Philippine Pop Culture — Films
Unlocking the Gates of Fear: Can Pinoy Horror Compete Internationally?
By: Jazmine Antonio, 4P5
Over the past years, Filipino horror movies have either progressed their plots or regressed into a predictable storyline. With the rise of different concepts for certain horror films, Filipino horror often revolves around culture, folklore, and mythologies, making them a knack of entertainment to fellow Filipinos, yet seen as dull by movie critics. Asian horror has emerged as a challenge in offering audiences a fresh perspective from rich cultural traditions (Cheng & Natividad, 2015). Similarly, Filipino horror, despite its limited production budget (Hill, 2010, as cited in Ramilo et al., 2015), still occupies a unique space, blending Western and Asian influences (Diño-Seguerra, 2021). From this, let’s delve into the world of horror and see if Pinoy horror can actually compete with international standards.
Filipino horror films embody a fusion of Asian and Western plots. According to Cheng and Natividad (2015), Western horror films often use psychological terror and supernatural entities to capture their audience’s fear, while Asian horror explores deeper spiritual themes and folklore. Pinoy horror, in essence, seamlessly integrates these elements by drawing inspiration from local superstitions rooted deeply in religion, myths, and urban legends (Diño-Seguerra, 2021; Valdes, 2017). An example of this would be the ever-famous films like “Feng Shui (2004)” and “Sukob (2006),” both grappling with ancient curses and malevolent spirits. Even the “Shake, Rattle, and Roll“ anthology, which debuted in 1984, continued its legacy with the latest installment, “Shake, Rattle, and Roll Extreme,“ released in 2023. Besides movies, we also have the award-winning horror/crime comic book series, “Trese (2021),” about Philippine mythology’s creatures and monsters.
It’s undeniable that our horror films lack the fear factor that can truly make a person’s heart race and jump from their seats. The feeling of being scared at night — turning the light off then running back to your bed right after — remains missing in many Filipino horror productions. However, Filipinos are drawn to the content and themes of our horror stories and films because they offer an imaginative way to look into our ancestral superstitions and beliefs that haunted our childhood. These narratives spark the imagination of Filipinos and captivate the viewers, even if they fall short in producing good cinematography due to a lack of production budget.
When it comes to the cinematography of our horror films, let’s admit that we can’t achieve the same level as international movies like “The Conjuring (2013)” and “Insidious (2010)” film series, and “The Babadook (2014).” Horror enthusiasts are drawn to these films because they envision the closest to reality: summoning demons and engaging with malevolent spirits (Yang and Zhang, 2021). Moreover, many international horror films delve into psychological terror, such as “Orphan (2009),” “Midsommar (2019),” and the latest “Saltburn (2023),” which test the boundaries of the audience’s minds through horror, gothic thriller, and suspense. From this, we can all see that international or Western horror films have larger budgets for accessing modern or high-quality technology and equipment to create a fearful movie. They have better camera work, lighting, visual effects, and overall aesthetic quality. In contrast, Pinoy horror sometimes lacks exposure to improved cinematography and techniques, making it challenging to pursue better production and giving off the impression of an eerie film.
Despite the limited production budget of Filipino horror films (Hill, 2010 as cited in Ramilo et al., 2015), I believe that there are local productions that have the potential to compete internationally, such as “Eerie (2018).” This film significantly impacted me, sending shivers down my spine and giving goosebumps all over my body. Its appeal lies in its relatable factor to Filipino audiences, drawing into the common experience of attending a Catholic school, that is rumored as either a former cemetery or a soldier hideout during WWI or WWII. The difference of the movie “Eerie (2018)” from other Pinoy films is its distinction as the first Filipino horror to have partnered with an international co-production partner (Villafuerte, 2018). This film was produced by Star Cinema in collaboration with Singapore’s 108 Media. This partnership undoubtedly contributed to the film’s quality and success, bolstering its popularity locally and globally.
Another local horror film that captured the chills of Pinoys is “Clarita (2019),” which showcased the first-ever case of demonic possession in the Philippines (ABS-CBN Corporation, 2019). This movie was based on a true story, making it popular with the masses. However, while I found the film compelling, certain elements of its cinematography, such as the smoke symbolizing the demon’s presence and the predictable jumpscares, all diminish its overall impact. Comparing “Eerie (2018)” and “Clarita (2019),” both films excel in portraying terror and presenting experiences the viewers can resonate with; however, “Eerie (2018)” may be one of the Pinoy horror movies to be finely produced with quality cinematography, effectively evoking fear and anxiety. I believe that if more movies like this are produced, then Pinoy horror may have the potential to compete internationally. Nonetheless, both “Eerie (2018)” and “Clarita (2019)” contribute significantly to the growing body of quality Filipino horror cinema or film, which offers a distinct perspective on fear, terror, and supernatural encounters.
Filipino horror has a rich history, and we can build on that legacy to truly make it stand out globally. By drawing inspiration from classic Pinoy horror films and constantly pushing the boundaries with innovative production, we can create truly terrifying experiences. Marketing these films effectively will bring them to a wider audience. However, the key to success lies in a unique blend of reality-based horror and a deep connection to Filipino folklore, culture, and mythologies. This will not only resonate with local viewers but also intrigue international audiences, establishing Filipino horror as a distinct and powerful force. I hope that in reaching our potential to be remembered in the field of film production, we will still preserve the essence of being Filipino by staying connected to the roots we grew up with. Lastly, I also hope that our cinematic endeavors not only entertain but also educate and inspire Filipinos to carry forward the legacy of our storytelling for generations to come.
References:
ABS-CBN Corporation. (2019). The mystery in Asia’s first demonic possession in the film “Clarita.” ABS-CBN. https://www.abs-cbn.com/newsroom/news-releases/2019/7/5/the-mystery-in-asias-first-demonic-possession-in?lang=en
Cheng, D. R., & Natividad, A. (2015, October 25). East meets West: Horror cinema across cultures. Vantage. https://vantage.theguidon.com/east-meets-west-horror-cinema-across-cultures/
Diño-Seguerra, L. (2021, October 31). Unleashing (Pinoy) horror to the world. Film Development Council of the Philippines. https://fdcp.ph/updates/unleashing-pinoy-horror-world
Ramilo, G. (2015). The analysis between international and local horror films as perceived by freshmen students of Mapua Institute of Technology SY 2014–2015. Academia.edu. https://www.academia.edu/11287489/The_Analysis_between_International_and_Local_Horror_Films_as_perceived_by_Freshmen_Students_of_Mapua_Institute_of_Technology_SY_2014_2015?source=swp_share
Valdes, J. (2017, October 28). Crossfader’s week of horror: Filipino horror films — film features. Merry-Go-Round Magazine. https://merrygoroundmagazine.com/crossfaders-week-horror-filipino-horror-films/
Villafuerte, S. (2018, October 15). Shaping the scare in Filipino horror cinema. Purveyr. https://purveyr.com/2018/10/15/shaping-the-scare-in-filipino-horror-cinema/
Yang, H., & Zhang, K. (2021, October 26). The psychology behind why we love (or hate) horror. Harvard Business Review; Ascend. https://hbr.org/2021/10/the-psychology-behind-why-we-love-or-hate-horror
