THIS batch of Cinemalaya entries has truly leveled up. In terms of no-nonsense storytelling, technical detailing, true-to-form acting, creative maneuvering, the films remind us that filmmaking is a passion, and if those that are involved in the process of bringing the movies in their minds to the big screen possess the right elements and the most sincere intentions, then we will continue to see beautiful works in the future.

By the time this column comes out, the winners of the 2011 Cinemalaya Independent Film Festival should already be basking in their newfound glories. They say that awards are a reflection of taste and preference of the four or five mortals that adjudge the competing entries in such a film exercise, and I could not agree more. If the name of a filmmaker—director, writer, actor, etc.—was not cited as the winner in this category or that last night, it doesn’t mean that his or her work is less superior in terms of artistic skill and creative know-how.

For today, I’d like to share what I feel were the most outstanding works and performances in this year’s Cinemalaya. In no particular order....

Brilliant Performances

Shamaine Buencamino­—Giving not just one but two wonderful performances in this weeklong festival, Buencamino got everyone raving about her heartfelt interpretation of a grieving widow who found out that her late husband has a child by another woman. Maskara, the non-competition Laurice Guillen film that opened the festival, showed how Buencamino has evolved as an actress. If she was superb in Maskara, we think she was brilliant in Niño. Buencamino effortlessly stole this Loy Arcenas movie. As the niece of her dying uncle who owns the old house her family is living in, Buencamino showed true grit and a deep but calm intensity in her scenes, giving the best performance in a great ensemble.

Bembol Roco—His best moments in the Adolf Alix film Isda shone through with unspoken lines. Roco’s eyes and facial movements captured the emotions of his past middle-aged husband whose wife gives birth to a fish. The manner in which he stroked his pet cat, the feelings he conveyed as he drove his motorbike in an attempt to throw away his ‘son,’ the questioning look he gave his wife—all these and more showed what league Roco is in.

Eugene Domingo—More than just a committed actor, Domingo has proven time and again that she is an artist, and a very good one at that. In this movie directed by advertising executive-turned-makeup artist-turned-fashion designer-turned-producer-turned-director Marlon Rivera, Domingo made her audience take a longer, deeper look at her capabilities as an actor.  It also helped that the movie’s screenwriter Chris Martinez is her dear friend so the material was written to maximize her full potential as an actor. We were not only entertained by what we saw, because she really pulled out all the stops, but we were impressed with how she gave soul to her movie.

Raquel Villavicencio—A strong contender for best supporting actress for her enigmatic portrayal of a balikbayan daughter who comes home during the last days of her ailing father, screenwriter-actress Villavicencio gives one of the best performances for this year’s festival. Quiet but piercing is her performance as she pits talents against an equally wonderful cast that includes Buencamino, Fides Cuyugan-Asencio, Tony Mabesa and Arthur Acuña. Villavicencio was also consistent in the Jeffrey Jeturian film Bisperas, but we adored her more in Niño. Incidentally, in both her movies for this year’s festival, Villavicencio plays mother to gay sons.

Edgar Allan de Guzman—Among the young actors who showcased their work in this year’s festival, de Guzman seems to be one who is on the right track. As a senior student who gets entangled in a relationship with the campus flirt in the Erick Salud movie Ligo Na U, Lapit Na Me, de Guzman gives a solid performance. What de Guzman showed was true promise—a facility for work that is both spontaneous and substantial, giving the adjective ‘natural’ an entirely new meaning and dimension.

Rocco Nacino—We were surprised when we saw how well Nacino portrayed his character in the Alvin Yapan movie Ang Sayaw ng Dalawang Kaliwang Paa. With obvious homosexual undertones, Nacino’s interpretation of the dancer-student Dennis charmed us no end. His eyes spoke of the deepest desires; his moves more than hinted at a handful of suppressed emotions. With more roles in independent films, Nacino’s promising talent should be able to soar to greater heights in the coming years.

Paulo Avelino—There is some ongoing debate on whom between Nacino and Avelino gave the better performance in the Yapan movie. We expect a few of our critic-friends to side with Nacino, and a few edgy ones to say it was Avelino. This is a hard one since both gave credible performances.

We say it’s a matter of preference. But Avelino gave his own take on the difficult role of Marlon and he came away with flying colors, too. Let’s see what the jurors thought.

Cherry Pie Picache—Picache plays a woman who longed for a baby all her life, got pregnant but gave birth to a fish. A very difficult role for any actor, Picache managed to bring life and all its complex emotions to her character without any excess baggage. True to form from beginning to end, this is one of Picache’s best performances in her already illustrious career.

Jess Mendoza—Not so many people trooped to the Network for the Promotion of Asian Cinema (NetPac) entries this year but there were some wonderful revelations. Take the case of the black-and-white film by director Bebs Gohetia and cinematographer Zigcarlo Dulay, titled The Natural Phenomenon of Madness. We managed to sit through the quite lengthy film because we were simply awed by the two lead actors who delivered five-star performances: Opaline Santos and Mendoza. But our eyes were on Mendoza who was in his best elements. He gave one of the best performances in the festival and if only there’s an acting award for the NetPac category, he would have won it hands down. As the rapist whose guilt eats away at his disease-battered life every single day, Mendoza brings both vulnerability and helplessness into his character. His best scenes were in the church confessional where he vented everything at a faceless priest. We hope the members of the Manunuri ng Pelikulang Pilipino would be able to view this film.

Fides Cuyugan Asencio—Combining her thespian skills and knowledge of the opera, Asencio floored us with her performance in Niño. As the sister of a dying man whose old house she shares, Asencio showed us that she hasn’t lost it despite her years of absence in the movies.

Arthur Acuña—Acuña had his own highlights in Niño and he leveled-up to his more popular coactors. Although there were some scenes where he was a tad theatrical, Acuña gave a rather consistent performance and his star shone bright.

Jean Garcia—The role of the dance guru and literature teacher was originally intended for Eula Valdes but due to scheduling conflicts, it landed on Garcia’s lap.  After watching Alvin Yapan’s Ang Sayaw ng Dalawang Kaliwang Paa, we can say that Valdes’s loss is her good friend Garcia’s gain.

We rarely see Garcia in independent films and we’re glad that she accepted this one because it showcased her vast improvement as an actor. Although there were some scenes when she was ‘acting,’ generally she managed to give so much texture to her character and for this, we commend her.

Indeed, it was a good year for independent films at Cinemalaya.