According to indiewire.com, Colma: The Muscial was the number three independent film this weekend, measured in money per screen.

It also got a pretty bitchin’ review in the Chronicle.

Unlike studio productions such as “Chicago” and “Dreamgirls,” however, “Colma” isn’t concerned about whether audiences will buy actors suddenly bursting into song. First-time director Richard Wong, who, on the strength of this effort ought to have a future in Hollywood, signals this in a vibrant opening scene of Billy, Rodel and Maribel crooning the praises of their hometown in the amusing “Colma Stays.” Wong makes use of a split screen here and numerous other times. Although long out of fashion, the technique works effectively in a wide-screen format.

There’s an amateurish let’s-put-on-a-show feel to much of what transpires. But instead of being off-putting, it’s rather endearing. That helps explain how an extremely low-budget indie with nobody anyone has heard of snagged a theatrical distribution deal instead of languishing at film festivals or going straight to DVD. (It also got a fresh edit, from which it no doubt benefited, by Oscar-winning editor Lisa Fruchtman.) The lion’s share of credit for its marketability belongs to Mendoza, whose script is obviously from the heart. He’s created characters young people should readily be able to identify with.

Despite this great start, the film’s still not been guaranteed a longer run in San Francisco, so you may have only two more days to see it.

So go do that.

You can read our interview with writer-composer-star H.P. Mendoza here.