From Cells at Work! to Philippine Cinema: Lessons for Industry Growth
I have always been a movie enthusiast. There was a time in my life when watching films was my weekly ritual, whether with a friend or solo. I indulged in international film festivals and local indie screenings, finding joy in the immersive world of cinema. However, with the rise of streaming services like Netflix and other on-demand digital platforms offering a vast selection of films at a fraction of the cost, my visits to movie houses became increasingly rare.
That changed last Friday when a movie aficionado officemate successfully convinced me to step into a cinema again. As I walked past the posters at SM Megamall, I was thrilled to see that Cells at Work!, the movie that was recommended to me, had been a box office hit in Japan. It earned over $2.4 million in its opening weekend, drawing in massive audiences who appreciated its unique blend of entertainment and education. In the Philippines, the film was screened in SM cinemas nationwide!
I knew I couldn’t miss Cells at Work!—especially after hearing its wildly creative plot. I was not disappointed. It was unlike anything I had ever seen—both hilarious and educational at the same time! Originally a Japanese anime and manga series created by Akane Shimizu, Cells at Work! brings human biology to life by personifying cells and showcasing their roles in maintaining health and fighting diseases. With its unique blend of humor, action, and scientific accuracy, the series transforms complex medical concepts into an engaging and entertaining adventure.
The story primarily follows a diligent Red Blood Cell (AE3803) and a stoic White Blood Cell (U-1146) as they navigate through the human body, encountering various threats such as bacteria, viruses, and injuries. The anime creatively educates viewers on immunology and bodily functions, presenting complex scientific concepts in an accessible and engaging manner. The series’ unique blend of education and entertainment has resonated with audiences worldwide, proving the potential of storytelling to bridge knowledge and creativity.
The success of Cells at Work! is just one example of how dynamic and influential the Japanese film industry is. Japan boasts one of the largest and most diverse film industries in the world, producing a wide range of films that cover everything from historical epics to contemporary dramas, avant-garde indie films, and internationally acclaimed anime. The industry’s influence extends beyond its domestic market, with Japanese films and anime being widely distributed and celebrated in global festivals.
Japanese filmmakers are known for their meticulous cinematography, compelling storytelling, and deep cultural narratives that resonate with audiences worldwide. Akira Kurosawa’s epics like Seven Samurai (1954), widely regarded as one of the greatest films of all time, defined samurai cinema and influenced generations of filmmakers. Hayao Miyazaki’s Spirited Away (2001), which won the Academy Award for Best Animated Feature, introduced global audiences to the magic of Studio Ghibli. His latest film, The Boy and the Heron (2023), also won the Academy Award for Best Animated Feature, reaffirming his legacy as one of the greatest animators in history. Hirokazu Kore-eda’s Shoplifters (2018), winner of the prestigious Palme d’Or at the Cannes Film Festival, brought intimate family dramas to international acclaim. Meanwhile, advancements in animation, special effects, and digital cinematography continue to push the boundaries of filmmaking. Japan’s robust distribution networks and partnerships with international streaming platforms ensure that Japanese films reach audiences far beyond Asia. With talented actors, visionary directors, and a strong support system for the arts, Japan’s film industry remains one of the most vibrant and globally influential in the world.
Japan’s cinematic success is a testament to how strong storytelling, strategic market positioning, and industry support can propel a country’s film industry onto the global stage. This model of integrating artistic innovation with commercial viability offers valuable insights for other film industries, including the Philippines, where local filmmakers continue to carve out their space in an increasingly competitive market.
As the global entertainment landscape evolves, niche content and creative storytelling are finding new avenues for success. Films like Cells at Work! demonstrate how unique and innovative narratives can attract a loyal audience while seamlessly integrating education and entertainment. This approach highlights the potential for film industries worldwide—including the Philippines—to explore fresh perspectives, engage diverse markets, and expand their global footprint.
The Philippine cinema industry is rich in talent, creativity, and storytelling prowess. Despite facing structural challenges, particularly for micro, small, and medium enterprises (MSMEs) engaged in film production, it has made remarkable strides in both local and international markets. Filipino films have achieved significant milestones in terms of global market reach, box office success, and international recognition, proving that the country’s filmmakers are capable of competing on the world stage.
In recent years, several Filipino films have shattered box office records, demonstrating the growing commercial viability of local cinema. The 2024 romantic drama Hello, Love, Again, starring Kathryn Bernardo and Alden Richards, became the highest-grossing Filipino film of all time, surpassing the ₱1 billion mark globally, with earnings reaching ₱1.06 billion as of November 2024. This milestone highlighted the increasing appeal of Filipino films beyond domestic audiences. Similarly, Rewind (2023), starring Marian Rivera and Dingdong Dantes, set a new benchmark for success, earning ₱924 million and briefly holding the title of the highest-grossing local film. Meanwhile, Hello, Love, Goodbye (2019), another Kathryn Bernardo-Alden Richards collaboration, achieved a remarkable ₱880 million at the box office, further proving that well-crafted Filipino films can achieve financial success.
Notably, several independently produced Filipino films have also achieved remarkable success, despite limited funding, restricted access to distribution channels, and competition from major studios.
“Kita Kita” (2017), produced by Spring Films, a small independent company, is a romantic comedy featuring Alessandra de Rossi and Empoy Marquez that defied expectations by earning over ₱300 million, making it the highest-grossing Filipino independent film at the time.

One of the biggest independent film successes in Philippine history, Kita Kita was produced on a modest budget of ₱10 million—an amount far smaller than that of mainstream studio-backed films. Despite its limited resources, the film managed to capture the hearts of audiences and eventually became the highest-grossing Philippine independent film at the time.
Kita Kita’s success highlights key strategies that MSMEs in the film industry can adopt to overcome challenges:
Compelling Storytelling Over Budget – The film’s simple yet emotionally engaging plot captivated audiences, proving that a strong narrative can outshine expensive production values.
Efficient Budget Management – With a tight budget, the filmmakers maximized resources, choosing a scenic yet cost-effective setting (Sapporo, Japan) and a lean production team.
Smart Marketing and Distribution – Backed by Spring Films, the movie relied on word-of-mouth, targeted promotions, and strategic screenings to gain momentum.
Collaborations with Industry Veterans – Support from experienced producers like Bernal and Pascual provided credibility and market reach that independent films often struggle to achieve.
The success of Kita Kita paved the way for other independent films to gain mainstream recognition, proving that MSMEs in Philippine cinema can create commercially viable films despite financial limitations.
“Heneral Luna” (2015): Backed by the relatively small outfit Artikulo Uno Productions, this historical biopic about General Antonio Luna garnered both critical acclaim and commercial success, earning approximately ₱256 million. Its triumph underscored the audience’s appetite for quality storytelling, regardless of production scale.
“Ang Babae sa Septic Tank” (2011): This satirical comedy, produced with a modest budget, became a surprise hit, grossing ₱38.4 million. It offered a meta-commentary on the independent film industry itself, resonating with both critics and audiences.
The steady rise of Filipino blockbusters reflects an evolving market where locally produced films can compete with international releases. This growth has been fueled by strong audience support, strategic global distribution, and partnerships with international streaming platforms, ensuring that Filipino films reach audiences far beyond Asia.
Beyond commercial success, the Philippine film industry has earned international acclaim in prestigious film festivals and award-giving bodies. Brillante Mendoza’s Ma’ Rosa (2016) garnered worldwide attention when lead actress Jaclyn Jose won the Best Actress award at the Cannes Film Festival, making her the first Southeast Asian to receive the honor. Similarly, Lav Diaz’s The Woman Who Left (2016) won the coveted Golden Lion for Best Film at the Venice Film Festival, cementing Diaz’s reputation as a master of slow cinema. Erik Matti’s On the Job (2013) was another breakthrough, receiving critical acclaim at the Cannes Film Festival’s Directors’ Fortnight and later earning an Emmy nomination for its extended miniseries version.
These accolades highlight the depth and artistry of Filipino filmmakers who continue to tell compelling, socially relevant stories that resonate globally. By exploring themes of poverty, corruption, justice, and resilience, these films serve as both artistic triumphs and cultural commentaries, bringing Philippine narratives to international audiences.
Despite these successes, the Philippine film industry still faces significant challenges, particularly for independent filmmakers and MSMEs struggling with limited funding, high production costs, and fierce competition from Hollywood and Korean films. Government support through funding programs, tax incentives, and policies that promote local content is essential to sustaining the growth of the industry.
Additionally, advancements in digital filmmaking, streaming platforms, and international collaborations present new opportunities for Filipino filmmakers to expand their reach. Embracing these technological innovations while preserving the country’s unique storytelling traditions will be key to ensuring the sustainability of Philippine cinema. With a strong support system, strategic investments, and continued recognition on the global stage, Philippine cinema is well-positioned to thrive in an increasingly digital and competitive landscape