Philippine cinema has developed a rich horror tradition with its long list of masterpieces. Some characters have become parts of fond, albeit scary, memories of childhood.

Just ask your Tita for her favorite "Shake, Rattle, and Roll" (SRR) episode. She may tell you the story of Manilyn Reynes going to a remote village at her friend's invitation for their town's fiesta. Take a guess what (or who) is going to be the main course.

Also, who can forget the Undin and who or what "anak ni Janice" refers to? Master storyteller Peque Gallaga's "Aswang" starring Aiza Seguerra, Alma Moreno, and again, Manilyn Reynes, is unforgettable. Matet de Leon is another horror movie suki with "Takot Ako E," "Halimaw sa Banga," "Dalaw," many SRR episodes, and many other performances under her belt. Jean Garcia's role as a manananggal made her a part of the list of horror luminaries, too. Our grandparents may share the stories of "Huwag mong Buhayin ang Bangkay" and "Patayin sa Sindak si Barbara."

More recently, we were given the fright by the moving santos of "Seklusyon." After all, many of us have a statue of a smiling Santo Nino in our homes or an image of a saint or of Christ whose eyes seem to follow us wherever we are in the room. Many of us still consider it bad luck to be sharing the same wedding year with a sibling; look at what happened to Kris Aquino's character in "Sukob!" The same goes with not going straight home after a wake or a funeral to prevent the ghost of the deceased from following us to our homes, as shown in the Kathryn Bernardo-Daniel Padilla movie, "Pagpag."

Tapping the Filipino psyche

The closer to life the movie is, the closer it hits home. Isn't it amusing too that when we were younger, our classmates gossiped about how our schools used to be cemeteries? Or how an old building used to be a military garrison where many have died during the war? The scary thing is... it can be true.

The more it mirrors scenes from real life, the scarier it seems because of the sense that it can happen to you, too. And like in many other art forms, authenticity transcends the medium — in this case, it jumps from the screen and holds down the viewer's attention until one is at the edge of their seat in white-knuckled terror and anticipation.

International possibilities

Hot in the heels of the successful Netflix streaming of "Trese," an animated offshoot of the hit Filipino comic book with the same title by Kajo Baldisimo and Budjette Tan, comes the planned adaptation to television of Janus Silang by Edgar Samar. Both works tap on the rich treasure trove of Philippine mythology and folklore. This return to the Philippine myth is a recognition of the fecundity of our national imagination. This brand sells.

It is worth looking at our own myths, folklore, superstition, and urban legends as film material. Horror, action, and horror-action genre are sellable both within the local scene and on the international market. The use of local color breathes new life to the tired horror genre. Just look at Japan's "Ringu (The Ring)," Thailand's "Shutter," Hongkong's "The Eye," and Korea's "Ju-on (The Grudge)" and "Train to Busan," to name a few. Some of the scariest films that have broken international box office records abroad are from Asia.

If these movies could take the world by storm, I am certain P-Horror has the fighting chance, too.

Consistency is key

In 2005, "Sigaw" by Yam Laranas, made a mark in Philippine cinema as it received a Singaporean and Malaysian release with international title "The Echo." The film was also given a Hollywood remake in 2008 which was also helmed by Laranas.

Mikhail Red's "Eerie" is also worth noting as one of the first to have had an international coproduction partner. The film was produced by Star Cinema with Singapore's 108 Media, and premiered in the Singapore International Film Festival before its Philippine theatrical release in March 2019.

Our local horror films have made shining attempts to go global, there is no question to its potential, but it can be also said that the attempts have been few and far between. In this goal of creating a steady market for our movies, the key should be consistency. Our industry must be intentional in our goal to create horror content that can be palatable to a global audience, and maybe sooner than later, P-horror can experience as well, the international success of Train to Busan or The Ring.

For the international market, this new lens of seeing, this fresh sensibility, offers a rawer, more visceral look at the world, therefore perhaps, more poignant and exciting, especially compared to the more polished but sometimes formulaic Hollywood horror flicks.

Asian horror — and by this way, Filipino horror — can tap onto this enchanting appeal that draws in the global audience. The international market, after all, is always hungry for new monsters, something they have not yet seen or experienced vicariously.

P-Horror future in the regions

With the steady rise of regional film festivals, more and more facets of our psyche get to have their share of screen time here and abroad. Imagine more than 7, 641-islands-worth of stories! With this arsenal, I can't help but feel excited for our filmmakers' many possibilities.

In the field of horror and the fantastic, Ngilngig Asian Fantastic Film Festival Davao quickly comes to mind. Aside from featuring the fantastic, the yearly event showcases films that are ngilngig — gruesome, ghastly, gory. Ngilngig's aim to promote and preserve the region's own myths, traditions, history and culture into cinematic form is commendable.

What is stopping us? Last October 26, a short film from Iloilo, "Ang May Akda: Ikatlong Yugto," bagged the Extreme Scream Award at the Berlin Flash Film Festival. The film was shot entirely using a smartphone.

What's more, The Film Development Council of the Philippines (FDCP) has so many film labs and festivals that offer training and mentorship such as the Filmstitute and Film School.

FDCP is also home to Sine Kabataan, Pista ng Pelikulang Pilipino, CineIskool, and many more, and supports the great potential of the regions by collaborating with local governments in holding film festivals such as the Pelikultura, QCinema, Binisaya Film Fest, Northern Mindanao Film Fest, to name a few.

I want to encourage budding filmmakers out there to create more films that reach inward to our collective tapestry of stories — our very own myths, folklores, and superstitions. We already have the material. Our culturally diverse society, with its rich oral and written literature — keepers of national imagination — is a library vault of story ideas where artists such as filmmakers can draw inspiration for their crafts.

Perhaps it is high time to make the White Lady expand her haunt outside Balete Drive. Or for the aswang to receive global notoriety. But more important than reaching farther, this can be our share in preserving and recording our very own stories for posterity. This way, we may hopefully remain in touch with our roots wherever in the world life may take us.

Have a good fright in FDCP Channel's Stream and Scream, a one-time free screening of Pinoy Horror must-watch films at www.fdcpchannel.ph. See you at the (FDCP) movies!

Notes from the Chair
The Sunday Times Magazine  - The Manila Times

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.