ANC, the ABS-CBN News Channel, launches Kinse, a powerful collection of short films tackling human rights, as part of its 15th anniversary. A follow-up project to last year’s controversial amBisyon 2010, Kinse features 15 stories that will hopefully pave the way to putting a stop to different kinds of abuses being experienced in the country.
Kinse had a theatrical premier at the CCP Little Theater on Thursday’s night and will also have a six-part TV special on ANC aired every Monday at 9:30 pm.
One of the invited directors for this film series is Cannes winner Raymond Red.
Tell us about your participation in Kinse. Like, did ANC give you enough freedom and a budget for your film?
ANC asked me to do a film on human rights. They gave us a modest budget but one that was slightly higher than last year’s. It’s almost a grant and they gave us the freedom on what kind of film to do.
I’m pretty sure this is the thing you like to do.
Yes. I enjoyed it because it was like being back in the ’80s when we did it guerilla-style. But this time we used a digital SLR so it’s cheaper.
Now, because of all these gadgets, everyone feels they’re a filmmaker. What an you say about this?
Technology has always been developed to make everything easier. Even a kid, when he knows how to operate a certain software, can already edit using his computer. So this is a good thing. The downside is that some people forget film language.
Let’s talk about your Kinse film Bangin.
It’s a symbolic and experimental film talking about workers rights. Symbolic in a sense that all workers are like in a bangin, or the edge of a cliff. That’s how difficult life is, especially to an ordinary worker. I did a general attack so everyone can relate to it.
Why so?
It’s a universal thing. It’s a human right to fully recognize one’s potential. But because of society, one is stifled. So whether you’re a lawyer or a writer or a call-center agent, you are sometimes trapped to be something else because society doesn’t support your talents or what you are. Many are not maximized. It’s a sociopolitical situation.
So it’s like a continuation of your award-winning film Himpapawid. Any plans to release this film commercially? Any other new films in the pipeline?
In a way it is. And, yes, I do have plans to release it commercially. Hopefully this year. I have been in talks with a few people to distribute it.
While it has been screened in a number of international film festivals, I want to make a lot more Filipinos watch it. The film won’t be legitimate until it reaches an audience. Furthermore, I have concepts and beginnings for new projects.
Do you have any plans to go all-out commercial and leave the indie world?
I have never turned down any offer to go commercial. I’ve had meetings before with the commercial film companies on many occasions, and I didn’t close my door. But I am particular with what I do and what I’d like to do.
Where is Philippine cinema headed?
Digital. For a long time, I was a film purist but then I realized it’s the road to the future. While it may not be as good as film, it can approximate film. And on post-prod, with color grading, it can even be better. There is no argument. Film is the ultimate medium of image and digital is the practical way to go. But people shouldn’t forget about film language. It’s the still the basis of good filmmaking, and that’s what will make your work different from a home movie.
