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Ang Nawawala (dir. Marie Jamora, 2012) and Rakenrol (dir. Quark Henares, 2011) are two coming-of-age feature films set in Manila’s indie rock scene. Because of their direct involvement in this scene, both indie directors hold the authenticity necessary for access to certain musical venues, artists, and stories. Yet, due to their personal and filmic storylines’ socioeconomic focus, both directors and their films disobediently listen to Philippine nationalist and international tropes of Filipino indie cinema and their political demands. This epilogue tracks these films’ participation in international film festivals alongside other forms of Manila indie rock culture’s (namely, touring bands) involvement in global U.S.-based music festivals. By instead shifting the focus to diy (do it yourself) musical events—such as shows and screenings not sponsored or organized by large indie cultural entities—that often fall under the institutional radar, this chapter ends with the promise of the “archipelagic” that Pinoy indie culture’s peregrinations offer.

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