MMFF snubs Nora Aunor film

AFTER her controversial exclusion from the Malacanang Palace’s list of new National Artists, for being not so-good-enough-role-model for the country, the local entertainment’s lone superstar faced another rejection.


The Nora Aunor starrer political drama Whistleblower, which also stars Cherry Pie Picache, is no longer in the running as an MMFF (Metro Manila Film Festival) official entry after the festival committee selected  movies like Praybeyt Benjamin, Feng Shui, The Aswang Chronicles and Shake, Rattle and Roll (all have had their days in the festival) to be part of the annual film event in December. 

It’s not the first time that Ate Guy’s film failed to make the cut in the yuletide film fest. In 2012, the Brillante Mendoza-helmed Thy Womb was also rejected by the MMFF committee but three months after the official list was revealed, the film top-billed by Aunor as a barren Badjao midwife was announced part of the 38th MMFF. It took the slot vacated by Enchanted (Mga Kuwento Ni Lola Basyang), which was withdrawn by its producers due to major logistics issues.

If the producers of the fantasy film did not pull out their entry,  Thy Womb wouldn’t be part of the festival that year, and it wouldn’t become the most decorated entry during the film fest’s awards night.

It is as if the MMDA (Metropolitan Manila Development Authority) is missing the point again. They chose commercially viable films, which are devoid of quality, substance and entertainment appeal, and failed to support works of art that can educate and entertain the audience at the same time.  They let go of a film that tackles a very current and important issue.

In previous interviews, the director of Whistleblower related that his film centers on the life of high-profile personalities and their involvement in the filthy world of politics, massive corruption and other government problems.

Then again, what can we expect from the government agency tasked to clean up the metro and ease traffic jams in our major thoroughfares? In the same sensibility, what can we expect from a committee that advocates mediocrity and chooses rubbish films that treat moviegoers like idiots?

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