The Cinemalaya Philippine Independent Film Festival, or simply Cinemalaya, has been a fixture of the Philippine film industry. It has enlightened audiences from all walks of life on the Filipino experience. It has also been the primary avenue for Filipino storytellers to tell stories they otherwise wouldn’t be able to tell.

Having established and sustained this reputation for two decades, Cinemalaya champions films evoking ‘Reel Reflections’ for its 22nd iteration. This theme, which equates cinema with a mirror, is an apt description of every entry’s intent in this year’s Cinemalaya: to raise awareness of the Filipino’s plights and pains.

Purposeful message

The Bulakenyo term for fighting spiders is spun into a story of state violence and how it affects even the littlest and most distant. This 89-minute coming-of-age drama by JL Burgos is at its most effective when it refuses to look away. Immersed and very much aware, Burgos directs with such a clear familiarity.

This awareness is very evident behind the construction of the narrative feature, particularly in how it situates its young characters within circumstances larger than themselves. Condemning the military on top of protesting injustice, ‘Ganggang’ makes a persuasive argument for saying things as they are. Burgos does not conceal his politics beneath elaborate metaphor, because there is far more urgency in emphasizing his stances. Given this emphasis, ‘Ganggang’ cannot be misread or misinterpreted. 

Subtlety is indeed best for a film’s lasting power, but far less important during an increasingly hostile political climate. In a country where dissent is seen as disorder, the film’s blunt nature gives its message a clarity that feels purposeful. ‘Ganggang’ wants to enlighten, and it does so by portraying it from the eyes of innocent children. 

Harmonious cast 

The urgency innate in this film is further strengthened by the young cast. Raine Dela Cruz, Kenneth ‘Butchoy’ Vincent Mendoza, and Don Rishmond Cerbito share an easy chemistry that makes their collective presence feel natural and authentic. Prince España is also a terrifying presence as the school bully Anton. This harmony among the four is perhaps what keeps ‘Ganggang’ from becoming merely issue-driven. The cast’s strength is not really in individual showmanship, but rather how convincingly they function as a cohesive unit.

This is especially important because it prevents the children from simply being vessels for Burgos’ message. Even when the dialogue becomes overly didactic, the actors give ‘Ganggang’ an emotional grounding that does not render it purely declarative. 

The film ultimately finds strength in that conviction. Indeed, ‘Ganggang’ could not operate under the luxury of subtlety. Hence it is blatant, but sometimes a film needs to be blatant to create impact. And in these threatening times of intrusion, that should be the priority, for it gives ‘Ganggang’ its fangs. 

Further information

Cinemalaya 22: Reel Reflections ran from August 6 to 18, 2026. Organized by the Cultural Center of the Philippines, the film festival was screened at Shangri-La Plaza, Gateway Cineplex, and Ayala Malls Cinemas. 

Stay connected for more articles and updates by following us on Facebook, Instagram, and TikTok or visiting our website at hellomnl.com.