But the film industry as a whole struggled with piracy and competition from Hollywood. Not until the early 2000s did independent film begin to flourish again.

With the introduction of digital technology, the costs of making a film dropped substantially. And with less money on the line, filmmakers and investors became more willing to experiment with different forms of storytelling.

“Digital technology virtually emancipated us,” said Mr. Diaz, who is known for his experimental slow-cinema style. “We own the medium now.”

Around the same time, finding the money to make new work became easier after the advent of several Philippine independent-film festivals.

In its first year, in 2005, the Cinemalaya Philippine Independent Film Festival received a flood of pitches from around the country, from Manila down to the southern island of Mindanao, for a program to help fund full-length features by young directors. Ten entrants were awarded grants of about $10,000 apiece — enough to cover roughly a quarter of the cost of a low-budget movie in the Philippines at the time.

“Before, it seemed like there was nothing more to learn about Filipino culture through film,” said Laurice Guillen, a veteran director and a founder of Cinemalaya. “But then the submissions starting coming in, and it was amazing. Most were stories that we had never heard of before.”