The Philippine Daily Inquirer made a good analysis on the essence of MMFF in the present times in its issue yesterday on January 02, 2011.In part, it said:
“The MMFF was created at a time when, even as the Filipino film industry was still one of the most vibrant in the world, there was the ever-present fear of Hollywood imports swamping local theaters. The festival was designed as a breathing space for homegrown cinema to catch up with the foreign juggernaut. It had none of the gloss and hype of Hollywood; so, to level the playing field—for a few days, at least, and by way of a government-mandated policy of exclusivity and protectionism—the MMFF freed local movies from having to compete with imports on those blatantly commercial terms.
It’s fair enough, then, to ask the local film industry: What has it given the state—the public whose taxes bankroll its annual extravaganza—in return? If the MMFF was meant to showcase the best that local film artists could come up with, how has it happened that the crop of entries year in and year out now have come down mostly to a sorry crop of tired, unfunny sequels, rehashes, retreads and regurgitations that, strangely, do manage—always—to make it to the final cut?
In the bargain between the state rearranging policy to help the local film industry, and the industry churning out better movies in return, the increasingly irrelevant MMFF makes it clear which side has come up monumentally short.”