So I braved the rains to watch another indie - Joel Ruiz's "Baby Angelo" at the Robinson's Galleria.
A fetus well over his first trimester is found buried in the rubble of a garbage dump beside an apartment block. This discovery becomes catalyst to a series of events that gradually hones in on the seemingly humdrum lives of the occupants of Genevieve Homes. In almost glacial pace, we are introduced to a bevy of characters whose personalities are gradually shaped by piece meal vignettes: a landlady who fends to and polices her tenement, a social welfare employee who dotes on his curiously lazy wife, a geriatric who regularly snags provision (soup, food, fruits, flowers) from a mysterious benefactor, a failed medical student and his devoted limpwrist brother, an Indian couple, and – let’s not forget – the happy-go-lucky girls of Room 1F who pollutes the tenement all day long with gratingly bad Karaoke ballads. When a “local” investigation ensues, this multitude of characters begins to unravel into more complex individuals. At the heart of this fact-finding exploration is Bong (Jojit Lorenzo) who is tasked to interrogate the aforementioned. Will they ever find the answers to the mystery surrounding Baby Angelo’s origin?
The first thing that catches your attention about this film is the exquisite photography coupled with a commodious color tone. If at first there is something to complain about this decision to employ an almost monochromatic palette, it gradually becomes obvious that this was setting a cinematic milieu that would help focus the viewer’s attention more on the richness of characters co-habiting in this apartment complex. Soon, these denizens seemed to deserve separate movies of their own. As its narrative winds into a tentative close, the utterly slow middle part of the movie begins to bristle and brew, and each character experiences a degree of metamorphosis, ironically capped by a scene involving a cheerful free make-up session within the tenement. Suddenly, the dour Genevieve Homes transforms into an environment in dire need of colors and make-overs, regardless of how glib and desultory – and superficial – they may be.
To be honest about it, I was fidgeting as the movie draws into its first hour. There were so many individual stories told, but there wasn’t a lot of stuff happening. The lives of the characters seem to fall into an abysmal routine – the boring daily grind of people stuck in their dismal, mediocre lives. And who wants to watch that? But the last 15 minutes or so surprises, as events unravel – for everyone! Suddenly, there’s a flash of inspiration that moves the events. Things happen and situations radically change. Then we are back to where it all started – the garbage! The movie ends and I was thinking, hmmm… how very French! If you’ve seen most of the movies being screened at the current French Film Festival, you will know what I mean.
The performances are topnotch, most notable are Jojit Lorenzo (was never fond of him before), Diana Malahay (who was mediocre in “Tukso” but registers strongly here) and Katherine Luna (Gosh! Now I remember how great she was in “Babae sa Breakwater”).
Then I remember that this is from the same director who megged the cerebral short film, “Mansyon” – and I feel it’s about time that Joel Ruiz fields a full length film at a commercial cinema. After all, IMHO, what is a good filmmaker if he can’t even offer his work to a commercial public. What does a Lav Diaz mean to a film enthusiast like me if I’d need to go to Brussels or France to suffer his 16-hour masterpieces? LOL. His contributions to Philippine cinema becomes absolutely nothing to a Pinoy like me since he seems to prefer to exhibit his works anywhere but the Philippines (except of course those once in a blue moon elitist local film festivals).
Now back to Mansyon, which was a personal favorite during that Cinemalaya season - THAT was also very Frenchy. Very sophisticated – a tightly woven piece of cinema.
I have several trivial questions though about “Baby Angelo” (BA). Were all the actors tasked to learn those creepy jukebox ballads? If BA was a Joel Lamangan flick, would Bong ride into the sunset with Apple? Would Lamangan make Lisa own up to dumping the fetus? Me thinks she friggin has to. LOL. Does Mr. Noel’s entrepreneurial skills involve the ladies of Room 1F? Does Joel Ruiz watch a lot of French films? The answers could be somewhere in the dumpster.
17 comments:
was at the french film fest too. what movies did you enjoy?
Cathy, the issue is one hundred percent of cinemas are owned by businessmen. Filmmakers like Lav Diaz are making films for culture but they are at the mercy of theater owners/business people who think of nothing but profit. Profit is their motive, they are not showing films for culture. Would they dare choose Lav Diaz films if profit is what they have in mind?
Hi Elise,
Though I agree that what gets shown in commercial screens is mostly dictated by businessman, reputable and well intentioned artists should never give up on their countrymen… and they have!
For about a decade, it’s easy to generalize that they have given up on their local audience. These film makers gear up instead for exhibitions overseas for more palatable concerns: travel, international exposure, etc. What does that make them, but self serving personalities. I don’t take that against them, but I won’t shower them accolades either. Besides, the concept of artists “making films for culture” is highly debatable.
These people, believed to be smarter than most, should apply their resourcefulness; they should be as cunning in peddling their works to commercial cinema operator. There should be a way of getting around such hurdles. Unfortunately, (as I've said) they have mostly given up. It is sad.
As a patron of films and cinematic art, this regional defeatism won’t get a thumbs up from me. :( Ganun naman pala, let’s turn our backs then?
Dear Cathy,
Kasing haba yata ng Lav Diaz film ang sagot ko, hehe. So here goes:
Lav by the way is a very close friend so I am in his defense. We actually both like your blog, and your courage and determination to come up with your critiques. I just have to react to this.
For one, let me show you a link which proves that some of his films generally are banned here in the Philippines and can only be screened in UP Theater and in CCP.
http://www.pep.ph/guide/indie/2735/lav-diaz%92s-quotencantosquot-rated-x-by-mtrcb
There should also be a struggle to seek good cinema. Kasi unang una, sa labanan pa lang, talo na ang filmmaker, wala silang sinehan. And they just happen to be 'invited' abroad. The answer actually to you is clearly shown in his latest film "Siglo ng pagluluwal" where his character "Homer" said: 'I do not make films for festivals; I make films for cinema.' If you wish to watch this film, I myself can furnish you a copy.
To propagate good cinema, the audience MUST also be part of the struggle because in the first place, businessmen has a say to theaters, in this case-talo na ang filmmaker lalo na siya kasi 6-12 hours ba naman ang pelikula niya. Zero profit talaga and he survives mainly by grants given to him. Sana ma-educate kayo sa issue ng struggle ng artists. If I buy what you say that he makes cinema for recognition abroad, he should have a producer then, but how come he stills produces his own films out of his own money and is continuing to live as a starving artist?
By the way, he paid P15,000 just for his film 'Heremias' to be shown in UP Theater and P30,000 for Melancholia and Encantos and you know what? Only 15-30 people came to watch. Were you part of them? His film 'Siglo ng Pagluluwal' was shown (and even won Grand Jury Prize) in Cinemanila last November. Did you come to watch? For .Mov, his film 'Elehiya sa dumalaw mula sa rebolusyon' had a premiere and again, there are no more than 20 people in the theater. And P30,000 is blood money for him. If he is after profit, he could have been driving his own Benz now. Sa screenings pa lang sa UP Theater, you see, talo na siya. Yet he still struggles to have them shown here in the Philippines by paying out of his own money; Yet struggling that he is, he is perpetually and is continuously making films.
So there should also be a struggle from you, as an audience albeit his films running for 6-12 hours. If you are a true lover of cinema,you should also have a struggle in looking for his films. Quoting Lav Diaz himself, "A responsible audience must also seek good and pure cinema. If you are really a lover of good cinema, seek good films, hindi yung ilalatag sa iyo. Nagbago na ang konsepto ng audience ngayon. Kaya ka nga gumagawa dahil hindi tumatalikod sa struggle. Kung tumalikod sa struggle then that's when I start making films for commercial purposes."
We wish you could be part of the struggle; there's a need to educate our so-called audience, 'our' people. We need your help. Serious filmmakers need your help by doing so.
I hope I made my point clear Cathy. Thank you for your insights by the way.
Elise,
I have seen quite a few of Lav Diaz’s films – “Hubad sa Ilalim ng Buwan”, “Ang Kriminal ng Barrio Concepcion”, “Batang Westside”, “Hesus Rebolusyonario” – and though I’m not going to recommend his inclination for overly long movies, I absolutely adored “Batang Westside”. His segment – “Nang Matapos ang Ulan” – for the omnibus “Imahenasyon” was even one of my picks for the omnibus.
There are a few things I don’t subscribe in this discussion. There’s a niggling sense of arrogance in imposing a degree of struggle in seeking good films. My personal cause is the tired “Tangkilikin ang Pelikulang Pilipino”, thus I watch every single commercial films shown; a demeanor that gets unbearable sometimes. The logic behind this is simple: this is an industry that feeds a subcommunity that depends on it. Lav Diaz clearly doesn’t benefit from this group, but no one can say it’s an unworthy cause.
That Mr. Diaz disposed this much money; that he sacrificed sweat, blood and tears is unfortunately none of our concerns as an audience though I sympathize with Lav’s troubles, and all that I can offer are minor criticisms against the powers that be: MTRCB, CEB – institutions who bastardize artists’ causes. You can bet on it that when he gets a screening, I’d pay for an admission – IF I knew about them!
But my main concern is whether a movie I paid to see is worth the admission price or not. I like Lav Diaz’s works, but the venue and time of his screenings are too limited. No one knew of “Pagluwal’s screening except the 30 people who came. You should tell Tikoy to be nicer to reporters so they give him space. :) I am kidding. It’s even more cavalier, almost insolent, to say that “sana ma educate kayo sa struggle ng artists”. I don’t think the audience needs to be educated about artists’ struggles. That, to my mind, is never part of patronage of the arts. It is good to know, but we don’t need to know it. Everyone struggles for something. I don’t need to know Da Vinci’s struggles to paint the Mona Lisa, nor of Michaelangelo’s sacrifices to sculpt David, do I? To patronize local work, I should not be compelled to do more for the artists. I will come if it is there, unless I am not aware of it being there. Then that isn’t my problem anymore. Besides, how many local films released in 2011 have you seen? Were you in the audience to any of the 80 local movies shown? Tit for tat.
Despite all the difficulties you mentioned, I salute Diaz for his perseverance and – obviously - for his brilliance in the visual medium. I would be thrilled to get hold or watch his “Siglo…” one day. But this brings me to the general point that I mentioned before: artists who give up on the local audience deserve no thumbs up from me. If this isn’t Lav, that’s even better because he’s really a rare cinematic gem. But who am I anyway. It’s just me and that’s that!
Here’s a promise: the next time Lav Diaz screens a film, I will scour all the tabloids for the venue and time; I will move travels abroad (if that’s possible) to see his work again.
If I may take part in this conversation...
I agree with Cathy. I adore all these award-winning filmmakers. And I watch their films if they're available in my neighborhood, if fortunately I knew about them.
I am a filmmaker myself. I love the arts. I know how it feels when you are not patronized. I may be not as great as Lav or Brillante or whoever, but I know their struggle, and in fact, I am in that struggle too.
But I don't subscribe to the idea of "educating" anyone to patronize my works. I hate it when filmmakers act like hobos, begging for patronization from local moviegoers, lalo pa't hindi naman libre hindi ba?
If you want certain people to watch your film, cater to them.
if you want to make films for festivals abroad, you adjust your approach in doing your film.
if you want to make films for "culture," you adjust your approach too.
if you want to make films for the general public, you adjust to them too.
yes there will be compromise. film is communication. every communication process requires compromise, coz if there will be no compromise, communication will not be clear.
would you speak chinese to a german and expect the german to fall in love with you?
would you drop big scientific terms to explain the circulatory system to grade 3 students?
would you show a sad art film to a fun-seeking "escapist" audience and expect them to praise and patronize you?
blaming the businessmen isn't just right. it's their business. they adjust to whatever makes people pay and come inside the theater. filmmakers don't pay for the electricity, the equipment, the maintenance, etc. of the theater. it is fair that they seek for return of investment. it's not like theaters were just pulled out of the businessman's ass.
at this stage, it will be surprising to find an art filmmaker who still doesn't see how it works currently. parang literature lang. the deep, artsy, "cultural" works are not that patronized compared to pop culture works like Bob Ong books. it's just the same in film, and it is surprising to find art filmmakers baffled whenever "foreign film festivals appreciate my film but people from my own country don't"
no one should be educating anyone. kanya-kanyang market. koreans didn't have to teach the world how to speak korean, but slowly the world patronized korean pop music. why? simple because korea knows how to compromise. they push for their language, but compromise a bit regarding music... as a result, bam! path to world domination.
-Jason L.
Jason:
I absolutely enjoyed reading your comment. I was placing your name and realized why you “rang a bell” so to speak. Two things: those artistic photos of the male figure (I get to see you often when I research for photos of actors who have movies that get reviewed here); and “Astro Mayabang”, which I enjoyed (though I had a few issues with the conclusion)! Having said that, I have to declare that “Astro…” gave you a well deserved niche in the film making business.
Now back to the topic at hand. I liked your use of “compromise”. I wanted to use that term from my last reply but eventually decided against it. Some film makers, the ones who believe that they’re the “real artists”, i.e. the “good” ones - feel they should not compromise. I feel they should too. It’s not “selling out”, but listening! Thus I echo your thoughts: Film is communication. Every communication process requires compromise because if there’s none, It creates a “void”; becomes unclear. It’s like marriage: communication and compromise have to take part in this artist-audience relationship. It’s even like sex between partners. It can’t all be about the pleasures of just one.
I feel that it’s extreme to expect your audience to “struggle” to find good art. I’d rather not brave the far reaches of a cave just to find good art; or dig a hole – like I’m scouring for gold – just to enjoy the pleasures of a genius. If I were to put such struggle, then I might as well make this artful specimen myself. Artists should put it out there; advertise it; spread the word. Don’t keep it a secret. After all, art with no audience is akin to artistic masturbation. It just isn’t all that fun enjoying the pleasures by your lonesome.
I will get my so-called “education” on my own, without anyone imposing it on me. It’s a democratic world. More importantly, I am shelling out my own money to patronize such works. Re: commercial operators, it’s actually refreshing to paint a realistic side to this business. It is true; money spent has to be earned back. I just wish they would also learn to compromise.
World domination, Jason? Seriously? :)
world domination, yes. :) believe you me. it's only a matter of time. koreans are great copycats and will stop at nothing to outdo those whom they copy.
re: astro mayabang. yeah, sorry about the many flaws. it was my first full length, first time to work with named actors, first time to be the boss of a larger crew, first time to hold big amounts of money, at a tender age. but i've learned a lot during the experience and i hope i can do better in my next feature. if things fail for me this 2012, I might try to get in New York Film Academy next year
sadly, "fans" of my male form photography have googled me too often because, well, self-grat. :D but i'm really a culture worker from my hometown (using media as vehicle to "promote culture and language") and an NCCA Cinema Committee Regional Rep.
sorry about talking about myself in this post. :D
Jason:
You’re “weird”. :) You apologize for your artistic choices; you want to get disconsolately hurt by my “mean” opinions? I am not mean; I am honest! Haha. Don’t worry about it. I know what I am exactly. Kidding aside, I am merely grateful to the very few local flicks that “respect” my sensibilities.
I sent you a short message in your “tempest jaz” yahoo mail (from your profile). Otherwise, I won’t be able to reply here without making it public. As I told Skilty (mod of Pinoy Rebyu), I’d rather not publish my personal email address here because I get enough hate mails here to last me a couple of years. It's a swell place to be. They want my head on a silver platter, then feed me to the ants of Madagascar. It's so exciting!
Culture is a good thing to delve into. Poverty of this nation disallows it to truly soar and flourish. It's sad. Good luck with your future projects. :)
haha, not really the artistic choices, but i see a lot of aspects that could've been done better, but they weren't, because of, well, production excuses.
I actually only recently discovered your blog. ONe time, I actually spent almost the WHOLE DAY in front of my PC reading your past entries... I may not agree with some of your criticisms but I find a lot of entries hilarious, the way you choose your words. I especially like it when you bash a half-baked pink film hahahahaha.
and i can imagine your hesitation when you tell the ticket lady that you're buying one ticket to, say, "Masikip sa Tatlo," hahaha, and then having to overcome your shame when people see you coming outside of the cinema, freshly exposed from all those jiggling penises. but that's just my imagination :D
A whole day of reading about MY miseries? LOL. Figured, if I was having such a lousy time, I’d rather have fun writing about them. Besides, I’m more of a frustrated stand up comedienne… the sexy stiletto-heeled variety. Haha. Am kidding of course.
And no, it isn’t your imagination. I always dread those Pink Film cinema excursions from the buying of the ticket to the inevitable waltz outside the cinema. Buti na lang, one my BFFs is a (gorgeous gay) guy. Kyle keeps nudging me to place photos of those unknown indie actors – “that way, your readers know who you’re writing about”.
The occasional research takes me to a hundred pink blogs which employ many of your photographic works. (You should be quite a celebrity where your photos are concerned.) For this blog, I prefer having a bit of a magazine style, thus there’s plenty of photos. It keeps the tedium of reading through my whines to a bare minimum. Did you notice some of your photos here? I’m sure there are some – so this is the perfect opportunity to thank you for them. Haha
The best thing about blogging is that it isn't journalism; it's personal. I can say "I" most of the time, instead of "we". I can curse, I can huff and puff. I also don't expect people to agree with my thoughts - as long as they don't impose their beliefs to me.
And thanks for enjoying my bashes. I’m sure Crisaldo Pablo is tickled “pink”.
i do get informed that a lot of my male photographs get featured in sexy blogs, but i haven't seen them here. well, probably since those male models i photograph aren't really actors but pageant contests here in my hometown and aspiring models... it's my way of promoting them since a lot of directors, agents, etc. tune in to my works..
in many occasions, i have given free acting workshops to those who like acting. in exchange, i get to cast them for free when i make my short films or features.
i have also "advised" several of them to be wary of offers from Manila. some of them kasi think na porke galing Manila ang offer e prestigious na. more often than not, they're trying to cast them in -- wait for it -- brainless pink films, what else. so whenever they get offers, they consult with me muna.
a lot of times, when watching a Regal film like Temptation Island, I see a lot of models I've shot here in Pampanga, doing cameo appearances or delivering minor lines. :)
The internet has become an effective tool for self promotion. I don't have anything against prospective actors peddling themselves and cooking up interest so they get noticed. I can give a dozen names who started from mere sexy poses who are now considered actors/actress. I'm even aware of a few names who rose from amateur sex videos becoming viral. Now, they're actors. Even Lino Brocka proteges employed such tack back in the 80's - thus his actors would be seen in the skimpiest trunks from one magazine to the next.
Unfortunately, the buck stops with their ability to perform on screen. Looking good isn't the lone criteria to work in the film business. Good example: Jeff Luna. High voltage screen presence; unbelievably flat affect on screen.
It's always good to extend a hand to others. You'll get to heaven for doing so. Haha. Anyway, here's hoping you get more film projects. And I'll continue being "mean". :)
ID'NAL is showing soon. and I'm sure you'll be watching it... Two of the actors there, I know informally (Anton Nolasco and Eirik Cruz). can't wait for the review!
Hey maybe you should write a screenplay... kinda like a parody of popular local pink films... kinda like what Scary Movie does to popular Hollywood films. you'll be the perfect screenwriter for that!
Has Id’nal been rated by MTRCB? I will watch once it gets its commercial run, surely. Can’t say though that I’m looking forward to it.
G.A. Villafuerte’s “Bahid” didn’t exactly blaze the artistic trail. Is “Id’nal” special in any way? I know Anton Nolasco; he and his movies (“Masikip sa Tatlo”, “Tiyo Pablo”) are among the most heavily googled and searched items in Blush, I don’t know why? When the page hits came to my blogsite, I was surprised and had to take a second look at Nolasco. I don’t get Nolasco’s appeal at all; why he seems to send some quarters (or is it the pink set alone) in a frenzy. Maybe you can tell me. Eirik Cruz was in a film – “Bunso” - that didn’t get a commercial run, di ba? Other than that, I don’t remember him from other titles.
Ayan, once their film gets shown, I won’t need to research for their photos. I have you for their photos. Budget: zero! :) Am kidding!
Re: scriptwriting, I’m nothing more than the perfect film watcher, is more like it. Haha. I don’t see myself writing scripts. I’m a better backseat driver, thus my dad hires a driver for me. And Manong Romy loves me to bits thus confirming I’m not the “meanie” my readers think I am. Wink! Wink!
@laxi and cathy pena:
salamat sa mga magagandang opinyon sa taas. hindi ko ma-stress ng mas madiin sa mga kadebate ko na may mga "artsy" films kuno na sadyang....(insert synonym for "mind numbingly boring" here) eh. kaya gagamitin ko yung iba niyong comments. hehe.
kiwi
@ kiwi:
But "mind numbingly boring" is a very valid adjective. Go use it! :)
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