In the last ten years – as Hollywood movies continue to dominate the Philippine cultural landscape and the output of the Filipino mainstream movie industry continues to decline – the Philippines has seen a surge of films produced by so-called ' indie ' or independent filmmakers. Independent filmmakers, on the other hand, can do the same by grounding their filmic experiments on everyday Philippine realities. In mainstream productions, filmmakers can foster counter-hegemonic ideas by making use of genres already embraced by the masses, subtly subverting and re-inventing its form. By studying two recent films, one mainstream (Baler, 2008) and one independent (Ded na si Lolo, 2009), this paper will contend that Philippine cinema has finally come on its own. Lumbera in mapping the course that Philippine cinema is taking. It adopts as its primary framework the postcolonial theories of Renato Constantino and Bienvenido L. This paper suggests that today's generation of Filipino filmmakers are creating a film language that can counter the hegemonic aesthetics of Hollywood spectacles. The mainstream studios followed suit and began producing films with more substantial narratives and good production values. The new and more accessible digital film ― the medium of choice of the 21 st century independent filmmaker ― enabled filmmakers to experiment with different modes of storytelling, creating a film language that is new and refreshing to Filipino audiences. But from this seemingly uninspired state emerged a dynamic independent film community that began at the dawn of the new millennium. The hegemonic dominance of Hollywood has stunted Filipino movies from developing its own filmic identity and tradition.

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