Jasmine Curtis-Smith hurt on ‘Open Endings’ losing cinemas on Pride Month

Sapphic film faces shrinking cinemas yet sparks hope for global recognition, with Jasmine reflecting on Oscars, identity, and Filipino storytelling.

As “Open Endings,” a sapphic Filipino film, pushes for visibility during a time meant to celebrate LGBTQ+ stories, it is also quietly losing cinema screens.

It’s a Pride Month paradox that isn’t lost on Jasmine Curtis-Smith, one of the film’s lead actresses.

Jasmine acknowledged how the film’s theatrical run has gradually narrowed. “If the number of cinemas decreases, it really hurts our feelings,” she told radar Entertainment and a group of media reps at a recent gathering organized by the Film Academy of the Philippines. 

But the actress is quick to ground the disappointment in reality. She pointed out that the shifting habits of moviegoers, rising ticket prices, and the continued dominance of Western films all play a role in shaping what stays, and what disappears, on local screens.

“There are a lot of factors that we need to consider,” she said. “We also need to acknowledge the landscape of cinemas and moviegoers.”

Still, “Open Endings” is far from a defeat story. Jasmine pointed out that the film’s earlier screenings were sold out during its festival run, marking a significant milestone for a genre that rarely gets this level of exposure.

“It’s already a big step for a sapphic film to have a nationwide screening,” she said.

Support from independent and commercial cinemas has also helped sustain its run. She singled out Cinema 76 as a constant presence, alongside venues such as SM, Gaisano, and Estancia. “That’s it. Support from the film community and cinemas—we are thankful,” she said.

From shrinking screens, the conversation naturally shifts to bigger stages.

Jasmine acknowledged that the thought of an Oscars run for “Open Endings” has crossed her mind, especially after learning about the eligibility requirements. There is cautious optimism, tempered by practical realities, particularly the film’s planned streaming release, which could affect its chances.

“Of course, anything is possible,” she said. “But we’ll see what the plans are.”

If anything, the idea of awards recognition opens up a broader reflection on how far the Philippine film industry has come.

Jasmine recalled her experience with the Oscar campaign in 2013 for Paul Soriano’s “Transit” when she was just 19. Back then, there was little institutional support, and campaigns relied heavily on personal resources and connections.

“At that time, there were no grants. There was no help like this. You had to work hard,” she said.

Today, she noted, the landscape is changing, with government support making it more feasible for Filipino films to compete globally. “It’s nice to still be in the industry while that development is happening,” she added.

Yet for Jasmine, the ultimate goal remains simple and grounded.

Rather than chasing awards, she believes films should first speak authentically to their audience. “Let’s make a good movie and let it just come. A film will speak for itself,” she said.

That philosophy extends beyond borders. While rooted in Filipino identity, stories like “Open Endings” also have the potential to resonate with a global audience—including Filipinos abroad who may be searching for a deeper connection to their culture. “We always say, make it for the Filipinos,” she said. “But also make sure we can cater to the global audience.”

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