2016 MMFF turning into indie filmfest?

The buzz is that the 2016 Metro Manila Film Festival (MMFF) faces some serious problems due to sweeping changes the Metro Manila Development Authority (MMDA) has made to its mechanics starting this year.
Officials appointed by outgoing President Noynoy Aquino’s government expires on June 30, 2016. This includes MMDA Chairman Emerson Carlos, the lawyer who currently heads the 2016 MMFF Executive Committee (Execom).
The incoming MMDA chair is duty-bound to carry on the 2016 Execom’s decisions. This means he/she must implement 2016 MMFF based on approved mechanics and plan.
Due to the “finished film format” that the MMDA adopted, the buzz is that film producers have not started shooting entries, which must be submitted on Sept. 28 at 5 p.m. for possible inclusion in the 2016 MMFF with the announcement of finalists scheduled on October 11. Only finished films that haven’t been screened commercially here or abroad will be considered for selection.
The Execom believes this method will enhance the quality of film as main basis for inclusion. This will avoid palakasan and the fest’s past dependence on bankable stars.
Their rationale, as the buzz goes, is why pour millions of pesos in a film project that they are not sure of getting a slot among the eight available.  
As mandated by its charter, the MMFF Execom automatically changes membership by yearend. Besides Atty. Carlos, its 2016 members are as follows:
PSSUPT. Rhoderick Armamento, representative of PDIR Joel Pagdilao, PNP-NCRPO;
Edward Cabagnot, academe representative;
Jessie Ejercito, producer;
Teodoro Granados, FDCP executive director;
Moira Lang, writer/producer;
Bryan Ian Montances, representative of Sen. Sonny Angara;
Marcus Ng, vice president, MMTA;
Boots Anson-Rodrigo, president, MOWELFUND;
Jun Romana, Bureau of Broadcast Services;
Edgar Tejerero, president, SM Lifestyle Entertainment Inc.;
Wilson Tieng, president, MPDAP;
Rep. Alfred Vargas, House of Representatives, Quezon City; and
Atty. Eugenio Villareal, chairman, MMDA.

SHAKEDOWN OR SHAKE-UP? The “finished film format” means only films that are done will be considered for selection. In the past, the official entries were selected based on scripts submitted to the Competition Committee as the Selection Committee had been renamed by the Execom.
The Execom also made changes in the criteria for judging the entries: 40 percent for story, audience appeal and overall impact; 40 percent for cinematic attributes or its technical excellence; 10 percent for global appeal; and 10 percent for Filipino sensibility.
This criteria reflects the fest’s new vision to become “a festival that celebrates Filipino artistic excellence, promotes audience development and champions the sustainability of the Philippine movie industry.”
As such, commercial viability is no longer the priority. But it is aware that the audience cannot be ignored as commercial films are not necessarily bad movies. It believes a film becomes a hit precisely because it’s successful in engaging and entertaining an audience.
Toward this end, the crucial issue of assurance that all entries will have a minimum guaranteed run in cineplexes is expected to end the “first day-last day” syndrome. But this is still to be negotiated with theater owners as ticket sales, the source of their income, will always be their priority.
Members of the Competition Committee will all be first-timers. There will be no holdovers from previous years. Its members will compose the board of jurors.

THE TRUTH ABOUT THE ‘LOST INVESTMENT’ THEORY. But the “lost investment” rationale is not necessarily logical as there are valid reasons for adapting such measures and alternatives in case not selected:
Most film festivals such as Cannes, Berlin require finished film submissions. As such, the submission method is up to the festival’s organizers to achieve its goals. There is no logical reason for script submission except when its production is subsidized and/or perhaps when working with fresh filmmakers.
Subsidized film festivals such as Cinemalaya and Cinema One Originals require script submission prior to production. This is understandable as they have financial interests to safeguard. This is not true in the case of the MMFF as the works are independently produced.
The new rule prevents late submission of entries of pre-qualified scripts, which have been a perennial MMFF problem. This had caused substitutions and such as in the case of the 2015 MMFF when an alleged anomaly in the selection of festival winners took place.   
Expected to participate in 2016 MMFF are the major film studios such as Star Cinema, Viva Films, M-Zet/APT Productions, Regal Films and Quantum Films.
Cannes Best Director Brillante Mendoza and Gil Portes have announced that they are entering for competition Ma’ Rosa and Moonlight Over Baler, respectively.
Submitted film entries to the 2016 MMFF, which are not selected, can still be screened before or after the festival. What is lost is perhaps the opportunity to join the lucrative event.
Of course, acceptance is not necessarily an assurance that the entry will earn. As previous festivals have firmly showed, commercial films turn profitable and quality films get the awards. Quantum Films’ English Only, Please had showed a quality film can also be a commercial success depending on the marketing strategy.
Lav Diaz’s Hele sa Hiwagang Hapis is the kind of film the 2016 MMFF hopes to attract, but who will watch an eight-hour black-and-white film on Christmas Day?

TURNING INDIE? What the Execom has not announced is if the New Wave section of the MMFF will continue. This section of the annual filmfest has always been a big joke as it is scheduled during a period when moviegoers are busy with Christmas parties and preparations for the holidays.
Or, for all we know, the MMFF has been turned into an indie film festival as its new criteria vaguely describes an indie film. The anti-commercial film intention is precisely what gave rise to indie films.
Buzzstation hopes the Execom does not work on the wrong assumption that the 2016 MMFF can impose on holiday revelers to watch dark films about misery and injustice that they cannot understand, much more even appreciate. It is very much against the season’s merrymaking impulse.