This pandemic has proven very challenging to live entertainment artists, including musicians and stage comedians. Their usual incomes have been reduced to virtually zero and economic survival has been a great cause of anxieties and depression. It is a good thing that live streaming platforms have given them a space and a new home to exhibit their performances on a much different plane. They’ve also made them much closer to their fans and supporters.
One of the best and most accessible live stream platforms is Kumu. It’s a social media mobile application that allows performers to share their contents live and interactive. And the most important part is the open-access opportunity for them to earn as much as what they could in their actual in-person gigs. Except now, they don’t need to leave their homes anymore and shell out for their usual spendable, like paying for PAs, transportation, meals, and costumes.
When a fan or an impressed audience to the live stream show gives them virtual gifts – a performer can rack up at least 2,000 to 5,000 “diamonds “on a single user. When a performer earns at least 50,000 diamonds, they can exchange it for at least 2,500 pesos. One live stream artist can have a minimum low of 25 audiences per minute, and they can have a peak audience of at least 50-100 and on “special occasions” one can impress from 1000 to 10,000 audiences/users. Singer Kris Lawrence during his recent birthday show gained 3.4 million diamonds; which meant he earned at least 170,000 pesos on one night. This is on top of what he earned from previous live streams. Even his close friend/co-performer JayR averages to 100,000 to 300,000 diamonds on a drop. A short ordinary fan-supported live show can still augment their idol’s digital income enough to buy a week’s worth of groceries. This month’s Top Earner is Mark Michael Garcia, a Tawag ng Tanghalan finalist who earned a cumulative amount of 18.5 million diamonds (roughly 900,000 pesos – if – KUMU actually converts that to the actual purchase amount. We actually would like to account that we had no first-hand knowledge of the conversion rates given to earners, except of course, merely referencing the 2000 diamonds to 100 pesos rate).
This year’s Gawad Urian is headlined by internationally acclaimed films and performers. Leading the pack is Kalel, 15 with nine nominations. The film previously won the Best Director award for Jun Lana at the Tallinn Black Nights Film Festival and a Best Actor award for Elijah Canlas at the Asian Film Festival held in Rome. Babae at Baril, also with nine nominations, was previously awarded the Best Director and Best Actress awards for Rae Red and Janine Gutierez respectively at the QCinema Film Festival.
Cinemalaya Best Picture John Denver Trending has six nominations. It was previously awarded the Critics and Audience awards at the 26th Vesoul International Film festival in France. Another Cinemalaya feature, Edward, has eight nominations including one for Louise Abuel who previously won the Best Actor award at the Dhaka International Film festival. Finally Venice Film Festival Golden Lion Awardee, Lav Diaz, was nominated for Best Director for Ang Hupa at the Asia Pacific Screen Awards. He is nominated for the same film at the Urian for Best Director.
Update: 9/22/2020. Ruby Ruiz, nominated for Best Actress for Iska, won at the Harlem International Film Festival in New York for the same role. She perviously bagged the Best Actress award at the 2019 Cinemalaya FIlm Festival.
The 43rd Gawad Urian is set on November 10, 2020. Check the complete list of nominees below.
Having been in the industry as a multi-hyphenated filmmaker for almost a decade and a half, Joselito Altarejos finally receives his first Gawad Urian nomination that victoriously coincides with his perennial “muse” – actor Oliver Aquino’s Best Actor nomination as well.
Altarejos and Aquino worked on their fourth film together, Jino to Mari, a year before its festival release. Originally titled “Death by Gokkun,” it had been intended to be the festival opener of Sinag Maynila when it was postponed in its 2016 edition due to failing to secure a permit to exhibit for its highly sexual content The film is about two young sex workers who are hired to do a pornographic film on a remote island. Altarejos and Aquino’s next film, Walang Kasarian Ang Digmang Bayan, would also be pulled out by the same festival for its supposedly highly-charged political stance against the current government.
Entrepreneur and producer Dr. Carl Balita is actively campaigning for the public to stay home during the start of the quarantine until today not just to contain the virus but to also to help the health and service professionals who are the frontrunners in the field. Among the many strategies he launched was the “Video Home Festival(VHF)”, a short filmmaking competition anchored on the theme “lockdown.” The challenge of the competition is to create films based on the theme while observing quarantine guidelines using immediate technology, space, and casts available for the filmmakers.
“I knew that the filmmakers were oozing with creativity in the new normal and were itching to express their craft even with all the limitations of a quarantine experience,” says Dr. Carl. “We were surprised when after more than a month from our launch, entries came in from professionals, film students, and enthusiasts.”
Dr. Carl expounded the festival to raise funds for the industry workers through the Movie Workers Welfare Foundation (Mowelfund). Being a film producer himself and within the circle of show business, heis aware of the current plight of the industry players. Mowelfund Board Member Boots Anson-Rodrigo and President RezCortez welcome the idea and are exploring new partnership opportunities with Dr. Carl and his company, Dr. Carl Balita Review Center (CBRC) on how to bring the collaboration to a more productive level. Festival Director Jek David notes that some of the entries have international caliber, highlighting the quarantine experience of the filmmakers.
What holds a film together when one of the main elements becomes absent or voluntarily removed?
Before the advent of sound, films were devoid of dialogs and diegesis as modern history painstakingly moved along. Intertitles were inserted long before they were followed as conventions. At most, every aspect of modern day inventions would become a learning journey toward the development of world cinema. In fact, in the earlier years, films from the post-invention had been far more superior than their more technologically equipped successors (Arnheim, 1932). They could be true in essence because of their inherent qualities and characteristics to fill what wasn’t there yet. There simply was more time and less impact of ascendancy to allow creating more spaces for expansive projects.
British filmmaker and actor, Charles Chaplin caught on earlier with the power of the language of film. Story becomes king and execution is everything. And in the more profound method of analyzing films, structural-linguistic theory is by its essence a more substantial philosophy to deliberate and consider. And by understanding the very foundation of film history and its nuclear core, there may be a conceivable inference to achieving a sort of objectivity in studying every element that a film presents as a whole. Quite possibly, even if one or two components is missing, its effectiveness rests mostly on whether its desired effects reach it audience. A film may be subjectively incomplete, but it will always be inimitably a creation of its own.
In an attempt to still deliver quality stories amidst a global pandemic, Cinemalaya goes digital this year with 10 short films slated for its main competition. These films can be accessed via VIMEO on August 7-16, 2020. Select titles will be available via iWant and TFC after the festival.
The main entries can be rented in bundles that cost only P75. The complete package that includes retrospective shorts and full-length features, talkbacks, and fringe events costs P350.
July 10, 2020 – 70 members of the House of Representatives’ Committee on Legislative Franchises delivered the most stunning blow to PH Press Freedom after Martial Law by refusing to renew the franchise of the country’s largest and most trusted television network. The decision came after 13 days of deliberations over allegations that have all been cleared by the Department of Justice, National Telecommunication Commission, and Bureau of Internal Revenue.
Allies and propagandists of Duterte maintain that this is an issue of violations of a private company and has nothing to do with politics. But as it goes, the only “offense” of the network seems to be their unwillingness to bow down to power even as the president repeatedly threatened that he would make sure that the renewal of their franchise would not happen.