Archive for July, 2010
Filmmaker aims to preserve the Pangasinense dialect through cinema
Posted at 7:41 pm July 12, 2010
BAYAMBANG, PANGASINAN – Filmmaker Christopher Gozum only wants two things as an artist: practice his passion in film and make the country proud and preserve the indigenous dialect of Pangasinan through Sine Caboloan.
Gozum, a native of Pangasinan, is one of the most accomplished independent film makers of the country after his extensive studies at the University of the Philippines and Asian Film Academy Fellowship Program in Pusan, South Korea, according to Film Annex.
Some of his notable achievements are the full-length drama War Booty (2001) and Pasyon of Pedro Calosa and the Tayug Colorum Uprising of 1931 (2002), which won the Palanca Awards for Literature.
He was also recognized by the National Commission for Culture and the Arts’ Ubod Young Author’s Series with his play Pure Stone Is the Source of Light in 2005. Aside from these, he also participated in the Cinemalaya Independent Film Festival and in 2007, his film The Calling, which was produced by the Asian Film Academy in Korea, won best short film in the 9th Cinemanila International Film Festival.
His film Anacbanua (Child of the sun) received praise from the blog Cyber Vision, which noted that the scenes will absolutely take the viewers to this new world, “welcoming the new era of digital cinema with its visual poetry”. The film received the Digital Lokal Lino Brocka Grand Prize and the Best Director Award during the 2009 Cinemanila International Film Festival.
But the more he gets accomplished, the more Gozum yearns to go back to where he came from – his hometown – and embracing his native Pangasinense tongue. Through his films, he thinks he can encourage his fellow Pangasinense to be proud of their dialect, whose ethnicity is something they should all restore.
He founded the Sine Caboloan, a film production company dedicated to produce independent digital feature films about Pangasinan region using the indigenous language.
In an article on Film Annex, he says there that many of his ‘kabalen’ who no longer use their native dialect even inside their home. Also, he says the country is using Tagalog in all mediums such as films and he feels that this is something that deserves attention.
“I do not propose the abolishment of the Tagalog language media in the non-Tagalog regions but instead, media professionals (i.e. filmmakers, etc.) and the mass media industries and institutions in the provinces must create more audio-visual media in their mother language presenting the rich culture of their region alongside,” Gozum says.
Simon Francis Blaise Vistro commends Gozum’s dedication in preserving the pangasinense indigenous culture. “With heroes like Christopher Gozum, Pangasinenses can be assured that the Pangasinan language will continue to be alive and kicking for years to come,” he says.
At the moment, Gozum and his Sine Caboloan team are busy preparing for their two new full-length feature projects namely Insipan Ya Dalin (The Promised Land) scheduled for 2010-2011 and Impanbilay na Sakey Aripuen (The Life and Times of a Slave), which is targeted for completion in 2015.
You may directly get in touch with Christopher Gozum through the Sine Caboloan website or at email@example.com
The A/V Club
(The Philippine Star) Updated March 19, 2010 12:00 AM
MANILA, Philippines – ‘The A/V Club’ is a column that will rotate pieces from the views of four film critics Alexis respected and supported: Richard Bolisay, Francis Cruz, Dodo Dayao and Philbert Dy. Alexis spoke highly of these four critics.
By Francis Joseph A. Cruz
Ditsi Carolino’s Lupang Hinarang (roughly translated in English as Hindered Land), a two-part documentary about the failure of the Comprehensive Agrarian Reform Act, screened during last year’s edition of Cinemalaya as a work in progress. The documentary has all the ingredients for late-night editorial-political television programming. However, what Carolino does is both simple and magical. By following the farmers in their symbolic battles (the Cuenca farmers staged a 29-day hunger strike in front of the Agrarian Reform headquarters; while the Bukidnon farmers walked all the way from Bukidnon to Manila), allowing the farmers to tell or show their own stories without need of intervention, and ultimately relegating the politics to the background, she molds what possibly could be the most poignant, urgent and pertinent advocacy-oriented film in recent years. Editing hundreds of hours of footage into a tightly woven package showcases Carolino’s talent for taut storytelling and efficient filmmaking. Creating a masterpiece that moved an entire audience to sobs and tears for people whose lives and dilemmas they may hardly know or normally care about showcases Carolino’s sincerity, selflessness and compassion, three traits I wished more of our filmmakers had. The fact that the documentary is still a work in progress is quite troubling, evoking a sense that there are still so many promises of land grants that remain hindered and unfulfilled.
* * *
By Dodo Dayao
Filipinos in High Definition (John Torres): A year later, this work-in-progress would cohere into John’s second feature, Years When I Was A Child Outside.
But who knew the resonance of seeing it in its halfway-there state, with a live score at that, would gain even more cling and force over time and overshadow, for me at least, the finished work?
This is a film that most likely doesn’t exist anymore, at least not in this form, and my love for it gains a melancholic pang out of that and that’s even before we get to the work itself — unfinished films about unfinished lives strung together into an unfinished piece as shot through with hope as it is with sadness, meditating as it does on the agonies, but more on the ecstasies, of failing beautifully.
In many ways, it is the same film. And in just as many ways, it isn’t. Unforgettable, unrepeatable.
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By Phil Dy
Jerrold Tarog has emerged as our very own version of Robert Rodriguez: a filmmaker who can write, shoot, cut and score his own films, work quickly and cheaply while maintaining a certain level of quality, all while keeping a vague notion of mainstream sensibilities in mind.
He makes a bid for commercial success this year with his third picture, and how he does might clue us in to the future of independent filmmaking in this country.
Is there a viable financial model in independent films that doesn’t preclude gay content or having a large mainstream budget?
Tarog seems determined to find out. Outside of the usual monetary concerns, the most exciting Filipino filmmaker around is Christopher Gozum.
His first feature Anacbanua (which won top prizes at Cinemanila) was the first Filipino film entirely in Pangasinense. In a poetic and visceral 100 minutes, Gozum makes a bid for the cultural preservation of his native Pangasinan, along the way documenting the livelihoods and cultural artifacts disappearing in the wake of general assimilation.
It’s worth noting that Gozum is an OFW, working as a videographer in the Middle East. Perhaps it is this situation that grants the filmmaker such a unique voice, a kind of honesty and immediacy that just can’t be found elsewhere. I don’t really know. Whatever the case, Gozum’s got plenty to say, and he’s going to keep saying it.
* * *
By Richard Bolisay
There is greatness that goes without saying; greatness that only gets vaguer when explained, when detailed, when someone comes to its defense; greatness, considering the meaning of the word slowly becoming obsolete, that is liberating, emancipating.
For a film like Anacbanua to be made speaks of the times, of the reality that multiplies itself as much as fiction does. The young poet returns to his roots to have himself healed — to free himself from the angst that he feels, the spiritual sickness that grips him as he dreads the materiality of the mundane.
What does he find? What does he not find? What else has changed? What else can change? Filmmaker Christopher Gozum films images the way an impressionist painter dabs his brush on his tableau, not only careful to achieve the effect he wants, but also careless to discover an exciting mistake.
Remember what the pensive Emmeline Fox says in The Crimson Petal and the White? “I think we’re moving towards such a strange time. A time when all our moral choices will be complicated and compromised by our love of progress.” And if she said that in a book taking place in the 1870s, could she also say the same thing now? Now as ever?
Imagine her saying: “Love exists; and now it is as painful as death, as slippery as memory, as lonely as a falling leaf.” Yet, in Anacbanua, love exists, and it is indeed as painful as death, as slippery as memory, and as lonely as a falling leaf. It has the courage of others and the heart of just one — the dead star’s glimmer before it bids goodbye, before it succumbs to that progress. Pronouncements never really make sense upon reflection, but for the heck of it: Anacbanua not only completes a year; it crowns a decade.
Heroes are characters who, in the face of danger and adversity or from a position of weakness, display courage and the will for self-sacrifice – that is, heroism – for some greater good, originally of martial courage or excellence but extended to more general moral excellence.
The Philippines is a country of heroes. Heroism, however, shouldn’t be stereotyped or limited to the likes of Lapu Lapu, Rizal, Bonifacio, Melchora Aquino, Sultan Muhammad Kudarat, and Ninoy Aquino. We have many unsung heroes who deserve praise for their acts of sacrifice and heroism — saving lives, fighting for freedom, morality, principles, and Filipino ideals, overcoming poverty, physical handicaps, and other barriers, reaching out to help others. We can also draw inspiration from them — simple folks who made a difference in their own and other people’s lives.
We should not forget the heroism of Sajid Bulig, Emilio Advincula, Rona Mahilum, Ma. Fe Sotelo, and just recently Efren Peñaflorida, Jr. There are countless other little known heroes (most of whom remain nameless and faceless). Filipinos all. Heroes all!
As a Pangasinense and an advocate for the preservation of culture and arts, I was delighted to discover a different kind of hero right in my province.
This hero of the arts is Christopher Gozum, a diasporic independent Filipino filmmaker who uses filmmaking to do his share in preserving and saving the Pangasinan language, literature and culture. Most notable among his works is Anacbanua (Child of the Sun), the first full-length movie in Pangasinan. Anacbanua was shot entirely in Pangasinan and based on the Pangasinan anlong (poems) of Santiago Villafania, Melchor Orpilla, and Erwin Fernandez. The movie had its Philippine premiere at the 11th Cinemanila International Film Festival (2009) where it received the Digital Lokal Lino Brocka Grand Prize (Best Film) and Digital Lokal Best Director Award. The movie has also been screened at the 16th Filipino American Cine Festival 2009 in San Francisco and the Stranger Than Cinema section of the 2010 Jeonju International Film Festival in South Korea.
I have not personally met Christopher Gozum, but he astounded me with his experiences and insights during our Skype conversations and email interviews.
He was born on December 11, 1976 and raised in Bayambang, Pangasinan. He comes from a loving, close-knit, and God-fearing Catholic family; his mother belongs to a family of hardworking farmers while his father comes from a family of teachers and public servants. Gozum’s parents are both public school teachers.
As far as he knows, Gozum is the only artist in both his maternal and paternal clans. As a college freshman in Baguio in 1993, he serendipitously attended a lecture on film appreciation conducted by the Cultural Center of the Philippines (CCP) during the Baguio Arts Festival. The event kindled his passion for the arts. There he met independent filmmakers like Angel Velasco Shaw, Neil Daza, and Kidlat Tahimik. He saw the classic movie A Clockwork Orange, directed by Stanley Kubrick, which made an instant impact on him. The next school year, Gozum transferred to the University of the Philippines, Diliman campus, in Quezon City, shifting from Journalism to a Bachelor of Arts in Film.
As a member of Ulupan na Pansiansiya’y Salitan Pangasinan (an association composed of writers, artists, and advocates for the preservation of the Pangasinan language), Christopher Gozum noted the absence of audio-visual media like music, films, and TV programs in the regional languages. He observed, too, that the audio-visual packages produced by the major media companies normally based in Metro Manila are mostly in Tagalog or English. He saw a need to show that we are a multi-cultural nation by showcasing other ethno-linguistic communities like the Pangasinenses. In the process, he reckons, there will be more balanced growth and development among Philippine regions from the point of view of culture and language.
To fund his films he became a migrant worker in Saudi Arabia, where he worked as — what else — a videographer.
In 2007, he founded Sine Caboloan, a film production company committed to producing cutting-edge independent digital feature films about Pangasinan and its people, both in the homeland and in diaspora.
The word “Caboloan” refers to the ancient name of the Pangasinan region which used to cover the present-day Pangasinan province and several towns of Tarlac, Zambales and La Union. The root word of Caboloan is “bolo” — a special species of bamboo which used to grow abundantly in the interior plains of the ancient Pangasinan region. Sine Caboloan also passionately advocates the use of the indigenous language in the region – Pangasinan. Sine Caboloan is currently preparing for its two new full-length feature projects, namely Insipan Ya Dalin (The Promised Land) scheduled for 2010 to 2011, and Impanbilay na Sakey Aripuen (The Life and Times of a Slave) which will run from 2010 until 2016.
Christopher Gozum’s filmmaking style is ascetic and highly minimalistic. For the two digital films produced by his film company, Sine Caboloan, he has worked with very little or no budget, minimal crew, and digital cameras. He goes for the bare essentials of filmmaking. For example, in Anacbanua, critics noted that his film “employs both documentary realism and aesthetic surrealism.” Gozum gathers inspiration from the works of film masters like Ishmael Bernal, Michelangelo Antonioni, Ingmar Bergman, Yasuhiro Ozu, Kohei Oguri, and Andrei Tarkovsky.
Gozum won two Palanca Awards for Literature in 2001 and 2002 for his two full-length plays War Booty and The Pasyon of Pedro Calosa and the Tayug Colorum Uprising of 1931, respectively. He is an alumnus of the 2006 Asian Film Academy fellowship program (AFA) in Pusan, South Korea, where he attended a series of filmmaking workshops, took a mentoring program in directing, and produced a short film with renowned Asian film directors and young Asian filmmakers.
His filmography as a director includes Charlie Brown, Ti Panagwayaan nga Misyon (The Independence Mission), Lakaran (The Pilgrim’s Journey), The Calling, Surreal Random MMS Texts para ed Ina, Agui, tan Kaamong ya Makakailiw ed Sika: Gurgurlis ed Banua (Surreal Random MMS Texts for a Mother, a Sister and a Wife who longs for You: Landscape with Figures) – which won him the Ishmael Bernal Award for Most Outstanding Young Filipino Filmmaker during the 10th Cinemanila International Film Festival in 2008 – not to mention the award-winning Anacbanua (The Child of the Sun).
With heroes like Christopher Gozum, Pangasinenses can be assured that the Pangasinan language will continue to be alive and kicking for years to come.
The future of Pangasinan filmmaking
June 27, 2009
By Erwin S. Fernandez
(Editor’s note: Erwin Fernandez is a historian and freelance writer who had interest in deepening his understanding of Pangasinan prehistoric and pre-Hispanic culture and civilization. He is currently attending an archaeological field school at the University of Illinois at Chicago through a scholarship award by the American Council of Learned Societies and the Luce Foundation. Excluding the interview, this article is delivered as introduction to the first screening in Pangasinan of this film at SM City Rosales on June 10, 2009 in the event called “Pamabulaslas: Showcasing Pangasinan in time for Independence Day.”)
It was April 2008 when I received an email from Christopher Gozum although I already encountered him in February in our yahoo group, which I moderate. We have common interest, which is the promotion of Pangasinan language and culture in our respective fields – his work is filmmaking while mine deals with literary and historical researches. It was coincidental that when he was attending the 2006 Asian Film Academy in Pusan, South Korea, I was also there but in Gwangju participating in the 1st Asia Youth Culture Academy.
Born and raised in Bayambang, Chris Gozum is a prizewinning filmmaker who had two Palanca awards to his credit for his plays. Surreal Random MMS Texts para ed Ina, Agui, tan Kaamong ya Makaiiliw ed Sika: Gurgurlis ed Banua (Surreal Random MMS Texts for a Mother, a Sister and a Wife who longs for You: Landscape with Figures) is the fifth in the list of his filmography. Released last year it won the Ismael Bernal Award for Young Cinema during the 10th Cinemanila International Film Festival.
The film is a 15-minute short experimental production in which eighty percent of the footages were taken by a Nokia mobile phone camera while the rest consisted of moving images of an eye surgery by a microscope video camera. Founder of an independent film outfit, the Sine Caboloan, he became the all-around producer, director, editor and scorer of this film. The film is a sort of diary of his thoughts and life as a Filipino overseas worker in the Middle East dedicated to his family in Pangasinan. Divided into four segments, the non-linear narrative uses the translation in Pangasinan of a poem of Binalonan-born writer and activist Carlos Bulosan and the eye surgery as the unifying element.
A film is worth a thousand meanings and, in this film Chris Gozum is not keen to circumscribing its kabaliksan, pakatalos. To those uncomfortable seeing an eye operation, it serves a purpose to the plot and motive. According to Chris, “…the eye surgery we see in the short film is actually performed in the ophthalmology field for a corrective purpose. They are done by the surgeon to improve the patient’s poor vision or to save the patient from further blindness. The eye you see in this film may represent my sight or my vision.”
But the sight is not only his. It is the sight of all Pangasinenses who are being blinded and, thus, could not see the beauty of their culture and their language. Hopefully, with this film, their eyes cured and restored could appreciate what our ancestors had seen. It also means that with their eyes corrected to see Pangasinan in its true form and relevance, there is hope that this film is not and will never be the last. And that Chris blazed the path of Pangasinan filmmaking toward the liberating future.
Here is the transcript of my virtual interview with Chris Gozum to enable everyone to have a view of the director’s mind.
What made you decide to make a film using the Pangasinan language? Is using the language intentional? Or is it an up-to-the-last-minute change in the plan because dubbing in English is possible?
This short experimental film (Surreal Random MMS Texts para ed Ina, Agui, tan Kaamong ya Makaiiliw ed Sika: Gurgurlis ed Banua) is the first in a series of digital films I am producing under my own independent film company called Sine Caboloan. In 2007, I decided to establish this independent film production outfit whose main aim is to produce cutting edge digital films that utilizes Pangasinan, my native language, as a medium to communicate my ideas as a writer-filmmaker who comes from this region in the Philippines.
Recently, for almost four or five years already, I realized that in order to be more sincere, authentic, and honest, I had to situate my cinematic stories in the Pangasinan heartland and communicate them in the mother tongue I have known since birth. So, everything you see and hear in this short experimental film is aligned to Sine Caboloan’s aim of promoting the Pangasinan language in audio-visual media like the cinema.
When did you come up with doing this film?
In December 2007, I purchased for the first time a new Nokia mobile phone with built-in camera. At this point, I have toyed with the idea of coming up with a short experimental film using it. But I did not go through the conventional filmmaking process where at the outset the author has a clear concept of which he writes down into a script. For this short film, I went through a more “organic” process. At the onset, I wanted to make a short film about my life and thoughts as a Filipino migrant worker in the Middle East. And I am fully aware that I only have a mobile phone camera with me, found footages, and a professional video editing software as my resources to finish the short film. So I have to structure my material within my limited resources.
Why Carlos Bulosan’s Landscape in Figures? How does the poem capture the emotions that your short film wanted to convey about the Filipino Diaspora?
I became a fan of the writer Carlos Bulosan after reading his novel America is in the Heart in 2000. In fact, I have written a 500-page screenplay adapting this great novel’s Depression-era storyline interweaving it with the narrative thread of F. Sionil Jose’s novel Po-on set in the late Spanish Period, and the actual historical narrative of the Tayug Colorum Uprising in the thirties in Eastern Pangasinan. The script is called Agkal-kalautang (Wandering). Also, I identify with him because he is an intellectual from Pangasinan with lower class origins.
I believe his poem Landscape with Figures which is intentionally translated in Pangasinan and used as an audio narration in this film encapsulates the varied layers of emotions and experiences of a Filipino migrant worker either in Depression/post-Depression era America or the present-day oil rich countries of the Middle East. Although the poem was written way back in 1942, I believe it is a timeless piece.
Aside from saving time and money, why did you use photos as collage to portray the OFW experience? How did you come up with this technique?
At the start, I was already conceiving of a short film that does away with straightforward and closed narratives we see in mainstream Filipino filmmaking and even in the so-called emerging independent Filipino cinema. I was conceiving of a fragmented, open, non-linear, abstract, and reflexive short film that would show my life and thoughts as a migrant Filipino worker in the Middle East. I have to choose a style and consider a working method/process that will fit into the limited filmmaking resources that I have taking also into account the restrictions on filmmaking in the foreign country where I live.
As a follow up to the previous question, what or who inspired you to use that technique?
As I have mentioned, the style/technique and working method/process we see on it came out organically taking into great consideration the limited filmmaking resources that I have. No other filmmaker gave me the idea although many of the techniques you see in this project are no longer new. We see them in many experimental films from Europe as early as the 1920’s. I think I have a very instinctive and improvisational approach when I was making this project. There was really no structure in terms of a full-fledged script that I had to refer to during the entire filmmaking process.
What is surreal about the film? What does the “eye” or the operation itself serve? Is the “eye” a metaphor and for what?
What is surreal is the randomness of the images – the way they are placed or juxtaposed together to present a story. Really I am not comfortable explaining the meanings of the images I put in my films. Let the audience decide what meaning/s he will associate with them. But anyhow, the eye surgery we see is actually performed in the ophthalmology field for a corrective purpose. They are done by the surgeon to improve the patient’s poor vision or to save the patient from further blindness. The eye you see in this film may represent my sight or my vision. It is I guess in this light I wish the audiences to understand the symbol of the eye images in this short film.
With this release of your film, however modest it is, how will you gauge Pangasinan film-making in the coming years?
We need to develop a local creative pool of talents within Pangasinan – filmmakers, actors, etc. We also need to chart and develop distribution networks like schools and universities, local cable television stations, and regional television stations where independent Pangasinan films may be shown to the people. Currently, English and Tagalog-language media dominate the traditional and bigger media institutions within Pangasinan. But there are alternative venues/platforms like the Internet where we can broadcast media with Pangasinan language content with relative freedom.
I am hopeful that in the next few years, more Pangasinenses especially young people will get to see my films in their schools, or in local cable television stations, or in regional television stations like ABS CBN Dagupan, or even in movie theaters inside the big shopping malls in Pangasinan.
We also need to reach out to our fellow Pangasinenses in Metro Manila and abroad, the so-called Pangasinan diaspora where I am also a part of, so charting and developing our distribution networks through non-traditional platforms like the Internet and other alternative channels is also vital.
I hope more Pangasinan filmmakers will come out to make films about our people and our community narrating their stories in our indigenous language. I believe I am the only Pangasinan filmmaker doing this right now.
Your films are part of a larger phenomenon in Philippine film – the success of independent filmmakers. How will you assess its growth and contribution to the vibrancy of Philippine film industry today and in the future?
The Philippine film industry is not my reference point, which means I don’t consider my current works alongside my future works to be a part of the Philippine film industry. I also do not consider my current and future works to be a part of this emerging Philippine independent cinema movement. The term independent cinema or “indie” in the Philippine context is, I believe, a problematic and abused term that really does not embody the spirit, vision, mode of production, and aesthetics of a “free” cinema movement in our country. Moreover, the emerging Philippine independent cinema movement alongside its counterpart, the Philippine film industry, already in existence since the 1930’s, are actually two Manila-based and Tagalog-centric culture industries that are not really representative of the cultural and linguistic diversity of the entire Philippine nation. The output of these two culture industries are mostly Tagalog language media. Films presented in other Philippine languages or are made from and by filmmakers from the “regions” have little or no room for these two monolithic culture industries.
I am an outsider to the mainstream Philippine film industry and also consider myself an outsider to the so-called emergent Philippine independent cinema movement. I will not be bothered if the mainstream Philippine film industry eventually fizzles out or independent filmmakers from Metro Manila making a digital film in Sulu are abducted and eventually beheaded by the Abu Sayyaf. Will these people even care if we from Pangasinan totally lose our ethno-linguistic pride and our children stop speaking the indigenous language of our ancestors because of uneven cultural development in our country?
I believe the continued dominance of Tagalog-language mass media not just in Pangasinan but in other non-Tagalog communities as well is detrimental to the progressive cultural development of our people in the region. I feel there is a great need to counter this phenomenon by creating more audio-visual media like films that will be accessible and available to many of our people in Pangasinan. This is now my concern and advocacy as a Pangasinan filmmaker. I wanted to see more young people, including my children, see more Pangasinan audio-visual media like digital films, and be proud of our distinct identity and our indigenous language whose beauty I am starting to rediscover.
33rd Gawad Urian nominees (2010)
The Arrival, Erik Matti
Bakal Boys, Apogee Production with Queen Bessie, LLC
Colorum, Wild Cayote Pictures
Engkwentro, Pepe Diokno
Himpapawid, Pelikula Red, Pacific Film Partners, Ignite Media and Butch Jimenez
Hospital Boat, Skyweaver Productions, Hydeout Entertainment and Alchemy of Vision & Light
Kinatay, Swift Production and Centerstage Production
Lola, Swift Production and Centerstage Production
Last Supper No. 3, Veronica Velasco, Pablo Biglang-awa, Jr. and John Silva
Ang Panggagahasa kay Fe, Women’s Crisis Center
John Steffan Ballesteros, Colorum
Pepe Diokno, Engkwentro
Ralston Jover, Bakal Boys
Erik Matti, The Arrival
Arnel Mardoquio, Hospital Boat
Brillante Mendoza, Kinatay
Brillante Mendoza, Lola
Raymond Red, Himpapawid
GB Sampedro, Astig
Veronica B. Velasco, Last Supper No. 3
Alvin Yapan, Ang Panggagahasa kay Fe
Linda Casimiro, Lola
Pepe Diokno, Engkwentro
Christopher Gozum, Anacbanua
Armando Lao, Biyaheng Lupa
Armando Lao, Kinatay
Erik Matti, The Arrival
Raymond Red, Himpapawid
Veronica B. Velasco and Jinky Laurel, Last Supper No. 3
Alvin Yapan, Ang Panggagahasa kay Fe
Raul Arellano, Himpapawid
Allen Dizon, Dukot
Dwight Gaston, The Arrival
John Lloyd Cruz, In My Life
Coco Martin, Kinatay
Joey Paras, Last Supper
Felix Roco, Engkwentro
Alfred Vargas, Colorum
Lou Veloso, Colorum
Jacky Woo, Walang Hanggang Paalam
Irma Adlawan, Ang Panggagahasa kay Fe
Janice de Belen, Last Viewing
Iza Calzado, Dukot
Rustica Carpio, Lola
Eugene Domingo, Kimi Dora
Anita Linda, Lola
Che Ramos, Mangatyanan
Rosanna Roces, Wanted Border
Vilma Santos, In My Life
Tessie Tomas, Sanglaan
Best Supporting Actor
John Arcilla, Himpapawid
Dennis Ascalon, The Arrival
Soliman Cruz, Himpapawid
Milton Dionson, The Arrival
Jose Ma. Javellana, Colorum
John Regala, Kinatay
Jake Roxas, Walang Hanggang Paalam
Ariel Ureta, Kimi Dora
Best Supporting Actress
Gina Alajar, Dukot
Glaiza de Castro, Astig
Jea Lyka Cinco, Hospital Boat
Maria Isabel Lopez, Kinatay
Gina Pareno, Baseco Bakal Boys
Marissa Sue Prado, Himpapawid
Miriam Quiambao, Kimi Dora
Dimples Romana, In My Life
Best Production Design
Bryan Bajado, Hospital Boat
Deans V. Habal, Bakal Boys
Brillante Mendoza, Kinatay
Brillante Mendoza, Lola
Danny Red, Himpapawid
Digo Ricio, Independencia
Mic Tatad and Giselle Andres, Last Supper No. 3
Dax Canedo, Hospital Boat
Ruben H. Dela Cruz, Bakal Boys
Neil Daza, Engkwentro
Odyssey Flores, Kinatay
Odyssey Flores, Lola
Sol Garcia, Ang Panggagahasa kay Fe
Joni Guttierez, Anacbanua
Jeanne Lapoirie, Independencia
Raymond Red, Himpapawid
John Steffan Ballesteros, Colorum
Jay Halili, Biyaheng Lupa
Raymond Red, Dave Hukom and Jay Halili, Himpapawid
Kats Serraon, Kinatay
Kats Serraon, Lola
Orlean Tan, Ralph Crisostomo and Miko Araneta, Engkwentro
Borgy Torre and Ronald Banawa, The Arrival
Veronica B. Velasco and Pablo Biglang-awa, Jr., Last Supper No. 3
Teresa Barrazo, Kinatay
Dan Gil, Last Supper No. 3
Lutgardo Labad, Independencia
Gauss Obenza, Hospital Boat
Francisbrew Reyes, Dinig Sana Kita
Francis de Veyra, The Arrival
Ditoy Aguila, Himpapawid
Mark Locsin, Bakal Boys
Albert Michael Idioma, Kinatay
Albert Michael Idioma and Addiss Tabong, Lola
Mark Laccay, Engkwentro
Andrew Millalos and Mike Idioma, Last Supper No. 3