G.A. Villafuerte's Ghost Lover - Horrific Spareness of Acumen

It’s been awhile since I last wrote about a Pink Film, but people just obviously love my rants about this genre that despite paucity of blog entries in Blush, this site still averages 250 to 400 page views a day! How's that for an inactive blogsite? Before I serve the annual “Best and Worst of 2013”, here’s my “gift” to the pink lovers. 

Film year 2014 has officially started with the release of G.A. Villafuerte’s “Ghost Lover”, before it shifts into high gear next week with Robin Padilla’s “Sa Ngalan ng Ama, ng Ina at Mga Anak”, Benito Bautista’s “Mumbai Love”, and Mae Czarina Cruz’s “Bride for Rent”.

CAPSULE

When Josh (Alvin Duckert), a violinist, and his girlfriend Dianne (Renee Gozon) moved to a recently departed aunt’s old house, they didn't realize they were sharing it with its restless, albeit phantasmal inhabitants. Doors shut at will; persistent knocks are heard in the wee hours; and the weirdest thing: Mobile phones lose signal. Eh? “Di ko siya ma-contact. Ang weird,” remarked Josh who must have never heard of poor signal from Globe and Smart telecom. To keep it interesting, Josh’s cousin and friends join the fray for a rather dubious excuse of a holiday. The young couple hasn't quite settled down, yet they already have guests. How fun.

FAMILIAR TERRITORY

Director G.A. Villafuerte once again dabbles awkwardly into familiar territory (“Lihim ng mga Nympha”, “Bahid”) but like previous efforts, the end product is nothing short of elementary. The sound is uneven; most conversations are unintelligible, scenes are underlit and cinematography is typically Villafuerte’ish, i.e. appalling. You get the nagging suspicion that his scenes were shot using a cellphone camera. This director likewise boasts of having done 15 flicks in film year 2013. Not even box-office director Wenn Deramas can duplicate that feat, having only released 4 movies last year. Unfortunately, Villafuerte’s acumen remains spare of any proof of film making adeptness or writing prolificity.

It’s been 3 years since Villafuerte’s directorial debut but he never acquired mastery of the medium, except for his propensity to finish principal photography in 24 hours. Imagine a gag-inducing flick like “My Little Bossings” shooting for, say two months. For that duration, Villafuerte is capable of churning out 60 flicks ready for exhibition in dingy, sperm-coated, third-rate movie houses. Such source of inspiration, debah?

Alvin Duckert, Renee Gozon and RJ Saycon

Alvin Duckert, also seen in Villafuerte’s “Bagong Paligo” last year, returns to display his bratwurst in two shower scenes. After all, what’s a Villafuerte flick without his male leads tintinnabulating their bells in sheer wetness? This sublime scene was punctuated by Alvin’s use of a foamy shampoo as he lathers his derriere with raw determination. In another scene, a spirit (of a jealous girl) possesses Josh – which conveniently sets the stage for a man-on-man action between Duckert and newcomer RJ Saycon who plays Xander, Josh's childhood friend. In another scene, Ace Toledo’s character Luke couldn't contain his urges so he plays with himself while two of his friends (one of them female) sleep closely beside him. Couldn't he even rush to the bathroom for an accomplished and satisfying, errr… manhandling?

But let’s attribute all these inanities to the director’s myopic vision and extremely limited imagination. Case in point: In his epilogue, the last scene has our characters driving away from the house. Just when we thought they've rid themselves of those pesky ghosts, Josh suddenly kisses Xander, imputing Josh’s possession. Hasn't this been done before in Villafuerte’s “Lihim ng mga Nympha” where the main protagonist is suggested to still be under the influence of a nymph? And wasn't that portrayed also by Alvin Duckert who has since taken 3 dozen energetic showers in various Villafuerte flicks? And wasn't “Lihim ng mga Nympha” a shameless, unattributed remake of a better film? Barely three years into his craft and he's already repeating himself. 

Someone’s artistic aptitude (if you call it that) is in desperate need of inspiration and is dwindling fast – and it’s just January! Tsk tsk tsk.     

Alejandro "Bong" Ramos' Butas 2 - Confused Perspectives & Succulent Visuals

In an unfinished house made of concrete, infidelity is played out by Jiggo (Ace Castro of "Lamog") and his father’s mistress, Pia (Mocha Uson). Pia just recently arrived from a two-week Asian holiday with Jiggo’s influential father, the owner of the house. Their clandestine rendezvous is being documented by Jiggo’s video camera. The only other witness to their affair is Andoy (Rufert John Lirio), the bashful caretaker whose other vice is peeping through holes while Jiggo and Pia lollop from getting high to relishing their endless sexual games.

Jiggo is restless, willful and determined, but his ambition’s been mostly off tangent. In fact, he’s been indecisively jumping from one collegiate course to the next: from aeronautics to engineering – now he’s into films; something that has frustrated Jiggo’s father no end. Pia, on the other hand, is a former model who has succumbed to the lure of financial security offered by Jiggo’s dad. But Pia hasn’t been the good girl. She keeps hopping from one indiscretion to the next. To avoid getting spotted by her benefactor’s people, she navigates the bowels of Binangonan wearing a flurry of disguises. Meanwhile, youthful but destitute Andoy is mostly ignored by Jiggo and Pia. The soft spoken caretaker plays out his fantasies sneaking around the tenement’s crude corners, diligently spying on the sexually charged couple.

Jiggo’s recording of his concupiscent rendezvous with Pia isn’t all that whimsical or innocent. He has plans for the footages; something that would earn him money. And he couldn't care less if others get hurt along the way.

Director Alejandro “Bong” Ramos utilizes the same narrative element of the first “Butas” with Marco Morales and Gwen Garci. In fact, “Butas 2” is a retelling of sorts. Ramos ambitiously tries to up the ante by giving the viewer three perspectives: Jiggo’s, Pia’s and Andoy’s. Thus the scenarios are repeated several times from the point of view of our three protagonists. While it’s a refreshing style, the novelty soon wears off because Ramos soon recklessly transposes these perspectives. In fact, it’s easy to discern wayward perspectives. Suddenly, there were more than three perspectives and the whole exercise becomes a tedious predilection. The gimmickry will initially call your attention, but it soon becomes clear that the story’s too flimsy to be compelling. Besides, we have seen this story before, populated by different actors. The story is further hobbled by characters that the story could have done away with: the DVD pirate Obet (Alvin Duckert) and his girl friend Miranda (Jhoy Ortiz).

FACETS OF VOYEURISM

There are narrative facets that hook you like when Jiggo discusses how there are more stories that we don’t see: “May dalawang mukha ang butas – ang naninilip at ang sinisilipan.” Pia then interjects, “Gusto ko ako ang sinisilipan” – because the life of the voyeur is a sad one. It is an interesting thought. However, at some point you notice these thoughts to be wantonly moving away from the premise. Voyeurism has always been a shady part of our psyche and we're forever intrigued by what we're not supposed to see. Director David Lynch ("Twin Peaks", ""Blue Velvet", "Wild at Heart") once said, "We want to know secrets and we want to know what goes on behind those windows.There's an entertainment value to it. I think people are fascinated by that; by being able to see into a world they couldn't visit." To others, it's a sense of empowerment. There's God Complex in knowing what others do when they thought people weren't looking.

Ramos “Butas 2” boasts of several full frontals that would have you blush. Ace Castro proudly displays his considerable appendage in full, well-lit scenes, as does Alvin Duckert (in a shower scene with Jhoy Ortiz where he’s the only one doing the full monty - he doesn't even have qualms facing the camera; such a dirty dirty boy). Alvin isn't shy parading his half-Swedish falukorv (click the link below to find out what it is) in half a dozen Pink Films. Newbie Rufert John Lirio exudes innocence, thus when Jiggo playfully films him taking (yet another) shower, you feel sorry for Andoy whose most challenging scenes were his self pleasuring moments. Oohlala indeed. Even Marklen Trinidad has a surprising scene borne out of an exigent need to pepper Ramos’ cinematic canvas with as much nudity. Ramos makes G.A. Villafuerte’s films seem like Walt Disney movies.

Mocha Uson is a captivating femme fatale. What’s more, like Duckert, she isn’t shy displaying her bits-and-pieces. Unfortunately, her role doesn’t give her much thespic grit to munch on. She's merely meant to be ogled at; and not derive emotive inspirations from. But let’s hope she succeeds to crossover to mainstream cinema instead of wallowing in godawful flicks like Z Lokman’s “Seksing Masahista”.

The visuals in “Butas 2” are a joy to watch because of the film’s crystal clarity (with Jepoy Tarnate’s cinematography). Ramos further experiments with angles and views that you hardly experience in the films of Crisaldo Pablo, GA Villafuerte, Lucas Mercado, Cleo Paglinawan, Paul Singh Cudail, Edz Espiritu and other purveyors of cheap, shoddy sex flicks. Having said all that, Ramos’ weakness is in the exposition of his narrative. He eventually turns aimless. The concluding scenes in the movie feel uninspired as though they belong to a different story. Rough plot transitions occur when film makers need to suddenly complete their projects. With a rather gaunt story, “Butas 2” could have benefitted from judicious editing. Too bad they forgot to patch the holes.  

Link to check: falukorv - http://upload.wikimedia.org/wikipedia/commons/5/54/Falukorv.jpg

Why would a "straight" man film his naked caretaker? Sure gives you wayward ideas.

Alvin Duckert as Obet and Rufert John Lirio as Andoy find something they could sell.

Dexter Castro as Jiggo

Mocha Uson as Pia

Rufert John Lirio as Andoy

Alvin Duckert and Marklen Trinidad want you to smell their arms.

Mocha Uson is the femme fatale Pia.

Mocha Uson

Rufert John Lirio

Rufert John Lirio peeps through a hole.

Rufert John Lirio, Mocha Uson and Dexter Castro

Note:

Please read our featured post on Cinema Bravo and why Web Criticism isn't always about good writing:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

GA Villafuerte's Lihim ng mga Nympha - Cinematic Plagiarism

Glenn (Walter Arenio) takes his friend Marco (Alvin Duckert) to the back roads of a remote town to visit his friend Nardo (TJ Morello). Upon arrival, the Manila lads learn that Barangay Masukal is a longer hike deeper into the woods – and tricycles refuse to go further. On their way to Nardo’s hut, Marco sees a bevy of scantily clad girls (“Labas ang suso”, he eagerly tells Glenn) bathing at the stream. But Glenn is in a hurry, “Baka abutan tayo ng tanghali.” The guys eventually find Nardo’s hut – in the dead of night! At the dinner table, Marco asks Nardo if nymphas really do exist in these woodlands. That night, inebriated Glenn disappears, only to be found in the morning enjoying the cool waters of the river. Glenn unexpectedly gets a visit from two girls who join him. Meanwhile, Marco meets Karen (Mia Henares) who whispers, ”Hayaan mong paligayahin kita,” then swiftly disappears from his sight. Later that day, they’re warned against the pesky nymphas.

The day after, Berting (Chubi Manalo), a young neighbor rushes to inform Nardo that their friend Carding (Bench dela Torre) is found dead, with a white flower beside his naked body. Their suspect: the nymphas. In another part of the woods, a bevy of girls wrapped in white loin cloth gather around each other, chanting a dissonant hymn. Cecilia (Adriana Gomez), the supreme leader of the group, announces that she has chosen Rosario (Honey Lopez) as her successor who would then inherit her powers. Karen shows her displeasure and storms out. Wasn't Rosario last seen teasing Carding to his hut?

That night, Glenn goes missing – again! Marco and Nardo scamper to find him before it’s too late. They find him being sexually manipulated, seemingly lost in the chagrin of the nubile nymphs. The ritual was on-going; the boob-baring girls were chanting gibberish – a really messy incantation, swaying their bodies with discrepant hand movements. Will they get Glenn back before it’s all too late? Will Glenn suffer the fate of Carding?    

A walk into the woods.

"Pare, may mga chicks. Labas ang suso," remarks Marco when he sees bathing nymphas.

In 2010, a local film was released on video called “Sa Piling ng mga Nympha” topbilled by Charles Delgado and directed by Chris Reyes. What’s more surprising - 90% of this flick mirrors Director G.A. Villafuerte’s “Ang Lihim ng mga Nympha” shown April this year – the plot, the scenes, the lines, the setting, etc. Some similar scenes include: Charles reaches the woodland on a tricycle. When the driver was asked for Charles’ exact destination, the former replied, “Di na ako puwedeng tumuloy. Delikado na dito.” Another scene: a group of bare breasted nymphs were spotted by Charles bathing by the stream. Even casting is diligently inspired by the original: Since the 2010 version has an African-Asian girl in the cast, Villafuerte’s version hires an African-Pinay named Sarah Obama (who plays Estela) to complete the "copying". There are more “copies” found in “Lihim...” Yet you don’t find attribution to the original movie.

Now here’s the funnier fact: While 2010’s “Sa Piling ng mga Nympha” was moderately watchable, 2012’s “Lihim ng mga Nympha” turns out a film making atrocity. Everything about this “re-telling” is inferior to the original: performances, plot twists, technicals (exceedingly horrible sound: you couldn’t hear anything from conversations), etc. In fact, I was surprised to find a competent Winston de Dios in  the original version. His part had some degree of difficulty (he was running amok because his wife was abducted by the nymphs). De Dios turned mediocre once handled by exploitative directors Lucas Mercado (“Rigodon”) and Paul Singh Cudail (“Sulot”). Why is "Ang Lihim..." a lot worse than the original? Why "remake" a relatively new flick (2010)? Who told Villafuerte he could write anything decent - or that he could direct anything outside a children's play? More importantly, who gave him permission to debase better films, turn them into cinematic scraps, then call them his? Questions abound.

NATURE OF NYMPHS

“Nymphas”, in this film, is a neologism of sort. The term is a Tagalized version of "nymphs". But these entities aren't even part of Philippine mythical creatures. What are these creatures? Nymphs originated from Greek mythology. They aren’t goddesses, but minor female nature deities associated with a particular location (sea, land, wood, celestial and underground). They are “divine spirits” who dwell and guard their natural habitat. Depicted as beautiful young maidens, these creatures love to sing, dance and make merry. As consequence of their character, they are known to mate with humans who get caught under their spell.

I can only assume that Villafuerte's nymphs are analogous to our “diwata”.  Villafuerte however tweaks the nature of these creatures. After all, his nymphas do not exactly "mate” and “make love” – they “fellate” their victims. They also love ogling at their victim’s back sides. Isn’t that very gay?

Walter Arenio (as Glenn) and a friendly visitor

Alvin Duckert as Marco

Sarah Obama (as Estela) and Mia Henares (as Karen)

Honey Lopez as Rosario

Walter Arenio provides a dashing consort with his sculpted physique, sexy masculine swagger and very Pinoy looks. More importantly, he captures the relaxed demeanor of Glenn. If you think he’s a run-of-the-mill actor, think again: he played Tony, the boatman, in Auraeus Solito’s magnificent “Busong” (Palawan Fate). So his presence in an exploitative Pink Film baffles. Though he doesn’t wave around his pecker, he has several “wet bulging brief” moments and a couple of backside peekaboos that would make you blush.

Alvin Duckert has a more ambitious part because he evolves into a totally different character in the epilogue (one of the cringe-worthy changes from the original story). Prettyboy Duckert is an enthusiastic actor. While his performance is better than bland, Duckert fails to imbue emotive heft so he comes off as superficial. And please, Alvin, stop dressing up as a woman ever again. It isn't a flattering sight. Masagwa! TJ Morello fares better with comfortable demeanor; his delivery isn’t snagged by doubt or irresolute action common among noobs.

FLACCID APPENDAGES

Adriana Gomez makes her film debut here. While she occasionally suffers from tentative emotions, she doesn’t do so badly. She isn’t allowed to do much except look “queenly” – as Cecilia, the queen of the nymphs. These days, Gomez appears in one (bad) indie flick after the next. She could probably be among this year's busiest. Bench dela Torre, as Carding, is expectedly disrobed. In the scene after his sexual dalliance with Rosario, he is left completely naked in bed, his flaccid appendage plopping down his abdomen. Ooohlala indeed! J 

HIGHLIGHTING THE UNFLATTERING

Now let me turn to Chubi Manalo who turns in one of the hammiest performances this side of Jonas Gruet. He speaks like a 7 year old boy with Trisomy 21: monotone delivery, intonation that ignores syllabication and then there’s his speech deficiency – he lisps! And if that isn’t punishment enough, his lines are riddled with so much S’es – and if they were bullets, they’d have murdered him already. Check this out: “Di muna makapunta thi lolo kathi thinuthumpong thiya tha thakit ng paa. Thabi ng manggagamot, impothible daw ang pagkamatay nya, wala ngang dugo o thenyaleth na pinatay thiya.” That is a LOT of S’es for someone like dear Chubi. What I am saying here: a director who’s cognizant of the weaknesses of his actors would surely notice this and remedy the lines by finding substitute words that Chubi could properly deliver, instead of hurdling 13 S’es in his lines! Sigh. He is actually better off just bathing at the stream – sans speaking lines - since he adequately flaunts his engorged member under his wet undies better than he delivers lines. I am telling you, Chubi's had it more-than-adequately engorged! J      

YES, MICHAEL, IT'S BAD

The script is slapdash and thoughtless. I ask again, how can cinematic plagiarism turn out so much worse than the original? In a scene where Glenn gets an unexpected visit from two nymphas, Cecilia catches her wards canoodling with the bathing Glenn. Cecilia shouts their names to call their attention: "Hasmin, Karen... halika kayo rito!" Then Glenn stands up and shouts back, "Sandali, anong pangalan nyo?" Every creature in the woodland could hear Cecilia, but Glenn. Someone needs a hearing aid! When they found Carding dead without finding blood or any sign of foul play, they thought this was impossible. Hence must be caused by supernatural beings? Huh? Haven't they heard of "bangungot" (a relatively common concept in barrios)? Or a heart condition? Or a myriad of medical conditions that don't manifest with physical signs? 

If their lives were indeed in danger, wasn't it easier to just leave the darn place and go back to Manila? In Villafuerte's "Bahid", his characters similarly stay in a household that's gradually dropping like flies (there's a killer in this story), and I couldn't understand why they wouldn't just leave. You see, Villafuerte is so fixated by inscrutable weaknesses that are easily remediable. He constructs these problems - then gets stuck finding his way out of his own narrative dilemma. Wawa, debah? Villafuerte is also gravely inconsistent with his thoughts: the gist in this film is that nymphas seduce their victims then they die. But there were several scenes of seduction that didn't amount to anything, but an excuse to show the nymphs playing with their victim's joysticks. After all, these nymphs didn't like sexual intercourse. They prefer fellating their victims! How very inspired, right?    

TURNING GAY

The big difference between the two flicks is: the plot has been tweaked to accommodate Villafuerte’s pedestrian homoerotic fantasies. 2012’s version turned gay! By doing so, it artistically crumbled because of ineptitude and film making incompetence. Then again – this clueless director believes he completed “another masterpiece”. These days, the term "masterpiece" has acquired new meaning, and it isn't "work of outstanding creativity". It's the extreme end of the artistic spectrum. Makes your skin crawl.

Palawenos Alvin Duckert and Walter Arenio share company and a head-scratching plot twist.

Walter Arenio

Alvin Duckert

TJ Morellos

Chubi Manalo

Bench de la Torre

Bench de la Torre

Honey Lopez

Adriana Gomez

Light moment with the cast.

A scene with Charles Delgado from 2010's "Sa Piling ng mga Nympha".

Tense moment with Charles Delgado in "Sa Piling ng mga Nympha".

G.A. Villafuerte's Kapa - Grappling in the Dark

Glenn and Ronald (Miguel Alcantara and Marco Ronquillo) are best friends. While both seem to harbor feelings for each other, Glenn conceals his affection for his visually impaired friend, fearing he might lose him if he told him of his feelings. So Glenn offers Ronald occasional glimpses of happiness by setting up dates with different men, like the mild mannered Gary (Karl Matthew Garcia). Meanwhile, Glenn indulges in coupling with several men: the impulsive Drolan (Whacky Seon) and the amorous Ceejay (Kristian Marquez) with whom Glenn seems to find a more stable relationship.

Ronald, on the other hand, keeps pining for Glenn who jumps from one concupiscent bed to another. Blinded by an accident, Ronald is affectionately kept company by his brother Russel (Darwin Taylo) and his Lola Rosa (Rosemarie Ibarrita). Russel has issues of his own. He’s conflicted by the attention showered on him by Jethro (Alvin Duckert) who doesn’t hide his attraction to the wistful Russel. But something bothers Russel about Jethro which the latter solves by cleaning up his gothic image.

One day, Glenn takes Ronald out for another “blind” date set up by Ceejay. Ronald is left under the care of good looking Aljer (Xyrus Arruejo) who turns out to be the date from hell. Aljer in fact wants money and when Ronald refuses, he pummels the blind man until he’s black and blue. All hell breaks loose, of course, and Glenn gets blamed for putting Ronald’s life in peril. Glenn, meanwhile, breaks up with Ceejay for setting up the date with the devil. What becomes of Glenn and Ronald’s friendship? Will Darwin even find happiness in Jethro’s warm embrace? More importantly, will the ubiquitous loafer Sarah (Adriana Gomez) ever find another micromini to wear? Heavens, what dilemma!

Glenn and Ronald are best friends.

Russel and Jethro are also attracted with each other.

Director GA Villafuerte concocts a world that barely mirrors any hint of reality. Every darn character is a homosexual. Everyone sleeps around, even the blind! Villafuerte seems to be wallowing in his detached world of despicable characters. This director’s means of building up characters usually end up with several rigodon of bodies humping away without much passion. To be honest, it is not easy to follow any of his characters because they are defined merely by their propensity to sleep around with other ill-defined characters. This is what makes films like this hard to document. The characters are interchangeable. In fact there's nothing much in character development except that they are all horny as hell.

The performances here leave much to be desired. Miguel Alcantara depicts his role with cardboard characterization and his depiction of a garish gay man is nothing short of cringe-worthy. Marco Ronquillo, in his cinematic debut, appears stiff, making viable excuse out of his blind character. In fact, you don’t find any expression on his face, except the element of being completely emotionally dispossessed. More importantly, isn’t Ronquillo, who’s too droll to be a cinema hunk, too old to be a movie newbie?

While we like Alvin Duckert and find him “artistahin”, he has been compromised by his over enthusiasm (“Lihim ng mga Nympha”, “Butas 2”). Darwin Taylo, on the other hand, has to lighten up. He is too serious for his own sake. This is the wrong vehicle for the introspective tack. Far from it, actually. Karl Matthew Garcia shows promise although this may appear to be so because he wasn’t really given much to munch. Xyrus Arruejo looks good on screen. He was substantially sinister in his scenes. My two cents worth believes that Villafuerte, like the exploitative film maker that he is, is priming Arruejo for “bigger” things. In fact, something must be in the works to get Arruejo out of his briefs in Villafuerte’s next films. Well, there’s “Hardinero” awaiting commercial release. Wanna bet? J

Now let’s get to the sex scenes. Most of them occur within a song (one full musical strain is played) and they are shown rubbing against each other’s naked bodies before eventually expiring into droll resolution. I have in fact never seen such apathetic sexual coupling.

The script is a messy excuse of a cinematic drivel. We find Russel apologizing every time he meets Jethro and we wonder why. He avoids Jethro like the plague but when the latter cleans up himself, Russel suddenly accommodates Jethro. Such is love, debah? Pag di na mukhang nangangamoy, tanggapin na. Haha. In another scene, Russel refuses to hold Jethro’s hand, but gamely makes out – in public! So much for discretion.

When Ronald is left alone with the impatient Aljer, the latter turns off the lights. Did he forget that he was with a blind man? When Ronald refused to touch him, he went berserk: “Hindi ako nagpunta dito para babuyin!” But was he harassed? In fact he wanted to be taken advantage of. After recuperating from the mauling incident, we’re suddenly ushered in a scene that has Ronald removing eye bandage. Are we missing a narrative strain? When did he get the eye operation? Ophthalmological surgeons and corneal specialists never do their post-operative follow ups in a patient’s home! They require the use of slit lamps and indirect ophthalmoscopy for this! Moreover, corneal transplants for both eyes are never done in a single schedule! Villafuerte’s laziness and cluelessness really show in these simple scenes.

“Kapa” is further hobbled by an uneven sound and the film maker’s utter neglect to room tone, thus in several scenes, you could hardly hear any part of the conversation – like when Russel met Jethro at a restaurant beside a Tagaytay road. Now tell me, how does one expect a legible story to unravel when they aren't even intelligible? Villafuerte doesn’t care. All he’s after are the intermittent peekaboos of his actors’ peckers. Yet his film’s posters call this “a new masterpiece”! Please excuse me while I vomit. 

The nerve, really!

Miguel Alcantara and Marco Ronquillo

Darwin Taylo and Kristian Marquez

Alvin Duckert: As enthusiastic in his performance as he is flashing his Eurasian jewels.

Whacky Seon: He seconds the motion re: flashing his Asian jewels. :)

Kart Matthew Garcia

Xyrus Arruejo plays the homophobe Aljer. Watch him flash HIS family jewels in his next GA Villafuerte film. :)

Masterpiece daw oh! LOL What is the world coming to!