The film is one of the oldest and well-known mediums of art around the world. A simple film roll compiled with an adjusted film rate revolutionized the boundaries of arts.  It became a part of us. It became a part of our history.

 

Each day, countless films and countless budgets are produced, whether it’s mainstream or independent cinema. Thus, most classics from the past (the 1930s–1990s) slowly fade out of existence. However, Western and Eastern cinema can preserve these films through film restoration. Notable works of Alfred Hitchcock, Stanley Kubrick, Akira Kurosawa, even the German propagandist Joseph Goebbels is still widely used/watched in the industry. But, what about the works of Manuel Silos, Manuel Conde, Ishmael Bernal, Lino Brocka, and Peque Gallaga? All of which received international recognition. Sure, most of them are National Artists, but do people know what they’ve contributed to the Philippine Wave Cinema? How many Filipinos can enumerate any films made by the artists at a snap of a finger? Or are they doomed to be forgotten?

         

Luckily, a beacon of hope emerges as the ABS-CBN Film Restoration, together with Central Digital Lab, continues to advocate preserving cinema classics in the Philippines. The advocacy project started in 2011, headed by Mr. Leo Katigbak. Since then, numerous classics are digitized and restored. For example, Peque Gallaga’s Oro Plata Mata, Manuel Silos’s Biyaya ng Lupa, or Himala by Ishmael Bernal, these films have been released and currently available on a wide range of platforms. But it is not easy, according to Mr. Katigbak.  The overall process of film restoration takes patience and commitment to finish a film. Old film reels must be refrigerated at a maintained temperature to preserve the frames. Every scratches, noise, tear, and color are carefully restored frame by frame, even some take years to get accomplished; Misteryo sa Tuwa is one example. Mr. Katigbak recalls how the film is one of the most challenging restorations they have done. He said that it reached a point where the copies are heavily damaged and deemed unrestorable.  Fortunately, Italy helped them restore the film. With all the help and composition, it took ABS-CBN Film Restoration 5 years to restore the film.

         

But why does Film restoration matter? What does it have to do with our lives as Filipinos? When asked, Mr. Katigbak responded: “The movies tell us not just who we are, what we do on screen, but it also speaks of our identity of some of our problems and some of our issues from the different eras.” 

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These films are like a time-capsule; it’s a basis of our history, culture, and traditions. For example, Lino Brocka’s Maynila: Sa mga Kuko ng Liwanag (1975) shows the struggles of the lower class during the Marcos Regime, or Ishmael Bernal’s Himala (1982), which reflects the Filipinos false idolatry towards politicians and superstitious beliefs.  Traditions in the film Misteryo sa Tuwa (1984), such as gatherings and harana in the province, reflect the usual norms during that era.  Mr. Katigbak also added: “So, whether it’s the political unrest during the Spanish – American War, or the political unrest of the 1970s before Martial Law was declared, or the political rebellion of the students in the 1960s because of what is happening, or the behavior of people in the provinces. Our movies as part of their milieu or as part of their backdrop show these kinds of scenes. So isa rin yan sa pwede pagkuhanan ng kabataan na: ‘ah ganiyan pala ang pamumuhay noon."

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          Despite existing film restoration labs and collaboration, Mr. Katigbak is still not satisfied with the current condition of Film restoration. He is saddened by the fact that classical films are neglected and not even half of the 8,000 films survive.  Thus, we forget to acknowledge the artists, writers, cinematographers, directors, production designers, who helped establish the Philippine Cinema. In a lot of instances, teachers also struggle to discuss or encourage Film appreciation to students without teaching old foreign films because most of the local copies/reel is in a bad condition. 

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          So, what happened to the ABS-CBN Film Restoration now? Last August 31, 2020, the ABS-CBN Film Restoration ceased its operation after The Congress denied the franchise renewal. Every plan from the project and funding stops. But according to Mr. Katigbak, the advocacy itself does not end.

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“The Sagip Pelikula advocacy…It’s an advocacy eh, we can continue the advocacy using the older movies…”

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        Despite the closure, the whole Sagip Pelikula is determined to find new ways to spread and educate fellow Filipinos in appreciating/promoting our culture.  

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         In the end, restoring films are significant in establishing our history. Films are not just films. Films are also the voice of activists, actors/actresses, directors, writers, cameramen, cinematographers, and the whole production. Forgetting these films is like forgetting our history. We must not forget the advocacy of these people who fought to tell their stories.

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         Today, Mr. Leo Katigbak continues to promote film restoration through their social media pages.  Once a month, ABS-CBN Film Restoration premieres restored films for free live viewing.  Mr. Katigbak also participates in countless film festivals such as Pista ng Pelikulang Pilipino, QCinema to continue his Sagip Pelikula advocacy.  Around 190 films were restored before the retrenchment and are now available on Amazon and Apple