tag:blogger.com,1999:blog-69549805429502505932024-03-06T11:42:07.998+08:00Make Me BlushRant Space Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.comBlogger639125tag:blogger.com,1999:blog-6954980542950250593.post-52432382189434269332018-08-15T19:05:00.000+08:002018-08-17T11:24:54.741+08:00Roderick Lindayag's Dito Lang Ako - Shades of Mediocre and Nostalgia <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">In Nelia's mind, the 70's happened yesterday when the sweet-talking mechanic Delfin started to court her. He would show up where she worked, at a car accessories shop in Timog, and lavish her with attention - and <i>hopia </i>(bean-filled, mooncake-like pastry)<i>!</i> But yesterday happened 40 years ago.</span><br />
<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;"><br /></span><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">For the hard working lass, Delfin (<b>Jon Lucas</b>) was an enigma. He showered Nelia (<b>Michelle Vito</b>) with affection, but he would disappear for long spells without much of an explanation. Despite all these, Nelia ignored the charming shop owner's son Victor (<b>Akihiro Blanco</b>) with his own romantic agenda. One day, Delfin disappears again. Nelia eventually learns that Delfin is afflicted with leukemia. Nothing short of a miracle can save the strapping lad. As a last resort, Delfin's family decides to take him to the U.S. to seek further medical intervention. Nelia never heard from him again.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">As the years pass, an older Nelia (<b>Boots Anson Roa</b>) emerges from the ravages of time. Her memory intermittently takes her back to the tree outside the store where Delfin would usually meet her. She was willing to wait until he comes back again.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">There's a certain charm in its basic narrative structure. Nostalgia after all is a delectable cinematic tool that's hard to brush off. </span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">Unfortunately, there's little hint of artistic competence in telling the story. The whole production basically feels like a bad film thesis. It doesn't help that 70% of the scenes has "<b>Blade</b>" staring in your face, and shoving down your gut like an impacted stool. </span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">If product placements were a legitimate practice in movie making, this wasn't the way to go about it. As you leave the cinema, you've overloaded your senses with Blade, and you don't want anything to do with it until you're Nelia's ripe age.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">With a decent cast that also includes Freddie Webb, Rey PJ Abellana, DJ Durano, Roadfill, Garie Concepcion, and even James Deakin, the whole effort is a wasted opportunity. Michelle Vito and Jon Lucas are an adorable pair who work hard to make their flimsy excuse of a relationship look believable. Akihiro Blanco was the irrelevant third wheel. His character didn't have much traction. Parang <i>wala lang</i>! Remove him from the story, and it wouldn't make a difference.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">Using non-actors, which I presume included owners of the Blade shop, to perform different characters on screen was painful to watch. I'd rather have root canal than endure their stolid or overly dramatic turns. One, in particular, was the actor portraying Delfin's brother - and the surly mother! Another robotic cameo was turned in by the guy portraying Victor's dad who could hardly make his facial muscles move! It was like witnessing how "<b>cogwheel rigidity</b>" looks like - for people with Parkinson's Disease. Like Richard Yap, without the charm!</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">There were several ideas that could have worked but didn't - like the poetic bantering of Nelia and Delfin, which was short-lived. What horribly written lines! The side stories had shoddy treatment and didn't contribute to the movement of the story (an asthmatic father played by Rey PJ Abellana). It would have made Nelia's story richer and more engaging.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">If there was anything barely watchable about the film, it's the music video played at the credits, featuring the spirited cast taking turns singing the radio-friendly "<b>Iisang Pangarap</b>". In the music video, you'd find a relaxed cast monkeying around. Surely, the production didn't scrimp on its actors. And if you want to watch <b>James Deakin</b> shimmy a bit, this is a rare chance. Yes, Mr. Deakin, "<i>the Filipino is worth driving for</i>" - he's made to say it. But don't push it. We did not appreciate your fraternizing with the son of a tyrant who indeed pilfered the country's coffers, and tortured and killed thousands of Filipinos. There.</span><br />
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<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; white-space: pre-wrap;">As for the music video we were talking about, click on the <b>Youtube</b> link below. It's more entertaining than the movie itself. </span><br />
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<span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"><a href="https://www.youtube.com/watch?v=Xtleb-h7RUQ">https://www.youtube.com/watch?v=Xtleb-h7RUQ</a></span></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-87105291975087268072018-08-11T03:53:00.000+08:002018-08-12T19:55:21.602+08:00"School Service", "Mamang", "Kung Paano Hinihintay ang Dapithapon", "Musmos na Sumibol sa Gubat ng Digma" - Cinemalaya 2018 <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">"School Service" is director Louie Ignacio's most solid work to date. It's driven by a rattling good tale of a dysfunctional family of grifters who lives in a rundown, roving school service, abducting children along the way. The children are tasked to beg for money used to buy food and medicine for the ailing patriarch (Joe Gruta) and to pay off cops. </span><br />
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<span style="font-size: large;">With 6 unrelated children now in their fold, Rita (Ai ai delas Alas) is having a tough time managing their affairs. It doesn't help that elder brother Robert (Joel Lamangan) is hopelessly enraptured by his lover Kiko (Kevin Sagra), the driver, who's trying to convince Robert to sell the vehicle and run away with him. One day, while Rita is scouring the city with the children, Robert fails to return on time. Rita fears that her suspicion has finally come true. </span><br />
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<span style="font-size: large;">The film follows the daily routine of Rita's "family" as they brave the concrete jungle. I am reminded of a few movies: Ralston Jover's "Hamog" and Eduardo Roy's "Pamilya Ordinaryo" which tackled familiar ground of urban vagrancy. The scene of children sniffing rugby to ward off hunger was very familiar. </span><br />
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<span style="font-size: large;">The strength of the story is its unpredictability, as we're compelled to sit back and wait for things to unravel. It's hard to double guess the string of events, and you're left wondering. Life in the big city can be harsh, and there are always extraneous factors that affect even the best laid plans. </span><br />
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<span style="font-size: large;">Some of the memorable scenes include Rita getting called out by a shop lady for her lies as she pretends to be physically debilitated; Robert trying to stop Kiko from smothering his sick father; and, finally, Rita chasing after little Maya who's stoned from sniffing glue. </span><br />
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<span style="font-size: large;">I have to mention Joel Lamangan's substantive portrayal.</span><br />
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<span style="font-size: large;">The first movie I wanted to watch for the festival was Denise O'Hara's "<b>Mamang</b>" - and I got lucky. I am not sure why this was highly anticipated, even by some of my friends who rarely watch indies. Maybe because Celeste Legaspi is one of the movers behind the unforgettable little MMFF movie that could - Loy Arcenas' "Ang Larawan". Legaspi has always been synonymous with quality. Think Barbra Streisand, Philippine version.</span><br />
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<span style="font-size: large;">"Mamang", however, was underwhelming. The protagonist's downspiraling cognitive skills seemed episodic at best. Like a tedious litany of the symptoms of dementia. In fact, there was a disconnect and I couldn't fully empathize with Mamang.</span><br />
<span style="font-size: large;"><br /></span><span style="font-family: inherit; font-size: large;">Part of this is Legaspi's uneven characterization. Make no mistake, she's a grand presence on screen, but there are stark inconsistencies with her character. She'd be surly one minute, then timid and blushing, and headstrong the next. She's like a brat acting out for her close up. And Norma Desmond is a solar system away from who Mamang should be.</span><br />
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<span style="font-family: inherit; font-size: large;">I am aware of the behavioral abnormalities associated with dementia: <span style="background-color: white;">depression, anxiety psychosis, </span><span style="background-color: white;">agitation</span><span style="background-color: white;">, aggression, disinhibition, and sleep disturbances. In their realms, the past crisscrosses with the present. I know. I've lived with a grandmother who suffered from it. This was one of the things that drew me to the movie.</span></span><br />
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white;">Sadly, it was a struggle to relate to this story. I am aware too that this was based on real events. So we're down to the writing. There was not enough tension to sustain my interest. Even her hallucinations (she gets a visit from a few characters - her dead husband, a constantly hungry soldier, etc.) were novelty ideas that wore off fast. I was barely moved by her joy or grief. If stoicism is a product of a narrative, then my disinterest was appropriately justified.</span></span><br />
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<span style="font-family: inherit; font-size: large;">Carlo Catu's "<b>Kung Paano Hinihintay ang Dapithapon</b>" was an interesting watch because it involved a marital dilemma usually discussed among people way under 60 years old. How does the senior population deal with these precarious situations? Is it any different? Do wisdom and calm demeanor figure into the resolution of these predicaments? </span><br />
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<span style="font-family: inherit; font-size: large;">For 27 years, Teresa (Perla Bautista) and Celso (Menggie Cobarrubias) have lived a harmonious life together. One fateful day, Teresa gets an unexpected call for help from Benedicto (Dante Rivero). </span><span style="font-family: inherit; font-size: large;">Bene, the husband who abandoned Tere in the past, is afflicted with Glioblastoma, a malignant and aggressive cancer of the brain. Would Tere extend a helping hand? Would Celso allow her to?</span><br />
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<span style="font-family: inherit; font-size: large;">With a cast of reliable veterans, the story comes alive as the characters maneuver the slippery slope of past and present relationships. The film also poses a question: Do we still care for persons even if they've hurt us in the past? Bautista, Rivero and Cobarrubias navigate a delectable roundelay that effectively coaxes emotional calisthenics from us. It helped that director Catu judiciously employed this rich atmosphere of nostalgia, I could practically smell regret and yearning from the walls of Bene's ramshackle house. </span><br />
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<span style="font-size: large;">There are unforgettable moments that define this movie: Teresa admits her true feelings for Bene - and it was sincere and straight-forward, if a bit brutal; and estranged son Chito (Romnick Sarmenta in a short but grippingly intense scene) comes face to face with the father who abandoned them.</span><br />
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<span style="font-size: large;">Director Iar Lionel Arondaing knows how to present the most ravishing images in his latest movie, <b>"Musmos Na Sumibol sa Gubat ng Digma"</b>. The opening scenes alone were eye-poppingly gorgeous; a far cry from his previous entry with Cinemalaya, "Sa Gabing Nananahimik ang mga Kuliglig". Arondaing tackles another revenge story in the form of "<i><b>rido</b></i>", the tribal wars that fatally play like a vicious cycle of violence among clans in the south.</span><br />
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<span style="font-size: large;">In the story, Eshal (Junyka Sigrid Antarin) escapes her burning house with pregnant mother Manahil (Star Orjaliza). But it didn't take long before Manahil delivers her baby on the boat in the middle of a mangrove forest (a stunning shot that drew gasps from the cinema audience). Unfortunately, Eshal's mother bleeds and expires after delivery. Young Eshal, as earlier suggested by Manahil, cuts her hair and pretends to be a boy named Hamed who has to take care of her newborn brother Affan. </span><br />
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<span style="font-size: large;">The next day, Hamed rescues a boy named Farhan (JM Salvado) who suffers from the same predicament after having escaped from tribal in-fighting. They become fast friends as Farhan helps Hamed take care of the baby. But Hamed noticed the "<i>kufi</i>" (a brimless rounded cap worn by Muslim males) on Farhan's head. Could it be her father's? </span><br />
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<span style="font-size: large;">While undeniably interesting, "Musmos..." is hobbled by throwaway scenes that would have benefited from judicious editing. In fact, about 20 minutes less would have given it a tighter, more focused story. There were also stilted lines straight out of 9 year old kids: "<i>Nangarap ka na ba minsan</i>?" Huh?</span><br />
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<span style="font-size: large;">For its music, the film made use of "<i>sufi supplications</i>" (Islamic chanted prayers) playing overtime, disparately garnishing the cinematic canvas, some too distractingly, particularly when the characters were in a conversation. Like his previous movie, some of Arondaing's scenes were too dark to see. We had to guess what was happening. </span><br />
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<span style="font-size: large;">We can't emphasize enough the relevance of cinema in stating the obvious; i.e. that war is but a folly - and </span><span style="font-size: large;">pride unnecessarily creates grief. We need more movies that tackle social ills because they help mirror problems that could be remedied by reflection. Cinema can be such a vessel.</span><br />
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<span style="font-size: large;">If Sheron Dayoc's similarly themed "<b>Women of the Weeping River</b>" (QCinema Best Film, 2017) was a face-off between wives, "Musmos..." was a matter among children. It is also clear that Dayoc's work is artistically better realized.</span><br />
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#schoolservice #mamang #kungpaanohinihintayangdapithapon #musmosnasumibolsagubatngdigma #cinemalaya2018<br />
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-64196654479706927122018-08-10T20:58:00.002+08:002018-08-12T19:58:19.110+08:00Pink Film Gatecrashes the CCP - Afi Africa's "The Lookout" (Cinemalaya 2018)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">There were sporadic giggles and laughters during the screening of Afi Africa's "<b>The Lookout</b>". Odd thing is, it isn't even remotely funny. It's not comedy. The film is a pink-flavored, highly charged action drama that reminds me of the visual style and cinematic discernment of Monti Parungao. "<b>Bayaw</b>", anyone? </span><br />
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<span style="font-size: large;">In the story, siblings George and Grace Limotog got separated from each other after battered wife and mother (Yayo Aguila) sells them to a nefarious slavery ring! George eventually grows up as Lester Quiambao (Andres Vasquez), a notorious hired assassin who's being pursued by operatives. But to fill his emotional void and libidinous urges, Lester "<i>buys</i>" himself a lover and sidekick Travis Concepcion (Jay Garcia) who assists in his operations. (Note that this avenging assassin lives in a very scenic, albeit dilapidated tenement beside an MRT railway, yet he can buy a human being!) On the side, Lester still searches for his younger sister Grace, now Monica (Elle Ramirez) whom he didn't realize has been heading the operatives tasked to apprehend him. </span><br />
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<span style="font-size: large;">The story is clunky, convoluted and preposterous. As it heightens its drama, you are transported to an alternate dimension where hired killers - no, wait, <span style="color: blue;"><b>gay</b> </span>assassins have the luxury of buying men straight off a meat shelf like they were market commodities. I'm not referring to "one-night-stand", "lay-on-the-hay" services but actual flesh-and-blood pulchritudinous guys as personal properties. Slavery exists in the Philippines, believe it or not! At least in the vitiated imagination of its writer <i><b>and</b></i> director. Audience reception was telling: First, there was awkward silence as the audience takes in the assault of sensibility. Then chuckles eventually followed.</span><br />
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<span style="font-size: large;">Typical of Pink Films, most actors are newbies with fresh faces and sculpted bodies. They're also exceptionally eager actors. But while they're visually captivating, you can't help but notice the floundering skill behind all these. At least Parungao had clarity. Africa meanwhile randomly shoots narrative blanks, which is an obvious case of opportunity being squandered. More skilled film makers could have strutted their wares here. Instead, we're fed narrative strains that made our skin crawl.</span><br />
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<span style="font-size: large;">To prove my point? Do we really want to see Rez Cortez being sodomized by a couple of thugs? Such perversion, <i>debah</i>? Besides, if George wanted vengeance for having been sexually abused by his trainor/tormentor (Cortez) when he was younger, why didn't he do it himself? That would have been the ultimate revenge, right? I guess even our protagonist was appalled by such idea. After all, he likes guys his age; fit, muscular and thespically dazed. Then again, this salient detail could have slipped the director's mind? </span><br />
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<span style="font-size: large;">Turned out, the audience dictated its genre. This was comedy after all. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-size: small;">Search your pockets for some Meclizine - or a barf bag will do! </span></i></b></td></tr>
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#cinemalaya2018 #thelookout #afiafrica</div>
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-67462312450480496502018-08-08T00:21:00.000+08:002018-08-08T12:58:24.019+08:00"Distance", "Kuya Wes", "ML" and "Pan de Salawal" - The Best of Cinemalaya 2018<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">Cinemalaya's main features this year are inhabited by damaged souls with crushed spirits. In this post alone, there's a variety of them. A woman grieves for the death of her lover. A devastatingly lonely man finds amusement and enchantment in a married woman. A spooky old man entertains a young student for an interview about his checkered past. A solitary baker suffering from a debilitating kidney disease gets a modicum of affection from an eccentric child with healing powers. We've earlier written about Kip Oebanda's "<b>Liway</b>". To round up Cinemalaya's best films this year, here are the 4 other entries we loved.</span><br />
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<span style="font-size: large;">In Perci Intalan's "<b>Distance</b>", five years after abandoning her family, estranged wife Liza (Iza Calzado) gets an invitation from husband Anton (Nonie Buencamino) to return to their family but without the knowledge of daughters Karla (Therese Malvar) and Therese (Alessandra Malonzo). </span><br />
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<span style="font-size: large;">Without any precondition, explanation or apology, Liza resumes her place in the household: cooking their favorite dish, driving the girls to school, attending school events, and taking them out to shop. But this doesn't sit well with daughter Karla who struggles to understand their situation. Is Liza staying for good? It doesn't help that Karla is attempting to ignore her feelings for her young teacher Adi (Adrianna So). Karla's ambivalence is more deeply rooted. She knew why her mother left - to be with their Tita Jen (Max Eigenmann).</span><br />
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<span style="font-size: large;">"Distance" was my early favorite because it deftly captured the brass tacks of fixing a broken relationship that initially seemed irreparable. How does one offer forgiveness when an apology isn't even offered? Is being true to oneself worse than emotional pretense? </span><br />
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<span style="font-size: large;">The story fields questions about "loving" and they are something to chew on: Is there a limit to loving someone? Would you love a person even when you know it will turn to a personal tragedy?</span><br />
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<span style="font-size: large;">The movie is Intalan's finest work to date. It also shows his evolving acumen for a compelling story telling, too far removed from the director's "My Fairy Tale Love Story" (2018), "Flight 666" (Shake, Rattle and Roll XV) and "Dementia" (2014). If I didn't know this was his masterwork, I wouldn't have guessed. </span><br />
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<span style="font-size: large;">Scenes rankle with tension from the opening shot that escalates and ultimately leads to a satisfying confrontation. Watching Karla's accusatory spiel felt cathartic. I have to take my hats off to Therese Malvar's thespic grit.</span><br />
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<span style="font-size: large;">"Distance" delivers a focused story with a narrative progression that's constantly thought provoking. Credit also goes to the </span><span style="font-size: large;">consistently even performances</span><span style="font-size: large;"> of the ensemble. It's hard to pick a standout though Calzado enveigles a lot of empathy. How I have missed watching this stellar actress tackle a character on screen worthy of her exemplary talent.</span><br />
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<span style="font-size: large;">To be honest, we didn't expect much from James Robin Mayo's "<b>Kuya Wes</b>". But such was my surprise when the movie turned out more than watchable.</span><br />
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<span style="font-size: large;">In the story, a perpetually joyless cash remittance clerk Wes (Ogie Alcasid) is captivated by regular customer Ericka (Ina Raymundo), a married woman with two children. So he eagerly waits for the woman every 16th of the month to claim remittance from her husband who works overseas. </span><br />
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<span style="font-size: large;">Meanwhile, Wes comes home to his younger brother's (Alex Medina) family where he is ignored, but for the occasional interaction when he gets asked to pay for the household bills - or wash his pamangkin's uniforms. Though mostly, he acquiesces, Wes' loneliness turns interesting when Ericka starts acknowledging his presence. One day, Ericka arrives but learns that no money was sent. So Wes hands money from his pocket. Will this take their relationship to the next level? With the prodding of co-worker Joy (Moi Bien), would Ericka agree if he asked her out for a 'friendly" date? </span><br />
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<span style="font-size: large;">"Kuya Wes" is told in a light manner with deceptively comic relishes; a character study that tackles loneliness and the length people are willing to do to snag happiness. The story includes an adorable lineup of quirky characters that graces Wes' little world. But what drew me to the story was his moments of utter desolation - when he comes home and no one minds the candies he brings for his niece and nephew; when he's left at home while his brother takes his family out; when people constantly "<i>forgets</i>" that he's allergic to chicken; and when he gradually retreats to the confines of his small room. </span><br />
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<span style="font-size: large;">I was reminded of John Steinbeck's "Of Mice and Men" where many of the characters struggle with loneliness. Different people cope different ways, but Wes decided to literally put his money where his heart is. What followed was an unsettling chapter that would make people evaluate their relationship with others. Kindness doesn't always beget kindness. It pays to be pragmatic when material objects are the ones bridging relationships. Despite Wes' unfortunate situation, we ultimately felt catharsis. </span><br />
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<span style="font-size: large;">Needless to say, Ogie Alcasid inhabits his character like hands to a glove as though it was written for him. We cannot think of another actor to portray this protagonist. Moi Bien returns to Cinemalaya after last year's hilarious turn in "Ang Pamilyang Hindi Lumuluha". She plays the adorable co-worker who provides a shoulder to cry on when everyone else has turned their backs on him. Sniff sniff.</span><br />
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<span style="font-size: large;">In Benedict Mique's "<b>ML</b>", when a history teacher (Jojit Lorenzo) discusses the topic of Marcos-era monstrosities, school jock Carlo (Tony Labrusca) and friends contradict him. For them, it was a time of opulence and discipline. So the teacher assigns his class to interview personalities who lived through the Martial Law years.</span><br />
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<span style="font-size: large;">Carlo then invites himself to his neighbor's home where a retired colonel lives alone. Little did he realize that this will give him first hand experience of the horrors of Martial Law as Colonel Jose Zabala dela Cruz (Eddie Garcia) takes him in. </span><br />
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<span style="font-size: large;">Before long, Carlo finds himself tied and gagged in a basement. In the 74-year old colonel's demented confusion, Carlo is a rebel and subjects him to intense interrogation and torture. What's worse, the colonel even lures Carlo's friend Jaze (Henz Villaraiz) and girlfriend Pat (Lianne Valentino) to join him. </span><br />
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<span style="font-size: large;">The film takes its viewers to a harrowing descent into madness as the Marcos-worshiping Duterte-apologist subjects his "suspects" to the various methods of torture. The movie is disconcerting, exhausting and very visceral, you keep squirming in your seat as you watch the protagonists' helplessness. The film mirrors the twisted mind of authoritarian rulers whose noble idea of dealing with the "dregs of society" is one of annihilation than reformation. We're very aware of that kind. It likewise mirrors the dichotomous persona of Garcia's character: doting grandfather to his grandchildren yet a vicious, merciless murderous cow.</span><br />
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<span style="font-size: large;">Mique's work reminds me of Eli Roth although this one's way scarier because its close to home. These atrocities were inflicted on thousands of Filipinos who lived during the Marcos rule. The movie is R-16 and rightfully so.</span><br />
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<span style="font-size: large;">I went out of the cinema shivering.</span><br />
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<span style="font-size: large;">Che Espiritu's "<b>Pan de Salawal</b>" is a delightful narrative stroll into the lives of ailing people who reside at a railway community in Manila. Their lives change when a strange multi-lingual street urchin, Aguy (the remarkable Miel Espinosa) comes into their lives.</span><br />
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<span style="font-size: large;">Sal (Bodjie Pascua), the lonely baker, suffers from an impending kidney failure. In the same community, a barber (Ian Lomongo) has involuntary tremors of his hands. A handsome meat vendor (Felix Roco) refuses to pursue his affection to a beautiful neighbor (Anna Luna) because of his deformed leg. Mang Bruno (Soliman Cruz) is petrified of the growing lump on his breast. A former Carinosa dancer (Ruby Ruiz) sits on a wheel chair, debilitated by stroke. And little Aguy has an unusual method of healing them - she hurts them! Unfortunately, her magical powers don't seem to work for Sal who has taken Aguy out of homelessness. What to do.</span><br />
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<span style="font-size: large;">The film presents a motley crew of quirky characters to populate this endearing dramedy. Mostly though, a touch of magic realism buoys this fantastical story of levity and hope. We dance on our seat as we watch the town celebrate life after Aguy heals them - all in one go. </span><br />
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<span style="font-size: large;">The performances are top notch. Miel Espinosa as Aguy is amazing. Bodjie Pascua has a commanding presence but could have depicted Mang Sal with a little less of his Batibot persona as we find his usual vocal affectations and fractured delivery occasionally awkward and discomfiting. Example: When he invites the child to his home for shelter, he would stutter as though embarrassed talking to a 7-year old child, which doesn't make sense <span style="font-family: inherit;">to me. Why is an adult stuttering in front of a homeless child? </span></span><br />
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<span style="font-size: large;"><span style="font-family: inherit;">Some people would wonder about the nature of Aguy's healing powers. But such is the wonder of <b>magic realism</b> where <span style="background-color: white; color: #222222;">realistic narrative and naturalistic techniques are combined with surreal elements of fantasy. This works perfectly here. I</span>f you just sit and imbibe the struggles of each character, there's a lot to take in - and enjoy. </span></span><br />
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<span style="font-size: large;">"Pan de Salawal" is the kind that wins Audience Awards because it is a joy to watch.</span><br />
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#cinemalaya2018 #distance #kuyawes #ML #pandesalawal #moviereviews #bestofcinemalaya # liway</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-24858857951870658562018-08-07T05:13:00.002+08:002018-08-14T19:20:21.129+08:00Kip Oebanda's Liway - Sugarcoating Horrors (Cinemalaya 2018)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><i>Diverse, engrossing, socially relevant, technically well
crafted, less artistic pretension. </i></span></div>
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<span style="font-size: large;">This year’s film harvest from<b> Cinemalaya </b>is surprisingly
impressive. I was dreading the festival marathon because
last year’s entries were mind-numbingly mediocre. They were hard to watch
because 4 of them were so darkly lit people had to squint for clarity. That's just for starters. What’s
worse, the festival gave awards to the worst offenders. They were
even arrogantly unapologetic about it. Why would they apologize, right?
There’s a simple answer. But let me not digress. I'd rather discuss this cinematic gem called "<b>Liway</b>".</span></div>
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<span style="font-size: large;">At the height of Martial Law in the late 70’s, activists Day
(Glaiza de Castro) and Ric (Dominic Roco) were apprehended by the military and
imprisoned in Camp Delgado alongside criminals and other rebels. </span><br />
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<span style="font-size: large;">Day, whose
alter ego was Liway in the underground movement, gave birth to her son Dakip (Kenken
Nuyad) who was allowed to stay with his parents. Despite the atrocities that were happening
in the camp (inmates disappearing without a trace), Liway vowed to shelter her children from the ugly face of
incarceration. Sugarcoating the horrors of Martial Law is never an easy task. But how far will a mother go to protect her family?</span></div>
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<span style="font-size: large;">“Liway” has a straight forward story telling that makes occasional use of flashbacks. The story is easy to follow.</span></div>
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<span style="font-size: large;">It uses few narrative embellishments. In fact, it
practically did away with overbearing sentimentality (which it deserved). </span></div>
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<span style="font-size: large;">While some stories are maneuvered to adapt to the cinematic medium, the excoriating details in the film are however veiled by lighter scenes. Truth can sometimes be tweaked as a just excuse for a historical execration, but this isn't the case here.</span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: large;">Emotions aren’t
allowed to linger for too long. The brutality of the Marcos regime has obviously been
toned down to impart a livable environment that Liway, in her limited capacity, has created for her children. </span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: large;">Showing the violence of torture as experienced by the inmates would have made a good contrast to the kind of atmosphere Liway wanted Dakip to experience. One cannot gloss over the brutality that transpired because this was one of the essence of the regime's disdain for freedom, and how
it imposed an abusive rule to silence dissenting voices. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In a truly enlightened society, no single soul should justify violations of human rights. But in an ailing society, revising a murky past is becoming common place, which is an insult to those who suffered and perished during that era. These days, such revisionism is gradually unraveling. This is why movies like "<b>Liway</b>" and "<b>ML</b>" serve their purpose in propagating historical truths. These events happened to real people.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There were few scenes within the narrative that hooked me. In a wistful scene, Liway is shown strumming her guitar and singing Lolita Carbon’s “<i>Pagbabalik</i>”. This sent shivers down my spine. It's clear to me how the evils of a 30-year-old history is gradually gaining ground in contemporary society. I have nothing but pity for this country, and contempt to the people who enable this. What do wise men
say about people who don’t learn from history?</span></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;">Based on a true story set during one of the country’s darkest
era, the film hits you when you least expect it. I shall refrain
from divulging too much detail, but people were crying buckets as the credits
rolled. I had to rush to the toilet thereafter to give myself a good cry. Make
no mistake, the film is hardly structured in melodrama. There’s not a lot of caterwauling
in the movie either, but it had an uncanny approach of breaking your heart. “Liway” was my 9<sup>th</sup> film so I didn’t expect too much from
it. Guess what? The best surprises are those you don’t anticipate.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: large;">Oebanda serves up a polished cinematic ouvre that will define his cinema in the years to come. It helps that the story he tells is close to home. Revealing a personal story is reliving a past. That can't be easy. But by doing so, Oebanda shows skills that will help him evolve into a greater storyteller in the future. </span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: large;">It wasn't always like this. I remember
watching his first commercially released film, “<b>Tumbang Preso</b>”. After posting what I
thought about it, I received half a dozen vicious mails from anonymous trolls. Not Oebanda, I presume. But you see, such is the nature of film appreciation. It’s a subjective experience for each viewer. </span></div>
<div class="MsoNormal">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: large;">The succeeding years were promising. “<b>Nay</b>” wasn’t particularly fetching. Last year’s “<b>Bar Boys</b>” was
among my 10 favorites. Look how far Oebanda has come. I look forward to
watching his next projects. In a bumper crop year where most festival entries are
watchable, “Liway” is among my top choices.</span><o:p></o:p></div>
<br /></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-41947246715836601142018-07-20T22:45:00.000+08:002018-07-21T02:53:24.326+08:00Ysabelle Peach's "Jacqueline Comes Home" - Rousing the Dead and the Incarcerated<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ6Wn5Wl6gyQCJFKOJauW1O56x8HbKoNT1DS8cQqbZ32ro1BBhyphenhyphenKkOX6N6hfbDX8agBRLR8omGe-u3RNQ7T6g1O2kCrGrcLhBo25yUabIPzJLK1c1hdxo7-tmpJldYJCFUD29g_xECpgc/s1600/Jacquelijpg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="950" data-original-width="650" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ6Wn5Wl6gyQCJFKOJauW1O56x8HbKoNT1DS8cQqbZ32ro1BBhyphenhyphenKkOX6N6hfbDX8agBRLR8omGe-u3RNQ7T6g1O2kCrGrcLhBo25yUabIPzJLK1c1hdxo7-tmpJldYJCFUD29g_xECpgc/s640/Jacquelijpg.jpg" width="436" /></a></div>
<br />
<span style="font-size: large;">Michael Collins' "<b>Give Up Tomorrow</b>" was a compelling investigative documentary about Cebu's most talked about rape-murder case that sent 7 men to jail. Though considered closed, the case continues to keep tongues wagging. After all, there were believable witnesses who swore by Paco Larranaga's alibi at the time of the murder. Unless he had the ability to bilocate, Paco actually attended his culinary class in Manila for his midterm exams - and there were even photos from a get-together in a bar later that night. How could he lead the abduction and rape of sisters Marijoy and Jackie Chiong? Marijoy's body was found lifeless at the bottom of a ravine in Carcar, south of Cebu City. Jackie remains missing. This was 21 years ago.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">It's hard to discredit the artistic savvy of "Give Up Tomorrow". It was one of that year's best films. But there were parts we found a bit off. First, it was produced by people close to Larranaga, a great grandchild of a former Philippine President. The element of bias was indisputably possible. Second, they demonized Mrs. Chiong who, need I remind everyone, lost 2 daughters! She was expected to fight tooth and nails to seek justice.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">However, you only have to watch a 5 minute Youtube video of Paco's former classmates and teacher talking about Paco's whereabouts on that fateful day in July 1997 to make easy conclusions about the case. Well, Paco was convicted and eventually sent to Spain to serve his sentence; he's Filipino-Spanish. But if he were really innocent, shouldn't we be concerned about the perpetration of injustice? There's something disquieting about Paco's incarceration. Bottom line: no one won from this high profile case. Marijoy is dead. Jackie is still missing. Families continue to grieve. Paco is serving prison in Spain. So do 6 of Paco's friends.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">With all these in mind, I was curious how director Ysabelle Peach, Carlo Caparas' daughter, would contribute to the retelling of a story, It would be told from the point of view of Mrs. Chiong (played by Alma Moreno). The screenplay was written by Carlo Caparas who isn't done with those grueling "<b>massacre movies</b>" of the 90's.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">In true Caparas fashion, "<b>Jacqueline Comes Home</b>" is overwrought, messy, exploitative and devoid of sensitivity or insight. While Meg Imperial, playing Jackie, breezed through her scenes with a certain commitment and charm, Donnalyn Bartolome, as campus beauty Marijoy, was shrill and cringe-worthy. I wanted a duct tape covering her buccal cavity. And all her cavities for that matter.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The movie is weighed down by a muddled nonlinear storytelling. It didn't help that the suspects were depicted like one-dimensional characters, channeling Paquito Diaz and Max Alvarado of the 70's. The chronicle is populated by cardboard characters that fit into predictable stereotypes with absolutely no redeeming values at all. Even the staging of their scenes was awkwardly familiar - the sneers and jeers, the unkempt persona, the leering gazes, their congregation, etc. Paco and his gang were evil. The Chiongs were innocent and saintly. There were no gray areas in between.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Surprisingly, the story carried the names of the Chiongs: Jackie (Meg Imperial), Marijoy (Donnalyn Bartolome), Thelma Chiong (Alma Moreno), Dionisio Chiong (Joel Torre), and siblings Dennis, Bruce and Debby. The baddies however were renamed: Ryan Eigenmann was Sonny; hammy newbie CJ Caparas was Jeff, and so on. AJ Muhlach was bad so let's forget he's even here. There's no mistaking though who they represented. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">That being said, after the first 30 minutes of this movie's tragically dated film making style, I started getting restless. Caparas was clear in his <i>discretionary</i> exposition who the perpetrators were. There's no narrative window of doubt. The story completely ignored the defense's alibi. They could have pointed that out and countered with an irrefutable proof otherwise. They wanted to point a finger indubitably.</span><br />
<span style="font-size: large;"><br /></span>
<b><span style="font-size: large;">Selfie with God</span></b><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">There were elements worthy of comedy, like questers summoning Jackie. I had to giggle when God suddenly appeared before Thelma and spoke! Seriously! I wanted to snap a photo and send to Malacanang. This was proof of God's selfie with Thelma Chiong. He-who-shall-not-be-named would repent and become a priest, <i>debah</i>? I'd even volunter to send him 23 truckloads of Bactidol full-strength solution to clean his filthy mouth. That's me being nationalistic.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I had flashbacks of Andi Eigenmann playing Hilda Koronel's role in the remake of "<b>Angela Markado</b>" (2015), I was mentally scarred by that movie. I had post-traumatic nightmares that Eigenmann would win a <b>Famas</b> because, in the real world, horrendous performances <b><i><span style="color: #990000;">always</span></i></b> win Famas trophies. Guess what? Andi won. You better believe it. I wore a turban and wrinkled face the whole week after her win. I was Madam Auring.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And if I have to re-state the exasperated guy who walked out from the movie: "<i>Ampanget!</i>"</span><br />
<br />
<br />
<br /></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-68152404675217723752018-07-15T18:17:00.000+08:002018-07-16T16:15:09.175+08:00When 8 Year Olds Know Better Than the Philippine Daily Inquirer<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiyuHpEop_Z1PaKm7iD7jx0g0QJpKiKCnAIp9NZKA8mRBwUawQ_SFKufs9X9mgydLwoNajjRhE0NFVQCdHJtBfBynbn21MVcHLB7ns-hY89kXgETkRUVpEc-2qHXsNniTIXj2cxmJSQAM/s1600/IMG_5129.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiyuHpEop_Z1PaKm7iD7jx0g0QJpKiKCnAIp9NZKA8mRBwUawQ_SFKufs9X9mgydLwoNajjRhE0NFVQCdHJtBfBynbn21MVcHLB7ns-hY89kXgETkRUVpEc-2qHXsNniTIXj2cxmJSQAM/s640/IMG_5129.JPG" width="640" /></a></div>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Reading and correcting errors!</i> I used to love this while I was in high school.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Earlier today, I found my young cousins Anya and Vien, 8 and 10 years old respectively, giggling as they shared their lolo's morning paper. They were in a huddle as to how a national paper like the Philippine Daily Inquirer cannot spot a glaring error for its Sunday Edition. "<b><i>Billionaire</i></b>" is spelled differently, so I had to tell the girls that it was wrong! "<i><b>We know, Ate G! Those writers don't know how to spell Billionaire." </b></i>And they giggled further. I had to join them because, admittedly, this was funny and sad!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">This maybe amusing to the little ones, but I am not amused! We pay for this paper. Dada does NOT read them online so I do not appreciate this travesty. He does not pay for erroneous headlines and careless journalistic work. He deserves an impeccably edited paper at the very least - for the money that he pays every month! </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Have the Inquirer bosses fired most of their <b><i>better editors</i></b>? </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Moreover, is editor <b>Jose Nolasco</b> sleeping on the job? I tried to check their editorial box and they even have a <b>Page One Editor</b> who, obviously oversees Page One stories. Where was he? Even 8 year olds can easily identify their atrocious work! </span><br />
<span style="font-size: large;"><b><i><br /></i></b></span>
<span style="font-size: large;"><b><i>Shame on you, Inquirer!</i></b> </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Why don't you work a <b>little harder</b> instead of buckling under the pressure of this Philippine President's constant harassment to your paper? You used to be fearless and truthful. Now you just cower with fear, you can't even spell simple words anymore - it is embarrassing!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">As for this atrocity, where can I:</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">1. Send a bill for my dad's Sunday crapfest? He needs his money back for Inquirer's <b>sloppy work</b>!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">2. Donate a Dictionary for Mr. Nolasco and his <b>incompetent staff</b> to use? Has <b>Mocha Uson</b> started editing for PDI? I thought she writes for Philippine Star (if indeed she knows how to write)?</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">3. Help them grow some balls against this administration's lunacy and incompetence?</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Otherwise, just close shop! </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><b><i>Kakasuya!</i></b> </span><br />
<br /></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-60477101961141761932018-06-29T10:52:00.003+08:002018-08-15T07:55:45.294+08:00Duck! Duck! Cinemalaya 14 is Coming!<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9b6G7JpsLdQPlVAPV579zESf_o4hMSL7KM7b3MMsb1cKCIqvTa0D7gsc4VFEq09ZppX6VYf4hnHOu1racqk1_kJq6fVocRW-r8k-wUkhzKl9vdnAaqnahI4l0rzStrRN0tWdupDDqI4/s1600/image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="623" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9b6G7JpsLdQPlVAPV579zESf_o4hMSL7KM7b3MMsb1cKCIqvTa0D7gsc4VFEq09ZppX6VYf4hnHOu1racqk1_kJq6fVocRW-r8k-wUkhzKl9vdnAaqnahI4l0rzStrRN0tWdupDDqI4/s640/image002.jpg" width="640" /></a></div>
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<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i><span style="color: red;">Uh oh!</span></i> It is that time of the year again. I remember taking a break from work last year just to catch the films from last year's Cinemalaya. It used to be the granddaddy of film making ingenuity. Now many film entries are shoddy, pretentious and confoundingly contemptuous.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Imagine my surprise when the worst of it, Jose Israel Laban's "Baconaua" won major awards for Jury Prize and (oh God, don't let me vomit!) BEST CINEMATOGRAPHY in a film where half the time you could hardly see anything on screen! Que Horror indeed!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Which made me wonder! What kind of jurors would consider "<b>Baconaua</b>" first-rate film making? Something was amiss. Maybe they skipped their breakfast, lunch and dinner when they deliberated? Baka na hypoglycemia? Baka na change is scamming?</span><br />
<span style="font-size: large;">The pervading social discomfiture and political ineptitude have become so contagious.</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">There's no going around the fact that Baconaua was cinematic garbage - from the storytelling to its execution. So was that manipulative, unforgivably trashy "Bagahe"; it made my skin crawl. Well, most of the films in it, except "Kiko Boksingero". So help me God!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I hope it's a better viewing experience this year, and not a waste of my effort, time and money! Otherwise I will send Laurice Guillen a bill to cover for the days I had to miss work.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="color: #073763; font-size: x-large;"><b><i>Scary!</i></b></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">#cinemalaya2018</span></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-19604620294569956212018-01-26T16:25:00.000+08:002018-01-26T22:50:30.125+08:00That Thing Called Annoying : Sigrid Andrea Bernardo's "Mr. & Mrs. Cruz"<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTqk6XWiDrNc9i5BJHFxCVChXLYe557dAax1eG2EzdfAmH2_QNoD1ckJF6yJB7ID2eGZDNT5yepxV6lz6GioXykgUqQ8Sg6aNXJGo8xuyr7lOZ1tX2JgJqHqdlfZltCKS5_TJ2jmixRI/s1600/image001.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="590" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTqk6XWiDrNc9i5BJHFxCVChXLYe557dAax1eG2EzdfAmH2_QNoD1ckJF6yJB7ID2eGZDNT5yepxV6lz6GioXykgUqQ8Sg6aNXJGo8xuyr7lOZ1tX2JgJqHqdlfZltCKS5_TJ2jmixRI/s640/image001.png" width="432" /></a></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
There’s a discernable formula in the narrative structure of Sigrid Andrea
Bernardo’s “<i>Mr. & Mrs. Cruz</i>”, the director’s follow-up to the sleeper hit “<i>Kita
Kita</i>” starring Alessandra de Rossi and Empoy Marquez. These elements include
travelogue, wistful or contemplative scenes of regretful longing, dreamy
photography, melancholic theme song and a cyclical ruminative issue that
consumes the protagonists. <o:p></o:p></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
We witness similar elements in movies like Antoinette Jadaone’s “<i>That
Thing Called Tadhana</i>”, Sigrid Andrea Bernardo’s “<i>Kita Kita</i>”, Ice Idanan’s “<i>Sakaling
Hindi Makarating</i>”, Veronica Velasco’s “<i>Dear Other Self</i>”, Antoinette Jadaone’s “<i>Love
You to the Stars and Back</i>” and “<i>Relaks, It’s Just Pag Ibig</i>” (co-directed with
Irene Villamor) and, to some extent, even Paul Soriano’s “<i>Siargao</i>”. The
characters navigate territories unfamiliar to them in the hope that they find
their soul in the backwaters of seeming isolation. Yes, it’s a lot of Jadaones
in the list which suggests Jadaone’s contribution to the genre.<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<o:p></o:p></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
I was looking forward to watching “<i>Mr. & Mrs. Cruz</i>” and listen to
Carl Guevarra and Nicole Omillo’s melancholic song “<i>Istorya</i>” in the context of
a story. After all, Alessandra de Rossi and KZ Tandingan’s separate versions of
“<i>Two Less Lonely People in the World</i>” were contributory to the enduring
impression taken away by the audience as they left the cinema.<o:p></o:p></div>
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Two strangers meet while on holiday in Palawan. After being mistaken as
a couple, they inadvertently find themselves brought closer by circumstance. They
end up traveling together and, in the process, discover themselves.<br />
<br />
Gela (Ryza
Cenon) is trying to forgive herself after calling off her wedding, while Raffy (JC Santos) is still grieving after being
abandoned by her bride at the altar. The odds of them meeting up are one for
cinematic magic, but it fizzles as soon as both of them start prattling
endlessly about insignificant topics.<br />
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<o:p></o:p></div>
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In the story, they chat (and we wince) about first impressions,
re-reading classics like Romeo and Juliet; bird saliva and nido soup, tattoos
about freedom, Facebook versus Instagram; eating tamilok (those edible mangrove
worms); finding Nemo and getting found by Dora; having children, etc.<br />
<br />
In one scene, Raffy and Gela agree that "<i>patience is a virtue</i>", then they'd laughed like it was the funniest thing since <i>Mayon moved to Naga</i>! They'd drop lines that made my skin crawl, then slap themselves silly with, "<i>Uyyy</i>". They were inexplicably amused with themselves and you wonder why!<br />
<br />
These
topics hop around randomly like a schizophrenic patient seized by "<i>flight of ideas</i>". I was simply displeased or offended... or both!<br />
<br />
This style of storytelling is similar to Richard Linklater's gabfest, the "<i>Before Sunrise</i>" trilogy. These films define their characters by the arguments they make and discussions they present, particularly when they have something significant to say about the state of things. Such was the case of "Tadhana", which was effusively delectable. When Mace (Angelica Panganiban) and Anthony
(JM de Guzman) talked about things, they mold their character. We learn more about them. We’re caught up in their constant banter and engagement. They were charming. We wanted to follow their misadventures! In "<i>Mr. & Mrs. Cruz</i>", however, the
characters were reduced to vacuous party crashers that ultimately deserved each other. Or not. I didn't care! Come on.
Four years after being jilted and you haven’t moved on? You’re still traveling
until “<i>maubos ang pera ko</i>”? How hopelessly unstimulating. There’s a better adjective I’d
rather use that sounds like “loser”. <br />
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<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipunBsGKbyY-FTyxtECbSx-Sh-MNLmNxNWKjoj8OhIO8Wl9NNMJUGlkly9roMz3sv9pfmKAUj6lr1B9bWiEdf4I77ad29a7CxGdSPB7aN_WkivxFlCErILCAjMkXNETYX2fyPVQm0t8A8/s1600/image021.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="505" data-original-width="738" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipunBsGKbyY-FTyxtECbSx-Sh-MNLmNxNWKjoj8OhIO8Wl9NNMJUGlkly9roMz3sv9pfmKAUj6lr1B9bWiEdf4I77ad29a7CxGdSPB7aN_WkivxFlCErILCAjMkXNETYX2fyPVQm0t8A8/s640/image021.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-size: small;">Self Discovery Romcoms</span></i></b></td></tr>
</tbody></table>
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Aside from the relentless barrage of senseless prattle, there are aggravating scenes that made the film so annoying, not the least of which was having Gela
puke - 3 or 4 times – all over Raffy. As if that scene wasn’t enough, Gela then
licks and gobbles up her own vomitus while Raffy stares at his roommate with
fascination. What part of this scene is vaguely romantic?<i> Sagot!</i> There goes
romcom’s descent to despicability.</div>
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<o:p></o:p></div>
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I vividly remember that lingering feeling last year after having watched Jason Paul
Laxamana’s “<i>100 Tula Para Kay Stella</i>”. The comparison with "<i>Mr. & Mrs. Cruz</i>" is telling. Although
“Tula” was more coming-of-age drama than romcom, Stella’s story left you languishing
in a certain state of unbridled sadness; one that you wanted to embrace. In “<i>Mr. & Mrs. Cruz</i>”, however,
this left me in a state of repulsion.<o:p></o:p><br />
<br />
#mrandmrscruz</div>
<br /></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-22197360894642068232017-08-09T04:40:00.000+08:002018-01-26T16:25:09.838+08:00Amateur Hour at the Cinemalaya 2017 - Let There Be Light - Please!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This year, nine films brave to navigate the cinematic dark waters for this
year’s Cinemalaya film festival. By “dark”, we’re imputing cinematic theme –
and technical proficiency or the lack of it. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There’s illiteracy and terrorism (Perry Escano’s “Ang Guro Kong Di
Marunong Magbasa”); a child’s loneliness (Thop Nazareno’s “Kiko Boksingero”);
abuse and the government’s lack of empathy for its foreign workers (Zig Dulay’s
“Bagahe”); murder and infidelity in a small town (Iar Arondaing’s “Sa Gabing
Nananahimik ang mga Kuliglig” and Sonny Calvento’s “Nabubulok”); superstition and
drug smuggling in a fishing village (Joseph Israel Laban’s “Baconaua”); obscure
definitions of a relationship (Nerissa Picadizo’s “Requited”); artistic struggles
in the squalor amidst extra judicial killings (Alberto Monteras II’s “Respeto”)
and false hopes and urban legends (Mes De Guzman’s “Ang Pamilyang Hindi
Lumuluha”). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Despite the provocative plots, there’s scanty good news to be shared
from my end. In fact, this was one of the most challenging set of entries I had
to endure to watch. I am, in fact, trying to remember the last time it
was <i><span style="color: #0c343d;">this</span></i> bad. But I am getting ahead of myself. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>OVERBEARING DARKNESS</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Poor production values, pedestrian direction, clunky writing, cluttered exposition, miscasting and overwrought performances hobble the entries. One common characteristic is
darkness. While I understand the preponderancy of atmosphere and dimly lit
scenography, it’s a different matter altogether when the silver screen is but a patch of black. One geriatric viewer had to remark: “<i>Wala akong makita</i>”. No, <i>lola</i>,
it isn’t your cataract nor your macular degeneration. It’s the film you’re
watching. I’m not talking about a single title. There were several: “<i>Baconaua</i>”
leads the guilty parties. Wouldn’t it have been appealing if we actually
recognized the color “<i>red</i>” when the sea turned bloody? </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here’s a trivia about
colors: you need light to distinguish them! Isn't the concept basic in photography (cinematography)? When the sea spits apples, and all
you find are silhouettes, you’re doing the audience a disservice. From my seat, the apples looked like mounds of excreta! The same affliction characterized “<i>Sa Gabing</i>…” and
portions of “<i>Nabubulok</i>”. “<i>Maybe
they’re experimental?</i>” quipped one hopeful viewer, I had to laugh in my dark
corner. <o:p></o:p></span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>BACK TO SQUARE ONE</b></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the early days of the Cinemalaya, the audience were patient of such
film-making gaffes. But, boy oh boy, that was more than 10 years ago. There’s been
tremendous advancement in technology, and indies aren’t two-bit artistic
inventions anymore. Or are we back to square one?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Let’s take </span><i style="font-family: Arial, Helvetica, sans-serif;">Perry Escano’s</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> “</span><b style="font-family: Arial, Helvetica, sans-serif;">Ang Guro Kong Di Marunong Magbasa</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”, about a
farmer who’s tasked to takeover teaching duties at a remote grade school in
Muslim Mindanao. Here’s the clincher: Aaquil (Alfred Vargas) is himself
illiterate and doesn’t have the foggiest about his three R’s. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While undeniably
an interesting concept, the film is clunky at best, the performances
abominable, particularly from Vargas who’s too well scrubbed and healthy to
represent a marginalized sector of the countryside. This is a curiosity because
we’ve always considered Vargas an adequate performer. In this movie however,
Vargas’ demeanor is reduced to being “pa-cute” and juvenile. And don’t let him
scamper for his life by dodging bullets. Five paces later, he’s breathless. The
scenes are awkwardly blocked, you feel like watching an old flick in Piling Piling
Pelikula. Mostly, they are turgid and amateurish. Is this a Cinemalaya film
we’re watching? I had to ask myself. In the end, the whole narrative conceit is
as fraudulent as the ineptitude of the movie’s general direction. Who read this
script and thought this was festival-grade? Aren’t there quality-control
measures to assure the inclusion of legitimate film makers?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Sonny Calvento’s</i> “<b>Nabubulok</b>” follows the train of events after the
disappearance of Luna, wife of Jason and mother of three,
after her cousin Ingrid (Gina Alajar) starts sniffing around. The story takes
the tedious and impudent style reminiscent of Carlo J. Caparas. In fact, every
character is suspicious or annoying. Each scene screams the obvious. So much
for elements such as foreshadowing. It could have benefited from Gina Alajar’s
erstwhile astute dramatic insight. Alajar remains to be one of the industry’s
best actresses of all time. Unfortunately, time has rendered Alajar shrill and
irritating. When she eventually delivers her “</span><i style="font-family: Arial, Helvetica, sans-serif;">Tang ina nila</i><span style="font-family: "arial" , "helvetica" , sans-serif;">” line (uttered thrice) in bravura
<i>look-at-me-I’m-acting </i>moment, I was awash with regret. How has passing time
reduced Alajar to sheer mediocrity. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The movie likewise fails to make use of
promising Jameson Blake and the ubiquitous JC Santos. There were several conspicuous lapses in
the story. A farmer inadvertently witnesses the unplanned burial in the dark night. The American patriarch is buying cement at the
hardware shop. Ingrid and the neighborhood smell the overpowering stench of a
rotting carcass in the household premises. Are you following this? Wasn’t
Luna’s body buried in the fields? What was rotting away inside the house? Were
there multiple bodies worth checking out? Where was cement used? At the farm? Sometime
in the story, police officers suddenly arrive at the scene bearing a search
warrant. Right away? Instant warrant, you blink and it’s there. As I’ve
mentioned earlier, this takes </span><b style="font-family: Arial, Helvetica, sans-serif;">Carlo J. Caparas’</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> storytelling sensibilities!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Employing the backdrop of a religious festivity (</span><i style="font-family: Arial, Helvetica, sans-serif;">ho-hum!</i><span style="font-family: "arial" , "helvetica" , sans-serif;">),</span><i style="font-family: Arial, Helvetica, sans-serif;"> Iar Arondaing’s</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> provocatively titled “</span><b style="font-family: Arial, Helvetica, sans-serif;">Sa Gabing Nananahimik ang mga Kuliglig</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” is a <i>whodunit</i>
piece that involves two murders and spotlights the comeuppance of perfidy. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Madga (Angel Aquino) confesses to Father Mike (Jake Macapagal) the murder of
her friend Dolores (Mercedes Cabral), her husband Victor’s mistress. On the
same night, Victor (Mark Dionisio) is found bludgeoned to death. Hector (Ricky
Davao), Magda’s husband, is then arrested for the crime. Unfortunately, Father
Mike is bound to the seal of the confessional. What to do?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The film is hampered by borderline production values, as the story interposes
the unraveling events with religious chants and the ensuing festivities. Most of them seem
disconnected to the moving picture taking place before you. It’s like hearing Manny Pacquiao quote
another biblical passage and realize that something is amiss in the silly
exercise. In the first hour alone, scenes successively show Angel Aquino navigate
the darkness: at the bathroom, in the kitchen, then inside the bedroom while
she gets dolled up! We are baffled by the perversion of darkness to frame a more
urgent story that needed telling. If this isn’t a case of style trumping
substance, I don’t know what is. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Direction, camera work, lighting (or the lack of it) are
just baffling, if not stifling. All these atmospheric scenarios muddle an already-messy story. Moreover, there are grave flaws in the artistic choices:
Jess Mendoza, looking like he’s fathered 5 already, plays the subservient son
of Mercedes Cabral? Seriously? Is this suspension of disbelief? I had to tap my heels silly to knock me some patience in the midst of the film’s inanity.</span></div>
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<span style="color: #0b5394; font-size: x-large;"><i>“Matt and I <b>has </b>separate rooms.” (wink wink)</i></span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I heard the loudest chorus of chuckles as <i>Nerissa Picadizo’s</i> “<b>Requited</b>”
drew to a close. The road movie, reminiscent of Ellen Ongkeko-Marfil’s
“<b>Lakbay2Love</b>”, has less drone shots and a lot more verbal scuttle between its
two characters: Matt (Jake Cuenca) and Sandy (Anna Luna). Matt is afflicted
with alopecia. Errr. No, something else that’s more lethal, thus he embarks on
a journey from Manila to Mount Pinatubo to end it all. But shrill Sandy, the
once-popular volleyball star, decides to tag along to “<i>not define</i>” her
relationship with the unemployed architect. </span><o:p></o:p></div>
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<span style="color: #0b5394; font-size: x-large;"><i>“Ang relikang yan ay galing doon.” </i></span></div>
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<span style="color: #b45f06; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(Baybayin at bigyang kahulugan ang
salitang “relika”.)</span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Let’s just say that when the suicidal loverboy pushes his </span><i style="font-family: Arial, Helvetica, sans-serif;">mi amor</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> down the cliff, then walks away
while we see her abdomen heaving for air, we couldn’t help but suspect that
this wasn’t a romantic drama after all. Picadizo apparently confuses her genre
every so often. She eventually allows her protagonist to walk away, as though
catharsis is to be had once he buries the love of his life. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Too bad – because
Jake Cuenca seems to have invested his heart and soul to breathe life to Matt.
Cuenca is one of this festival’s most committed performers. (And listen,
I’m trying to “<i>unsee</i>” Matt pleasuring himself among the rocks as final
homage to his<i> requited</i> love.) Now tell me: what keeps people from committing to
each other if their affections were mutual? This movie does<i><b> not </b></i>have the answer.
Go fish elsewhere. <i>Hah!</i></span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifDyloSw88xeJEuv8b6okyo283VM3iBk1s-Z0wYDzavypzrmRQJG3l9ciWrhuqNf4dq0fTK-FwBwYYIzcHlvEojL_Yr3fP76ivVRVwZtFA3u7ebxMiij6hlBoAOHBQmUM7wi_plvLxEKo/s1600/image004.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="624" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifDyloSw88xeJEuv8b6okyo283VM3iBk1s-Z0wYDzavypzrmRQJG3l9ciWrhuqNf4dq0fTK-FwBwYYIzcHlvEojL_Yr3fP76ivVRVwZtFA3u7ebxMiij6hlBoAOHBQmUM7wi_plvLxEKo/s320/image004.jpg" width="320" /></a></div>
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<i style="font-family: Arial, Helvetica, sans-serif;">Joseph Israel Laban’s </i><span style="font-family: "arial" , "helvetica" , sans-serif;">“</span><b style="font-family: Arial, Helvetica, sans-serif;">Baconaua</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” auspiciously starts out with riveting
scenes by the shore. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">It has been 90 days since Divina’s (Elora Espano)
fisherman father got lost at sea. People believe that a sea serpent (“<i>bakunawa</i>”
– a mythical sea dragon believed by old folks in the Visayas region to devour <i>moons</i> thus causing eclipses) has taken him away. Soon thereafter, the sea turns red. Supposedly. The screen was almost in pitch darkness to appreciate this,</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Shall I then bestow it with
a special award: <b>Dark Picture Award. </b>This movie takes the cake.<b> </b>However<b>,</b> this isn’t the only issue dragging the movie down. Not only are there expendable biblical references (apples wash ashore, a
serpent crawl through the mangrove), numerous narrative elements sloppily pile up: an illegal Chinese alien (whose face you can’t even see), drug trafficking, military
operations against terrorists; an unlikely romantic triangle; and, yes, a sea
monster that selectively chooses his victims. The latter even sounds like <i>Nessie</i> of the
Scottish Highlands. Gather these elements and you have one ambitious, but
blotchy yarn. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The film reminds me of Kristian Cordero's "<b>Hinulid</b>" (starring Nora Aunor). In it, the director floods his narrative with a thousand-and-one quotations from so many references. You suspect he has 3 dozens of encyclopedias full of philosophical, biblical and scientific sayings. I just cringe. Laban tries to inject numerous disparate elements to spice up his cinematic palette. <i>Mas maraming sahog, mas masarap, debah? </i>Tee hee.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The good thing about this film: you can finally <b><i>use your
imagination</i></b> to try to make out what’s on your screen. It’s a good cognitive
practice, if you ask me. It's like closing your eyes and allowing your mind to soar. But in this film, your eyes are wide open as you stare at a Cimmerian shade of celluloid. Just a thought here - the director will probably be able to tell a more focused tale if there's a little more light? .</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSw1yBsv-c2Yf2lE2xw3-ryG8VL7VIkzML60w9LqbW9JoixPS_RDLlw_ghp3hccEPMBujX_TXg_hiLYsGMcqVLhwPBWgDRgMsS9oAWHifaWkC8UC7EGvYWeKb5ICDgQsCM95XgOR4BZ7A/s1600/image008.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="393" data-original-width="624" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSw1yBsv-c2Yf2lE2xw3-ryG8VL7VIkzML60w9LqbW9JoixPS_RDLlw_ghp3hccEPMBujX_TXg_hiLYsGMcqVLhwPBWgDRgMsS9oAWHifaWkC8UC7EGvYWeKb5ICDgQsCM95XgOR4BZ7A/s320/image008.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000; font-size: small;"><i>The festival's most irritating performance.</i></span></b></td></tr>
</tbody></table>
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<i style="font-family: Arial, Helvetica, sans-serif;">Zig Dulay’s</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> “</span><b style="font-family: Arial, Helvetica, sans-serif;">Bagahe</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” feels like masochism-porn the way Mercy (Angeli Bayani)
handles her sticky situation. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The 35-year-old OFW was caught leaving a newborn child on her
flight back home from overseas employment. A high profile
investigation soon follows with every political personality wanting a piece of the limelight, including a Social Welfare secretary, a senator, the media, the NBI, the
church and her family from Kapangan, Benguet. Her demeanor leaves much to be desired in the ensuing circus.</span><br />
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>PAINFULLY PASSIVE</b></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dulay’s script, usually engrossing and insightful in previous works, is a sloppy parody of the OFW distress story. Each personality is written like cardboard characters. It doesn’t help that Bayani’s portrayal is
painfully passive, you feel the unease of being manipulated into sympathizing
with her. There’s something pretentious, even deceptive, in her depiction
of the <i>ultimate </i>victim. If you’re easily bamboozled by woeful <i>facies</i>, you’d
proclaim her queen of the cinematic ball. Kumbaga, nang uuto! For me, hers was one of the
festival’s <b><span style="color: #134f5c;">most irritating </span></b>turns. <o:p></o:p></span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3e_AmXw7wOiRBhydB_4mvsxq4FX42gNIoifa0VhDdh2obS4drPTOos9i5YFXzO2EZ_b-oxeVY3cyYwWiJZapmqKdqOKkzYi9S22DOKDgPl-ZNFxyL3UTPRs5OdF1pYDYd7wHsoAt0Dc/s1600/image013.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="628" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3e_AmXw7wOiRBhydB_4mvsxq4FX42gNIoifa0VhDdh2obS4drPTOos9i5YFXzO2EZ_b-oxeVY3cyYwWiJZapmqKdqOKkzYi9S22DOKDgPl-ZNFxyL3UTPRs5OdF1pYDYd7wHsoAt0Dc/s320/image013.png" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Alberto Monteras II’</i> s “<b>Respeto</b>” is this festivals most technically
accomplished entry. It is insightfully casted and cleverly crafted by Monteras
who, prior to this, has been directing hundreds of music videos. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Set in a
chaotic urban neighborhood, amateur rapper Hendrix (Abra) crosses paths with
reclusive poet Doc Fortunato Reyes (Dido de la Paz) when the former decides to
rob the old gentleman’s book shop. Thrown together by circumstance, the two
start a mentor-protégé relationship, one that would soon get tested by the spate of killings happening around town. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rapper Abra turns in a
more-than-decent performance worthy of, at the very least, a citation. He will
give Jake Cuenca a tight fight in the lead actor category, though, in my book,
Cuenca delivered the more substantial and consistent performance. Dela
Paz’s poetic number at the rap competition was amusing. It was also awkward, misplaced and
rough around the edges. Nevertheless, dela Paz gives his career-best in
“Respeto”.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5LiJ07SjZHOcyHtv-AKE5IJgU7VX74Etvvxantcde6Ay14iwUELSqP1kOvUk8yNu2mxdvkOBLCsMg7BqA0GaQpcxDkGIn5y3iBen336I8UhUwiTTcoZZ7s-DwoC-tqD3PwW9Y0Xd2F0s/s1600/image012.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="624" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5LiJ07SjZHOcyHtv-AKE5IJgU7VX74Etvvxantcde6Ay14iwUELSqP1kOvUk8yNu2mxdvkOBLCsMg7BqA0GaQpcxDkGIn5y3iBen336I8UhUwiTTcoZZ7s-DwoC-tqD3PwW9Y0Xd2F0s/s320/image012.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Thop Nazareno’s </i>“<b>Kiko Boksingero</b>” tells the story of Kiko (Noel Comia
Jr.), a lonely 11 year old boy who pines for the affection of his father. After
the demise of his mother, the young boy is left under the care of his nanny (Yayo Aguila). One day, George (Yul Servo) shows up at the empty apartment that Kiko frequently visits. Kiko's life is never the same.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The cool
temperatures of Baguio adroitly frames the young protagonist’s longings in a
story affectionately told. This bittersweet tale demonstrates that you don’t
need a lengthy exposition to tell a good story. Nor does one require loud bickering
or convoluted plot to engage your audience. The movie is a calm emotional
discourse about grief and the ties that bind. Servo is charismatic as the
former boxer who welcomes his most loyal fan in his temporary home. <b>Yayo Aguila </b>is an affectionate presence. Young Noel Comia Jr. is perfectly cast as the hopeful boy who
forges a relationship with his noncommittal father.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">"Kiko..." is a balm of hope and inspiration. It mirrors kindness and affection in a world that has embraced discord and indifference. If your idea of cinema is one that lifts your sagging spirit, look no further. This is the perfect vehicle.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The festivals’ most charming entry is </span><i style="font-family: Arial, Helvetica, sans-serif;">Mes de Guzman’s</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> “</span><b style="font-family: Arial, Helvetica, sans-serif;">Ang Pamilyang
Hindi Lumuluha</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” which stars Megastar </span><b style="font-family: Arial, Helvetica, sans-serif;">Sharon Cuneta</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> who’s aptly back in the
indie scene after the whimsical comedy “Crying Ladies” (2003). What’s with
Cuneta and “</span><i style="font-family: Arial, Helvetica, sans-serif;">crying</i><span style="font-family: "arial" , "helvetica" , sans-serif;">”? But I'm not complaining. The movie is a departure from one of my favorite indie
directors' style who’s known for his glacially-paced introspective dramas usually set
in the back roads of small towns. Pamilya takes place in Laguna.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the story, Cora dela Cruz (Cuneta) is a former broadcast journalist wallowing in the doldrum of her solitary life. She has lost everyone important to her, including her husband (Richard Quan), her
children (Michelle Vito and Philip Olayvar) and even her career. With the help
of her oftentimes-discombobulated maid Bebang (the irrepressible Moi Bien),
Cora hires the services of Biboy (Nino Muhlach) to find the mythical “Family
that Doesn’t Weep”. The family of four is an urban legend believed to bring back lost object or person – for a
fee, of course. Cora’s dilemma isn’t an easy one. Moreover, she's just too desperate to doubt. She has pinned her hopes up on this
strange family. Cora's penultimate journey abruptly ceases when fate swerves to a dead end. Her desperation almost kills her, as she eventually ends up at the emergency room.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoYScC_lAytSCNmjzdu6b9T3TiK7Jl8zkXWX1M4C5dW622zsZvaxFD4wee86t-SM4gn1awQF6Fd6xv9PDSlombw5zMKzPD6rkDO7aBhZmXLgYC4hJaDgfD3KUaQlOpoQfdLnDyup2U-L8/s1600/image002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="624" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoYScC_lAytSCNmjzdu6b9T3TiK7Jl8zkXWX1M4C5dW622zsZvaxFD4wee86t-SM4gn1awQF6Fd6xv9PDSlombw5zMKzPD6rkDO7aBhZmXLgYC4hJaDgfD3KUaQlOpoQfdLnDyup2U-L8/s320/image002.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Cora’s story is a cautionary tale about hope and deliverance. Happiness
and success aren’t attained by subscribing to superstition nor should they be dependent on the mere presence of others. Sometimes, our contentment is defined by what we think we need when, in truth,
happiness could be had with so much less. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>VEERING AWAY FROM EASY</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">A story like Cora's is fodder for maudlin caterwauling, but De Guzman decides to take an unexpectedly light approach to tell his story. "<i>Drama</i>" would have easily benefited Cuneta more, but the narrative path veers<b><i> away</i></b> from inexorable sentimentality. If anything, this artistic choice is fortuitous. After all, both De Guzman and Cuneta more familiarly tread the dramatic genre. Comedy, then, becomes an "<i>extraordinary</i>" choice. In this respect, we applaud De Guzman more than ever - and can't wait for his next film. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I initially didn't expect a lot from the
movie after watching some scenes from the trailer; none of which made it in the final cut. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But such is the joy of unexpected surprises. The movie is funny, but ultimately
heart breaking. It’s probably inappropriate to say that this vehicle is a
return to form for the iconic actress. After all, she isn’t known for quirky comedies
(Wenn Deramas’ “</span><i style="font-family: Arial, Helvetica, sans-serif;">BFF</i><span style="font-family: "arial" , "helvetica" , sans-serif;">” notwithstanding). Cuneta is treading unfamiliar waters. There are awkward moments of </span><i style="font-family: Arial, Helvetica, sans-serif;">improvs</i><span style="font-family: "arial" , "helvetica" , sans-serif;">,
but Cuneta’s character is completely delineated and bravely depicted. This is a comeback of sorts for Cuneta whose last cinematic foray was Joel
Lamangan’s “</span><i style="font-family: Arial, Helvetica, sans-serif;">Mano Po: A Mother’s Love”</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> eight long years ago. There were SRO crowds in the two screenings we've managed to catch (long story!), but this was expected, considering she’s the <i>only</i> stellar name in the current festival. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thank God for the<i> few</i> good movies. This has been a challenging experience at a Cinemalaya festival. There were moments that felt like self-flagellation, to be honest. But watching “</span><i style="font-family: Arial, Helvetica, sans-serif;">Pamilya</i><span style="font-family: "arial" , "helvetica" , sans-serif;">…”, “</span><i style="font-family: Arial, Helvetica, sans-serif;">Kiko Boksingero</i><span style="font-family: "arial" , "helvetica" , sans-serif;">” and
“</span><i style="font-family: Arial, Helvetica, sans-serif;">Respeto</i><span style="font-family: "arial" , "helvetica" , sans-serif;">” made the whole drill worth the time I invested.</span></div>
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<b><span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Honor Roll</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">To cap this post, here is our <u>honor list</u> for this festival:</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000;">Best Picture:</span></b> Alberto Monteras II’s “<b>Respeto</b>”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000;">Best Actor in a Leading Role: </span>Jake Cuenca</b> (“Requited”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000;">Best Actress in a Leading Role</span></b>: <b>Sharon Cuneta</b> (“Ang Pamilyang Hindi
Lumuluha”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000;">Best Actor in a Supporting Role:</span></b> <b>Dido dela Paz</b> (“Respeto”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000;">Best Actress in a Supporting Role:</span></b>
<b>Chai Fonacier</b> (“Respeto”)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #990000;"><b>Best Director:</b></span> <b>Alberto Monteras II</b> (“Respeto”) </span><o:p></o:p></div>
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<b><span style="color: #0b5394; font-size: large;">SHORT FILMS</span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As an addendum, the <b>shorts</b> fielded this year were quite impressive. Their
directors displayed more technical proficiency than many of the main features’
megmen. <i>Carl Adrian Chavez’s</i> “<b>Sorry for the Inconvenience</b>” told a complete tale
of vengeance and the lopsided face of justice. Ronwaldo Martin is engrossing as
the perennially bullied student. <i>Karl Glenn Barit’s </i>“<b>Aliens Yata”</b> is viewed
above ground (drone) so the perspective is ground-breakingly alienating, but
nevertheless fresh and provocative. <i>Juan Karlo Tarobal’s</i> “<b>Islabodan (Free Men)</b>”
is told through multiple frames (as though watching a comic book) about warring gangs. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Though the technique used
is occasionally disorienting, you can’t deny the dynamism of such
storytelling. </span><i style="font-family: arial, helvetica, sans-serif;">E del Mundo’s</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> “</span><b style="font-family: arial, helvetica, sans-serif;">Manong ng Pa-aling</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” is told (mostly) underwater. How's that for new perspectives?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The
visual techniques employed are varied, adequately using them to move their stories.
On the whole, it’s important to remember that no cinematic element is more
important than the </span><i style="font-family: arial, helvetica, sans-serif;">story </i><span style="font-family: "arial" , "helvetica" , sans-serif;">itself. On his diatribe about film school, celluloid maverick </span><i style="font-family: arial, helvetica, sans-serif;">Werner Herzog</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> once remarked, “</span><i style="font-family: arial, helvetica, sans-serif;">Academia kills the cinema.</i><span style="font-family: "arial" , "helvetica" , sans-serif;">” It is important to hone one's story telling
acumen. Otherwise, technical proficiency will not amount to much. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">#cinemalaya2017</span></div>
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-74722835045154927112017-02-01T04:31:00.000+08:002017-02-03T11:51:56.188+08:00Philippine Industry Report - The Best Films and Performances of 2016<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #990000; font-size: x-large;">There was</span></b> a time when the ordinary Filipino’s favourite and most
affordable past time was movie watching. People could clear their minds and get
lost in the confines of a dark cinema hallway. But things have changed, SM,
Ayala and Robinsons made sure of this. In fact, the cost of watching movies
between December 2015 and December 2016 has obscenely gone up from between
P190-P220 in 2015 to P250-280 this year. Between P190 and P280, this increase
is a staggering <b>47.3%</b>. And who regulates these increases?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For a country where <b>25.2%</b> of the population (roughly 26 million
Filipinos) lives below the national poverty line, current cinema rates are just
impossibly steep. In fact, the unapologetic plagiarist Senator Tito Sotto myopically
puts to task the new rules set by the MMFF Committee as reason for the dismal earnings at the 42<sup>nd</sup> edition of the beloved film festival. MMFF 2016
just grossed a measly P500 million, which is half of 2015’s overall earnings. But there
are several factors attributable to this. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">FACTORS WHY MMFF 2016 EARNED LESS</span></b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>One</b>, this obvious dichotomy between mediocre mainstreams and indies
makes people nervous or unsure. <b>Two</b>, poor information drive about the entries.
While this is debatable, it is common knowledge that trailers for Nora Aunor’s “<b>Kabisera</b>”,
Rhian Ramos’ “<b>Saving Sally</b>” or Irma Adlawan’s “<b>Oro</b>” were hardly seen on
Philippine television, the most influential medium for information
dissemination in the new millennium. Forget social media. The United Nations
has reported that only <b>37%</b> of Filipinos have internet access. Of this percentage,
access is intermittent. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The MMFF committee should finance a unified scheme that
gives television airtime to promote their entries, particularly because many of
these movies are being starred by non-marquee names. <b>Three</b>, this paradigm shift
requires time to thrive. It’s like a surgeon’s skills. One doesn’t become an
expert of a procedure overnight. <b>Four</b>, inclusion of a documentary was too
radical. Since when is a documentary pitted for excellence against mainstream
features? Not in Cannes, the Golden Globe, BAFTA or the Oscars. Only in the
Philippines! <b>Five</b>, this ridiculous 47.3% increase in cinema admissions limits
the capacity of the ordinary Pinoys to watch more movies than they’re usually
able to. It’s very prohibitive. After all, we are far from having the earning
standards of Singapore, Hong Kong or even Malaysia to impose such ticket
prices. Bottom line: MMFF earned much less. Greed of these cinemaplex mafia is
clearly contributory to the poor box office earnings. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There are adjustments needed for the new MMFF system obviously, but to
call for its abolition is premature; the observation too myopic. And this is from a senator whose claim for cinematic excellence is
as part of a zany trio of comedians with “<b>Iskul Bukol</b>”, “<b>Bilibid Gays</b>”, “<b>Si Ako
at ang Tres Muskiteros</b>” and “<b>Mang Kepweng</b>” in their resume. The call is
self-serving. And for what? So we can have another dose of “<b>Enteng Kabisote</b>”?
Heavens forbid.<o:p></o:p></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>HAPPY BENEFICIARIES</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Look at the bright side. The beneficiaries of the recent MMFF are actually rejoicing because they have received a LOT MORE from the earnings than the past years. What does one do with a billion earning if they don't even reach the beneficiaries' coffers? Even with less financial haul, the earnings have been put to good use. Obviously, something good has come out of the revamped MMFF, unless your sole indicator of success is the size of box office return.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: large;">2016 IN A NUTSHELL</span></b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Star Cinema once again lorded it over other production companies with majority of
their releases making the year’s biggest blockbusters. Vice Ganda leads the pack
with “</span><b style="font-family: Arial, Helvetica, sans-serif;">The Super Parental Guardians</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” nearing the P600 million mark. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Vilma Santos</b>
is the only movie queen, almost 45 years from her rise to stardom, who’s still able to
carry a film that actually makes a lot of money. Santos' “</span><b style="font-family: Arial, Helvetica, sans-serif;">Everything About Her</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” grossed P208
million and counting, the year’s 4</span><sup style="font-family: Arial, Helvetica, sans-serif;">th</sup><span style="font-family: "arial" , "helvetica" , sans-serif;"> biggest haul. The same movie
showcased Angel Locsin’s box office clout. Locsin impressively manages <b>two</b> box
office hits in 2016 with gender-bender, “</span><b style="font-family: Arial, Helvetica, sans-serif;">The Third Party</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” earning
P110 million. This should effectively hint of an explosive box-office
magic in a new </span><b style="font-family: Arial, Helvetica, sans-serif;">Darna</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> flick if Locsin decides to “</span><i style="font-family: Arial, Helvetica, sans-serif;">swallow the extra-terrestrial stone</i><span style="font-family: "arial" , "helvetica" , sans-serif;">”
and once again fly the cinematic skies.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The <i>most unexpected blockbuster is</i> Angelica Panganiban's "<b>The Unmarried Wife</b>", a vehicle she single-handedly carried with grit and grace. Of course there's Dingdong Dantes, Paolo Avelino and Maricar Reyes in the cast, but it's easy to attribute the film's success to Panganiban. The titular "<i>wife</i>", wasn't she? The film is also expected to earn more than others, once cost is subtracted from its gross earning. </span></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></o:p></div>
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<o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>DICHOTOMY</b></span></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Some people scoff at mainstream productions, but to be fair, this is an
industry that allows artists to earn money and provide for their family. The same
can hardly be said about the indie community where, often times, people are
paid so much less than industry rates. Some even work for free. This makes for
an unsustainable livelihood in a society. The great divide in the debate against the
concept of dichotomy rests in this salient feature. Artists need work where
they’re paid adequately for services rendered. Director Marlon Rivera (“Ang Babae
sa Septic Tank”) once bemoaned about the dichotomy between mainstream and
independent productions. But until proper financial arrangements are laid
out or professionalized, this concept remains valid and can’t be swept under
the carpet.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">NORA TAKES SIX<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In 2016, Superstar <b>Nora Aunor </b>was in (hold your breath!) 6 feature
films: (Adolfo Alix Jr.’s “<b>Padre de Pamilia</b>” and “<b>Whistleblower</b>”, Roderick
Cabrido’s “<b>Tuos</b>”, Kristian Cordero’s “<b>Hinulid</b>” and Real Florido and Arturo San
Agustin’s “<b>Kabisera</b>”). If we include cameos, the list will include Joven Tan’s “<b>Pare,
Mahal Mo Raw Ako</b>” where La Aunor portrayed Edgar Allan Guzman’s mother. Unfortunately, none of
these features showcased the legendary actress’ superior acting chops, except for “Tuos”.
Most of these films were either predictable, pretentious or forgettable. Isn’t that a waste of
talent? <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This could have been<b> 7</b> if Ms. Aunor wasn’t kicked out of Alvin Yapan’s “<b>Oro</b>”.
The official reason stated by the production was schedule difficulties, but the
grapevine has a more unpalatable story: Aunor allegedly refuses or cannot
memorize Yapan’s kilometric lines. Remember Irma Adlawan’s protracted monologue in the film? The director hails from the academe and wants the script followed to the letter.
The story is a film maker’s vision, after all. Ate Guy, who already filmed a few scenes, would allegedly adlib her way through a scene. Regardless, one cannot just remove THE Superstar without personally discussing this with her. This smacks
of grave disrespect. Now, the veteran actress is in fighting form. Hell hath no fury
like a Superstar scorned indeed. <o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">BEST JOKE<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Andi Eigenmann starred in a remake of Lino Brocka’s gut-wrenching “<b>Angela
Markado</b>” (1980), this time directed by its original novelist Carlo J. Caparas.
The result wasn’t bad. It was horrible! </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But this didn’t stop the <b>Famas </b>from giving
a best actress trophy for Eigenmann. How is it like receiving an award for a performance that doesn't even deserve a citation? Oh how she cried! While I understand the different criteria
that various award-giving bodies stand for, the new cinematic version of “Angela
Markado” was execrable:; it was messy, amateurish and mostly incoherent. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Easily, the movie was among the year’s
worst. Giving an award of excellence for a bad film gives a wrong signal to
an industry beleaguered by a variety of problems. The same award-giving body
handed out its Best Film to the unnecessarily long and <i>unexceptional</i> “<b>Felix
Manalo</b>”. To make matters worse, its Best Supporting Actor and Actress plum went
to Gabby Concepcion and Lorna Tolentino, both for “<b>Crazy Beautiful You</b>”. In the
aforementioned film, Gabby and Lorna were mostly decorative. No one in their right mind would even cite these actors for their turn in this movie. This makes FAMAS nothing but a humongous joke. No one believes their choices, but
themselves. No one cares for the FAMAS anymore. They’re a demented
bunch who probably just saw 10 local films in a film year that had 140 film features.</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">FILM OUTPUT<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In terms of output, the struggling industry churned out, roughly, about<b>
140 movies</b>. <b>Star Cinema</b> released 12 titles; Viva had an impressive 7; Regal had
4; and the obscure <b>BG Production International </b>had 5, including the Nathalie
Hart-starrer, “<b>Siphayo</b>”. Even Matteo Guidicelli became an action star in a film
produced by BGP - Rod Santiago’s old school actioner, “<b>Tupang Ligaw</b>”. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Most of BG’s films, however, would get screened for a day, then pulled
out the next. I’d say the bad luck comes from the producer’s robotic cameos in many
of her films. In Joel Lamangan’s “Siphayo”, for example, a scene involves the
producer sitting inside a car and looking so stiff, it looked like she got
inflicted with either of the Clostridia species: botulinum or tetani. Or torticollis! Take your
pick! She’s the perfect specimen!<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">FILM FESTIVALS<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There were several local film festivals: </span><b style="font-family: Arial, Helvetica, sans-serif;">ToFarm</b><span style="font-family: "arial" , "helvetica" , sans-serif;"> films, the agriculture-advocating festival, were mostly mediocre
works, but it had a couple of gems: Dulay’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Paglipay</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” and Villaluna’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Pauwi
Na</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Brillante Mendoza’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Sinag Maynila</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” wasn’t </span><i style="font-family: Arial, Helvetica, sans-serif;">that </i><span style="font-family: "arial" , "helvetica" , sans-serif;">impressive, but it screened Adolfo Alix
Jr.’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Mrs.</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” To a minor degree, Mes de Guzman’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Dyamper</b><span style="font-family: "arial" , "helvetica" , sans-serif;">” was serviceable. </span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;">Cine Filipino</b><span style="font-family: "arial" , "helvetica" , sans-serif;">
had more variety, but my favorites were the unabashedly romantic and poetic ouvre of Ice
Idanan, “</span><b style="font-family: Arial, Helvetica, sans-serif;">Sakaling Hindi Makarating</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”, Lem Lorca’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Ned’s Project</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”, Jason Paul
Laxamana’s “</span><b style="font-family: Arial, Helvetica, sans-serif;">Ang Taba Ko Kasi</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”, and the eerily suspenseful “</span><b style="font-family: Arial, Helvetica, sans-serif;">Ang Tulay ng San
Sebastian</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”, directed by beleaguered megman Alvin Yapan (of the notorious “</span><b style="font-family: Arial, Helvetica, sans-serif;">Oro</b><span style="font-family: "arial" , "helvetica" , sans-serif;">”
fame).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The grand dame of local festivals, <b>Cinemalaya</b>, makes a grand comeback.
However, most films weren’t as accomplished as the past years' entries. Our favorites
include Corpuz and Palomares’ “<b>Kusina</b>” with the sublime Judy Anne Santos;
Eduardo Roy Jr.’s “<b>Pamilya Ordinaryo</b>”; and Jason Paul Laxamana’s
“<b>Mercury is Mine</b>”. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Some Cinemalaya entries managed to annoy us: Atom Magadia’s “<b>Dagsin</b>”
was difficult and almost unbearable to watch, it taunted me to walkout several times, but Tommy Abuel’s
performance convinced us to stay put; Cabrido’s “<b>Tuos</b>”
meandered in its own artistic conceit, but Nora Aunor was fascinating in her
flowing grey tresses; then there’s Ralston Jover’s “<b>Hiblang Abo</b>” which takes the cake
as one of the year’s most atrocious ensemble. Almost every <i>“lolo</i>” in this story
was gratingly irritating. We weren’t alone with this sentiment. A guy seated beside us
kept whispering, “<i>Die already</i>.” Jun Urbano was just too
resplendently tawdry. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>QCinema Film Festival</b> emerged as the best mounted festival last
year. It’s almost hard to pick favorites from their competition films. However, the weakest entry would have to
be Cordero’s quotation-heavy “<b>Hinulid</b>” which starred Nora Aunor. Cinema One was
the year’s most disappointing. This is mostly because we expected so much from
it. Petersen Vargas’ “<b>2 Cool 2 Be 4gotten</b>” is its lone shining star. Then there’s
the MMFF. I feel that there’s a problem with the selection of movies, but
enough of that. Boborol’s “<b>Vince & Kath & James</b>” was a huge surprise,
aside from Jun Lana’s “<b>Die Beautiful</b>”. Oh, there’s that <i>dog-clubbing </i>film too, but
let’s avoid mentioning it further. <o:p></o:p></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">FOREIGN FESTIVALS<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">During the last quarter or the year, foreign film festivals were screened
one after the other: Eiga Sai, Chinese, South Korean, Argentine, Spanish,
German, Cine Europa, Danish, Asian, etc. There was even an Israeli Film
Festival. While I was thrilled of these developments, the whole experience was
eventually exhausting when we tried to watch most of them. My suggestion to the
organizers: please try to coordinate with each other and spread these festivals
across 12 months instead of fielding them all at the second half of the year. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">From
these festivals, we saw </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">Frederikke Aspock’s “<b>Rosita</b>”, a fish-out-of-water Danish
film that starred beautiful Mercedes Cabral as a mail-order bride who finds herself
in a frigid fishing village north of Copenhagen. </span></div>
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<span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">I also caught Pepe Diokno’s “<b>Above
the Clouds</b>”, starring Ruru Madrid, one of my favourite movie-going experiences
last year. Iconic rocker Joey Pepe Smith was featured in two superior movies: Diokno’s
“Above the Clouds” and Malaysian-Filipino director Bradley Liew’s “<b>Singing in
Graveyards</b>”. Theatre luminary Anton Juan fielded his messy “<b>Hinabing Palpak ng
Ating mga Anak</b>” which was a punishing watch for me. It starred JC
Santos and Agot Isidro, among others.</span></div>
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<b><span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">WE LUV LAV<o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Finally, Lav Diaz’s films are making a killing at the box office,
particularly for “<b>Hele sa Hiwagang Hapis</b>” which screened before SRO crowds all
over the metropolis, Davao and Cebu included. Charo Santos’ “<b>Ang Babaeng Humayo</b>”
was the same, although interest eventually dwindled. But, boy, what a
screen comeback for a screen luminary!<o:p></o:p></span></span></div>
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<b><span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">REAL TALK<o:p></o:p></span></span></b></div>
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<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I also hope that, in the spirit of transparency, cinema owners and
movie companies release correct box office returns because real numbers can
be used to study the attitudes of people – their movie watching habit. This
will ultimately benefit film makers. I remember watching Gino M. Santos’ “<b>Love
Me Tomorrow</b>” (Dawn Zulueta, Piolo Pascual, Coleen Garcia) on its opening day.
There were <i>only 3</i> of us inside a huge Megamall cinema. That night, <b>Boy Abunda</b> proudly
proclaimed the movie’s fantastic first-day gross to the tune of P13 million
pesos! I almost fell off my chair. Three people in one cinema = P13 million first
day gross. Talk about exponential padding, right? Of course, a single movie house isn’t an adequate gauge in the
overall box-office earning of a film. Maybe there were thousands in other
theatres, <i>debah</i>? I rest my case!<o:p></o:p></span></span></div>
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<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
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<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>IN CONTENTION TOO</b></span></span></div>
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<br /></div>
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<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Our choices for the year’s best was simplified this year. For best
performances, we chose 10 of the best performances in a lead role, and
another 10 for supporting role. Arranged in descending order, this should
easily point to who we think deserves the top plum. We had
a hard time deliberating the best performers, but let it be known that <b>Vilma
Santos</b> (“Everything About Her”), <b>JC de Vera</b> (“Best.Partee.Ever”), <b>Angelica
Panganiban</b> (“The Unmarried Wife”), <b>Ronwaldo Martin </b>(“Pamilya Ordinaryo”) and
<b>Judy Anne Santos</b> (“Kusina”) were in serious contention. For some
actors, other factors, like the material they appeared in, eventually figured in the elimination. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This is <b>2016’s Best Films and Performances</b> (in
descending order):</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-PH;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , sans-serif;"><b><span style="color: #0b5394; font-size: large;">Best Films of 2016</span></b><span style="color: #222222; font-size: 12pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">1. Lav Diaz’s <b>Hele sa Hiwagang
Hapis</b> (Best Film)</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">2. Brillante Mendoza’s <b>Ma Rosa</b> </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">3. Jun Lana’s <b>Die Beautiful </b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">4. Petersen Vargas’ <b>2 Cool 2 Be
4gotten</b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">5. Sheron Dayoc’s <b>Women of the
Weeping River </b> </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">6. Eduardo Roy Jr.’s <b>Pamilya
Ordinaryo </b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">7. Lav Diaz’s <b>Ang Babaeng Humayo </b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">8. David R. Corpuz and Cenon
O. Palomares’ <b>Kusina </b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">9. Theodore Boborol’s <b>Vince and Kath and James</b> </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
</div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">10. Ice Idanan’s <b>Sakaling Hindi
Makarating</b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , sans-serif;"><span style="font-size: large;"><b><br /></b></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , sans-serif;"><span style="color: #0b5394; font-size: large;"><b>Best Performance in a Lead Role (Actor and Actress) in 2016</b></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">1. <b>Jaclyn Jose</b> (Ma Rosa) - <b>Best Actress in a Lead Role</b></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">2. <b>Charo Santos</b> (Ang Babaeng
Humayo)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">3. <b>Tommy Abuel</b> (Dagsin) - <b>Best Actor in a Lead Role</b><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">4. <b>Paolo Ballesteros</b> (Die
Beautiful) </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">5. <b>Hasmine Killip</b> (Pamilya
Ordinaryo)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">6. <b>Jasmine Curtis-Smith</b> (Baka
Bukas) </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">7. <b>Cherry Pie Picache</b> (Pauwi Na) </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">8. <b>Jaclyn Jose</b> (Patay na si
Hesus)<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;">9. <b>John Lloyd Cruz</b> (Hele sa Hiwagang
Hapis) ties with
<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <b>Joshua Garcia</b> (Vince and Kath and James) <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , sans-serif; font-size: 12pt;">10. <b>Angeli Bayani</b> (Ned’s Project) </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , sans-serif; font-size: 12pt;"> </span><span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rSM4e7nZnpUeepTwtNzb_ZEOk77NBanlVSbsbtoOZqnHDC8KoRVNB2MXM5qKVTCqcjOTZOOR4_Frqz6EHeDLVxRJ6Z3lFoV4bbE-yj2jseIEwanm6SJTjNYlemXr5_mCo5EYPHbeSL4/s1600/image050.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rSM4e7nZnpUeepTwtNzb_ZEOk77NBanlVSbsbtoOZqnHDC8KoRVNB2MXM5qKVTCqcjOTZOOR4_Frqz6EHeDLVxRJ6Z3lFoV4bbE-yj2jseIEwanm6SJTjNYlemXr5_mCo5EYPHbeSL4/s640/image050.jpg" width="640" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Best Performance in a Supporting Role (Actor or Actress):</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1.<b> Christian Bables</b> (Die Beautiful) -<b> Best Actor in a Supporting Role</b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. <b>Meryll Soriano</b> (Pauwi Na) - <b>Best Actress in a Supporting Role</b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. <b>Jameson Blake</b> (2 Cool 2 Be
4gotten) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. <b>Jordan Herrera</b>
(Best.Partee.Ever)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">6. <b>Kean Cipriano</b> (That Thing Called
Tanga Na)<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">6. <b>Pepe Herrera</b> (Sakaling Hindi
Makarating)</span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">7. <b>Lotlot de Leon</b> (Mrs.) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">8. <b>Ina Raymundo</b> (Vince &
Kath & James) <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">9. <b>Enchong Dee </b>(Mano Po 7: Tsinoy) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">10. <b>Barbie Forteza</b> (Tuos) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"> <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvrIZL2BXCrroRlI659V6hcMygOUe1-QwN7EHFLo3JONxd2mrrMl__go-5mf3FQaDCMfsawtfgdWQRVFam0eZPhWoWPJZg3qgUWgYQsf7NnQP8sqIi2df28Qrc5DbcJIgC2qq1gDVrGnI/s1600/image072.jpg" imageanchor="1"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvrIZL2BXCrroRlI659V6hcMygOUe1-QwN7EHFLo3JONxd2mrrMl__go-5mf3FQaDCMfsawtfgdWQRVFam0eZPhWoWPJZg3qgUWgYQsf7NnQP8sqIi2df28Qrc5DbcJIgC2qq1gDVrGnI/s320/image072.jpg" width="640" /></a></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #0b5394; font-size: large;"><b>Best Director</b></span><span style="color: #222222;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1.<b> Lav Diaz</b> (Hele sa Hiwagang Hapis) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Brillante Mendoza (Ma Rosa) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Sheron Dayoc (Women of the Weeping River) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. Petersen Vargas (2 Cool 2 Be 4gotten)</span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. Eduardo Roy Jr.(Pamilya Ordinaryo) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #0b5394; font-size: large;"><b>Best Screenplay</b></span><span style="color: #222222;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>Lav Diaz</b> for "Hele sa Hiwagang Hapis" </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Troy Espiritu for "Ma Rosa" </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Jason Paul Laxamana for "2 Cool 2 Be 4gotten"</span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. Lav Diaz for "Ang Babaeng Humayo" </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. Daisy Cayanan, Kim Noromor, Anjanette Haw for "Vince & Kath & James" </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #0b5394; font-size: large;"><b>Best Cinematography</b></span><span style="color: #222222;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>Larry Manda</b> (Hele sa Hiwagang Hapis) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Odyssey Flores (Ma Rosa) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Mark Limbaga and Rafael Meting (Baboy Halas) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. Alan Banzon (Paglipay/Crossing) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. Lee Meily (Ignacio de Loyola) ties with</span></span><br />
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> Vanz Lavado (Lakbay2Luv)</span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #0b5394; font-size: large;">Best Editing</span></b><span style="color: #222222;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>Lav Diaz</b> (Hele sa Hiwagang Hapis)</span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Diego Marx Dobles (Ma Rosa) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Carlo Francisco Manatad (Pamilya Ordinaryo) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. Paolo Villaluna and Ellen Ramos (Pauwi Na) </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. Mycko David and Cesca Lee (Purgatoryo) </span></span><span style="color: #222222; font-family: "verdana" , sans-serif; font-size: 12pt;"> </span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><br /></b></span>
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>Best Ensemble:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="background-color: white; color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>2 Cool 2 Be 4gotten (Khalil Ramos, Ethan Salvador, Jameson Blake)</b></span></span><br />
<span style="background-color: white; color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Vince and Kath and James <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Sunday Beauty Queen<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. The Unmarried Wife<o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5. Frederikke Aspock’s Rosita (Denmark)</span><span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfhkDZB07EoA69XAZTtKbbIio2ceN0pXiMmHNzbFX6OzZrBnOLxvq4_SdV2ZrbJpp0nGbq2Mq7lBRqHuNxYcS8CeZN6ErszxNiI7SIo96j2dB63fgEH2i4_dATpUKZEXk50tZvmFcbQgU/s1600/image075.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfhkDZB07EoA69XAZTtKbbIio2ceN0pXiMmHNzbFX6OzZrBnOLxvq4_SdV2ZrbJpp0nGbq2Mq7lBRqHuNxYcS8CeZN6ErszxNiI7SIo96j2dB63fgEH2i4_dATpUKZEXk50tZvmFcbQgU/s640/image075.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b>2 Cool to be 4gotten</b></span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQO8T9Evayjup2REL2rKEfGLy3E3uZmGYCKLo2UuZ_uPXHVX0LkGayKqRCAKAN_pHH-BGZf5zMwKGXvesplE1d6y-tzfXPJq5Cak8uTKls1nP4ZV0nmXkXF5evIMpDNTAOsJWxkxIwhLU/s1600/image076.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQO8T9Evayjup2REL2rKEfGLy3E3uZmGYCKLo2UuZ_uPXHVX0LkGayKqRCAKAN_pHH-BGZf5zMwKGXvesplE1d6y-tzfXPJq5Cak8uTKls1nP4ZV0nmXkXF5evIMpDNTAOsJWxkxIwhLU/s640/image076.png" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Vince and Kath and James</span></b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3AiwaJiSQVCpdkGvtRgP37Cat7wnzppDODzCoEmNGYN00mx6fTZcqyt09gC5S9TpcTVRDA6poyw9_n8_4ZOW3V33pGXqEsKZAnhuw1VP3JqBj6NHoHWt_zJOPJ0BZbrHR2mX88oToOfQ/s1600/image078.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3AiwaJiSQVCpdkGvtRgP37Cat7wnzppDODzCoEmNGYN00mx6fTZcqyt09gC5S9TpcTVRDA6poyw9_n8_4ZOW3V33pGXqEsKZAnhuw1VP3JqBj6NHoHWt_zJOPJ0BZbrHR2mX88oToOfQ/s320/image078.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sunday Beauty Queen</span></b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cQHUmiYIoRhAq793UlPFiNepi1LSfegjets9imUu7IDqiSFTPetDYbRA-1FrIu5omRjFkbExiIBpieyoX9isE__WueT0goHNqLGiDnbvq4hk9ecUe8Y8dBkpHZVhULl2bLC7Tuf0OyA/s1600/image080.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cQHUmiYIoRhAq793UlPFiNepi1LSfegjets9imUu7IDqiSFTPetDYbRA-1FrIu5omRjFkbExiIBpieyoX9isE__WueT0goHNqLGiDnbvq4hk9ecUe8Y8dBkpHZVhULl2bLC7Tuf0OyA/s320/image080.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">The Unmarried Wife</span></b></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLiCKbglZcy_aul4CiH7sNT4PcW7eMale-o4ire_tDxvHUuVx_XVeIMwf8ciNzynEjXvpFY8s-A8tTsaMgRwUbKIO3Ea7Xd_V8OhX0XiF79ThZF7xDT2XjE-x13tr3ifzLpiGNwgvaNA/s1600/image081.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="574" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLiCKbglZcy_aul4CiH7sNT4PcW7eMale-o4ire_tDxvHUuVx_XVeIMwf8ciNzynEjXvpFY8s-A8tTsaMgRwUbKIO3Ea7Xd_V8OhX0XiF79ThZF7xDT2XjE-x13tr3ifzLpiGNwgvaNA/s640/image081.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Rosita</span></b></td></tr>
</tbody></table>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b style="background-color: white;">Best First Feature:</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">1. <b>Petersen Vargas (2 Cool 2 Be
4gotten)</b> </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. <b>Bradley Liew (Singing in
Graveyards) </b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. <b>Ice Idanan (Sakaling Hindi
Makarating) </b></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">4. <b>Sunshine Lichauco de Leon and Suzanne Richiardone (Curiosity, Adventure and Love)</b></span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: "arial" , "helvetica" , sans-serif;">5.<b> HF Yambao (Best.Partee.Ever) </b></span></span><span style="color: #222222; font-family: "verdana" , "sans-serif"; font-size: 12.0pt;"><b> </b> <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Best Documentary:</b> Lichauco de Leon and Richiardone's "Curiosity, Adventure and Love"</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Best Short Film:</b> Lav Diaz's "Ang Araw Bago ang Wakas" </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #990000; font-size: large;"><b>Most Annoying Films of the Year</b></span> (<b>because we suffered while watching them</b>):</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">1. Anton Juan's "<b>Woven Wings of Our Children</b>" (Hinabing Pakpak ng Ating mga Anak)</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">2. Atom Magadia's "<b>Dagsin</b>"</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">3. Ralston Jover's "<b>Hiblang Abo</b>"</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">4. Sheron Dayoc's "<b>The</b> <b>Crescent Rising</b>" - The Moro community utilizes the same argument that China uses to claim ownership to Mindanao. That it won in Korea really is a bigger disservice because it legitimizes erroneous claims. Historical revisionism at its worst. Period.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">5. Jose Johnny Nadela's "<b>Pilapil</b>"</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">6. Kristian Cordero's "<b>Hinulid</b>" - The director makes use of a thousand quotations from mathematicians to philosophers diluting what could have been a fascinating story of a mother who comes to terms with her son's untimely demise. The film ultimately lost its own voice. Oh, and there's this train that travels from Manila to Bicol and terminates at the constellation! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><span style="color: #990000;">Best Struggle in Online Criticism: </span><span style="color: #0b5394;">Cinema Bravo</span></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span><span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">Here’s why! </span><a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html" style="text-indent: -0.25in;">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">#bestfilms #2016 #bestperformances #tommyabuel #vilmasantos #noraaunor #jaclynjose #lavdiaz #helesahiwaganghapis # marosa #superparentalguardians #diebeautiful #hasminekillip #paoloballesteros #brillantemendoza #jasminecurtismsith #meryllsoriano #christianbables #charosantos #cherrypiepicache #jamesonblake</span><br />
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-10762610696136556262016-12-28T11:31:00.000+08:002016-12-29T09:43:32.436+08:00The Best Films of MMFF 2016: Oro, Vince & Kath & James, Sunday Beauty Queen and Die Beautiful<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">How was MMFF 2016 so far?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Like a breath of fresh air. There were fewer crowd, but who
says a festival’s sole measure of success is its box office return? Who says
that the dimension of triumph is measured in terms of a man’s financial riches
alone? <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In this year’s revamped festival, the films were meticulously made. “Saving
Sally” took 10 years to finish. “Sunday Beauty Queen” took more than a year.
Meanwhile, how long did Vice Ganda’s zombie-populated “Super Parental Guardians”
take to finish principal photography? <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>THEMATICALLY RICH</b><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">More importantly, this year’s entries are diverse in theme and scope.
There are false prophets and the battle of good against evil in Erik Matti’s “<b>Seklusyon</b>”;
adolescent love amidst the digital revolution and social quandary in Theodore
Boborol’s “<b>Vince & Kath & James</b>”; territorial terrorism in Alvin Yapan’s “<b>Oro</b>”;
desperation brought forth by the Filipino diaspora in Baby Ruth Villarama’s “<b>Sunday
Beauty Queen</b>”; <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Foibles of contemporary film making in “<b>Ang Babae sa Septic Tank 2</b>”; chronicles
of struggle and abuse of a transgender woman in Jun Lana’s “<b>Die Beautiful</b>”; the worrisome
extra judicial killings take the spotlight in Real Florido and Arturo San Agustin’s “<b>Kabisera</b>”; unrequited love inhabits a dimension that combines live
action and animation in Avid Liongoren’s “<b>Saving Sally</b>”. If this lineup doesn’t satisfy anyone’s
criteria of provocative and “relevant” film making, I don’t know what would.
But just to make a point, remind me again if Enteng Kabisote’s 10 film installments could match any of the aforementioned flick’s pertinence or social purpose? <i>Enteng
fights the monsters of the evil world and wins</i>! In one sweeping statement, that
sums up the entertainingly redundant Enteng 1 to 10. If this repetitious
vacuity is your cup of tea, then there is something so wrong with the way your
brain is wired. Nuf said.</span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In this post, we will be spotlighting the festival's<b> Best Films </b>(in descending
order). </span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Alvin Yapan’s “<b>Oro</b>” follows the ordeal of the people of Barangay Gata,
Caramoan in Camarines Sur when armed henchmen, pretending to be
environmentalists, take over the island’s ball mill where local folks harvest gold
from a nearby cave. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The head strong barangay captain (Irma Adlawan) needs to
produce a DENR permit for her community’s mining activity to start an argument
with the strangers. Unfortunately, we know how long the system takes. People
are going hungry. Elmer (Joem Bascon), the mill’s caretaker, is forced to sign
up with the aggressors. After all, her girlfriend Linda (Mercedes Cabral) is
pregnant with his baby.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yapan has always favored slow burn narratives. His stories have always been subtle and introspective, but “Oro” changes all that. In fact, this is the director’s most accessible. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The change of pace is apropos for the urgency of the story. It also demands a few questions, not the least of which is operating a small-scale mining without any form of permit. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“<i>Mali ba ko?</i>” Adlawan, in a sincere moment of indecision, asks and chastens herself. Oro is undoubtedly Adlawan’s best performance in a long while. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The scene makes you shiver. Moreover, her long monologue in front of a camera is instructive of empathetic delivery. We listen to her and feel her anger and frustration. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The movie also emerges as among this festival’s four most watchable films. It is entertaining, unnerving and as relevant as the real story it drew inspiration from. For a change, Yapan does away with the subtlety that usually characterizes his narrative flow. The story is fluid and told in a straight forward manner.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Theodore Boborol’s “<b>Vince & Kath & James</b>” tells a simple story. But the characters’ facile associations belie their complicated lives. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Vince Arcilla
(Joshua Garcia) pines for the attention of reluctant college beauty queen
Kathleen Gonzales (Julia Barretto) who, in turn, has her eyes set on handsome
jock James Raymundo (Ronnie Alonte), Vince’s cousin. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But life isn’t a walk in
the park for our lovely protagonist. To make ends meet, Kath works for her uncle’s “<i>talyer</i>” (auto shop), a shop their family once owned. It has since been sold to her uncle after her father, who works in Dubai, flew the coop and abandoned their family. He left his household undone so Kath's mother (Shamaine
Buencamino) does odd jobs to support 19 year old Kath and his 11 year old brother
Kyle. Her life gets more engaging when she’s beset by anonymous text
messages from a secret admirer. What Kath doesn’t realized, annoying schoolmate Vince is the one
sending these messages. James is too cowardly to tell her in person. Just when Vince and Kath start building up their acquaintance, James decides to pursue Kath? Would Vince play their mediator? Will
Vince, who lives with his cousin, once again give way to his obdurate <i>pinsan</i>?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The movie is the festival’s most adorable film - bar none. It boasts of
a vibrant story that tackles issues related to migrant workers, unwanted children and the seemingly trivial concerns of the youth. It builds up its story around Vince and Kath's delightful texting, a valid augury of modern-day social
interaction. The film stars a charming cast that’s easy on the eyes, but more
importantly fits into their characters as though they were written for them. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">While it’s
easy to dismiss the flick as just another vacuous romcom, the story itself surprises like a well-tempered coming-of-age that takes us without much
fanfare, but leaves us breathless and swayed. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I am pretty sure that word of mouth will prove the naysayers wrong. Boborol weaves an upbeat story that sustains its audience's interest from start to finish. It has an unobtrusive score that deftly uses the song "<i>O Pag-ibig</i>" like an ambrosial potion. Keep
an eye on the spell-binding <b>Joshua Garcia</b> who coaxes a surprisingly enthralling
performance. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What’s more remarkable is how Garcia can easily shift from a
flirtatious dork to a cowardly guy, then to a heartbroken son. No awkward
misstep here. Garcia is consistently great and even-tempered. His scenes with Ina Raymundo,
playing the role of the mother who gave him up, was particularly heart
breaking. I wouldn’t be surprised if Raymundo gets, at the very least, a nomination
for her limited screen time. Indeed, no role is too small for great actors.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If we stretch the domain of “<i>epistolary novels</i>”, then <i>Jenny Ruth
Almocera’s</i> “social media novel” (originally titled “<b>Kath and Vince</b>”) falls
within this literary genre that makes use of “documents” – like letters and
emails (text messages may be considered documents, as they're now used in
judicial inquiries and investigations) to tell its story. The strategy renders
it a slice of realism that almost gets rid of the third person. This makes “VKJ”
totally relatable. We feel like we’re peeping into a private conversation that doesn't overstay its welcome. It’s
ironic though how this popular writer doesn’t even like reading books. I'd say it's talent, but then what does a writer make without reading influences?</span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Baby Ruth Villarama’s “<b>Sunday Beauty Queen</b>” follows several Filipinas
working as domestic helpers in Hong Kong where 190,000 other Filipinas endure
slave-like conditions. Most of them get a Sunday respite. On this day,
several of them join a beauty contest that provides a bit of tumult brought about by the spotlight. It's their moment away
from their daily grind and somehow fills their loneliness. Most of these ladies get a
basic salary of $HK 555 a month. In turn, they’re expected to work from 8 AM to
7 PM daily.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While some employers treat them humanely, others are more mean spirited. When
one of the girls missed a curfew (from the pageant), she was terminated right away. The Hong Kong government gives these girls 14 days to find new employers or they're sent home. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>HORROR STORIES</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Many of them get
emotionally and physically abused. One of them sleeps in a make shift room adjacent to the kitchen. When a cyclone blew it away, she wasn’t allowed to
sleep on the sofa – so she made her bed on the kitchen floor. Another girl is allowed
to bathe once every 3 days – to save water. This was later changed to every 5 days. Another employer refuses to dole out salon
allowance (a grooming stipulation), duly mandated by law, so she unceremoniously shaved her helper’s hair
herself. Another girl was terminated from work at 12 midnight, leaving the girl
homeless for the night. It’s important to realize that many of these girls hold college degrees: AB English, Computer Science, Information Technology, etc. These horror tales are cringe-inducing, but they're told casually like everyday scenarios straight out of their sob stories.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Jack Soo</b>, a veteran Hong Kong producer and distributor who employs a Filipina, says, “<i>If the Philippine
government decides to stop sending foreign helpers outside the country, the
world will be in big trouble.</i>” The statement is, of course, debatable,
considering the disturbing conditions many of these workers have to endure to
keep these jobs. At some point, an advertent government must put a stop to its people's dependence on foreign employment in scurrilous nations. That its government cannot provide well paying jobs is no excuse to feed his people to the lion's den.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Villarama’s latest documentary is her most accomplished work to date. This could be because the stories are close to home. Just before the
credits roll, the film acknowledges Villarama’s mother who once toiled as a domestic
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Truth be told, the time is ripe for these so-called “<i>indies</i>” to grace this country’s most popular film festival. Brillante Mendoza’s brilliant “<b>Thy Womb</b>”
was once a fluke. In fact, it didn’t last for more than a couple of days at the
tills. It was unceremoniously removed. But in a time when these
independently-produced films are gaining ground abroad and winning awards outside the country, it is high
time that the mainstream-loving Filipinos experience a paradigm shift towards less escapist fares - towards “<i>cinematic excellence</i>”. Who can refute these films when foreign spectators treat them like gold? Why can't we?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the other hand, I am not completely sold that
this festival is a venue for a documentary film like “Sunday Beauty Queen” (SBQ). However,
I am glad that its artistry has allowed it to stand alongside the other seven
feature films. Still, when you use the traditional criteria for judging film
excellence, consider that “SBQ” won’t even be eligible for many of the
categories: performance, script, etc. Just maybe, it’s time to rethink
inclusion of documentary works for this festival. My point here is simple. Allow me an analogy: A beautiful trans woman doesn’t belong to an
all-natural female contest like the Miss Universe. There’s a right venue for “her”. We shouldn't mix apples in a basket of pears - and sell them like they're a single entity. They aren't.</span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Speaking of trans women, Jun Lana’s “<b>Die Beautiful</b>” is about a transgender woman who wishes to
be made up, for seven successive days, like his popular idols (Angelina Jolie,
Beyonce, et.al.) when he’s laid to rest – so he can die beautiful. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The story is
bravely told, but isn’t the easiest to digest either because the protagonist’s
journey isn’t a smooth alleyway. In fact, Trisha Echevarria's path is more of a back road filled with pot holes and life-threatening boulders.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Born Patrick Villar, our effete protagonist doesn't see eye to eye with his unsparing dad (Joel Torre). He knows that it's a matter of time before he's eventually thrown out of the house. One fateful night, after missing curfew from joining another of his gay beauty contests, he is caught red handed. He leaves the domicile and moves in with best friend Barbs (Christian Bables). He starts living his life the way he wants to. But homosexuals like Trisha have it rough. Amid a world that sneers at limp-wrists are opportunists and bigots. He gets "raped" by his campus crush (Albie Casino) and his gang. He couldn't even refuse or say "<i>no</i>". "<i>Hindi naman ako pinilit pero di man lang ako maka hindi</i>." It was his first time with a guy - four of them! What follows is a succession of failed relationships and the chance encounter with Jessie (Luis Alandy), the married man who wooed him and showed him true affection - or was it?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Die Beautiful" is a courageous story of growing up different and graciously living with it. It isn't seamlessly told, as the nonlinear storytelling tends to distract and confound than enveigle empathy. It's narrative energy is occasionally dragged down by dawdling narrative strains. But Trisha's chronicle ultimately clobbers its audience like a lightning bolt. We need to be a little more tractable to human differences. After all, it's easier to judge willfully without taking heed to an individual's back story. Besides, wouldn't the world be a kinder place to inhabit without a lot of unsolicited knee-jerk perspicacity? </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Was Paolo Ballesteros's high profile win at the Tokyo Film Festival well deserved? You better believe it. Ballesteros is a shoo in for the festival's best actor plum although Joshua Garcia could pull an upset - if the jurors were a discerning lot. Christian Bables lends a more than competent support. Lana's acting lynch makes cameos: Iza Calzado, Gladys Reyes and Eugene Domingo make the beeline to grace this piece of celluloid magic. But no Nora Aunor, Anne Curtis or Eddie Garcia?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Among the short films included at the festival, Brian Spencer Reyes' "<b>Sitsiritsit</b>" (shown alongside Erik Matti's "Seklusyon") is a worthy addition for the festival's line-up of shorts. The story involves a guy who, while knee deep working on his thesis, starts to hear an unrelenting call... but there's no one there. Is it all in his head? Short films should be adequately vetted to make this section a worthy addition to the revamped festival.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If you haven't seen a single MMFF movie yet, what are you waiting for? Another Enteng Kabisote Meets Panday Meets Juday Meets AiAi Meets Vice Ganda Meets Probinsyano? Stop making all those silly excuses. Be part of this worthy change.</span><br />
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#oro #vincekathjames #sundaybeautyqueen #diebeautiful #mmff2016</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-65595811184022701692016-12-22T13:26:00.000+08:002016-12-23T10:42:43.095+08:00Lav Diaz's "Ang Araw Bago ang Wakas" - Up For Interpretation<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“In the year 2050, the Philippines braces for
the coming of the fiercest storm ever to hit the country. And as the wind and
waters start to rage, poets wander the streets.” So goes the blurb for
Lav Diaz’s 17-minute short film.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">My mind raced back to Dodo Dayao's "<b>Violator</b>" for wasn't the tale set in the midst of a raging storm? The film opens without hint of the future so without the blurb, it could have happened today. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A mangy dog scavenges the streets of Evangelista (either in Quiapo or in Pavia, Iloilo). </span><span style="font-family: "arial" , "helvetica" , sans-serif;">A dentist does prophylaxis on the patient. A waiter tends to the customers of a restaurant. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">A student slouches on a thick book.</span><span style="font-family: "arial" , "helvetica" , sans-serif;">Despite the warnings, it's just another day in the lives of the people.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Elsewhere, a man starts reciting the third act of Shakespeare's "Hamlet": "</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><i>To be, or not</i></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><i> to be, that is the question: Whether 'tis Nobler in the mind to suffer. The Slings and Arrows of outrageous Fortune, Or to take Arms against a Sea of troubles, And by opposing end them: to die, to sleep.</i>" In steady succession, the poetry goes on: Ophelia (Hamlet's potential wife) comes into the picture. A girl (<b>Hazel Orencio</b>) marches into the scene, sits on a bench and bewails the difficulty she's having: "<i>Kung anu-anong pinagagawa ng director</i>." You'd hear her say. A commentary maybe about the film making process not being a walk in the park?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">There's a steel work nearby, and as the night falls, Shakespeare turns... Ilocano? The same girl then recites Mark Antony's speech (Shakespeare's "Julius Caesar") before the market crowd who's mostly oblivious to her ramblings. It felt like Moses warning her brethren about an impending catastrophe. But in the midst of different dialects (yes, dialects, not "languages", excuse me), the exercise is lost in the most unlikely trumpeteers of doom. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">Then the rains come in torrents. Soon, the streets fill with flood. The girl scampers for home, but a shadowy figure follows her. Is the devil trailing her? </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Lav Diaz's short film is a series of seemingly unrelated narrative strings with a <i>"lot"</i> of missing strains thus it's hard to make sense of them. The images are prepossessing. There's the skewed horizon we've grown accustomed to from Diaz's "<i>Mula sa Kung Ano ang Noon</i>" (2014) and the proclivity to offer no explanation. The concluding scenes particularly baffles: From the very wet exteriors, the camera takes us inside a very dry room - well-lighted, and more importantly unimpaired by the cataclysm outside. Then it zooms in on a moth! Voice over: "<i>He arrives silently bringing with him color; and life</i>." </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Though not particularly a satisfying experience, "<b>Ang Araw Bago ang Wakas</b>" (The Day Before the End) is a thought-provoking tale employing incongruent images. It could be a discourse about heeding warnings or the role of destruction to bring forth new life - or both. Wouldn't you be interested in Lav's thoughts on this film (because questions beg to be asked)?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The blurb isn't very appropriate though. The "poets" start to wander the streets <b><i>before</i></b> <i>"the wind and waters start to rage". </i>It won the principal prize at the 62nd International Short Film Festival in Oberhausen, Germany last May this year.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Lav Diaz</b> is finally appreciated in his homeland; something that we've wished for him even before he became prominent abroad. His films have found an audience among Filipinos. Who would have thought that "<i>Hele sa Hiwagang Hapis</i>" would get SRO screenings when it opened here? For someone who doesn't believe in lengthy expositions, I love his films. Diaz is a genre all his own. I've seen most of his films. I even like him as an actor, last seen in "<i>Singing in Graveyards</i>". Let's just hope he gets his horizons straight next time. Tee hee. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">#angarawbagoangwakas #lavdiaz #shortfilm #hazelorencio</span></div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-3735853797437764932016-12-20T15:32:00.000+08:002016-12-20T15:32:01.001+08:00Jigz Recto's "Binatilyo" - A Caterwauling Fete (An Unpublished Post from 2012)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #351c75; font-size: large;">Vintage Blush?</span><span style="color: #351c75;"> Well, this is an article we weren't able to publish for some reason, but this had an original post date of </span><b style="color: #351c75;">November 8, 2012</b><span style="color: #351c75;"> - 4 long years ago. It had Jao Mapa too. It was one of those </span><b><span style="color: #cc0000;">pink films</span></b><span style="color: #351c75;"> that flourished that time. I am sure some of the followers of this blog have missed the spunk and irreverence we've dedicated towards the </span><i style="color: #351c75;">exploitation</i><span style="color: #351c75;"> and vapid film-making that proliferated back then. I didn't really care about the associated metrics, but when </span><b><span style="color: #cc0000;">each</span><span style="color: #351c75;"> post</span></b><span style="color: #351c75;"> was being read by between </span><b style="color: #351c75;">8,000 and 18,000</b><span style="color: #351c75;"> people, you realize that you must have done something right. After all, this is a<b> <i>text-heavy</i> blogsite</b> so I know that my readers aren't illiterates. They also have impeccable taste. Tee hee. So here goes.</span></span><br />
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<span style="color: #0b5394; font-family: "verdana" , sans-serif;"><b>STORY</b></span></div>
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<span style="font-family: "verdana" , sans-serif;">TJ (<b>Norris John</b>) is
infatuated with his classmate Karla (<b>Lili
Montelibano</b>). But TJ isn't the school’s most popular student. In fact, he
gets brickbats for his father Dading’s (<b>Jao
Mapa</b>) effete ways: “<i>malamya,
malambot, kumekendeng</i>”. A few days before Karla’s birthday, TJ gets a reprieve
from Karla’s snootiness. If TJ can provide her with a new smart phone - as gift, of course - for her
birthday, then he’s welcome to court her! Quite the opportunist, isn't she? So
what’s a guy to do? His very own cell phone is ten years past its prime and
held together by an adhesive. </span></div>
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<span style="font-family: "verdana" , sans-serif;">At home, he badgers his impoverished, albeit hard-working parents for
the fashionable gadget. Truth to tell, TJ’s foible is a vice his family can’t
afford. But his attentive and persevering father works even harder and
appropriates a good chunk of his earning, much to the consternation of TJ's mom Elma (<b>Angela Ruiz</b>). The boy is getting impatient because Karla’s birthday is close by. TJ turns to his best friend (<b>Winston de Dios</b>, “<i>Sulot</i>“, “<i>Rigodon</i>”) who
moonlights as an exotic dancer and hustler. Lulu (<b>Lorraine Lopez</b>), TJ’s classmate and overt admirer, is only too
happy with this development. She wants a piece of TJ’s inches as much as she
enjoys his best friend’s. Little did TJ realize that Lulu is a nefarious
henchman’s girlfriend. This gets TJ into trouble. </span></div>
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<span style="font-family: "verdana" , sans-serif;">Karla’s birthday comes, but Dading’s hidden stash is confiscated by
his wife. What’s a father to do? Will TJ ever find the acceptance from Karla? Will there be enough cellphones in the Philippines in time for the opportunist's birthday? I shiver.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnd6XWaMxkv5btjlnj4b5TWk_jkbiXMFwDV0sQS7ggrVxbffi-4Wa2tAq3Ysfj5oFnOCmjqOTjEhv_MCGMB5GogGXHwkZfZmjKkWqtB2JOCYuA95x7AeojOPx8zZGPI-u4e-M-uPi6aI/s1600/image016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnd6XWaMxkv5btjlnj4b5TWk_jkbiXMFwDV0sQS7ggrVxbffi-4Wa2tAq3Ysfj5oFnOCmjqOTjEhv_MCGMB5GogGXHwkZfZmjKkWqtB2JOCYuA95x7AeojOPx8zZGPI-u4e-M-uPi6aI/s640/image016.jpg" width="554" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TJ (Norris John) despises his father.</td></tr>
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<span style="font-family: "verdana" , sans-serif;">Director <b>Jigz Recto</b> once
again weaves another unctuous and exceedingly mawkish mixbag of melodrama and
Pink-leaning narrative. “<b>Binatilyo</b>”
is, in fact, one of the most painful films to watch, reminiscent of the
protracted scenes from “<i>Dulas</i>” and “<i>Kasalo</i>”, both directed by the same
director. These films stretch the
dramatic scenes much longer than you can say <i>"</i></span><span style="background-color: white; font-size: 16px;"><i><span style="color: #351c75; font-family: "verdana" , sans-serif;"><b>pneumonoultramicroscopicsilicovolcanoconiosis</b></span></i><span style="color: #222222; font-family: "arial" , sans-serif;">"</span></span><span style="font-family: "verdana" , sans-serif;">. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Just when you thought the
protracted aria has been delivered, the emotive gravity resumes again with
another set of caterwauling that burrows deep inside your head. I have been sensitized
to these cinematic punishments, but this flick has tested my patience. I was
this close to walking out. </span></div>
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<span style="font-family: "verdana" , sans-serif;">Clueless directors believe that they could milk their dramatic tableau
by expanding their dramatic scenes. This isn't a case of “<i>the longer, the better</i>”, or is it? Norris, who isn't a tall guy, would surely not agree either. The boyish actor works hard and though he succeeds to
personify the spoiled rotten juvenile, his characterization is hobbled by the
non-expository ethos of his cinematic persona. It’s hard to swallow how a
once-loving son has transmogrified into this insensitive brat. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVYBOf7g08JXhmbaV7VlNyHS2vTHr3rn1B4TBljx5Tq6Q2TrOJo1E2cP7iOyFtlVug8-36MStxfFrPt9-aYZALL2jP6T7eAU5qEz4PuM5XkdkxIOHAtTsYdkiBOvlkVQ_QLB8gMuPwdw/s1600/image020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRVYBOf7g08JXhmbaV7VlNyHS2vTHr3rn1B4TBljx5Tq6Q2TrOJo1E2cP7iOyFtlVug8-36MStxfFrPt9-aYZALL2jP6T7eAU5qEz4PuM5XkdkxIOHAtTsYdkiBOvlkVQ_QLB8gMuPwdw/s640/image020.jpg" width="474" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elma and son TJ (Angela Ruiz and Norris John)</td></tr>
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<span style="font-family: "verdana" , sans-serif;"><br /><b>DEUS EX MACHINA</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">It’s quite apparent that the ministrations fueling the narrative are meant as <i>deus ex machina</i>. The inclusion of Lulu’s gun-toting
beau and TJ’s best friend is perplexing. When prodigal TJ comes home,
he learns that his father died looking for him (TJ saw him in a gay bar and
thought that his father has come out of the closet when, in fact, he was there
to work as a waiter so he could earn more money to buy a new phone for his son).
He further learns of his mother’s ornery past: When she got pregnant, his
boyfriend ditched her. Kind-hearted Dading comes to the rescue and assumes the
responsibility as husband and father. This he did despite being <i>as queer as a three dollar bill</i>, so to
speak.</span><br />
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<span style="font-family: "verdana" , sans-serif;">After Elma’s confession, TJ gets a 30-minute crying spell. It was
night time. The next day, he visits his father’s grave and another lachrymose
caterwauling arises. You wonder where prodigal TJ went that he didn't even catch the <i>loooong</i> wake – and the burial. Did he maybe peddle his flesh
overseas? Like Okinawa or Antananarivo, maybe? But he was just enjoying a <i>staycation</i> with his classmate. Why wasn't he told? But the most blatant antagony is the crux that fuels the story: What guy in his right mind would purchase a smart phone for a pompous girl who isn't even his girl friend yet? The story is riddled with holes the size of the supermoon.</span></div>
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<span style="font-family: "verdana" , sans-serif;">The<i> Pink element</i> appears when, one night, a drunk TJ gives Winston’s a visit who then<i> </i>“<i>attends</i>” to his friend's drunken stupor, undressing him and giving
him a diligent, thorough, and refreshing sponge bath. <i>Ayayay pag-ibig, </i>coos Ara Mina. What are friends for, <i>debah</i>? By sunrise, TJ finds himself
glisteningly speckless and exfoliated. </span></div>
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<span style="font-family: "verdana" , sans-serif;">“<b>Binatilyo</b>” is one of the most excruciating flicks I’ve seen this year.
It’s a “<i>buwis buhay</i>” experience. Someone deserves to be tied on a tree teeming with fire ants. Either
that - or he deserves to be shipped somewhere where transport only comes once
every 50 years. No... make it 70!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6ObDsojNUVQbCEY54DaxvdD9hKMOl_TxST0veJhan0CtmP8CaYhX0Uh2M67Gdr7fzK3v6P1YFLCQphiez-qC-DIixSyDWHiZVCNB7gRXwdrFUdW9owr1yowLgItw0j0sL2YYOvajNSE/s1600/image018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6ObDsojNUVQbCEY54DaxvdD9hKMOl_TxST0veJhan0CtmP8CaYhX0Uh2M67Gdr7fzK3v6P1YFLCQphiez-qC-DIixSyDWHiZVCNB7gRXwdrFUdW9owr1yowLgItw0j0sL2YYOvajNSE/s640/image018.jpg" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TJ daydreams of Karla (above) then rollings in the hay with Lulu.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGK7RfuDSPfdC9ARZniFvUF2yh77LEqory7cg0gdG_ztlyuFN_9GsgQxUeaDkvW1XjUSyIEUHyY-E26kx30_riJUxat8ODiGQFadNwIbCHQNZ5WAXcZyDbBVPaMGIqqH5gg0vRlVRCaBw/s1600/image014.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGK7RfuDSPfdC9ARZniFvUF2yh77LEqory7cg0gdG_ztlyuFN_9GsgQxUeaDkvW1XjUSyIEUHyY-E26kx30_riJUxat8ODiGQFadNwIbCHQNZ5WAXcZyDbBVPaMGIqqH5gg0vRlVRCaBw/s640/image014.jpg" width="528" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gay husband Dading and wife Elma.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNDJ-pfb1BGHzH5X2WJd4YwbN0ujcjXRqzub5brh3uv7YiiN8VBDRWWomEZvRritV3_yOIrS2s_Ezp-vcbyIz1cc9Lz7tu2prYEtgKXfD7qbhZsgv2Bv0SilHozAwixMoG_dQ9R4NKKAI/s1600/image022.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNDJ-pfb1BGHzH5X2WJd4YwbN0ujcjXRqzub5brh3uv7YiiN8VBDRWWomEZvRritV3_yOIrS2s_Ezp-vcbyIz1cc9Lz7tu2prYEtgKXfD7qbhZsgv2Bv0SilHozAwixMoG_dQ9R4NKKAI/s400/image022.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lulu</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6zSytp9oL4oQCtVUFiwgQlWjrl3xU8f2LqUfim1mGLFm89N31L9VjTLfcxxyIKbITYJ_OFWMFWXQyzAPY8Vwy2SR-hXO98Iq1q6WMVncjKPonWv38y8JsbFg-igOk3yBalFyvjIZPKI/s1600/image024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6zSytp9oL4oQCtVUFiwgQlWjrl3xU8f2LqUfim1mGLFm89N31L9VjTLfcxxyIKbITYJ_OFWMFWXQyzAPY8Vwy2SR-hXO98Iq1q6WMVncjKPonWv38y8JsbFg-igOk3yBalFyvjIZPKI/s400/image024.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Winston de Dios and Norris John</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvkVPpAIgjjQeb362ITugfevliKv6fohrmNoAONGPQHIxK2EqElrhU3Qy3lShUejL3_4XeqQHJ5t4idGxYlP3wXaRKViuJXHHovL6LTzB6gqPpni7s4B72jgX-rg8_0z14_LM0wqEzU6Y/s1600/image002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvkVPpAIgjjQeb362ITugfevliKv6fohrmNoAONGPQHIxK2EqElrhU3Qy3lShUejL3_4XeqQHJ5t4idGxYlP3wXaRKViuJXHHovL6LTzB6gqPpni7s4B72jgX-rg8_0z14_LM0wqEzU6Y/s640/image002.jpg" width="530" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Norris John</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06O3B9LIbsNvYBm6CuQhgUDmGka3GbVdOBgI_W8Jby0S1w0_pPui3qw1BQ7MdzB4OoGt9-HBb56SJduUqRMPRri2XnUUJaEa-72skVCCRfdi7CbqqnzDpBsUd6MKmJJNcjD7dsfh80LE/s1600/image004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06O3B9LIbsNvYBm6CuQhgUDmGka3GbVdOBgI_W8Jby0S1w0_pPui3qw1BQ7MdzB4OoGt9-HBb56SJduUqRMPRri2XnUUJaEa-72skVCCRfdi7CbqqnzDpBsUd6MKmJJNcjD7dsfh80LE/s640/image004.jpg" width="516" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Norris John</td></tr>
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<b style="font-family: verdana, sans-serif; font-size: x-large;"><br />Note:</b><br />
<span style="font-family: "verdana" , sans-serif; font-size: large;"><br /></span><span style="font-family: "verdana" , sans-serif; font-size: large;">Read our feature <b><span style="color: red;">Cinema Bravo</span></b> and <b><span style="color: #0b5394;">Web Criticism?</span></b> :</span><br />
- <a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html" style="font-family: Calibri, sans-serif; font-size: 11pt;">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a><br />
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#pinkfilm #binatilyo #norrisjohn #jaomapa</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-12578587337503237342016-12-17T18:28:00.000+08:002016-12-19T00:36:03.771+08:00Ian Loreno's "Chinoy Mano Po 7" - The Inevitable Formula <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeUk51ecV8hz67KpFDosxn_gy2UvTHjPulesT173xBPWawqYMKvS0_V9ddMEiBnMsUaYgRVYo0GqZlZCgoWyKvdbQvNgbifmyJq9VoVqiWj6MHu8721rL2UeCdJX1q8v52o8ZjJdjQV3o/s1600/image002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeUk51ecV8hz67KpFDosxn_gy2UvTHjPulesT173xBPWawqYMKvS0_V9ddMEiBnMsUaYgRVYo0GqZlZCgoWyKvdbQvNgbifmyJq9VoVqiWj6MHu8721rL2UeCdJX1q8v52o8ZjJdjQV3o/s640/image002.jpg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">We don't have a problem with the "Mano Po" anthology because it usually presents different <i>and</i> valid concerns associated with the Filipino-Chinese population in contemporary Philippine society. Theirs are stories we've always been fascinated with because they're a clannish lot that strictly adheres to colorful traditions we're interested spectators of. We even become players in their folktales sometimes.</span><br />
<span style="font-family: "verdana" , sans-serif;"><b><br /></b></span>
<span style="font-family: "verdana" , sans-serif;"><b>STORY</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">Business tycoon Wilson Wong (<b>Richard Yap</b>) runs a tight and disciplined ship, both at work and in his household. He has rules and tradition that allow him to set and achieve goals - and he expects everyone around him to abide by these, including his children Wilson Jr. (<b>Enchong Dee</b>), Katkat (Janna Agoncillo) and Caroline (<b>Janella Salvador</b>). Unfortunately, rules are easier written and enumerated than followed. His children detest that he hardly has time to spend with them. Deborah (<b>Jean Garcia</b>), his subservient wife, feels lonely in a relationship that's more of a bootcamp than household. </span><br />
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<span style="font-family: "verdana" , sans-serif;">What seems like a progressive kingdom is actually an emotional prison full of weeping souls. Sonson (Dee) has his head in the clouds from booze and drugs. Carol tries to pursue cello playing (her father's choice) when her heart is in vocal performance. </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Devoted wife Debbie is running a jewelry shop and keeping the household together while Wilson Sr. is closing deals. </span><br />
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<span style="font-family: "verdana" , sans-serif;">It isn't a very contented and happy kingdom, to say the least, and the king is least aware of this. When a charming stranger Marco (Jake Cuenca) barges into Debbie's shop, the latter doesn't mind the attention that the strapping lad showers on her. But is Debbie carrying an affair? </span><br />
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<span style="font-family: "verdana" , sans-serif;">Director Ian Lorenos' "<b>Chinoy Mano Po 7</b>" is an engaging drama that tries to build up the characters of his cinematic canvas with circumscpect cerebration so we actually understand their back stories and motivations. Enchong Dee particularly sizzles from this forethought. In "Mano Po 7", Dee is the troubled son bearing enough ethos for the whole Wong family. He takes his situation and reacts, and we are a bit unsettled. He pulls off his party pooper scene adequately. In his moments with Jocelyn (Jessy Mendiola), they get to discuss the Chinese ways, i.e. the use of negative language to coax motivation or express affection, but does the "movement" really come from Confucius? I'd have thought that the philosopher was more circumscpect than to use negative psychology in motivating people. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>Kong Fu Tse</b> (551 BC - 497 BC), the philosopher's non-Westernized name, built up his idea about the strength of the Chinese family. What is the proper attitude towards parents? His answer is short and straight forward: "<i>Never disobey</i>." In the 4th concept of Confucianism - <i>filial piety </i>(hsiao), a lot is written about family values: Parents are revered because they are the source of your life. It also says that you have to make your family name known and respected. But there is an unanswered question with regards to the <i>hsiao</i>: "<i>What do you do if your values are different from your parents</i>"? There's a general rule to live by: </span><span style="font-family: "verdana" , sans-serif;">to "<i>remain unsoured even though one's merits are unrecognized by others.</i>" (</span><i style="font-family: Verdana, sans-serif;">Analects</i><span style="font-family: "verdana" , sans-serif;">) </span><span style="font-family: "verdana" , sans-serif;">This gives authority to the philosopher's advice about never turning bad or selling out, no matter what.</span><span style="font-family: "verdana" , sans-serif;"> It is a rather universal concept, right? </span><br />
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<span style="font-family: "verdana" , sans-serif;">Jean Garcia turns in a well limned and sympathetic portrayal of a painfully subservient wife. At one point, she arrives into the conjugal bed and starts her romantic overture, only to be rebuffed and told that she had to "<i>clean up first before stepping on the bed.</i>" Ouch. Did she smell? Even romance follows a set of decorum? Hmmm. I am almost sure that this isn't a universal practice among Chinoys. Wilson Sr. is a flawed individual altogether, a Shakespearean character that deserves to be extinguished from the face of the Earth. How can you admit loving the people around you when you're so insensitive to their needs? </span><br />
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<span style="font-family: "verdana" , sans-serif;">Meanwhile, in the midst of the melodrama, Janella Salvador is a breath of fresh air. Her presence lights up the screen, particularly when Marlo Mortel joins her scenes. Her side story involving Kian Cipriano's lecherous music teacher is a misplaced narrative strain. But didn't it merit a considerable reaction from Wilson? His daughter got sexually harassed, for Pete's sake. <i>NR lang?</i></span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>EXTRAMARITAL</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">I am somehow concerned about Garcia's "<i>relationship</i>" with volatile Jake Cuenca. Was that really harmless friendship? Though she swears that nothing transpired between them - "<i>walang nangyari sa amin</i>", her frequent meet ups with Marco were "extramarital" enough and disconcerting. A married woman, after all, shouldn't go on intimate car dates with a single man, <i>debah</i>? Unless she plans to do an Angelica Panganiban (and be an unmarried wife), that is.</span><br />
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<span style="font-family: "verdana" , sans-serif;">The narrative convolutions in "Mano Po 7" are engaging enough, but it is nevertheless formulaic and unfortunately, predictable. There's gorgeous photography all over. Sound needs moderation because music is excessively played in some scenes. When louder than what human ears can take, music is nothing but <i>noise</i>. In one party scene, it was so loud it almost challenged the integrity of my tympanic membrane How can a very loud music help move a story, I wonder. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Now, is this really the best of the anthology? Not really. For the most part, we feel it's an inferior version among the Mano Po tales. Film no. 7 is less ambitious. Heck, even its requisite travel scenes could only afford to take the cast to Taipei instead of mainland China. If its story telling is not "<i>revolutionized</i>" in the succeeding "episodes", this anthology will eventually lose its relevance. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>HAND IN GLOVE</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">But wait? How is Richard Yap in the film? While he fits the role like hand in glove, the actor conveniently subscribes to his go-to "<i>laging galit</i>" acting schtick. We've seen him in similar persona before, in other teleseryes and movies. Nothing changes much here. No revelations. Even when he turns conciliatory with his wife, I feel Yap's performance was <i>one-note</i></span><span style="font-family: "verdana" , sans-serif;">; no emotional variation to speak of. When he sheds a tear (while at the tomb of his stern father), it was screaming for a bit more vulnerability. Most people easily break down the barriers when they're on their own. But Yap was as stern as when he's with others. Is that consistency - or just <i>limitation of capability</i>? The good looking actor wasn't bad, but his performance was nothing to crow about either. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Janella Salvador is Caroline.</span></b></i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Enchong Dee and Jessy Mendiola discuss Confucius and negative motivations.</span></i></b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Jean Garcia is in top form as the suffering wife Deborah Wong.</span></i></b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Taiwan, this time.</span></i></b></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Down time and the music class of Janella, Marlo and Kian.</span></i></b></td></tr>
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#manopo7 #chinoy #richardyap #janellasalvador #jeangarcia #enchongdee #jakecuenca #jessymendiola #ianlorenos</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-17269947130441711882016-12-13T15:20:00.000+08:002016-12-13T21:03:31.611+08:00Piotr J. Lewandowski's "Jonathan" - Ties That Bind<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What if you find out that your dying father were homosexual, would you up and go?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In a small rural German town, 18-year-old Jonathan (<b>Jannis Niewohner</b>) </span><span style="background-color: white; color: #222222;">manages to keep the family farm going by the sweat of his brow, where everyday is a struggle. </span>He also takes care of his suicidal father Burghardt (Andre Hennicke) who's in the terminal stage of his metastatic skin cancer. What's more difficult for the handsome lad is his father's pessimistic demeanor to throw the towel in. Morbidity sometimes affects a person's decision making</span><span style="font-family: "arial" , "helvetica" , sans-serif;">. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBsuSsW7RQsZ-9l3rx2VAdNrM4bMaykF4-BI1rDw-u46KQXAO8xp61IWhJtEIxuX9Ysodefzw19dGG7nDSagd3_ECZZNyB7AmB4J3ui_eZbH9Q1v_-nHlrEevLVAAUv-QNl0w_nAVVXo/s1600/jonathan+opening.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyBsuSsW7RQsZ-9l3rx2VAdNrM4bMaykF4-BI1rDw-u46KQXAO8xp61IWhJtEIxuX9Ysodefzw19dGG7nDSagd3_ECZZNyB7AmB4J3ui_eZbH9Q1v_-nHlrEevLVAAUv-QNl0w_nAVVXo/s320/jonathan+opening.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Jonathan doesn't even think twice about his onerous duties. What he couldn't comprehend is the inexplicable hostility and animosity between his aunt Martha (Barbara Auer) and his sick father. Jonathan has stopped trying to understand this as he's mostly too exhausted at the end of the day. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">The bucolic setting would have provided a halcyon escape from the internal strife all around. But emotions run high between siblings who refuse to speak with each other, even when one is at the throes of death. Pride indeed has a way of eating through our rational thinking.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">When cheerful nurse Anka (Julia Koschitz) arrives, Jonathan is afforded extra time to indulge in his artistic inclination (making beautiful lanterns, etc.) He used to dream of pursuing a college education in Berlin and leave their hand-to-mouth existence in the country. But with his father's condition, he knew it would have to take a back seat.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">So he toils the wheat fields away. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">One day, a stranger knocks on their door; Ron (Thomas Sarbacher) was his aunt's ex-boyfriend, but Ron has come for Burghardt. His arrival would open dehiscent emotional wounds, but his father seemed genuinely happy. He has shaved and cleaned up, and the long forgotten smile has returned. Before long, Jonathan is able to put the pieces together, and realize that the stranger was his father's lover. Were Jonathan's existence and everything that transpired before this revelation all a lie?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">The issues in the story are universal: honesty, family and love. Germany may be one of the world's most uninhibited countries, but the norms and tolerance for sexual taboos and practices are nevertheless the same. Within the confines of a close-knit family, honesty is still a valid criteria for acceptance or rejection.</span></span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Director Piotr J. Lewandowski's cinematic canvas is gorgeous. The setting is idyllic, a piece of paradise, playing out its contrast against the palpable high tension evident in the opening scene. </span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">The storytelling artifice seems obvious. The director takes advantage of beauty to underline the story's grisly elements </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">and the dark emotional turmoil experienced by the characters</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> . In fact our protagonist is a proverbial "</span><span style="font-family: arial, helvetica, sans-serif;"><i>god</i></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">" - Jonathan (Niewohner) is too beautiful for words that it's hard to take your eyes off him when he's on screen. He is tall, physically fit, with blond hair and blue eyes - and is absolutely devoted to his sick father. What more can you ask for in a guy? </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Scenes move languidly but they somehow temper a narrative movement that one would expect to conclude with an explosive denouement. There are sexual moments far removed from the blatant vulgarity of coupling. They delineate passion and define joy and loving. In these tender moments, we realize that Jonathan will see through the tempests of his young life.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">"<b>Jonathan</b>" was QCinema section's best feature (and one of the 4 <b>Pink Films</b>) in its rather disappointing "Rainbow QC" lineup. It also featured other gay-interest flicks - Andrew Ahn's "<b>Spa Night</b>" (US/Korea), Sara Jordero's "<b>Kiki</b>" (US) and </span></span><span style="background-color: white; color: #181622;">Nontawat Numbenchapol's quasi-documentary "<b>BKKY</b>" (Thailand). </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcf4MTbm-ixsSxMcrD2MD1UhDflp1Irg697OH98tQO6Iup3coFXXjaC7mKcJ1v3zNBC1CaGH8yMFKkgazWR_Dt-74_eiHyDPhy9Vpn-efwBHEvvqwvvtloPATlnr3kzvlowZEpfCB-s-0/s1600/jonathan+-+janis+niewohner.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcf4MTbm-ixsSxMcrD2MD1UhDflp1Irg697OH98tQO6Iup3coFXXjaC7mKcJ1v3zNBC1CaGH8yMFKkgazWR_Dt-74_eiHyDPhy9Vpn-efwBHEvvqwvvtloPATlnr3kzvlowZEpfCB-s-0/s640/jonathan+-+janis+niewohner.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75; font-size: small;"><b><i>Jannis Niewohner, 24, stands 6'1".</i></b></span></td></tr>
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#jonathan #jannisniewohner #QCinema #pinkfilm</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-6086814215190216582016-12-11T16:06:00.000+08:002016-12-11T16:06:03.213+08:00Sheron Dayoc's "Women of the Weeping River"- War Will End Us<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: #F8F8F8; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="color: #0b5394; font-size: x-large;">Sometime</span> in the early 90's, feminist writer Leila Ahmed discussed the concept of "<b>Women and Gender</b>" in Islam. She argued against the oppressive practices to which women in the middle east are subjected. Such practices result from the</span><span style="background-color: white;"> prevalence of patriarchal interpretations of Islam, one that patronizes gender-based hierarchy. </span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Men decide and dictate, women follow regardless of the merits of any given situation. Opinionated women are frowned upon. On a more universal scrutiny of the concept, look where that got Hillary Clinton who's more experienced, more intelligent and probably even more vicious than her political rival.</span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The new millennium has made strides to improve on these concepts, but despite the evolution of "<b>Gender and Development (GAD)</b>" and its introduction in governance, many middle eastern countries remain immune to or simply ignore such programs. In countries like Iran and Afghanistan, women are still regarded as second-class citizens; their opinions are disposable. But look no further. The same is true in certain Muslim communities in Mindanao where a certain form of war (conflict, hostility) is sanctioned by men. Any perceived transgression or dishonor is solved by "war". That's what their <i>quran</i> advocates, after all.</span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This scenario is on spotlight in Sheron Dayoc's "<b>Women of the Weeping River</b>" which won a well deserved Best Picture prize at the recent QCinema Film Festival.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: rgb(248, 248, 248);"><b>THE STORY</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: rgb(248, 248, 248);">Satra’s (Laila Putli Ulao) family is deeply enmeshed in a clan war against the Ismael family. The feud has them in </span><span style="background: white;">sporadic outbursts of retaliatory violence. </span></span><br />
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">After the murder of Hasmullah, Satra’s husband, Satra is shook up. Farida, the aging community mediator, advises to diffuse any action that will further escalate this endless<i> rido</i> before it claims another life.</span></span><br />
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<span style="background: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This blood war has already claimed the husband and son of the rival clan’s matriarch. But Mustafa, Satra’s father, is bent to carry on with his <i>jihad</i> which dictates protection of a family’s honor and shame. The cash-strapped family even sells Satra’s jewelries just to purchase a P120,000 rifle. One night, Hassim, Satra’s youngest son wanders off into the wilderness. Will he fall victim like his father?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">Sheron Dayoc’s “Women of the Weeping Violence”
is a brave dissertation on the culture of war endemic in Muslim Mindanao. This malignant practice consumes life and eradicates property - and it displaces families. On a more sociological standpoint, it cripples the local community. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">Dayoc insightfully
scrutinizes a local tradition, not uncommon in Philippine society, where
men has absolute authority over women who barely have voices of their own. He also underscores the tragic futility of war by spotlighting the demise of innocent
children caught between warring factions. Like most of the director’s early
works, amateur actors are adequately employed to mirror realism. The effect isn't always notable, but it brings a degree of earnestness on the yarn spinning. As the movie comes to a
close, it was clear what the ultimate message was. As H.G. Wells once
said, “<i>If we don’t end war, war will end us.</i>” </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">There are no real victors
in it.</span><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394; font-size: small;"><b><i>The beauty of Mindanao has a deceptive nature.</i></b></span></td></tr>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span></b>
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Read our post on <span style="color: #cc0000;">Cinema Bravo</span> and the Headaches of <span style="color: #0b5394;">Web Criticism</span>:</span></b><br />
- <a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html" style="font-family: Calibri, sans-serif; font-size: 11pt;">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a><br />
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#womenoftheweepingriver #clanwar #jihad #qcinema</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-21234470206044263692016-12-08T22:01:00.000+08:002016-12-11T01:45:41.911+08:00The Most Provocative Movie Posters<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlri2uy2bCmRsEObLKIMC_P8YkZ3SlC1TtM0isfz98AoIbgL9-it2IZ6cv9zUske1Y1hi-ZFZP4HzzX1Mzw_heSIc8pUroEfPMqHI2lZKx8IAU7vslHVUDwMCV268P3vlYavyv_Z-CiI8/s1600/image047.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlri2uy2bCmRsEObLKIMC_P8YkZ3SlC1TtM0isfz98AoIbgL9-it2IZ6cv9zUske1Y1hi-ZFZP4HzzX1Mzw_heSIc8pUroEfPMqHI2lZKx8IAU7vslHVUDwMCV268P3vlYavyv_Z-CiI8/s640/image047.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was in Sao Paolo, Brazil and was basking in the sight and sounds of the sprawling metropolis. One of the things that caught my attention was police visibility in the financial-commercial district - police men populating the streets of Paulista Avenue. Boy oh boy! I've truly never seen police men like those: bulky muscle gods with arms the size of a narra trunk and the waist line as small as mine, and I just blush! They looked like they just got off shooting scenes from a porn production. Tee hee. I mean, come on, put them beside our Pinoy-grade <i>policia.</i>.. and there's just no contest.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But the topic of this post comes from the same place: the subway stations of Sao Paulo. Littered with movie posters and billboards like the one posted above. It made me think.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What if such poster was on display in the billboard garden near Guadalupe Bridge in Edsa? The <i>manangs </i>would be up in arms, right? There would be commotion. There will be congressional hearings. It would be De Lima's fault again!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But just to highlight the contribution of a movie poster in promoting the finished product, here are my most provocative movie posters I have come across, including 3 local flicks - one of them from an awful film maker. By the way, Gabriel Mascaro's "<b>August Winds</b>" (Ventos de Agosto) is a glacial-paced tale about the discovery of a corpse in a slumbering coastal town. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In these movie posters, most provocations are sexual in nature, but some tackle violence. I remember seeing a poster of Alvin Yapan's "<b>An Kubo sa Kawayanan</b>". The picture of this solitary hut ("kubo") excited me no end. It told stories. On the other hand, Tekeoglu's "<b>Extraordinary People</b>" has the same powerful effect - the photo of a cable that transports people from one side of the mountain to the other. Philippine movie posters are less imaginative and more commercial because<i> artsy</i> ones tend to turn off its possible audience. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Here are <b><i>my</i></b> 25 most provocative movie posters. What provokes you? What's your list?</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgggVwnWvksu918cfnV14jjtuaJvLCr3WS_Ft7pW-iZnmFfGD3XpHabRswjn84ujO3c2RqPUN0LJDWzVf8cVWXWUeLGhREHhfiIyOrD5Ayhr-HJ_8_2YL4Qoiwsfj3tPOvRq9MeoDPh4/s1600/human_centipede_ii_ver2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgggVwnWvksu918cfnV14jjtuaJvLCr3WS_Ft7pW-iZnmFfGD3XpHabRswjn84ujO3c2RqPUN0LJDWzVf8cVWXWUeLGhREHhfiIyOrD5Ayhr-HJ_8_2YL4Qoiwsfj3tPOvRq9MeoDPh4/s640/human_centipede_ii_ver2.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Human Centipede 2</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFm1lv2Hg1lO6dBfGFVQ1UZSKiNCx0aIY1W4Vstp31VqvgvWk7bcT3-pz9t3W7J_L1-62654AvawZzaDD_Kiq0jiejuDjonaccDE__chDZuC6zA16wdLsgPsptu7UKUjhhQtlrrqG-wSU/s1600/les_infideles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFm1lv2Hg1lO6dBfGFVQ1UZSKiNCx0aIY1W4Vstp31VqvgvWk7bcT3-pz9t3W7J_L1-62654AvawZzaDD_Kiq0jiejuDjonaccDE__chDZuC6zA16wdLsgPsptu7UKUjhhQtlrrqG-wSU/s640/les_infideles.jpg" width="470" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Dujardin was in hot water for his poster of "The Player" (Les Infideles).</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9yTl4Za1Yph1E4dsEIV5nym_YaORCz5XtnY3rMTTTKPME_cWHAA-l-e1uw4flg5LtinGc-yzoqCgVAQEJSRiCnEgHvrvI9AgqUAbji6Mlx7BvdR9CtAmGTeZjh56WIbwIpNKSFGdcvWs/s1600/felt-ver2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9yTl4Za1Yph1E4dsEIV5nym_YaORCz5XtnY3rMTTTKPME_cWHAA-l-e1uw4flg5LtinGc-yzoqCgVAQEJSRiCnEgHvrvI9AgqUAbji6Mlx7BvdR9CtAmGTeZjh56WIbwIpNKSFGdcvWs/s640/felt-ver2.jpg" width="438" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">The culture of rape and coping in Jason Banker's "Felt". </span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf7hKIzZukhTDp8wuWl-VPjAcNdar9kYiY54Gnr9Y9qNhAtYlSIGohof2LjHtKo4tLE-rLIDUD20zH36UxxRvcgYcwOzSrCLzUHqlUV1FBilytaoPVuyOTYiJpLJi8w-dKCInZfpVdQCk/s1600/road-guantanamo-500x736.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf7hKIzZukhTDp8wuWl-VPjAcNdar9kYiY54Gnr9Y9qNhAtYlSIGohof2LjHtKo4tLE-rLIDUD20zH36UxxRvcgYcwOzSrCLzUHqlUV1FBilytaoPVuyOTYiJpLJi8w-dKCInZfpVdQCk/s640/road-guantanamo-500x736.jpg" width="434" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A harrowing tale of 3 British Muslims held and tortured for 3 years in Guantanamo in Mike Whitecross and Michael Winterbottom's quasi-documentary "The Road to Guantanamo". </span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0XIRIsA6aCfiAvmdzKgyD7gnE43Z4NARg1uJtgRlXehyphenhyphenhVoYiFLAg5LJGthNhCT4d_oxKtogtoh4dVSusYm8mJKBaRZ1J8jKVTWBqOR1wqPbgBoQ24fOq-BxQYkKGvt28gl7miCmfKNM/s1600/sex+and+the+city+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0XIRIsA6aCfiAvmdzKgyD7gnE43Z4NARg1uJtgRlXehyphenhyphenhVoYiFLAg5LJGthNhCT4d_oxKtogtoh4dVSusYm8mJKBaRZ1J8jKVTWBqOR1wqPbgBoQ24fOq-BxQYkKGvt28gl7miCmfKNM/s640/sex+and+the+city+2.jpg" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Shoes and the phallus? Sarah Jessica Parker's movie stands erect with sexual innuendoes. </span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdroTPtn08VO8puap_AZow3uiNc2HKsSpbH9w4UaT3gzxBjkoISZaTzBi-E-aBkxCUGfcXxWhHMSqOcHfgKLaUJNwMob-eWB_agb3eId2CrdnwwhYa_5bq4_dXLs4oSDgSBpHbwxQbkI/s1600/nothing+personal+iceland.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdroTPtn08VO8puap_AZow3uiNc2HKsSpbH9w4UaT3gzxBjkoISZaTzBi-E-aBkxCUGfcXxWhHMSqOcHfgKLaUJNwMob-eWB_agb3eId2CrdnwwhYa_5bq4_dXLs4oSDgSBpHbwxQbkI/s640/nothing+personal+iceland.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Nothing Personal (US, 2009)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYftWGI61Uh7JexEybeG8QyU3xi0_Cc2q6I9Qk6bph1ZAesyoWwsoY44K1rInJ9tMC35UguqzsO7NV1GS8rbuUt8lbiJEdz1a4ihDXh7ZceYLZVZRhnm9_3ndIjetBXDtBXCdhm9L2kXk/s1600/Us+%2528sweden%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYftWGI61Uh7JexEybeG8QyU3xi0_Cc2q6I9Qk6bph1ZAesyoWwsoY44K1rInJ9tMC35UguqzsO7NV1GS8rbuUt8lbiJEdz1a4ihDXh7ZceYLZVZRhnm9_3ndIjetBXDtBXCdhm9L2kXk/s400/Us+%2528sweden%2529.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>When too much love drives people crazy in Mani Manserrat Agah's Swedish flick "Us" ("Vi", 2013)</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrSSrgF6pnJRGcfhjokK1GHhMjie42UUS3Mi4d1CWV-bvI8HryC9LXwItA7AQjhqnCQFZGbQas9TgnpIhiRF1EVsdckNqlzhRQNFV68DdgtqR0LuwTjflPWIIEYOXyyFtf0tYKE6dh_fY/s1600/the+tribe.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrSSrgF6pnJRGcfhjokK1GHhMjie42UUS3Mi4d1CWV-bvI8HryC9LXwItA7AQjhqnCQFZGbQas9TgnpIhiRF1EVsdckNqlzhRQNFV68DdgtqR0LuwTjflPWIIEYOXyyFtf0tYKE6dh_fY/s400/the+tribe.jpeg" width="277" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">The Tribe (Ukraine, 2014)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4PAmgCf3EKxLNR9ECIVonZvNzMJMasA5h72HfW8Zui8zwmwegIu80gVnintTdMm0r8DZf84KKWTEo4lnKQ3vDawHmgrZ22To9Fi60BdQ1ucVizDIT1pfVJH0Sm2b2Ts6fgVZqnteDtU/s1600/the-marriage-manual-movie-poster-1970-1020293053.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG4PAmgCf3EKxLNR9ECIVonZvNzMJMasA5h72HfW8Zui8zwmwegIu80gVnintTdMm0r8DZf84KKWTEo4lnKQ3vDawHmgrZ22To9Fi60BdQ1ucVizDIT1pfVJH0Sm2b2Ts6fgVZqnteDtU/s640/the-marriage-manual-movie-poster-1970-1020293053.jpg" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">The Marriage Manual (Documentary, US, 1970)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBn3O0cdpvkdwEeLtYj3B2eydoNi3sQhTqMrW7Zb4dajWsLSaC-02jXeHJdOU-YLBnLgpNteU0rlzDcYNEqkSaJIcCVQ0nqfvIttMMouP9H186RLrX5w16WrwWE9S7HEB4plchx9mBss/s1600/Redwine.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBn3O0cdpvkdwEeLtYj3B2eydoNi3sQhTqMrW7Zb4dajWsLSaC-02jXeHJdOU-YLBnLgpNteU0rlzDcYNEqkSaJIcCVQ0nqfvIttMMouP9H186RLrX5w16WrwWE9S7HEB4plchx9mBss/s640/Redwine.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="font-size: 12.8px;"><span style="font-size: small;">Red Wine in the Dark Night (Kuen nan, Thailand, 2015)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyN5nnG67h7cHY1duoifceylsIY_bj1AaV6jiwSzu2vSpsXqMf3isSXy2wrIac39ST21F0KsWO2RNJqCn3HvB_0wPVxwj-rRMisBEVn7-e6kGQm0HjIaa6RIwVmU5ue7rrEsB4ae56YAE/s1600/selfless.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyN5nnG67h7cHY1duoifceylsIY_bj1AaV6jiwSzu2vSpsXqMf3isSXy2wrIac39ST21F0KsWO2RNJqCn3HvB_0wPVxwj-rRMisBEVn7-e6kGQm0HjIaa6RIwVmU5ue7rrEsB4ae56YAE/s640/selfless.jpg" width="428" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Ryan Reynolds naked on a gurney? Isn't that enough provocation?</span></b> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAKSe5LVOHJ9PcdqOjib-fXw29AUqzsdr2VipGVMlj8X4jEa04CH3KbbsjZhNHfRfVhylUb1nI8DKtMzNdvmzDasclVqpYr-96kqExBsWGhdrq74yfUJ3-92fMq1R3db_TlGminLIZwY/s1600/crime_delicado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAKSe5LVOHJ9PcdqOjib-fXw29AUqzsdr2VipGVMlj8X4jEa04CH3KbbsjZhNHfRfVhylUb1nI8DKtMzNdvmzDasclVqpYr-96kqExBsWGhdrq74yfUJ3-92fMq1R3db_TlGminLIZwY/s640/crime_delicado.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Delicate Crime (Canada, 2005)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz-jx4Wn5PJFoueMceJnuho0tthGk8L_mdP9qcuGs-XmwCtvWv2UPhgOYyiFCdNd0jqWhHX7WPGH4AeWcx0cNjfQ25GExHoABKICZc91Ln6zHI1LDEmF-POvYFp447uwSwQUyGWvSy8Do/s1600/flesh+paul+morrissey+joe+d.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz-jx4Wn5PJFoueMceJnuho0tthGk8L_mdP9qcuGs-XmwCtvWv2UPhgOYyiFCdNd0jqWhHX7WPGH4AeWcx0cNjfQ25GExHoABKICZc91Ln6zHI1LDEmF-POvYFp447uwSwQUyGWvSy8Do/s640/flesh+paul+morrissey+joe+d.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">We braved the evening chill one wintry day to watch a retrospective of the <i>so-bad-they're-good</i> films of Andy Warhol and Paul Morrissey at the South Bank in London.</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtywsMYeVJUwc5gRqzxm76A9SqqfK9R6sQV-0IdJKVrRhyR48fEB1WGcN9VhCwZJtwNgzt4eO06YFtrzqTjcoqSI9t1-4upoWF2OD13fRjY47e-nA-4XFFT0w3GXH61aOlnQ6C1bxP6o/s1600/Sira-Disi-Insanlar+-+extraordinary+people+turkey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtywsMYeVJUwc5gRqzxm76A9SqqfK9R6sQV-0IdJKVrRhyR48fEB1WGcN9VhCwZJtwNgzt4eO06YFtrzqTjcoqSI9t1-4upoWF2OD13fRjY47e-nA-4XFFT0w3GXH61aOlnQ6C1bxP6o/s640/Sira-Disi-Insanlar+-+extraordinary+people+turkey.jpg" width="456" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Extraordinary People (Turkey, 2015) is a documentary about the people who live in the mountains.</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB89_EW4sBOPF3KUmhTxPQjSxY_cqZYVjiszEsaLgoK-TrTp8fqW7UnWEEdhyphenhyphent8ojU2PjasdVIFZBmMu0oaLZtRi8ao3_fqczuJtKdInB5aOe5w0VpRFzPPepg1xp72rPaDjG5RvZYsTc/s1600/youth.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB89_EW4sBOPF3KUmhTxPQjSxY_cqZYVjiszEsaLgoK-TrTp8fqW7UnWEEdhyphenhyphent8ojU2PjasdVIFZBmMu0oaLZtRi8ao3_fqczuJtKdInB5aOe5w0VpRFzPPepg1xp72rPaDjG5RvZYsTc/s640/youth.jpg" width="470" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Jane Fonda only has 2 short scenes in Paolo Sorrentino's "Youth" but the scene where she learns of her director's untimely death was so potent I had goose bumps. Indeed, there are no small roles for good actors.</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSPL42jCXn4IxwAdGDFTAbb2OLN4g5z9947_NerRahxC-cNUHJLiSgi-L2DO5lot5d-aJ1mH49dT1py-MimuNzLgBd984Hy3S1RGecjH9pUL8FIN_StdNwCsfruzYM7MXkPu_b6071Ws/s1600/iisa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSPL42jCXn4IxwAdGDFTAbb2OLN4g5z9947_NerRahxC-cNUHJLiSgi-L2DO5lot5d-aJ1mH49dT1py-MimuNzLgBd984Hy3S1RGecjH9pUL8FIN_StdNwCsfruzYM7MXkPu_b6071Ws/s640/iisa.jpg" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Chuck Gutierrez's "Iisa" was memorable. This poster was the opening scene... and one of the most compelling in years.</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GOsKAXCTwMrQ__9GyrHdEMs5ul9RT3vWJ7w7GmliuC_gvtGIIZN-0Um9OeFmq6q5lZ34m4S1ZHHQOjv0F-SiEPMiJZRUwEFos0dCQy9OIkLKbHZeM-KdrhIhQaKwgEMtirqvNFpaC1s/s1600/Tuos.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GOsKAXCTwMrQ__9GyrHdEMs5ul9RT3vWJ7w7GmliuC_gvtGIIZN-0Um9OeFmq6q5lZ34m4S1ZHHQOjv0F-SiEPMiJZRUwEFos0dCQy9OIkLKbHZeM-KdrhIhQaKwgEMtirqvNFpaC1s/s640/Tuos.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Derick Cabrido's "Tuos"</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tYObiiiwlmwiqke3qLxMk_EcBHu0dQl-gJDRjkZeN7_b5O4h5PFo00TiyCdpG_DjfexG8uAL85Npu2Uh0ph5KGqleI5VgEtoOmBkTDs8_lPWTk5TTJEclnkxB004fPsKIOXgE3qST9Q/s1600/rules+of+attraction.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4tYObiiiwlmwiqke3qLxMk_EcBHu0dQl-gJDRjkZeN7_b5O4h5PFo00TiyCdpG_DjfexG8uAL85Npu2Uh0ph5KGqleI5VgEtoOmBkTDs8_lPWTk5TTJEclnkxB004fPsKIOXgE3qST9Q/s640/rules+of+attraction.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">College students, drug dealers and bisexual classmates in Roger Avary's "The Rules of Attraction" (US, 2002).</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHPuVwnXr3Eqnzuy9iJ6plBcsrmZBwLajDp_XSpSW4B4bCcWMX-xGzl-B3kWjihHlpWXZ1Xpz5MZXQ8OKO5YYN-V3pErn0DqFyd4BXxSr5CSTblib2V7yYeCxXi87014tdNBItNsOMQRM/s1600/nasha-poster-mrp.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHPuVwnXr3Eqnzuy9iJ6plBcsrmZBwLajDp_XSpSW4B4bCcWMX-xGzl-B3kWjihHlpWXZ1Xpz5MZXQ8OKO5YYN-V3pErn0DqFyd4BXxSr5CSTblib2V7yYeCxXi87014tdNBItNsOMQRM/s640/nasha-poster-mrp.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Poonam contorted in various positions to spell out Amit Saxena's 2013 Bollywood hit, "Nasha" about an 18 year old boy falling in love with his 25 year old teacher. </span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK-CbsfBqGkDyiJJ-bdV5p4eF4FwUnoetxbi5rSsAXZ5vhUkOL6zpNc5rUK2faimz5FJmED1dNaCoxdcv55G0k6XoKXTciThVVRruo_qHpva7UP8mSSuKImlswuDcO-cqKfYn2YctzrOs/s1600/nymphomaniac+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK-CbsfBqGkDyiJJ-bdV5p4eF4FwUnoetxbi5rSsAXZ5vhUkOL6zpNc5rUK2faimz5FJmED1dNaCoxdcv55G0k6XoKXTciThVVRruo_qHpva7UP8mSSuKImlswuDcO-cqKfYn2YctzrOs/s640/nymphomaniac+2.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b><span style="font-size: small;">One of my favorite directors, Lars von Trier, almost crosses the line in the explicit "Nymphomaniac 1 & 2".</span></b></i></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxL-70njr-lUdb9J-dBkwMk3OLvq94TGkCypJB31a0hM_0gwx2T_dQyryUPbdpWgzedFaquGdOF3TWAHowC8PRoflCu28_pgA56EeKqImTQOa8bvqU_GgSEm4ZqT-9w0MsHitwYpVLQ0U/s1600/august+underground.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxL-70njr-lUdb9J-dBkwMk3OLvq94TGkCypJB31a0hM_0gwx2T_dQyryUPbdpWgzedFaquGdOF3TWAHowC8PRoflCu28_pgA56EeKqImTQOa8bvqU_GgSEm4ZqT-9w0MsHitwYpVLQ0U/s640/august+underground.jpg" width="336" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Fred Vogel's "August Underground" (2001) - In one scene, a serial killer forces his victim to eat her brother's genitals. </b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_05x-lS3kXuRX0yZZ5lr-oG8KNcnY06Y_1TG0VMN0p-I-lkd9pOK4ElH-BoLih-Qhewgjh2EgTiCOjNdRKUiXnG1YXBWkYlB-VWr-rcLkSWnFD-McH1EkzLSFHr5Vu7JSSx46B73q4q4/s1600/shame.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_05x-lS3kXuRX0yZZ5lr-oG8KNcnY06Y_1TG0VMN0p-I-lkd9pOK4ElH-BoLih-Qhewgjh2EgTiCOjNdRKUiXnG1YXBWkYlB-VWr-rcLkSWnFD-McH1EkzLSFHr5Vu7JSSx46B73q4q4/s640/shame.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Steve McQueen's "Shame" (US, 2011) is written with a bodily fluid. </span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj963ARqCEXJvU23EJN9xUg8jAagdb66AYGc6wFk75f4BGB39apG8wWXJ6KHMeYc1t_MZ9nzzBcUHmRX4b4glqOf-SvfQSxn0HYAeZMgfb7y8nnvapspalbwkAr8iaCTzpvJqj3oLrTWYU/s1600/thirst.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj963ARqCEXJvU23EJN9xUg8jAagdb66AYGc6wFk75f4BGB39apG8wWXJ6KHMeYc1t_MZ9nzzBcUHmRX4b4glqOf-SvfQSxn0HYAeZMgfb7y8nnvapspalbwkAr8iaCTzpvJqj3oLrTWYU/s640/thirst.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Priests and vampires in Park Chan-wook's "Thirst" (2009, South Korea)</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oeETV6dqwipE0whVIlRbKtY1-6k5GqYWg2l6NnpyO6Z9nuatCyZGJ0PtWfrX2slTIILMYkx-hN0qeN1j4lzSV1GQ2HNo-xgOkFOwIcWyX07_cEjZ7abn8MxvvpLAb68Z23ciFe-ru7c/s1600/hinala.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oeETV6dqwipE0whVIlRbKtY1-6k5GqYWg2l6NnpyO6Z9nuatCyZGJ0PtWfrX2slTIILMYkx-hN0qeN1j4lzSV1GQ2HNo-xgOkFOwIcWyX07_cEjZ7abn8MxvvpLAb68Z23ciFe-ru7c/s640/hinala.jpg" width="374" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Livid lechery and predatory exuberance in Cris Pablo' s " Hinala" </span></b>- Our review here: <a href="http://makemeblush2.blogspot.com/2011/04/hinala-hunches-and-artistic-bankruptcy.html">http://makemeblush2.blogspot.com/2011/04/hinala-hunches-and-artistic-bankruptcy.html</a></td></tr>
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-64428203527379192772016-12-07T16:48:00.000+08:002016-12-08T17:40:46.497+08:00Adam Mason's "Hangman" - Found Footage and the Philippines Connect<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">After spending two weeks on holiday, the Millers return home and find it a mess. So Aaron (<b>Jeremy Sisto</b>) gets the locks changed, rids the mountain of trash and takes the high road for this ridiculous concept of "<b><i>moving on</i></b>" without proper resolution, right Marcosturds? </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But what they didn't realize, the culprit is still house-bound. In fact, he's staying in an attic just above the closet. He's even installed cameras all over and outside the house - extensively, putting Big Brother shows to shame, spying on Aaron, wife Beth (<b>Kate Ashfield</b>), daughter Marley (<b>Ryan Simpkins</b>) and son Max (<b>Ty Simpkins</b>). The adorable family is starting to feel like his own. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The house guest, we shall call him as the Hangman (<b>Eric Michael Cole</b>), feels so domesticated that he'd take out the orange jar from the fridge and leave it on the table... without the cap!<i> Que horor!</i> What are the cleaners gonna do? He'd stalk Beth's daily activity, her showers particularly (the only place he couldn't install a camera, go figure!) One day, he drugs her with something that shatters her consciousness from here til Sunday. Then she gets raped in 865 positions. And she didn't even know it. You can only assume which President in a third world would dream of getting first digs with her, <i>debah</i>? Joke! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Our friendly Hangman even plants lipstick traces on Aarons shirts to sow dissent. Planting evidence is en vouge these days. So you see, the events unraveling in the Hangman is something conjured from the contemporary annals of the Philippines. You have a sneaking suspicion that this intruder is actually a scarf-wearing bespectacled lady senator pretending to be a man. Tee hee. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Like many "<b>found footage</b>" films, "Hangman" is a tale that's been told half a life time ago. It is told from the point of view of the intruder who has hundreds of little cameras snatched up in his little black trousers. The celluloid's flirtation with digital voyeurism continues like a plague worse than the Ebola, but then voyeurism per se has existed long before the millennials could mutter "<i>worcestershire</i>" - or say this line with a straight face: </span><span style="background-color: white; font-family: "indy serif"; font-size: 19px;">“<i>I want to be a juror on a rural brewery robbery case</i>.”</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I couldn't help but wonder how many cameras were exactly put in place - because you see views from under the closet, up the attic, down the corridor where no one goes, under the kitchen table, etc. The Hangman even has one following him around as he watches from the window. And if you're wondering again how thorough? Even the woods just outside the Miller's house has one... or two. Yet there's none at the bathroom? Awww, I'm disappointed. Maybe the sock he kept wearing proved anoxic for his twisty little brain? </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The moral of the story? Moving on without proper resolution will get you the hangman's noose. A very tight one... for those who haven't learned from history. Seriously.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJjsGCwtCP0iwIGlFjptD0cy37MOR7XGqtTu03Kq2PgnjTyNiM9laP4DV3Vjh6sly5NINHpf0CyeaenkZh32WIAw4d2-X6GfkahsKBsdudxfsC6jxM09ZuDq9kQ9cYGH_PLXJsTv_Ayw/s1600/jeremy+eric.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJjsGCwtCP0iwIGlFjptD0cy37MOR7XGqtTu03Kq2PgnjTyNiM9laP4DV3Vjh6sly5NINHpf0CyeaenkZh32WIAw4d2-X6GfkahsKBsdudxfsC6jxM09ZuDq9kQ9cYGH_PLXJsTv_Ayw/s640/jeremy+eric.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><i>Jeremy Sisto and Eric Michael Cole were in Christopher Jaymes' movie "In Memory of My Father" (see link).</i></b></span></td></tr>
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Youtube link of excerpts: <a href="https://www.youtube.com/watch?v=CY0lUDP9pZ4" style="font-family: Calibri, sans-serif; font-size: 11pt;">https://www.youtube.com/watch?v=CY0lUDP9pZ4</a><br />
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<span style="font-family: "verdana" , sans-serif; font-size: large;">And if you feel like reading a samples of excellent reviews, please read our featured post on <b><span style="color: #990000;">Cinema Bravo</span></b></span> - <a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html" style="font-family: Calibri, sans-serif; font-size: 11pt;">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a><br />
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#hangman #adammason #jeremysisto #foundfootage</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-85153971040788378082016-12-04T20:58:00.000+08:002016-12-05T17:59:32.617+08:00Bb. Joyce Bernal's "The Super Parental Guardians" - That Vice Ganda Magic!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><b><span style="color: #0b5394; font-size: large;">Arci</span></b> aka Ariel Ciriaco Taulava (<b>Vice Ganda</b>) works as the executive assistant of Madam Marife delos Santos (Assunta de Rossi), wife of the influential spokesperson of the Philippine National Police. He also doubles as the social media manager and runner of the impatient madam who promises to help him get employment in Korea where he dreams of working as an interior designer. To add to his growing list of chores, he's tasked to house-sit the matron's mansion currently undergoing renovations. </span><span style="font-family: "verdana" , sans-serif;"> </span><br />
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<span style="font-family: "verdana" , sans-serif;">One day, he unexpectedly reunites with Sarah Nahbati (<b>Matet de Leon</b>), his childhood best friend. When Sarah falls victim to the series of murders happening in her neighborhood, Arci gets the custody of Sarah's children, 12-year old Megan aka Melvin Gaspar and 5-year old Ernie (<b>Awra Briguella </b>and<b> Onyok Pineda</b>, respectively). </span><br />
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<span style="font-family: "verdana" , sans-serif;">But not if Paco aka Neil Nahbati (<b>Coco Martin</b>), the children's uncle, can help it. To keep the kids in a safer surroundings, Paco decides to take shelter in Arci's home (which isn't really his to begin with).</span><br />
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<span style="font-family: "verdana" , sans-serif;">Together, the odd couple play <i>momshie and papsie</i> to the precocious kids who are having difficulties in school. Ernie can't be stopped from scribbling all over his school walls. Megan's grades are plummeting ("<i>from 97's to 79's</i>"). A mother's death, a new guardian and relocation don't exactly make life easy for children, right? Meanwhile, Paco, a former gang leader, is turning over a new leaf as he pursues being a stunt man. But his immediate past is briskly catching up with him. In fact, he is being pursued by Jake (<b>Joem Bascon</b>), his gang's arch enemy - and the current boyfriend of ex-flame Emme (<b>Bela Padilla</b>). </span><br />
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<span style="font-family: "verdana" , sans-serif;">When Megan and Ernie are kidnapped by Jake's minions, Paco and Arci must act fast. Or this would spell the end of their <i>bahay bahayan.</i></span><br />
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<span style="font-family: "verdana" , sans-serif;">Bb. Joyce Bernal's "<b>The Super Parental Guardians</b>" has a story that mirrors contemporary events. Suddenly, the life of the Filipinos is peppered with vigilantes. People are dropping like flies because a segment of society has decided to play judge, jury and executioner. If this isn't enough, the unfortunate respondents to the growing statistics even includes "<i>kahit yung mga mukhang drug addict</i>". You can be a suspect and die - without getting a day in court! If this is an idiot's interpretation on the concept of <b>peace and security</b>, then you can forget that civilization actually follows a set of rules - and the constitution - that also safeguards against abuse. </span><br />
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<span style="font-family: "verdana" , sans-serif;">This makes cinema a relevant mirror of society. But enough of this wanton philosophizing. This isn't the right vehicle for this topic. The story also becomes a flimsy smokescreen to the production's main objective - a festival-grade money-making scheme. How else do you explain the sudden appearance of a game-console button that spits up exploding balls? Did Vice suddenly acquire magical powers from Engkantasia? </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Then when Arci, along with his beki troop, pursues the bad guys at a train depot, they find Megan and Ernie tied up on a hand rail, and forthwith there appears zombies bound for Boo-san. Yeah, we understand satire, but even the most popular ones need to make sense within a story. Unless, of course, if time is running fast and a deadline is being pursued - so you conjure narrative strains that don't even fit in the mold. But that is an act of desperation. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Vice Ganda is a cut above the rest. He can make the silliest lines hilarious. </span><span style="font-family: "verdana" , sans-serif;">His witticism easily translates into physical and verbal humor. </span><span style="font-family: "verdana" , sans-serif;">And there are quite a number here. Like when he gets his Korean visa and unexpectedly meets Matet. The bag-hitting stunt would have been silly, but it drew laughter all around. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Scenes from the wake similarly succeed in bringing forth amusement, particularly when he was making selfies with the corpse; then again when he gives his beki troop Kathryn, Liza and Nadine (<b>MC, Lassy and Kiray Celis</b>) a streak of face smacks. That was slapstick, and as old as the Three Stooges. Not fond of it, but it was funny nevertheless. One particularly silly number happens when newly arrived Arci takes a photo of an unwelcoming maid. We knew that the "<i>Ay, na lowbat!</i>" punch line was coming, but sometimes jokes gain their hilarity from a comic's competence. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Coco Martin gets his cue from the world of Cardo, his character in the top-rating "<i>Ang Probinsyano</i>". Unfortunately, while Cardo brims with charm, Paco lacks the empathy of his television persona. </span><br />
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<span style="font-family: "verdana" , sans-serif;">It doesn't help that Paco postures like an action star - and constantly wears a sulk. Sure, his TV series is hard to topple, but let this be a reminder that there's a very valid reason why the action genre has died a natural death. If he decides to embark on a movie career as an action star from hereon, he will soon realize why the genre has rested in peace, thank heavens.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Coco isn't absolutely charmless, as when he occasionally flirts with the boisterous Arci. Or when he walks out of after a confrontation with Arci saying, "<i>Yuck</i>!" His lisp is occasionally onerous, but he has learned to be comfortable with it. In real life, lisping doesn't diminish a person's functional capacity. <i>Yun nga lang,</i> these little imperfections are magnified on screen. As the story comes to its climax, Coco makes a go with Gary Valenciano's "<i>Wag Ka Ng Umiyak</i>" bringing the audience to hilarity. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>AWRA AND ONYOK</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">Awra Briguella is given his spotlight, as he squares of, if a bit prematurely, with the seasoned Vice. Some memorable scenes: Megan competes with Vice for the hunky construction workers' attention. While they serve them spaghetti, Arci offers them chicken lollipops and Megan has his glutinous "ginataang bilo bilo". In another scene, Arci suffers from Megan's acrobatic number at Family Day. That was kickass hilarious! Onyok Pineda, unfortunately, fails to translate his magic on celluloid. His lines are either shrill or labored. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Some jokes don't quite make the grade: the sudden appearance of the Leila de Lima-lookalike shouting from nowhere (it was a punch line without a premise); the ramen-date of Coco and Vice and the noodle-pulling stint; and the appearance of the zombies. </span><br />
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<span style="font-family: "verdana" , sans-serif;">That they didn't give <b>Kiray Celis</b> a more substantial part is a wasted opportunity. This little girl is funny as heck. If they didn't realize, Kiray is one of the year's biggest box-office stars, courtesy of the blockbuster movie, "<b>Love is Blind</b>". MC, Lassy and Negi give considerable support. I won't mind seeing them again in future comedy films.</span><br />
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<span style="font-family: "verdana" , sans-serif;">I first time saw the movie on it's opening day after watching "<b>Enteng Kabisote 10 and the Abangers</b>" so it was easy to compare the influx of people. Let's just say someone got butchered in this competition. </span><br />
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<span style="font-family: "verdana" , sans-serif;">I watched it again yesterday in SM, to accompany my mom, where <b>5 </b>of its 12 cinemas (including IMAX and Director's Club) were showing "SPG". Sotto's "Enteng" was showing in only <b>2</b> cinemas. In Light Mall, they've already <b>pulled out</b> "Enteng" in favor of the disappointing vampire flick "<b>Underworld: Blood Wars</b>".</span> <br />
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<span style="font-family: "verdana" , sans-serif;"><b>BOX OFFICE </b></span><br />
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<span style="font-family: "verdana" , sans-serif;">Industry insiders whisper that Star Cinema padded its P65 million opening (Enteng has P14 million). But if you consider the ratio of theater distribution, it seems very possible to earn as much as they said they did. As I write this (Sunday), Robinson's Galleria has 3 cinemas for "SPG" and 1 for "EK". SM North Edsa (and The Block) has 4 cinemas for "SPG" and 1 for "EK". Gateway has 3 cinemas for "SPG"and 2 for "EK". Greenbelt 3 <b><i>does not</i></b> show "EK"at all. "SPG" has allegedly breached the <b>P150 million</b>-mark on its 4-day run.</span><br />
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<span style="font-family: "verdana" , sans-serif;">While I am not entirely sold on the artistry of "SPG", the movie made me laugh. But there are portions also that spotlight its weaknesses. The zombie appearance is one part. That scene alone was a palpable reminder why "SPG" didn't quite make the festival grade this year. </span><br />
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<span style="font-family: "verdana" , sans-serif;">But if Vice Ganda has something to say about his film's non-inclusion, he wasn't going to shut up about it. In its climactic end, he bawls his heart out and shouts, "<i>Ba't kami hindi nasali sa filmfest?!</i>" Then he blames the kids: "<i>Dahil yata sa mga batang ito</i>." Stroke of brilliance. It was <b><i><span style="color: #cc0000;">so</span></i></b> darn funny. </span><br />
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<span style="font-family: "verdana" , sans-serif;">But it also made people think. Money rules?</span><br />
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<span style="font-family: "verdana" , sans-serif;">Or maybe, it's something simpler. </span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;"><b>Note:</b></span><br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: large;">Please read our <b><span style="color: #b45f06;">featured post</span></b> about <b><span style="color: #0b5394;">Web Criticism</span></b>:</span><br />
- <a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html" style="font-family: Calibri, sans-serif; font-size: 11pt;">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a><br />
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#superparentalguardians #viceganda #cocomartin #joycebernal #awrabriguela #onyokpineda</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-8746500174408883212016-12-02T17:55:00.000+08:002016-12-03T01:32:41.205+08:00Marlon Rivera & Tony Y. Reyes' "Enteng Kabisote 10 and the Abangers" - Schlockmeister's Nightmare<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;">It felt odd sitting inside an SM cinema with so few people. There was a family of 5 behind me and a mother-and-her-child down the row. It was the opening day's second screening (1:15PM) on a Wednesday - and a public holiday to boot. There was hopeful anticipation all over. Christmas came early, people thought. It was the start of the festival of MMFF rejects! </span><br />
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<span style="font-family: "verdana" , sans-serif;">"Enteng Kabisote" movies are usually a chaotic experience, though not as much as a Vice Ganda film. Last Christmas, I remember miserably sitting on the orchestra floor watching "Beauty and the Bestie" because the cinema was filled to the rafters. It was traumatic for me; the most unglamorous experience I've had to endure, it<b> <i><span style="color: #0b5394;">made me blush</span></i></b>! There were allegations of ticket-switching, but that was just ludicrous stunts from desperate fantards. It should be clear now who walked away with the box-office crown. </span><br />
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<span style="font-family: "verdana" , sans-serif;">But this begged to be asked: <i><b><span style="color: #0b5394;">Where was the holiday crowd?</span></b></i> Have the hundred-thousand Aldub twitterverse warriors gone off to the mountains for a sabbatical? Maybe they've gone political and raised arms to exhume the remains of a despotic <b>president</b> who was buried with a hero's pomp and pageantry. <i>Pero secret lang huh?</i> Tee hee. But really, a<i>nyare</i>?! </span><br />
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<b><span style="color: #0b5394; font-family: "verdana" , sans-serif;">STORY</span></b><br />
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<span style="font-family: "verdana" , sans-serif;">Enteng Kabisote (<b>Vic Sotto</b>), the country’s favorite handyman, is back. This time around,
he has reinvented himself. The upgraded version displays a long, lean face, a familiar grin, that silvery fringe of mop on his head, and a protruding chin. He is "<i>au fait</i>" of all the shenanigans of the world. After all, he has battled monsters, wizards, giant tipaklongs, magical tutubi, shape-shifting vampires, and all the most ridiculous figments of a briskly dwindling, not-too-fertile imagination. </span><br />
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<span style="font-family: "verdana" , sans-serif;">These days, Enteng dabbles in robotics, posturing like Tony Stark, the scientist. He even has a very active Instagram account that gets updated regularly. (Would you seriously follow a near-60 Instagrammer-Snapchatter?) His corporate bosses – the three <i>lolas</i> – are
putting the pressure on him as he tries to complete a robo-gadget called <i>Kalba Kalba</i> suit. But his project requires a mineral ("<i>limestone corals</i>") he has yet to discover in Bohol. To celebrate
his birthday, he books his family holiday tickets for Tagbilaran. Unfortunately, his busy schedule keeps getting in the way of family bonding.</span><br />
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<span style="font-family: "verdana" , sans-serif;">On the domestic front, things aren't as peachy. Benok (<b>Oyo Boy Sotto</b>) is now a police chief deeply investigating a suspicious game application called "Slashman" believed to possess its gamers. The half-breed <i>engkanto</i> suspects that a syndicate more sinister than humans is behind the series of amok-related events. To make matters worse, he's at loggerheads with his father for spoiling his son Benokis <b>(Alonzo Muhlach</b>). </span><br />
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<span style="font-family: "verdana" , sans-serif;">To cut the long story short, Enteng flies to Bohol alone - with a heavy heart! It is high time to take stock of his life, now that wife Faye (<b>Pauleen Luna</b>) is busy running Engkantasia, her fairy world. But what Enteng didn't foresee, the troubles of fairyland are spilling over in the world of man. Seven power-bearing half-breeds, collectively called "<b>The Abangers</b>" now live in their midst, and the nefarious "<b>Tatlong Bibe</b>" syndicate, headed by Dr. Kwak Kwak (<b>Epy Quizon</b>) are out to capture them - so he could re-acquire the powers that are rightfully his.</span><br />
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<span style="font-family: "verdana" , sans-serif;">Enteng must help Benok stop the proliferation of Slashman, controlled by the mystical sovereign of Dr. Kwak Kwak - before it's all too late!</span><br />
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<span style="font-family: "verdana" , sans-serif;"><i>Inspired already? </i>Not me. A portion of my right brain atrophied by 0.083% by merely telling <i>that</i> story. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The story is gaunt and clearly derivative of other Enteng Kabisote movies since 2004. It is fueled by a formula that other lazy minds find comfort in watching. Many Filipinos have been conditioned to find gratification in anything familiar and predictable. This is one of the strengths of this movie series. Watching a Vic Sotto film doesn't require transmission of impulses to brain neurons, thus nothing is painful or belabored, but the P240 cinema admission. </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>COTTON CANDY SYNDROME</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">One other draw of the movie franchise is this potpourri of constantly growing "<i>dabarkads</i>" that populate Enteng's world. When we find some of the characters doing cameos (like Allan K, Jimmy Santos, Ruby Rodriguez, Ryza Mae Dizon, or Joey de Leon as "Pandoy"), we slap ourselves silly and think, hey isn't that cool? It's the "<i>cotton-candy syndrome"</i>. After a joyous sugar rush, we get tooth ache or die of hyperglycemia. The gains are as flimsy as a gossamer linen that eventually gets blown into the netherworld. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Let's take the case of the phenomenal <b>Aldub</b> who figures too fleetingly in this 10th incarnation. The couple play Enteng's hotel attendants Richard and Nicomaine (<b>Alden Richards</b> and <b>Maine Mendoza</b>, respectively). In the movie, we find them constantly canoodling together wherever Enteng goes while in Bohol. The running gag goes like, "<i>Kayo na ba?</i>" Then they both deny this, like they'd die an excruciatingly painful death if they'd admit it. When Enteng flies back to Manila, they also disappear unceremoniously - like that lavender-scented toilet paper too thin for substantial use. So they're disposed of accordingly.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>DATED JOKES</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">Vic Sotto isn't entirely charmless. Ten Enteng films and a long-running (now defunct) television show are a testament to this, but it has been 10 years of the same shtick. <i>Kaumay na</i>. This qualifies Sotto as the Philippines' undisputed movie schlockmeister, purveyor of inane movies! If you disagree, name one excellent Vic Sotto movie - fast! </span><br />
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<span style="font-family: "verdana" , sans-serif;">As the revamped Enteng, Sotto is besieged by old world jokes. How else does he render a subtext for "<i>I know right?</i>" circa 2009! On the other hand, April "Boy" Regino's "<i>Di Ko Kayang Tanggapin</i>" is even more archaic. The song came about in 1994 when Justin Bieber was born into this world so you can imagine the comic value of a song like this. Yes, I laughed - because I couldn't believe they're still stuck with this song! (Tickle tickle tickle) </span><br />
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<b><span style="font-family: "verdana" , sans-serif;">THE LOLAS</span></b><br />
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<span style="font-family: "verdana" , sans-serif;">Among the motley crew of characters, it's the <i>Zobelayalas</i> that provide the most amusement - Lola Nidora (<b>Wally Bayola</b>), Lola Tinidora (<b>Jose Bayola</b>), and Lola Tidora (<b>Paolo Ballesteros</b>). </span><br />
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<span style="font-family: "verdana" , sans-serif;">The mere thought of these color-coordinated Zobelayalas and I couldn't suppress a giggle. These characters are too hilarious for my sanity, to be honest. They are unpredictable, adorable and every line they utter has a way of driving you to funny heaven and back. Vice Ganda has this talent. They could star in their own movie - and I'd gladly queue up and watch! </span><br />
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<b><span style="font-family: "verdana" , sans-serif;">THE ABANGERS</span></b><br />
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<span style="font-family: "verdana" , sans-serif;">The lolas are part of the 7 "<b>abangers</b>" ("<i>abang ng abang magkaroon ng silbi at maging kapaki-pakinabang</i>" - go figure!) They include Oring (<b>Cacai Bautista</b>), Lucas Malakas (<b>Jerald Napoles</b>), Bisteka (<b>Sinon Loresca</b>), and Remy (<b>Jelson Bay</b>). They<i> </i>eventually get to slug it out with Dr. Kwak Kwak. In fact, one of the film's high lights is set within a computer-game. Fraught with comic flourishes, the presentation is visually impressive though the scene is protracted and unnecessarily long. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Humor in this film is oddly off-kilter. When Enteng finally subdues Dr. Kwak Kwak (a character that he portrayed in a 2011 Star Cinema film with Bea Alonzo, "<b>Pak! Pak! My Dr. Kwak!</b>"), he tells his nemesis, "<i>Paano ngayon, Kwak Kwak, kwek kwek ka na!</i>" Funny, right? Some other overworked lines: "<i>Anong style mo?</i>" "<i>Style na bulok</i>." There's also the "<i>ma at pa</i>" - "<i>malay ko at pakialam ko!</i>" In another scene, Remy tells Enteng, "<i>Sa haba ng mukha mo, baka masaksak mo ako!</i>" </span><br />
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<span style="font-family: "verdana" , sans-serif;">At an airport, Enteng meets <b>Jaya</b> (a joke cross-referencing the "<i>Queen of Soul</i>" and Enteng's "<i>soul searching"</i>). Enteng then cracks, "<i>Andaming bagahe. Lumipat na siyang talaga!</i>" That got a chuckle from me. But you see, the jokes are a hit-and-miss affair. Some of them work. Mostly, they don't. </span><br />
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<span style="font-family: "verdana" , sans-serif;">Curiously, the ubiquitous product placements are gone! <i>Nahiya?</i> Tee hee. </span><br />
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<span style="font-family: "verdana" , sans-serif;">The film has two directors. Somehow, you get a sense of the parts directed by Marlon Rivera ("Ang Babae sa Septic Tank") and those by Tony Y. Reyes (director of all the past Enteng Kabisote movies from 2004 and the awards-worthy "<i>Milyonaryong Mini</i>" with Anjo Yllana). Dichotomy of sensibilities? </span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>TRADITION OF CHRISTMAS MEDIOCRITY</b></span><br />
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<span style="font-family: "verdana" , sans-serif;">"<b>Enteng Kabisote 10 and the Abangers</b>"</span><span style="font-family: "verdana" , sans-serif;"> is a stark reminder why things should change. Such vapid movies have spoonfed the movie-going public with harebrained stories for too long now. It is time we stop this tradition of Christmas mediocrity. They've used the festivities as their milking cow, feeding crowds with a lot of cinematic garbage. They should give it a rest. There are 365 1/4 days in a year. Pick a date to show your <i>masterpieces</i> - outside the Christmas season. </span><br />
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<span style="font-family: "verdana" , sans-serif;">It is about time that we're purged of the vacuous drivel perpetrated by the <b>Festival Mafia</b>. Vic Sotto, after all, supports all these changes happening around. <i>Change has indeed come</i>. I hope Sotto will embrace this with gladness in his heart.</span><br />
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-81904481299417757982016-11-30T10:51:00.000+08:002016-11-30T10:51:00.479+08:00John Paul Su's "Toto"- The U.S. Visa as Measure of Success<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #0b5394; font-size: x-large;">Toto</span> (<b>Sid Lucero</b>) has but one dream - to go to America. So he's turning every rock to find the means to get there. But the American visa is a huge stumbling block. It doesn't help that the amiable hotel bellhop has very few treasures to show at the embassy. His checklist is a tall order: a rich family, a fat bank account and the steadfast resolve to hurdle every rejection. Now where can he acquire the aforementioned?</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Toto's prospects aren't promising. His head is up in the clouds, barely looking over his shoulders to realize that his girlfriend Tessa (<b>Mara Lopez</b>) and best friend Yam (<b>Thou Reyes</b>), who both harbor feelings for him, are conveniently being taken for granted. But this is his "<i>show</i>", not theirs, so he's all too willing to dance to the popular tune, the "<i>Macarena</i>", no matter how cheesy it is, to find his place in the American sun.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the side, Toto peddles pirated DVDs and postures like Tom Cruise. He meets Eve Porter (LIza Dino), a fil-am guest in the hotel where he works, who accepts his marriage-for-convenience proposal, But it will cost him. Another guest, David (Blake Boyd), a gay businessman from Texas, becomes an unexpected mentor and friend. But even the best laid plans don't always turn the way we want them to. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">John Paul Su's "Toto" is a comedy of manners, though this time it zeroes in on the working class. Many stories have been told about the much-vaunted American dream. Heck, even Cameron Mackintosh's "<b>Miss Saigon</b>" (recently screened in SM Cinemas nationwide) sang-and-danced for it. Bela Padilla's more recent "I America" was screened at the Cinemalaya with very similar story and setting, it even has Thou Reyes playing another gay friend named Whitney! </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>THE AMERICAN DREAM</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">People dream for different reasons although most Filipinos do it for the opportunities they present. Economic and financial security are, after all, as basic a need as breathing air. Sid Lucero, in an <i><b>Inquirer</b></i> interview, mentioned that he dreams of just flipping burgers, feeding people and surfing - that's his piece of the American dream. I don't have an American dream. I may be as colonial in manner and sensibility, but my heart lies in this archipelagic mess. This takes me to the wayward ideation that getting to America is, by itself, a measure of success. <i>Babaw</i> huh. Filipinos should put a lid on this and readjust their criteria to something more substantial. Your stepping on American soil does not automatically make you the epitome of success, but a mere statistics of migration.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This exactly is the reason why I am hardly fond of movies with such themes. Opportunities are available right within our shores. You don't need to go to, say Hong Kong, earn P7,000 a month as a domestic helper, and call yourself an achiever, do you? Propagating the mystic of migration does a disservice to the talent of the Filipino. Despite all these, the diaspora continues.</span><br />
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<span style="color: #cc0000; font-family: "trebuchet ms" , sans-serif; font-size: x-large;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;">"</span>There is desperation all over, but one tendered with glee and enthusiasm.</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Toto" makes the journey to acquiring a visa more upbeat, and Sid Lucero does a great job depicting the resolute spirit of the Filipino dreamer. There is desperation all over, but one tendered with glee and enthusiasm. This is the Filipino's penchant for seeing the silver lining in the midst of misfortune and apathy. Doing Toto is like walking on thin ice because it is a crucial balancing act. Besides, Lucero once admitted that he isn't too crazy about slapstick comedy - or just comedy, in general. Thou Reyes is adorable as the protagonist's gay best friend who would rather go behind bars than see Toto fail. In some ways, he mirrors what true love is all about, i.e. that sacrifices are part of the package. Reyes is insightful, vulnerable and funny. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>COMPANION PIECES</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I saw this movie last year at the Indie section of the Metro Manila Film Festival. I wasn't over-the-moon then, but I wanted a second viewing this time so I could place it alongside "<b>I America</b>" which is one of the better outputs from this year's hundred-and-one film festivals. Both movies are a companion piece. Robin Padilla's "<b>La Visa Loca</b>" (2005) is a distant cousin. I may have readjusted my perceptions about it but I am of the opinion that stories like these should be given a rest. Make no mistake, Director John Paul Su's movie is well made, adequately paced, entertaining and has great performances all around. But the subject matter is a bit of a <i>pickle</i>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In my book, getting an American visa is a mere procedure and doesn't deserve a parade. Or a whole movie for that matter. More importantly, stepping on American soil is not a measure of success, and shouldn't be celebrated as such. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><b><i>Toto, Tessa and Yam share more than friendship.</i></b></span></td></tr>
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-86118261702446490702016-11-27T11:35:00.000+08:002016-11-27T15:24:10.961+08:00Chris Martinez's "Working Beks" - Cinematic Preponderance and the Gay Men<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="color: #0b5394; font-size: large;">Okay.</span></b> Here's a premise that's almost too simplistic to share. But sometimes, people need reminding. Like other<i> homo sapiens</i>, gay men are human beings with their own burdens to carry. In Chris Martinez's "<b>Working Beks</b>", some of these specimen get fishbowl scrutiny.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The film follows the lives of five gay men within a 24-hour period. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Champ Reyno (<b>Edgar Allan Guzman</b>), a matinee idol, figures in a gay video scandal. He’s gone incommunicado and taping for his popular teleserye is put on hold for two weeks. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">After seeing his mother plead on television, Champ resurfaces. His handlers decide to face him off with a veteran investigative journalist (Leo Martinez) for a scripted revelation that would have him admit his romantic affair with perennial screen partner Joy Madriaga (Bela Padilla). But how do you smokescreen a viral video scandal?</span></div>
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<span style="line-height: 115%;"><span style="font-family: "georgia" , "times new roman" , serif;">Meanwhile, Tommy
Sarmento (<b>TJ Trinidad</b>), a marketing executive for a liquor and beverage company,
is on tenterhooks. Their company's number one product endorser is missing, but his extracurricular shenanigans might affect sales of their product. More than this, Tommy is gearing up for a well-earned promotion. But he soon discovers that he is being
passed up for the position because he is gay. In fact, his homophobic boss
detests Tommy’s flaunting of his <i style="font-weight: normal;">“alternative lifestyle'</i> - one that involves overachieving children and a supportive partner (Arnold Reyes).</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Jet (<b>Prince Stefan</b>), a call center agent, learns that the random stranger he’s recently had unprotected sex with committed suicide upon learning that he’s HIV positive. To make matters worse, Jet has been feeling under the weather, with symptoms that include fever, coughing, malaise and night sweats. Does he? Could he?</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Jet's lifestyle is an accident waiting to happen. His promiscuity has him cruising bars, hooking him up with strangers 7-8 days a week. His body is taking the brunt of it all. He knows he needs to get himself tested. But he realizes that the journey to finding the truth is harder to accomplish.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Gorgeous aka Gregorio (<b>John Lapuz</b>), a cross-dressing food vendor, struggles
to support his extended family who all depend on him. His mounting obligations don’t allow him to socialize so he keeps flirtations with a hunky security
guard Gardo (Jeric Raval) at bay. Meanwhile, his no-good father (Rez Cortez) is harassing him for a dole out, something that he doesn’t have. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Finally, Mandy (<b>Joey Paras</b>), a “reformed” gay man, is preparing to march down the aisle with sensitive bride Judith (Cai Cortez) who’s aware of his struggles.
Unfortunately, Champ’s sex video provides an inconvenient bump on the road. This temptation is too potent to remind him of his real preferences. As a desperate measure, he enlists the help of his colleague Brother
Benj (Atak) to cure him of his homosexual tendencies. In the process, they
employ various methods of pseudoscience once believed to avert homosexuality. Would they work or should Mandy just walk away?</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>MORAL APATHY AND HEDONISM</b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Intermittently told in dramedic fashion, the cross-section of characters tackles concerns of the contemporary gay men, and there's considerable amusement to be had. Jet's story particularly rings like a discordant bell. In a society where even "killing" is sanctioned, endorsed and condoned by the authorities and its gutter-minded apologists, moral conventions become moot and academic. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Killing loses its "illegality" (let's forget the moral grounds) because it is no longer regarded a social taboo. It's an everyday occurence. Weighed alongside these murders, Jet's nihilism seems inconsequential; a non-issue, in fact. What people don't realize is that this moral apathy is gradually rejecting even the very basic social conventions like manners and social grace.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the movie, Jet finds meaning in his life by filling a vacuumn satisfied by his material desires, leading to an excessive hedonistic lifestyle of shallow sex and loud social events with even louder, if disposable, friends. He congratulates himself for his sexual catharsis that only provides temporary escapism. Unfortunately, Jet represents a steadily growing population of nihilists. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>DIGITAL VOYEURISM</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Champ's dilemma, on the other hand, is a common scenario nowadays. This is a new world that fosters digital voyeurism, that even orgasm is one-click away. People's inherent nature to connect allows others to take advantage, employing the digital media to nefarious use. How many personalities have succumbed to the lure of the watchful and omnipresent video camera? These salacious videos, recorded and even traded for a bigger audience, have willing viewers because people are basically curious and wouldn't want to be left out of the bandwagon. Add into the fray, that dash of superiority of witnessing a person satisfying his most basic urges. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is why watching Champ tintinnabulate another guy's genitalia on video isn't too alien a concept. Not anymore. This leaves Mandy's story a bit stale, prosaic. Champ's proud member becomes part of a hundred others, nothing particularly special unless he has a gold-plated schlong the size of a molave branch. If I were Mandy, I'd go watch the video then move on. A mere sex video won't figure in any normal person's decisions - gay or straight. It baffles me why a silly video would make a dent on Mandy's marital plans, to be honest. The most that we should get from his story is its comic proclivities, a <i>pampakwela</i> more than a didactic exposition. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background: rgb(252, 252, 252);">This takes us to the elements surrounding Mandy's gay exorcism a.k.a. "<b>conversion therapy</b>". The design involves a series of "conditioning" meant to catechize or indoctrinate the mind into believing that homoerotic tendencies are distasteful and aberrant. It <i><b>should</b></i> averse the subject.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="background: rgb(252, 252, 252);">Thus "<i>aversion therapy</i>" is employed in the form of repetitive mantras ("<i>I love the vagina", "Gay is not okay"</i>); <b>emesis therapy</b> preconditions the subject to throw-up upon application of a visual stimulus, i.e. half-naked men. Then there's the more drastic and invasive electric shock therapy (ECT) employed similarly for schizophrenics and depressives unresponsive to medicine.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">These treatments are, of course, considered archaic
nowadays and have no scientific basis so it is rather odd that such ridiculous
methods find their way in a modern, "<i>educated</i>" comic tale. But let's treat this as an artistic license to mine the comic possibilities. The result is a hit-and-miss affair. It would have been productive if they shortened these episodes in favor of a more <i>grounded</i>, albeit situational approach involving Mandy's surroundings and personal relationships. After all, it should be clear to
every half-wit that no amount of rubber band punishment will change one's sexual
preference. How do you combat an affliction too deeply ingrained in the genetic composition of a person? <i>Immanuel Kant’s</i> critique on metaphysics and conditioning doesn’t have a place in this diatribe. Surely, you don't psychoanalyze nature nor treat it as a pathological disease.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>MOST SYMPATHETIC</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Among the five characters, it is John Lapus' skillfully depicted and well-limned turn as Gorgeous we find most sympathetic, and for obvious reasons. Gorgeous doesn't deny his cross-dressing nature, and he acts and dresses like one, but this doesn't stop him from working hard for the people he loves. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Neither does his homosexuality prevent him from becoming a decent person - and a productive member of society. In fact, it is his selflessness that defines him, not his being gay. It is in Gorgeous' story where we find the movie's cinematic worth and beating heart.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Like many Chris Martinez films, "<b>Working Beks</b>" bristles with wit and, in some way, cinematic urgency. Portions of it skid away carelessly, and stereotypical delineations sometimes get in the way of an insightful discourse. Nevertheless, it is a brave effort to showcase stories of the gender-benders otherwise relegated to comic support in mainstream films. While the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">arc of the narrative doesn't exactly allow it to soar, it is hard to dismiss the film as something less relevant. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">The stories fleetingly interconnect, but you get a decussatory feel among the characters; that there's a string that pulls them together to fuel cinematic preponderance.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Why we sometimes despise <span style="color: #cc0000;">Web Criticism</span>? (Our featured post)</b></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><b>- Read and weep: <span style="color: red;">Cinema Bravo's</span> Gag-Inducing Contributions</b></span><br />
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html">http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html</a></span><br />
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#workingbeks #chrismartinez #edgardallanguzman #johnlapus #tjtrinidad #belapadilla #princestefan #joeyparas</div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-44564068853533794962016-11-26T08:44:00.000+08:002016-11-26T08:44:00.662+08:00Jean-Francois Richet's "Blood Father" - Return to Form<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="color: #351c75; font-size: large;"><b>John Link</b></span> (Mel Gibson), a reforming ex-convict on strict parole watch, gets a
desperate call from his estranged daughter Lydia (Erin Moriarty) whom he hasn’t
seen in years. Holed up in a trailer truck park in the California desert with few options, John makes a living as a tattoo artist. He has been sober for 2 years, and is trying to keep it together. But Lydia’s situation is a game changer. The
17 year old girl is being pursued by a Mexican drug cartel after she accidentally
shots boyfriend Jonah (Diego Luna), who may have used Lydia to conceal contraband. John refuses to get pulled back into his past, but he must take action to protect Lydia by knocking on these doors. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The story is one that may have been told several times in the past, and the theme is universal, much like Brad Pitt's <i>also</i>-showing "<b>Allied</b>", i.e. protecting the people your love at all cost. </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">But Mel Gibson and the film's cavalcade of characters are an engrossing bunch, you're compelled to watch the events unravel. Besides, this is Gibson's comeback after a two-year hiatus (last seen in Patrick Hughes' "The Expendables 3"). </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">I keep thinking of Peter Craig's novel where, surely, Link's story is better told. <span style="background-color: white;">John Link is a former Hell's Angel, an ex-con, trying to stay clean and sober while running a tattoo parlor from the kitchen of his trailer home.</span><span style="background-color: white;"> Link was in fact in prison for 9 years. While Lydia hails from a relatively wealthy upbringing, her relationship with her mother leaves much to be desired. The teenager has had three stepfathers.</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The movie is told in straight-forward fashion. It takes us to the dusty, craggy and scabrous communes of this desert community. Despite adequate screen time, Moriarty's character is poorly threshed out, thus she comes off a bit on the tepid side, barely convincing as a good-girl-gone-bad. But the motley crew of characters may suffice - there's an all too-eager AA sponsor (Macy), a white supremacist (Parks), a nasty cellmate, a cartel soldier called <i>sicario</i> (with unnerving tattoo inked all over his face) and an opportunist boyfriend (Luna) - each one navigating Link's netherworld with ulterior motives. </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The script doesn't hold much traction, but this is vintage Mel Gibson, the quintessential action hero we all root for. In "Blood Father", you can't miss his raw magnetism and the unmistakable hint of humor in his eyes. If this isn't obvious enough, this cinematic vehicle is a return to form. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b>Erin Moriarty</b></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><b><i>Mel Gibson when the world was his oyster.</i></b></span></td></tr>
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Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0tag:blogger.com,1999:blog-6954980542950250593.post-78795462587657256342016-11-24T17:19:00.000+08:002016-11-25T11:09:34.797+08:00George Vail Kabrisante's "Upline Downline" - Old World Tricks, Senile Ramblings<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "georgia" , "times new roman" , serif;">Audiences don't want to be lectured at, spoken down to or given bittersweet lessons, thus news-worthy topics have to struggle to find balance between real-world problems and entertainment. In the former, if a viewer gets catharsis, or to some degree, enlightenment or epiphany, then these pictures will elicit the appreciation they deserve. As a general rule though, whether a film teaches, informs or entertains, it has to be deeply invested in the human dramas underneath.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In<i> George Vail Kabrisante's</i> "<b>Upline Downline</b>", the struggle lies in the story telling as it vacillates between trite and convuluted - and messy! It doesn't help that the production values are way way below par. <i>Kumbaga sa</i> pyramidal business, na<i> scam</i>. On a more sophisticated jargon, this is textbook "artistic bankruptcy", but that would mean there was considerable artistic merit or investment to begin with, <i>debah</i>?</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b>ELOPEMENT, UNEMPLOYMENT, ABORTION</b></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Married life isn't a walk in the park for Richard and Ann (Matt Evans and Ritz Azul, respectively). Love alone does not guarantee financial stability to sustain their rich-girl-poor-boy scenario. Their elopement has estranged them from Ann's acid-mouthed mother (Snooky Serna) who would have married off her daughter to flashy Carlo (Alex Castro) who hails from a well-to-do family. What's worse, the couple has been threatened with eviction for failure to pay rent. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When Richard gets fired from work, he turns to networking, selling a gamut of products from skin whiteners and hair growers to a "<i>pampasikip</i>" (just one sip of the concoction and your <i>coochy snorcher</i> tightens automatically - like magic). His goal is to win the annual networkers' convention which will gain him a car, a house and lot; and P5 million.</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">But Richard's hours are grueling and long, leaving pregnant Ann to her own devices in a shanty in Antipolo where she regularly fetches pails of water from a well, you'd think she was filling up an olympic-sized swimming pool. Tsk tsk tsk. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One day, Ann suffers from threatened abortion and decides to abandon Richard. Meanwhile, Carlo, now a networking rival, is gaining up on Richard who even loses his flirty client (Inez Veneracion) to Carlo. It turns out, former pimp Carlo (yes, this rich boy <i>pala</i> pimps escort girls!) even peddles his own flesh to get horny <i>downline</i> matrons to invest. How revolutionary!</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">How will Richard catch up? He turns to his uncle (<b>Juan Rodrigo</b>) who just got out of prison for embezzlement and estafa; the same uncle who wears thick-rimmed glasses and a lab gown even at home. He's actually on his way to discovering a potion that will turn brown Pinoys into Caucasians - and fair-skinned people to tanned gods! Uncle ex-convict is so generous that he even invests millions as downline for Richard! I had to stop myself from gagging! </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Meanwhile, Snooky can afford to shell out a million peso-worth of investment for Carlo, but can only spare a giveaway rice cooker for her own daughter! She didn't care if Ritz were making<i> igib</i> from the <i>balon </i>in a <i>barong barong</i> in the <i>bayan</i>. Everything is so quaint and sensible!</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">George Vail Kabrisante's movie bills itself as "<i>the first ever film in recent history that tackles nontraditional multilevel marketing and networking business</i>". It even describes this film project as "<i>searing</i>". I have more appropriate adjectives for this flick but I'll get to that in a bit. Ambition seems to fuel its story. In fact the film structure is predicated on a pile of tales awkwardly pieced together. Here are a few of those that branch out from Richard and Ann's marital woes:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">1. Carlo's own networking business bafflingly involves pimping, product selling, talent management, etc. This strain has a gay guy named Jogi J. Jigo (Jai Ho) who ends up committing suicide.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">2. Prof. Robert Dumlao (Juan Rodrigo), a beaker-and-flask bearing "<i>scientist</i>" who concocts a skin whitening potion, is just released from jail. Jojo Alejar regularly appears as his hammy and <i>eager-beaver</i> legal counsel/financial adviser. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">3. A school of thugs kidnaps Carlo because he owes them millions.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The story evolves into different genres: from romance and drama to action suspense. Each one fails in their respective little episodes. The style is a throwback to the sensibilities of the 80's, with tired, old world tricks and senile ramblings. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif;">Kabrisante just doesn't have the directorial insight to give this "<i>searing</i>" tale its cinematic justice. It isn't even well told, but a mere hodgepodge of random strains that lacked urgency, congruence or believability. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>COMIC MOMENTS</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* When Snooky sees her daughter Ritz on her hospital bed, she shouts to the doctor: "<i>I'd like to transfer to another hospital. A more expensive hospital</i>." Somebody needs a fat slap on the face.</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">* When Matt and Ritz were thrown out of their house for not paying rent, guess where they conveniently found shelter? Alex, who's Matt's romantic rival!</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* When Alex invites Ritz for an unspecified sortie, she gets all dolled up like a hooker. She didn't even bother to ask where she's supposed to go or inquire about the job description. Is she a robot who just follows orders? Then she learns that she's being pimped to Rez Cortez by the man she was formerly betrothed to. Go figure.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* There's a lingering reverb in the actor's lines so you are transported to videoke country. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* Ambient sound is heard in most scenes,which is disturbing.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* A rioting scam victim is decked in silvery sequined gown. She even gets a complete cinematic moment - by fainting (or dying!) with her shining, shimmering outfit! Was she dressed for heaven?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* Action scenes involve a torture scene and men in leather jackets reminiscent of those mediocre action flicks of the 80's.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">* When Snooky sees Matt driving a Porsche, she suddenly changes tunes and quips, "<i>A woman's place is with her husband.</i>" How a Porsche can briskly change a mother's point of view, right? </span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="color: #0b5394; font-family: "arial" , "helvetica" , sans-serif;"><b>Darkness in Araneta!</b></span></i></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Lastly, when Richard finally won his award at the Araneta Coliseum, he goes up the stage and delivers an impassioned speech - bathed <b><i>in darkness</i></b>! Naubusan nga ng budget? He has P5 million from a company who can't afford lights? Or just maybe, someone forgot to light the winner? Or maybe Araneta Coliseum forgot to pay its Meralco dues? They could have used candles too; those scented ones.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The intersection of genuine social issues and fictionalized drama can take audiences somewhere different and new. This is one of the personal draws of the cinema for me; that it takes you to places. But when film making techniques put out something that makes people run away from the nearest cinema, then that's a disservice to the medium. Do you wonder why some people keep away from indies? A film like this is one of the culprits.<i> Brava?</i></span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #351c75; font-family: "arial" , "helvetica" , sans-serif;"><b><i>"I can pimp your wife because you're both freeloaders!"</i></b></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0pALDXcyFlIoPuYp9nQexBYF5wb-VToNpbzC1D-dSzmJM59T3UA4eFdCWatDfWIHkkbBQuXreSG3uUjVHP56zQ_TiCuPL9yNRiGoOt8Oa4R6RzrRC9bBV71ks4Rslorpa4I07h-sh3s/s1600/image006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0pALDXcyFlIoPuYp9nQexBYF5wb-VToNpbzC1D-dSzmJM59T3UA4eFdCWatDfWIHkkbBQuXreSG3uUjVHP56zQ_TiCuPL9yNRiGoOt8Oa4R6RzrRC9bBV71ks4Rslorpa4I07h-sh3s/s640/image006.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvjM18Z5g1bOMxyOSTLuhge4-3WTtzQAxelUGatQHsm2zJ2aAPZgwUINvEF5Mfvs1bRJLSosmhqfCPocKjjiIFFBsucTD8ex_OhkY3-D78ChZNv6nKzWh0eJFOG21YHW6NwquUjUAIDuE/s1600/image008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvjM18Z5g1bOMxyOSTLuhge4-3WTtzQAxelUGatQHsm2zJ2aAPZgwUINvEF5Mfvs1bRJLSosmhqfCPocKjjiIFFBsucTD8ex_OhkY3-D78ChZNv6nKzWh0eJFOG21YHW6NwquUjUAIDuE/s640/image008.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b><span style="color: #351c75; font-size: small;">"Maawa kayo! Ibalik n'yo pera ko! Naubos sa sequins ng gown ko!" Collagen implants are expensive too. Teehee.</span></b></i></td></tr>
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#uplinedownline #mattevans #ritzazul #alexcastro </div>
Cathy Penahttp://www.blogger.com/profile/07208160859321153472noreply@blogger.com0