Tag Archives: Rose Roque

CAMIRA Jury at Binisaya Film Festival 2015


For the second year in a row a CAMIRA Jury Prize was awarded at the Binisaya Film Festival in Cebu, Philippines. Binisaya is in its fifth year and is one of the country’s growing crop of regional film festivals. The festival began as a small showcase of local work amongst friends in 2009. It was an announcement of a new trend in Cebuano filmmaking and those who participated in that first edition are precisely those who make up the most well known contemporary Cebuano filmmakers: Remton Zuasola, Victor Villanueva, Christian Linaban and Keith Deligero (who is also the festival director). While each year the festival has faced new and increasing difficulties, particularly with regards to local funding assistance, Binisaya manages to improve and expand. This year Binisaya held three separate editions of the festival in major cities of the Philippines, Manila, Davao and Cebu, rendering it the biggest edition so far.


The festival also hosts a workshop each year with Filipino filmmakers. Last year the guest was experimental filmmaker John Torres and this year Jade Castro led a masterclass for the festival and the students at the University of San Carlos cinema program.


Generally Binisaya is a festival for Cebuano language films, but the last two years have seen the inclusion of an Asian Shorts section curated by Aiess Alonso, and it is here that the CAMIRA jury serves. This year the CAMIRA jury was composed of Adrian Mendizabal, Rose Roque and Paul Grant and awarded one jury prize along with a special mention.


For its capacity to represent the ethereal in-between states of history and future, distraction and presence, technology and body and above all waking and dreaming, that is, the capacity to reflect on the very qualities of cinema itself, the CAMIRA Jury special mention went to Davy Chou’s Cambodia 2099.


For its combination of humor and critique while engaging self-reflexively with Thailand’s central-peripheral issues and Cinema’s function as a critical and discursive space for deconstructing the territorial politics of a despotic regime the CAMIRA Jury Prize went to Sorayos Prapapan’s AUNTIE MAAM HAS NEVER HAD A PASSPORT.

Paul Grant