Ay, is Cinematheque Center Iloilo still there?

By Noel Galon de Leon

After reading a post by a writer friend who is also a doctor about Cinematheque Center Iloilo, I found myself asking what the role of cinematheque centers in the regions really is today, especially here in Iloilo. I began to reflect and revisit memories of when that space once had life. It became difficult not to compare what it used to be and what it has become.

“Cinematheque Center Iloilo, Ginalangawan na kamo, sala pa ang schedule sang inyo films. Ano natabo?” The line was simple but sharp. It carried no attempt at politeness and went straight to the point.

I may not know the full context of what led to that statement, but the frustration behind it felt undeniable. Perhaps he went there expecting a film that was not shown or a schedule that failed him. But beyond that, it seemed like he was pointing to something deeper.

It reminded me of how Cinematheque Center Iloilo used to be part of many meaningful initiatives before. It was not just a screening venue but a partner in film education and cultural work. There was a sense then that it had direction and purpose.

Back then, the Cinematheque was not a dormant or forgotten place. There were discussions after screenings and workshops that gathered different kinds of people. The space felt alive because it encouraged participation.

When I shared this with another friend, his response was even more alarming. He thought the Cinematheque had already shut down years ago. That kind of assumption reveals more than simple ignorance.

It made me realize that the problem is not only about the lack of audience. It is also about disappearing from public consciousness. When people stop remembering that you exist, you have already begun to fail.

There is now a sense that the institution has settled into merely existing. It screens films whether or not anyone shows up. That routine feels mechanical and empty.

Cinema is not just about projecting images onto a screen. It is a shared experience that depends on the presence of an audience. Without that, the act becomes hollow.

This is why it is important to revisit the mandate of the Film Development Council of the Philippines. The FDCP was created to develop film culture across the country, not just in major cities. Cinematheques are meant to carry that responsibility.

They are supposed to support filmmakers, educate audiences, and expand access to cinema. They exist to bring films closer to people, especially those outside commercial centers. That role requires active engagement, not passive operation.

At present, it seems that this mandate is only partially fulfilled. Screening films alone does not build a film culture. It only creates the illusion of activity.

The Cinematheque is also facing a reality that cannot be ignored. Social media now dominates people’s attention. Streaming platforms have made films accessible without effort.

People no longer feel the need to go out of their way to watch a film. The experience has become private and convenient. This shift has changed audience behavior in fundamental ways.

Because of this, the Cinematheque cannot rely on outdated methods. It has to rethink how it attracts and engages people. It has to justify why anyone should come at all.

One obvious direction is to bring cinema closer to communities. Open air screenings in barangays and public spaces can make films more accessible. Not everyone is willing to travel just to watch something.

There is also value in building partnerships with schools and universities. Formal collaborations can create a steady audience base. They can also integrate film into educational programs.

Beyond screenings, the Cinematheque must reclaim its role as a creative space. Workshops in filmmaking, cinematography, and screenwriting can attract participation. These activities allow people to engage with cinema beyond watching.

Film criticism workshops can also deepen audience understanding. When people learn how to analyze films, their appreciation becomes more meaningful. It encourages dialogue rather than passive consumption.

I also remember when the Cinematheque hosted art exhibits and poetry readings. Those events expanded its identity beyond cinema. They turned it into a broader cultural hub.

There is no reason why that cannot happen again. The space can be opened to various groups and collectives. Allowing them to use it freely can bring new energy.

The Cinematheque should also position itself as the home of regional films. Local filmmakers need a platform that commercial cinemas will not provide. This is where the institution becomes necessary.

If it fails to support regional cinema, it neglects one of its core purposes. That responsibility cannot simply be ignored. It is central to its existence.

It may also be useful to form sectoral groups that can help shape its programs. Artists, educators, and community members can contribute ideas. This can lead to more relevant and grounded initiatives.

This is not just about attendance numbers. It is about whether the Cinematheque still has meaning in the community. Its existence must be felt, not assumed.

Keeping the doors open is not enough if no one walks in. There must be reasons for people to return. Relevance requires effort and intention.

If nothing changes, it will continue to fade from public awareness. Not because cinema has lost its value, but because the institution failed to connect. That is the real danger.

I do not believe the situation is beyond repair. The space still exists and so does its potential. What it needs is a willingness to act.

The question now is whether Cinematheque Iloilo is ready to confront its stagnation. It must decide whether to remain a silent, underused space. Or become once again a place where cinema is alive and shared.

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Noel Galon de Leon is a writer and professor at the University of the Philippines Visayas, where he teaches in the Division of Professional Education and at UP High School in Iloilo. He is also the Secretary of the National Commission for Culture and the Arts-National Committee on Literary Arts.