The cinema experience has changed in recent years because of the decline of movie-going audiences and the burgeoning of online platforms. And this year, it was further altered drastically with the closure of movie theaters worldwide due to the Covid-19 pandemic.

The FDCP Channel (fdcpchannel.ph) is the digital platform for the ongoing 4th Pista ng Pelikulang Pilipino that has 170 films.

Although a number of cinemas have reopened at limited capacities and the drive-in cinema concept has been introduced in a few locations, the theatrical setup in the Philippines is still far from the usual.

Sine Sandaan on TMT TV is a partnership between the Film Development Council of the Philippines (FDCP) and The Manila Times TV.

Going digital has become a necessity and even an urgency this year. As such, having online content providers surely helped save the Filipino film and audiovisual industry by becoming alternative platforms for distribution and exhibition.

Upstream is the new home of this year’s QCinema International Film Festival and Metro Manila Film Festival.

The likes of Netflix, Amazon Prime Video, iwantTFC, iflix, YouTube Movies, iTunes, and HBO GO have made Filipino films and other audiovisual content more affordable and accessible not just locally but internationally as well.

With more demand for content coming from the stay-at-home population and with more films available for screening but without cinemas, new players have entered the over-the-top (OTT) scene to provide not only streaming but also other forms of engaging content such as television programs, original series, panel discussions, film talks, and other events. Indeed, these emerging digital platforms are already changing the game.

Showcasing the best of local cinema

The Manila Times Chairman Emeritus Dr. Dante A. Ang initiated a project with the Film Development Council of the Philippines (FDCP) as he is one with the national film agency in looking for ways to exhibit Filipino films in order to prevent the industry from remaining at a standstill.

Through the partnership of streaming channel The Manila Times TV (TMT TV) and the FDCP, “Sine Sandaan on The Manila Times TV” was launched on September 18 to serve as an alternative platform of Philippine Cinema in the midst of the pandemic.

The ongoing “Sine Sandaan on The Manila Times TV” (sinesandaan.manilatimestv.com) has independent films co-produced by the FDCP and classics such as “Zamboanga” by Eduardo de Castro, “Genghis Khan” by National Artist for Film Manuel Conde, “Pagdating sa Dulo” by National Artist for Cinema Ishmael Bernal, and “Maynila sa mga Kuko ng Liwanag” by National Artist for Cinema Lino Brocka.

Replicating the film ‘festival experience’

Most of the country’s top film festivals have gone online this year, with some creating their own channels in response to the changing times. The FDCP Channel (fdcpchannel.ph) is a new local streaming platform that is currently hosting the 4th Pista ng Pelikulang Pilipino (PPP) until December 13.

The FDCP-sponsored platform, which has four virtual cinemas, allows subscribers to enjoy the film fest tradition by having scheduled screenings to simulate the community experience of watching films together. A total of 170 films are in PPP4 — 90 full-length features live streamed with a festival schedule and 80 short films available on video-on-demand (VOD).

Moreover, the FDCP Channel features news and announcements as well as uploads of exclusive events like the star-studded PPP Virtual Fan Xperience hosted by Mr. Fu featuring Lea Salonga, Robin Padilla, Regine Velasquez, Dingdong Dantes, Iza Calzado, Monsour del Rosario, Enchong Dee, Max Collins, Mara Lopez, and McCoy de Leon with musical performances by Salonga, Ice Seguerra, I Belong to the Zoo, and Sean Oliver.

Another uploaded event is the PPP Talkback on “Ang Lakaran ni Kabunyan: Kabunyan’s Journey to Liwanag” by National Artist for Film Kidlat Tahimik, which is the Opening Film of the PPP4 Main Feature Film Showcase. Kidlat Tahimik was joined by his son Kabunyan de Guia in the in-depth discussion moderated by film critic and film educator Tito Valiente.

Meanwhile, the MOOV digital platform of microcinema Cinema Centenario was utilized for the recently concluded Maginhawa Film Festival (MFF). The MOOV seeks to form an online community of cinephiles by offering VOD titles at the virtual cinema (moov.cinemacentenario.com).

The MOOV platform continues to show films and documentaries even after the conclusion of MFF as it is now the online space of Cinema Centenario following its closure due to the Covid-19 crisis.

A holistic entertainment experience

A new VOD platform on the block that aims to compete with other commercial streamers is Upstream (upstream.ph) in partnership with GMovies. It is the home of the occurring QCinema International Film Festival that runs until December 6 as well as the Metro Manila Film Festival (MMFF) that kicks off on December 25.

Upstream seeks to screen films, television shows, live shows, concerts, and beyond-the-movie experiences and content as well as curate and produce a diverse catalog of content to empower viewers and expand their knowledge on current events, culture, and the arts.

It also has a “14 on 14” fundraising initiative that offers 14 films for 14 days for just P1 each. Proceeds will be given to the Ayala Foundation to assist typhoon victims. Among the 14 films featured until November 27 were “Dahas” by Chito S. Roño, “Rakenrol” by Quark Henares, “Shake, Rattle & Roll 3rd” by Peque Gallaga and Lore Reyes, “Sinungaling Mong Puso” by Maryo J. de los Reyes, and “Woke Up Like This” by Joel Ferrer.

TBA Studios microcinema Cinema ’76 Film Society has also launched Cinema ’76 @ Home (cinema76fs.eventive.org) which has a VOD catalog and a live streams tab. Its first Cinema ’76 Exclusive title is the award-winning “Lingua Franca” by Isabel Sandoval which had its world premiere at the Venice Days section of the Venice International Film Festival. Cinema ’76 @ Home also offers full features for free such as “Matangtubig” by Jet Leyco, “Gayuma” by Cesar Hernando, and “Water Lemon” by Lem Lorca.

Lastly, WeTV Philippines (wetv.vip/en) has added Filipino content to its roster of regional titles that include Chinese dramas, K-dramas, Thai dramas and BL series, and Indonesian horror. Among the many Filipino films on WeTV Philippines are MMFF 2019 top grosser “Miracle in Cell No. 7” by Nuel Naval, “Block Z” by Mikhail Red, and “Masahista” by Brillante Mendoza. In addition, exclusive content for Filipino viewers can be expected next year courtesy of WeTV Originals.

With all these emerging online platforms joining the bigwigs in the OTT world, I am optimistic that more filmmakers and audiences will explore the many possibilities of virtual streaming.

The creation of more digital platforms for Filipino films and audiovisual content proves the industry’s great ability to adapt amid these trying times. With this, I can confidently say that when the Covid-19 situation is over, Philippine Cinema is going to come back strong because it has managed to push forth despite all the challenges with its steadfast resolve and immense creativity.

Notes from the Chair is part of the Arts Awake section of The Sunday Times Magazine published by The Manila Times. Click HERE to view the article on The Manila Times website.