David R. Corpuz & Cenon O. Palomares' "Kusina" - Nurture and Her Nature

Nurture is the sweeping theme that fuels this brave cinematic experiment. In its every yarn-spinning stride, Corpuz and Palomares' "Kusina" is meticulously conceptualized. I was hooked from beginning to end. 

The story follows Juanita (Judy Ann Santos-Agoncillo) from her precarious arrival on a kitchen table. As mother Emilia (Angeli Bayani) succumbs to childbirth, the young and cheerful girl (Princess Ortiz) is left to the care of her grandmother (Gloria Sevilla). Puten (Bong Cabrera) mostly ignores his daughter. But her Inang often reminds her of  her father's loss and inconsolable grief. 

Influenced by the doting grandma, Juanita spends most of her time learning the joys and clutter of gastronomy.  

Time moves along. Juanita grows into a peppy teenage girl (Katrina Legaspi). She meets and falls in love with handsome engineer Peles (CJ Navato) who eventually marries her. A daughter (Elora Espano) comes into their lives. They would live happily ever after, but things don't always turn out the way we want them to. 

Peles (Joem Bascon) hardly comes home anymore. Somehow, Juanita longs for her husband's affection. But Alejandro (Luis Alandy), Peles' friend, comes into the picture. He falls for Juanita and insinuates himself into the household, Juanita's loneliness turns into indiscretion; one that bore her a son Adrian. This further strains the couple's relationship. One day, Peles abandons his family altogether. Juanita vows to take care of her family the only way she knows how - through her cooking. Would her affection and determination be enough? 

"Kusina" is a master class in theatrical story telling. Though others called it "messy", I celebrate its impeccable composition. Entrenched in a one-piece kitchen set, Juanita's life unravels around this limited space, which is a tall artistic order to pull off. Lars von Trier employed this style in "Dogville". The kitchen essentially becomes an important actor in the movie.Take note that the film has a single exterior shot: As Juanita carries a basketful of goods, she ushers us into her home.

A TOUCH OF OZU AND HIS ELLIPSES

As the story progresses, touches of director Yasujiro Ozu's style emerge. His narrative artifice never conforms to the usual convention. He'd occasionally employ static transitions between scenes. But what we've noticed, as consequence of a single set, is his figurative "tatami shots". He would use ellipses, i.e. the decision not to show major events in the story. To eschew a few key scenes, he would pass over moments that would otherwise stir excessive emotional reaction. The effect is more staggering because the audience is tasked to imagine. And nothing supersedes the power of imagination.

In the movie, these ellipses occur outside the camera frame: fighter planes heralding the arrival of the Japanese; soldiers ransacking the neighborhood; a festive wedding is being celebrated; people scurrying off to Bataan, Isabela or the mountains of Sierra Madre; military personnel arriving outside to capture the boy who eloped with a general's daughter, etc. 

Another stroke of inspiration - the assignation of a character's favorite food: dinuguan with puto for Puten; pinakbet for Inang; Adrian's ginataang monggo and sapin-sapin; Myrna's leche flan; Alejandro's biko; and the dish that never gets served until the very end - adobo! Attributing catharsis in a serving of adobo is nothing short of brilliant.

Even the costume changes are deliberately planned, probably to signify hierarchy, permanence or even mood or state of mind: gray for Inang; blue for Puten; bluish green for Alejandro; pink for Myrna; and hues of brown for Juanita. This story telling method inspires expostulations from a myopic audience (i.e. those noisy geriatric audience in Glorietta during our Cinemalaya viewing), but let's leave them to their naivete. Even Toni Munoz's music is well conceived as it calls attention to itself, thus it avoids overpowering a scene.

These elements allow us to concentrate on the motivations, missteps, and reflections of its central character. The film delves deeply into Juanita's human frailty and strengths. Inherent traits sometimes dictate a character's tragedy or victory. More importantly, there are aspects in life that require attention other than servitude. Humanity is a complex creature that also requires nourishment of the other aspects outside physical sustenance, the same way that society has concerns outside the dimensions of peace and security as prerequisite for development. We aren't fulfilled by mere food or affection alone. These are realizations ponderously derived from Juanita's life.

In Kusina, Judy Ann Santos-Agoncillo delivers a complete character exposition. We see her evolve. We become witness to her joys, frustration, pride and defeat. She is, in fact, a virtual force of nature. If there's an injustice in the world, it is the fact that a film festival's best feature didn't win a single award at the Cinemalaya. 

Adolf Alix Jr.'s Kalayaan - Wildlife, Solitude, Lunacy

Julian Macaraeg (Ananda Everingham) patrols and solitarily habituates a desolate island called Kota in the contested waters of Spratlys. His hut is barely equipped. There’s a television with its DVD player replete with snowy images, its make shift antenna rising like an awkward satellite; a transistor radio blaring the rapidly descending reign of Joseph Estrada. The year is 2001. In this craggy navy detachment post, Julian has acquired a routine. He’s awake all night, pursuing shadows that stir deep into the bakawan (mangroves). But there’s nothing there. He turns to alcohol until he’s drowsy then sleeps into midday. He wakes up to face his hangover; does his morning run. Occasionally, he taunts the migratory birds. Then he fishes for food. After drying his catch under the sun, he then turns to his limited stack of porn videos, pleasuring himself ‘til he’s consumed, then he stretches beside the waves, diligently observing his timid pet turtle until it peeps out of its shell. But something is amiss. Macaraeg refuses to acknowledge the radio communication asking for his RSVP for a get-together set for soldiers manning other similar islands in the territory. After three long months, Julian is finally coming home.

But this desolate atoll rankles with its puzzling urban legend: A soldier, like Macaraeg, once manned the post and found a mermaid who shares the bounty of the island, i.e. its rich oil reserves. They fell in love, but the soldier betrayed the mermaid when he peddled its treasures to the Chinese. As consequence, the mermaid disappeared. One day, the soldier went missing, never to be found again. Victor Pinaglabanan (Rocky Salumbides), Julian’s former colleague, is believed to have suffered the same fate. However, Pinaglabanan’s fate was a tad more horrifying, shaking Julian deep into his psyche. He somehow requires a degree of resolution that's hard to come by. This is what keeps the soldier wandering in the dark of night.

One day, Julian is joined by Lucio (Zanjoe Marudo) and Eric (Luis Alandy), his fellow soldiers assigned to take over the post for five more months. Despite the jubilant company, Julian strictly adheres to his routine, unmindful of the company. “Mula ng nangyari yun kay Pinaglabanan, di na nagsalita yan,” explains Lucio about Julian. While Manila eagerly topples the Estrada administration, Lucio and Eric wake up with a missing Julian. Where is he? Could he be found? 

Director Adolf Alix Jr.'s "Kalayaan" (Wildlife) is a vivid visual dissertation on solitude and a man's descent into lunacy. Like many of Alix's works, he executes his scenes employing real-time film making (more pronounced in the works of Tsai Ming Liang and Nuri Ceylan Belge), thus the audience experiences Julian's overflowing time, displayed in aggregates of seemingly routine activities. When he opens a can of food, when he waits for his pet turtle to move, when he walks into the ocean to fish, we experience an unedited, uncut preoccupation from start to finish. This actually creates an atmosphere that rankles with monotony, and what better way to understand Julian's predicament, right? But unlike the indolent moments in Aloy Adlawan's "Ang Katiwala", we are kept awake and tantalized by the protagonist's seeming vacuous emotionality. If that isn't a hallmark of an engaging performer, I don't know what is. To be sure, a consummate performer doesn't require too much words to sustain attention.

Ananda Everingham is Thailand's biggest male superstar, analogous to our Piolo Pascual, so it's easy to understand his capacity to hook viewers without saying much. Since Everingham plays a Filipino soldier - and he does not speak Tagalog (he is Lao-Australian), his vocal paucity is written into the character which, to my mind, is a major challenge for an actor. After all, emotions are mostly rendered by speech. Everingham has to employ other means to express himself. He comes up with an impression that lingers in our minds long after the credits have rolled. To be fair, Everingham has done his share of art house flicks (Uekrongtham's "Pleasure Factory" and Pen-ek Ratanaruang's "Ploy"), but in "Kalayaan", for more than an hour, he fills the cinematic palette with his lone presence.

The mystical strain in "Kalayaan" channels the temperament and style of Apitchapong Weerasethakul's "Uncle Boonme Who Can Recall His Past Lives", and the haunting images of sand and sea, reminding me of Aureus Solitos' "Busong" (Palawan Fate).

There are some loop holes in the narrative. Julian is heard reporting to his command post: "Dalawang barko ang dumaan. Pagkatapos, nawala na sila, sir!" While bird watching, he shouts, "Takbo!" During a mock beauty pageant between Lucio and Eric, Julian was asked to interrogate the two for the Q&A. He asks: "What is the essence of Spratlys?" Yes, he actually spoke in a few scenes, yet Lucio points to his vocal crutch saying, "Mula nung nangyari yun kay Pinaglabanan, 'di na yan nagsalita." So why did we hear him speak? When something morbid transpires in a camp, isn't it customary to pull out the officers involved for investigation and debriefing? Why was Julian retained to finish his three months? Weren't they concerned he would suffer Victor's fate?

While it's a worthy cause to delve into the relevant issue of oil reserves in the territory, Alix mainly espouses on solitude. In fact, this was deftly covered until it introduced the psychological effect of desolation and social detachment. His creepy demeanor becomes valid proof of cerebral perturbation. This is why a conclusion that openly interjects the existence of blow-job performing mermaids becomes a narrative nuisance. So the urban legend wasn't the product of solitude-induced craziness? So the stories about mermaids protecting oil reserves were real? This narrative curlicue actually muddles what could have been a near-perfect parable. All those overly indulgent stretches of sickeningly routine activities suddenly feel like watered down versions of pure unadulterated boredom, throwing away the romanticism it brings.

Alix's "Kalayaan" is another feather in the young director's cap, but this isn't as seamless as "Haruo" and "Isda". Sometimes, one has to learn to control exceeding indulgences to avoid alienating an audience. "Kalayaan" straddles this boundary. I am not surprised why during my whole day movie marathon (watching five films), this had the least number of people watching. While most films on exhibition boasted of full house, "Kalayaan" sadly had lots of empty seats. This isn't right because it has one of the most novel concepts, bold enough to tackle a wearily dull topic. What's more, it is shot in "real-time".

Reasons to watch: A Thai Superstar; Albert Banzon's surreal camera work; a view of the disputed Kalayaan islands; an uncompromising method of film making not seen in mainstream flicks; a cerebral take on solitude and lunacy; a creepy mermaid. On a lesser scale:  Rocky Salumbides gets a provocative "lip service" from a mermaid (looks prosthetic to me); Marudo, Alandy and Everingham display their muscley backside several times. If they're not enough reasons to run to the cinema to catch "Kalayaan", then stay home and watch your DVD's of "Petrang Kabayo" and "Moron 5". I'm sure you deserve  them. :)

What's a Thai superstar doing in a Pinoy Indie?

On Charice, John Prats, Cinemalaya Delicadeza & San Francisco Film Makers

ANYTHING BUT THE DONUT

Setting: NAIA Terminal 3, Mister Donut (MD) stall

Customer to MD crew: Miss, meron kayong Krispy Kreme na donut?

Mister Donut crew: Sorry, ma’am. We’re a Mister Donut outlet!

Customer: Ah, ok. (She leaves for 5 seconds, then returns.)

Customer to MD crew: Eh, Gonuts, meron kayo?

DELICADEZA AND FAST TRACKING A CAREER

I've always wondered how some people could look at their faces in the mirror with dignity. Sometimes blood is thicker than the common decency of not taking advantage of ones post.

Let's take, for example, Laurice Guillen, director and head honcho of the amazing Cinemalaya Festival (this year has churned out the best crop of movies in years). Guillen greenlights production of most main features. She even has a say regarding script changes and casting choices. In the past, Guillen has allowed the casting of her daughter Ina Feleo in two Cinemalaya main features - Jade Castro's "Endo" (2007) and Milo Sogueco's "Sanglaan" (2009) where - surprise, surprise! - Miss Feleo has won for herself Best Actress awards!

Ina Feleo is pretty. She isn't a bad actress either, but "Best Actress" caliber is really stretching it! I can think of a dozen names in the indie scene that could act up a storm more than Feleo. And for her to keep getting starring roles in Cinemalaya features that other better actresses deserve is a judicial travesty! Fast forwards 2011, Ina Feleo once again topbills a film directed by her mother Laurice (co-starring Shamaine Buencamino and Tirso Cruz III) - "Maskara"! And, like the whole Cinemalaya event is their family playground, Guillen even fields "Maskara" as their opening film!

Where has delicadeza gone?

I could think of 5 films that would make a great festival opener, not "Maskara"! As for Ina Feleo, I am glad to see her in teleseryes ("Guns and Roses"). I didn't care much if she won "Best Actress" awards from her Cinemalaya starrers though, once again, I can easily name better performances from the Cinemalaya entries in 2007 and 2009. But is there honor in fast tracking a showbiz career through an event that should otherwise be a venue of freedom, truth and excellent new breed of film making?

FROM SAN FRANCISCO TO MADAGASCAR

Setting: Greenbelt 3 Cinema Lounge (in front of Cinemalaya booth)

Cinema goers were reading from a program. Program sellers were abuzz with activity. People were coming and going. Raymond Bagatsing and Ronnie Lazaro were generously accommodating a crowd nearby. I was holding on to my tasteless New York Fries, observing people while waiting for my date buying soda.

Young director to several people at the booth: Hi, I’m Benito Bautista, director of “Boundary”… San Francisco!

Saw the guy he was talking to. He was needlessly perplexed. Should have been me. “Hi, I’m Cathy Pena, cinema vixen… Antananarivo, Madagascar!”

TIME OF HIS LIFE

I was channel surfing when I caught a segment of “Happy Yipee Yehey”. The next set of contestants would be this population of people desperate enough to make a fool of themselves on TV.

Jason Francisco: “Pumunta po kayo bukas 1PM ng hapon!” You bet! 1 PM in the afternoon, not 1PM in the morning, clear?

WHY NOT CHARICE

A flawed but brilliantly realized semi-documentary called “Bahay Bata” (Baby Factory) has gritty realism. The story happens one Christmas Eve in San Lazaro Hospital.

Young mother no.1 (YM1): Hoy, ate, ano’ng pangalan ng baby mo?

Young mother no. 2 (YM2): Charice.

YM1: Ay, bakit Charice? Ang pangit ni Charice Pempengco! Sa akin, Sarah (Geronimo).

OWNING A PAIR

John Prats is a likeable guy. He is handsome, agreeable, and is known to have good work ethics, but when it comes to the girls that he once liked, he turns into a spineless prick!

Consider the list: Heart Evangelista , Shaina Magdayao, Rachelle Anne Go. Did these girls get their romantic closure from him? It seems that when he gets tired of girls that he once wooed, he simply blocks them out of his life. No goodbyes, no serious talks, no telephone calls, heck, not even a text message saying, “We’re through!” This is the worst kind of man you’ll ever meet. He lives his life in a misdirected vicious cycle. Careful, Bianca!

Why not grow a pair. Mr. Prats?

CONSTRUCTIVE

Going back to Charice, if you’ve been following this blogsite, you would know that I only have good words for Charice. I believe in her talent. I mean, those pipes can't be anything but sent from the heavens, right?

But it seems that she’s getting too onion skinned for constructive criticisms. To bolster this attitude, she even boasts of a set of fans that would defend her to the death. Anyone who speaks ill of her, they will massacre! Right, Mr. Nestor Torre? When the latter wrote why Charice doesn’t have the physical qualifications of being a “Kim” (Miss Saigon) – a rather didactic discourse on what or how a Kim should be – the entertainment journalist was deluged with the nastiest replies from Charice’s supporters, 200 replies to be exact! Some twats even researched Mr. Torre's photos and made a dartboard out of it. Last time I checked, Mr. Torre wasn't gonna be Kim, was he? These sniveling idiots!

I believe Charice doesn't make the rightful Kim either. We grew up hailing every Filipina who has sung “Sun and Moon” with her Chris. We also know where Mr. Torre comes from. Eh hindi naman kasi talaga bagay no!

Meanwhile, when a fan wrote her observation at Charice’s fan page in Facebook, i.e. that she seemed a little too heavy when she last portrayed Sunshine Corazon in “Glee” – where she performed another rousing number (the spectacular “As Long As You’re There”) – what did Charice do? She closed down her fan page and even tweeted about her two-faced fans!

Very mature indeed! A class act!

I saw the whole Glee episode and she indeed looked awkward and too satiated – my 7 year old niece even commented, “Ate Charice looks full!” In the same episode, Sunshine was so scared of performing that she wanted to March down the Philippine Embassy (in the U.S.) so "they would revoke my visa". Huh? It's the United States of America who gave you the visa, hon; not the Philippine Embassy! And really now, what could be easier than simply buying a plane ticket to fly back to the Philippines and hide in a cave?

Charice, my dear, people who can’t take criticism gracefully won’t grow into emotionally stable artists and well balanced individuals. You have to learn how to accept other people's observations because you're in the spotlight! You can actually improve yourself from constructive criticism. Not everyone is willing to lick your ass! You have a God-given talent, but you’re not perfect. No one is. It is our divine duty to improve on what weve been given. When sympathizers wish improvements on you, is it really wise to cover your ears? Sometimes, criticisms are there not to be spiteful, but to inspire improvement. Grow up, Charice!

(And for that anonymous cunt from Lake Elsinore, California - and this is obviously meant to be gloriously spiteful, yes, honey, "brainless ass-lickers" like you, dear! Hahaha! What could be more disgusting than sycophantic spineless stools who can't even conjure fictitious names to stand by their thoughts? Go fish for a brain!)

WHAT IS YOUR WORD WORTH?

A dancer and a new actress conquer the music scene. I was checking out the new releases from Odyssey when I saw two new titles. Rayver Cruz just released an EP CD containing 5 songs. When he was a newbie in the business, I saw him play the biopic of Billy Joe Crawford in MMK. He was charming and actually had the pipes to make it as a singer. Years later, he became a dancer!

The other CD was from a sophisticated Solenn (we saw her belt the Beatles’ “Come Together” with Lovi Poe in the improving “Party Pilipinas” and we were quite surprised). Miss Heusaff is spreading herself grandiosely in the business. For someone who once said, quite emphatically on television, “Tandaan n’yo to, after this (Survivor), hinding hindi ako mag aartista!” If the lives of her love ones depended on her word, they’d all be dead, right?

We like Solenn. She is gorgeous, she isn’t a bad actress despite her linguistic crutches, she seems like a decent lady, and she isn't all that bad at singing either. What is there to dislike? But what we’re trying to say is, never say never. Otherwise, what is your word worth? Right, Mr. Bieber?