INDEPENDENT filmmaking is a really personal thing for the director. There are no concrete rules aside from the fact that he really must love what he is doing. He assembles a team composed of believers who are dedicated and willing to work for free. He is incredibly resourceful and considers his contacts as his most treasured commodities.

Most importantly, he has a celluloid narrative to tell and the determination to see it projected on the big screen.

The result is a low-budget film with no paid superstars-and, for Raymond Red, a Palme D'Or at the Cannes International Film Festival!

Since ''Anino'' is independently produced by Raymond, he tell us, ''I decide when to say, 'Cut!' or if we have to pack up the shoot or if we want to take a coffee break and make chitchat. All the people who worked with me had a pure heart and they believed in what we were doing. There was no intention to show it in any festival.''

It was just a coincidence that Raymond joined Cannes. He saw the website, entered his film, and the rest was history.

During the Code Red forum at the UP Film Center last June 22, Raymond was asked why he came up with a good work and still does not get support and recognition he deserves. For the record, Raymond used his personal money to fund his film and attend Cannes. He asked for a subsidy to travel but his request was turned down.

Straightforwardly, he says to the audience, ''I don't even cope with it. In 'Anino,' you see facets of me in those characters: desperation of just wanting to do something decent and honest. For some reason, you are not supported but you just go on and keep moving.''

He continues, ''I have stayed an independent all these years. There are ups and downs and you just have to live with them. I don't force or expect people to love my film or love me. I just want them to react and be absorbed by it. To me, as long as there is a reaction, I am successful.''

Until now, his expenditures are skyrocketing for there are many requests for screenings and invitations to attend festivals. He has to make more prints and ship preview tapes abroad. ''Hindi ko akalain na ganito pala. Akala ko pag nanalo ka, yayaman ka, hindi pala--lalong nabubutas ang bulsa ko.'' (Cannes has no cash prize.)

Then, a UP student in the audience surprised everyone by going up the stage to give Raymond a business card of Alberto Lina, chairman of Federal Express. ''On behalf of the man on this card I am presenting to you, I think he'll be happy to support you, Fed Ex-wise,'' states Lina's daughter to the delight of the audience.

Raymond jokingly responded, ''We wouldn't mind being shipped to Cannes next year by Fed Ex.''

While comparing Raymond's first serious 25-minute experimental short, ''Magpakailanman'' (1983) and his most recent 13-minute surreal narrative, ''Anino,'' one sees a semblance of common themes. There were similar patterns of the lead characters (Jon Red, Ronnie Lazaro) looking for a decent job and respect from society, going to church to look for a savior, stealing and offering money as forms of corruption and the weak colliding with abusive authorities.

''Anino'' in particular showed common themes among Third World countries: poverty, the widening gap of the rich and poor, and the abuse of power.

What was welcoming in this film was the fact that, even if the characters were poor and destitute, they were happy with their lives.

Ronnie Lazaro's character was very disturbed and troubled. He was a symbol of conscience and his camera was his eye.

''These people are just asking for equal respect. They are not saying they want wealth. They are human beings happy with their lives. They need respect and equal opportunity to exist in society,'' shares Raymond.

Since the Palme d'Or winner arrived from France, he has been attending tributes, screenings and receptions given to him by various organizations and institutions. Mostly, it is about celebrating: a lot of patting on the back, firm handshakes and vague insinuations--but nothing definite. ''We are happy that we won but it is sad that suddenly, people are listening and offering things. Many years ago, I told my wife, maybe the only way we can make people listen to us is to win an award. Siguro kailangan sa Cannes pa tayo manalo for them to watch our films,'' he shares.

True enough, there is even interest in ''Anino'' being shown on television. ''Mas nangangailangan ng tulong ngayon ang mga emerging young filmmakers. Sila yung hindi pa naku-cultivate,'' Raymond adds.

The roots of these independent filmmakers have sprung up from institutions like the UP Film Center, Mowelfund Film Institute, CCP, Geothe Institute, universities like UP, La Salle and Ateneo and embassy-sponsored workshops. Somehow, these filmmakers have converged and supported one another. They have come to know of each other's existence and have come to cooperate.

Independent filmmakers are the renegades of the industry. They do not belong to the mainstream. In most cases, they work outside of the studio system. For them, making films is an art form to convey a very important message to an audience.

They want the audience to think and to react on the problems being depicted on the silver screen.

Box-office success is not their primary concern. That is why most independently-produced films can be critically acclaimed but can flop at the box office, making theater owners ''allergic'' to independently-produced films.

Most of the time, these films do not get good booking dates and are victims of a silent policy known as ''first day, last day.'' If your film does not reach the quota of box-office receipts set by the theater owner on the first day, rest assured that it will be not be screened on the following days.

Raymond has stopped making feature length films for the past seven years because no legitimate producer would take a risk on his low batting average at the box office.

''The most important for me now is to show 'Anino' here,'' he admits. ''Anino' was shown during the Manila Film Week. It ran several times a day before Bernal's 'Manila By Night.' That to me is more than enough as a reward. Outside the Philippines, the reaction is overwhelming. I am flooded by e-mail to exhibit the film in festivals abroad,'' reveals Raymond. ('Anino' was also screened at the French filmfest and Cinemanila at Shangri-La Plaza Mall.)

Asian director John Woo, who has conquered Hollywood, said in an interview in Projections seven years ago, ''Personal art films have a lot more substance than most big-budget studio productions. If we could take some of that independent spirit and combine it with big-budget film financing, we could probably find the niche where a filmmaker can best express himself to a large audience.'' Very true.

While surfing the internet, I came across http:/www.filmfestivals.com/ and to my great awe saw a news article from the Philippines (June 21-28 edition). The headline was ''Philippines Launches Movie Industry'' and the article said in part, ''The Philippine government, headed by president (and former actor) Joseph Estrada has created the Film Industry Working Task Force. The goal is to create plans for producing Philippine movies that will compete on the global market.'' It sounds too good to be true.

A talented visionary like Raymond is in dire need of support from the private sector and the government to enable him continue making his films. We look forward to seeing his future masterpieces in local theaters.