Nigeria the world's second-largest film industry by volume.

Filipino cinema has a rich history, with a Golden Age in the 1950s to 1980s, producing exceptional films.

The greenlighting process in the Philippines often prioritizes marketability over well-written stories.

Financial challenges and high taxes have impacted the Filipino film industry's ability to take risks.

The 2020 pandemic saw a shift in Filipino audience preferences, with a demand for higher quality local films.

Filipino filmmakers are taking note of global success models and making efforts to improve the industry.

The Film Development Council of the Philippines (FDCP) is working to improve accessibility to Filipino films.

Industry connections and participation in film festivals are helping Filipino films gain global recognition.

Protecting filmmakers through tax relief and support is being considered to boost the domestic film industry.

The future of Filipino cinema is about creating its own path and honoring its stories and talents.

Supporting local Filipino movies is crucial for establishing a strong foundation in the global film industry.

Transcripts

In both America and the Philippines,

viewers would rather watch everything but Filipino,

especially Korean, Western and Spanish films.

While viewers today can agree

that they watch and adore K-content,

South Korea itself used to make pretty terrible films.

It took them multiple spoofs

and unlicensed remakes of Hong Kong

and American movies for them

to finally realize what they do best.

The film industry today is becoming way

less Hollywood centered and beginning to go global.

Massive markets

like India, China, and even Nigeria

are challenging Hollywood's dominance

and creating new pathways for cultural storytelling.

Where does Filipino cinema stand

in this new world of entertainment?

Are Filipino stories being limited by a fixation on

romcom genres, Hollywood's approval,

or is it something deeper?

And can the answer for Filipino movie success actually

lay in the hands of our own Filipino diaspora?

I'm Leo Albea,

and this is One Down where we redefine Filipino.

“It’s corny.”

“Our cinema is dying.”

“...And how it's coming back to life.”

‘Parasite’ winning an Oscar

and ‘Squid Game’ becoming a

Netflix phenomenon aren't flukes,

but rather an accumulation of trial and errors,

leading to the powerhouse that is Korean entertainment.

But for South Korea

to actively grow its domestic

film industry in the 1990s,

they had to overcome three decades

of Japanese occupation’s strict censorship of

Korean-speaking films,

three years under US military government

influencing Hollywood style films,

and a recession following the Korean War.

From the Bruceploitation and raunchy movie eras

came the birth of the Hallyu Wave:

K-Pop, K-Drama, and K-Cinema,

which are the result

of a deliberate government strategy

to improve their economic status.

Through the financial backing

of large companies like Samsung

and the Korean Film Council system,

their cinemas started to follow a screen quota law,

where they have to play a set amount

of Korean films per year.

KOFIC also runs an online screenplay market

to easily access fresh and original concepts

of different genres.

Every year they invest about $8.9 million

to stabilize the Korean film industry.

China, the world's most populous country,

has leveraged its massive market size

to influence Hollywood directly.

Chinese audiences have become so crucial

that Hollywood now tailors its blockbusters

to appeal to them.

How?

By limiting foreign film screenings

to only 34 each year

and boosting its domestic production

through social media and e-commerce.

The result?

China's fifth highest-grossing film of all time,

‘The Wandering Earth’, earned $700 million globally.

Then, there's India.

By engaging their massive worldwide diaspora

to increase accessibility

via streaming platforms

and developing a distinctive style,

think elaborate musical numbers and melodrama,

Bollywood has become an established film industry,

producing around 1000 films annually.

Films like ‘3 Idiots’ grossing over $90 million worldwide

shows the power of this approach.

And finally, we have Nigeria.

They've become the world's

second largest film industry by volume,

with a “high volume, low budget” strategy.

By focusing on relatable local stories

and creating innovative distribution networks,

they've built Nollywood.

An example of this thriving success is

‘The Wedding Party’

being one of the highest-grossed Nigerian films,

making $11.5 million.

These countries have shown that success

in the global entertainment industry

doesn't require Hollywood’s stamp of approval.

By harnessing their audience's purchasing power

and creating compelling content,

they force the industry

to take their stories seriously.

So with these models at our disposal,

is the Filipino film industry taking notes?

When we think of Filipino movies,

the words “baduy” or lame

and “love teams” come to mind.

But it's hard to accept its current state

when Philippine film history proves us different.

From the pioneer José Nepomuceno’s

‘Dalagang Bukid’ in 1919 all the way to

1950s until the 80s, renowned as the

Golden Age of Filipino Cinema,

where the likes of Lino Brocka,

Ishmael Bernal,

Mike de Leon,

Peque Gallaga,

and Manuel Conde, to name a few,

directed and produced exceptional films

that represented not only the voices

of Filipinos during their time,

but also displayed our artistic potential

in motion pictures.

Yet too often,

the process of greenlighting scripts

depends on its marketability.

It's the business side

that makes producers prioritize

sequels, prequels, and remakes

over actually well-written stories.

We can't ignore that the exhausting replay

of the unrequited love,

cheater-mistress,

and enemies to lovers

tropes are what attract numbers for now,

but don't incentivize out of the box storytelling.

Without a track record of box office success,

it's harder to secure significant budgets

or wide releases.

So what made it difficult?

In the 90s, the Philippine government required

a 30% amusement tax,

and it was until 2009 when the tax went down to 10%.

But with the rise of the digital age,

piracy, and censorship issues,

Filipino filmmakers still depend a lot on ticket revenue,

creating pressure for a movie to do well in cinemas.

As movie producer Joji Alonso explains,

for a film that earns P100 million,

10% would go to the local government unit or LGU

as an amusement tax, but it doesn't end there.

The producer would still have to split

the 45% to the cinema owner,

12% for value-added tax (VAT),

and 5 to 20% to the distributor.

So if the revenue doesn't triple the budget

it took to make it,

the low profit made filmmakers scared of taking risks.

This hurdle led the industry to churn out

350 movies to only 50 movies per year,

with investors funding cheesy

and formulaic movies

that the public masses would easily consume.

This is the same reason why cinemas

would rather play international blockbuster films,

and rarely leave a slot for a local one.

This has greatly affected

the Filipino audience

in terms of consumer tastes and preference.

If the cinemas don't push real Filipino narratives,

our biases become skewed.

As director Pepe Diokno summarizes

it in his TEDx Talks,

“When you watch films from, say Hollywood,”

“your perception of the world becomes”

“according to the way Hollywood dictates.”

“That's why we have a pretty twisted culture,”

“because we don't know-”

“We don't have a formation of what our identity is.”

During the 2020 pandemic,

Director Erik Matti also tweeted a controversial take

about the Filipino audience

preferring Korean entertainment

than supporting our own:

“The daily top ten most viewed on Netflix”

“shows us how our movies and TV”

“are doomed in the future.”

“Faux Cinderella stories with belofied”

“actors whiter than white.”

With negative replies to his opinion,

a lot of Filipinos defended

that Korean dramas are not just about love.

Korean stories portray depth,

unlike the poor quality mainstream movies

we've had the past couple of years.

A noticeable change in the Filipino audience began

during the 2022 Metro Manila Film Festival,

where Vice Ganda’s film entry ‘Partners in Crime’,

wasn't a usual box office winner.

In fact, it was Mikhail Red’s ‘Deleter’

that top-grossed over P500 million.

Director and FDCP Chairman Jose Javier Reyes

points out,

“The market who spends money for the festival”

“was no longer the masses who loved”

“a good old traditional comedy.”

This one example alone shows the change in behavior

in the Filipino audience.

What if they want more than romcoms

and demand highly-produced

and well written Filipino stories?

It raises the need for funding and more manpower.

When it comes to Filipino representation in America,

One Down has actually supported many of the filmmakers

and stories to hit the big screen.

We've interviewed, featured,

and marketed movies from Jo Koy’s ‘Easter Sunday’,

Dante Basco's ‘The Fabulous Filipino Brothers’,

to ‘Lingua Franca’ on Netflix.

We've helped independent filmmakers

fund their projects from ‘Nurse Unseen’,

which is soon going on its theatrical run,

to executive producing ‘The Master Chief’,

which is now on Apple TV.

But we also helped the Philippines market in America.

Like Liza Soberano in ‘Lisa Frankenstein’,

DonBelle for ‘An Inconvenient Love’,

and Janella Salvador with ‘Mallari’.

Within our team,

we have over 3 billion organic views under our belt,

and we want to use this experience to support work

that benefits the Filipino community.

So if you, your business,

your brand, or your creative project

are looking to deeply reach

the Filipino American and global Filipino diaspora,

we'd love to talk!

Check out our website here

on how to work with us

and learn more about our program,

the Filipino Audience Growth Accelerator,

on how we can connect you with the Filipino community.

At present,

the Filipino film industry

seems to finally be taking action.

While we undeniably find mainstream films profitable,

the Film Development Council of the Philippines,

or FDCP,

together with the National Commission for

Culture and the Arts,

and native filmmakers,

have made remarkable efforts to value

and highlight our independent films.

One, accessibility.

One of the biggest challenges

of Filipino cinephiles around the world

is the accessibility to watch our local movies.

Strict piracy and limited indie screenings

have left over 10 million Filipinos living abroad

blindsided to Filipino film classics.

Other than Netflix, Prime Video,

and MUBI increasing their collection,

FDCP created a dedicated streaming platform

called JuanFlix,

which holds our national film treasures such as

‘Manila in the Claws of Light’,

‘Genghis Khan’,

and ‘Insiang’,

now available to watch online.

Chair and CEO Jose Javier Reyes

further shares good news

that they have the Philippine Film Vault

which houses many surviving old Filipino films

and continues to restore more.

In 2023, FDCP also created the Academic Film Society,

a network of filmmakers and students

who held a convention in September to commemorate

the anniversary of the Filipino film industry.

If the Filipino diaspora has more exposure

to Filipino narratives,

we're able to support our filmmakers

through a staggering online presence.

Imagine if the high revenue is consistent.

This will dictate the future quality films we’ll produce.

Number two, industry connections.

Our works have been acknowledged

on the global stage

through film festivals from local ones like MMFF,

Cinemalaya, or QCinema,

to its international counterparts such as

Cannes Film Festival,

Sundance Film Festival,

and Soho International Film Festival,

which all serve as an opportunity

to connect young and experienced filmmakers alike

and spotlight talented Filipino actors.

This domino effect of recognition prompted

the very first Manila International Film Festival,

held in Hollywood

last January of 2024,

another golden opportunity for

film industry representatives to meet.

Purin Pictures, a Bangkok-based film funding event

that started in 2017 as a collaborative effort

to help Southeast Asian film industries

achieve international success,

awarded the Philippines

three out of four production grants

during the Spring 2024 round.

Three, protecting filmmakers.

Last January, FDCP President Tirso Cruz III

met Interior Secretary Benjamin Abalos

to discuss challenges in the movie industry.

Abalos suggested a temporary pause

of the 10% amusement tax to local productions,

while foreign films would still have to pay,

appealing to the need of raising funds

to stabilize our domestic productions.

A month after, the Metro Manila Council

approved the notion

for the next three years as a start.

This good news could serve as launching pads,

building top-notch productions,

and promoting Filipino stories

that can compete universally.

By focusing on this progress,

the future of Filipino cinema

doesn't lie in chasing Hollywood's validation.

It's about creating our own path,

honoring our stories and talents,

and realizing that films are important.

It impacts not just our economic status,

but also globally impacts the Filipino audience.

Director Pepe Diokno proves this sentimental point:

“It’s important for us to see ourselves on the big screen.”

“It’s important for us because that’s our projection of”

“who we are and who we want to be.”

By supporting local Filipino movies first

gives us a strong foundation,

and once we fully mark our presence on the world stage,

we can then ensure that all Filipino voices

around the world will be heard

loud and clear.

In this new era of universal storytelling,

we don't need to be the next “Pinoywood”.

We can celebrate the Golden Age of Cinema

that thrived in the past,

while we, as a collective effort,

are able to claim it back

once and for all.

Thanks for watching!

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