Author Topic: Filipino films (Read 500610 times)

oggsmoggs · « **Reply #1050 on:** Jul 13, 2006 at 09:43 PM »

Sa North Diversion Road (Dennis Marasigan, 2005)

Present Philippine cinema can ironically be best represented by those which weren't crafted from real film stocks but by those films that are, at their most elemental, composed of ones and zeroes. Digital filmmaking, the saviour of Philippine cinema, has allowed newbie and independent filmmakers to actually craft their dream projects without the peering eyes of business-minded studios who's only goal is to get money back from their huge investments. Digital filmmaking has actually allowed media companies and culturally-driven businessmen to create mini-film festivals giving grants to filmmakers to create films from worthy screenplays. Montreal and Berlin film festival winner And Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros) is a product of one of those grants. Dennis Marasigan's Sa North Diversion Road (On The North Diversion Road) is another. Not all the films produced from these grants are exactly excellent, some turn out to be too nebulous, idealistic, or too independent to be of merit. Gladly, Marasigan's film is quite good --- brilliant, actually.

Sa North Diversion Road is a screen adaptation of Tony Perez' play of the same title. I've seen an amateur staging of the play and sad to say, the result wasn't really memorable. The high school production was littered with overacting and lines being thrown out, wasting whatever wit Perez injected into his opus. The film is infinitely more understandable, more memorable than that sorry excuse for a staging that I have witnessed. The story is actually quite simply. A married couple is cruising by the North Diversion Road, the highway that connects Metropolitan Manila to the northern provinces. The couple is on the verge of break-up, with the husband recounting a recent philandering. In a stroke of genius by Marasigan, he edits the film with ten of the different scenarios recounted from a recurring point of the story. The scenarios range from comedic, dramatic, and hyphaluting --- all in different levels of brilliance.

The biggest difference between Marasigan's adaptation and Perez's written play is the fact that Marasigan has forever etched Perez's characters with recognizable faces - that of Irma Adlawan and John Arcilla. Perez's play, no matter how wittily written, can be ruined by who's playing who - in that staging I saw, by Atenean students who are far too young to understand the rigors of the play they've chosen to stage. Another difference is that Marasigan chooses to have Adlawan and Arcilla play the couple in each of the ten scenarios --- the staging I saw had different annoying non-actors battle it out as to who can overact the most in each scenario. The casting of Adlawan and Arcilla is perfect. Adlawan is a brilliant actress who is only getting the attention that she deserves nowadays. Her portrayal as the wife is pitch-perfect and whenever she changes roles, she shifts gears and there is no sign of any difficulty in portraying a nagger from that of a genius academician. Arcilla supplies Adlawan's mastery with constant control. He complements Adlawan when Adalawan's role requires her upstaging the husband and when it is his time to take control of the film, he does it with impressive emotionality.

One of the few misgivings of digital filmmaking is that visuals usually suffer. There is something with digital filmmaking that gives off a fake sense of color and depth with its visuals. Sa North Diversion Road does suffer from that type of visual downgrading but Marasigan understands the limitations of his medium. Instead of forcing the medium with epic sweeps and crazy visual gimmicks, he limits his canvas, making use of the limited space of the interior of the vehicle, occasionally giving the viewers an overview of the highway, or in the flashbacks, some close-ups and character-driven cinematography. It's pure filmmaking and Marasigan does it wonderfully --- nothing fancy, just a pretty much faithful adaptation of Perez's play. He draws everything from the material, multiplies it tenfold, spices it up with his understanding of what the material wants to say, and most importantly, trusts his two actors enough to grant them the driver's seat to take his film places.

Noel_Vera · « **Reply #1051 on:** Jul 14, 2006 at 12:37 PM »

Outside of Lav's Ebolusyon, I think North Diversion is the best Filipino digital work I've seen yet.

Noel_Vera · « **Reply #1052 on:** Aug 18, 2006 at 04:55 PM »

More educated Filipinos seeing local films

So what do you think? Is this true, or wishful thinking?

keating · « **Reply #1053 on:** Sep 09, 2006 at 12:23 PM »

My watch lists tomorrow. I really love weekend! Two ECP marathon, one cult classic and two Mario O'Hara flicks.

MISTERYO SA TUWA
SOLTERO
TATLONG TAONG WALANG DIYOS
BULAKLAK SA CITY JAIL
SHAKE RATTLE & ROLE

oggsmoggs · « **Reply #1054 on:** Sep 11, 2006 at 10:48 PM »

Sarong Banggi (Emmanuel dela Cruz, 2005)

oggsmoggs · « **Reply #1055 on:** Sep 12, 2006 at 02:22 PM »

Maynila: Sa Mga Kuko ng Liwanag (Lino Brocka, 1975)

Noel_Vera · « **Reply #1056 on:** Sep 12, 2006 at 04:58 PM »

It's not my favorite Brocka, but its vision of Manila is unmatched, thanks to Mike de Leon's photography.

I heard a story about how Lino and Mike got into a disagreement and Mike called off the shoot for that day. Funny how in this one case the cinematographer held all the power.

Tikoy Aguiluz did the still photography, incidentally. And if you have the clear copy, it's amazing the price of patatim in 1975!

Noel_Vera · « **Reply #1057 on:** Sep 12, 2006 at 05:05 PM »

And you should post that link to the "I just saw" thread too.

oggsmoggs · « **Reply #1058 on:** Sep 12, 2006 at 07:11 PM »

Quote from: Noel_Vera on Sep 12, 2006 at 04:58 PM

It's not my favorite Brocka, but its vision of Manila is unmatched, thanks to Mike de Leon's photography.

It isn't either. I prefer the very first Brocka I saw Insiang to this. There's a whole lot of Brockas I have yet to see, so it's too early to decide which is my absolute favorite. And yes, Mike de Leon's photography is wonderful.

Noel_Vera · « **Reply #1059 on:** Sep 14, 2006 at 07:04 AM »

Filipino films on Netflix (updated 9/13/06). Scroll down for additions.

oggsmoggs · « **Reply #1060 on:** Sep 14, 2006 at 03:39 PM »

Orapronobis (Lino Brocka, 1989)

Noel_Vera · « **Reply #1061 on:** Sep 15, 2006 at 12:46 PM »

It's not my favorite Brocka by far, but damn, it's exciting filmmaking, and terrific agitprop. I don't admire it (characters too simplistic mostly), but I can't help liking it anyways.

oggsmoggs · « **Reply #1062 on:** Sep 15, 2006 at 07:45 PM »

Temptation Island (Joey Gosiengfiao, 1981)

Noel_Vera · « **Reply #1063 on:** Sep 16, 2006 at 10:30 AM »

Said it before, will say it again: I prefer Temptation Island over ALL of Almodovar.

I forgot they were rescued after that climactic dinner. That's really choice--"You mean I ate that meat for nothing...?"

daigoro · « **Reply #1064 on:** Sep 18, 2006 at 01:29 AM »

Quote from: Noel_Vera on Aug 18, 2006 at 04:55 PM

More educated Filipinos seeing local films

So what do you think? Is this true, or wishful thinking?

My opinion is that by watching films made by Asian directors like Park Chan Wook, Takashi Miike, Akira Kurosawa enables us to break our fixation with Hollywood and gain an appreciation for Asian films. After gaining an appreciation for Asian films, the discovery that local films once tackled serious themes in an interesting manner makes one interested to track down those films and watch them. For someone who grew up thinking that local films were shallow and derivative of Hollywood films, that is an eyeopener.

I'm still trying to find a way to get to watch Maynila Sa Kuko Ng Liwanag and Kisapmata. One of my regrets is that I was too young to appreciate them when I got to watch them on TV. I was only able to catch the last scene of both films and it made an impression on me for their intensity even if I couldn't understand them.

Noel_Vera · « **Reply #1065 on:** Sep 18, 2006 at 06:02 AM »

opening eyes is what it's all about. the fact that Maynila and all those other great films aren't available on DVD even now, that's a crime.

oggsmoggs · « **Reply #1066 on:** Sep 20, 2006 at 07:52 PM »

Angela Markado (Lino Brocka, 1980)

ralfy · « **Reply #1067 on:** Sep 24, 2006 at 09:15 PM »

I bought some on DVD made by Unitel and Regal, but I think I missed a few, and hardly saw any at Astroplus. I think they have Burlesk Queen on VCD. Any news on a DVD release?

jdv1229 · « **Reply #1068 on:** Sep 24, 2006 at 10:49 PM »

Burlesk Queen is available on both DVD and VCD released by VIVA Video.

Noel_Vera · « **Reply #1069 on:** Oct 04, 2006 at 12:17 PM »

Filipino films in New York and in Vienna, for October

jdv1229 · « **Reply #1070 on:** Oct 06, 2006 at 10:46 PM »

As a cultural and social venue for the Asian American community and beyond, the ImaginAsian sponsors special events, such as festivals, performances, concerts, and other cultural events, such as live satellite-fed cricket matches.

Thursday, Oct. 19 New York Filipino Film Festival 2006
Presented by: The Smithsonian Institute, The Cultural Center of the Philippines, and the Philippine Consulate of New York
Tickets:
$10 for general admission
$8 for group purchases (10 tickets or more purchased for the same screening. Available at the box office only)
All ticket sales are FINAL

SCHEDULE

FRIDAY OCT 6

3:00 Lasponggols
6:30 Opening Night Reception
7:30 Sandaan
9:00 Forum, presented by Philippine Consulate
10:00 Biyaya Ng Lupa (preceded by short film, Mansyon) Note: this film is not subtitled in English

SATURDAY OCT 7

12:00 Sarong Banggi
2:15 The Blossoming of Maximo Oliveros
4:30 Two Bells/Two Cities (Balangiga)
6:00 Q&A with Two Bells/Two Cities (Balangiga) filmmakers Bernie Stone, Sonny Sampayan
7:00 Merika, writer Gil Quito
9:30 Himala

SUNDAY OCT 8

12:00 Room Boy
3:00 The Blossoming of Maximo Oliveros
5:15 Closer To Home , director Joseph Nobile in attendance
8:00 Big Time
10:30 ICU Bed #7

MONDAY OCT 9

3:30 Mga Anak ni Brocka
6:45 Tinimbang Ka, Ngunit Kulang, dir. by Brocka
9:15 Tatlo, Dalawa, Isa, dir. by Brocka (may not have English subtitles)

TUESDAY OCT 10

3:30 Baryoke
6:30 Himala, dir. by Ishmael Bernal
9:15 Manila By Night, dir. by Ishmael Bernal

WEDNESDAY OCT 11

3:30 Isnats
6:30 Itim , dir. by Mike De Leon; writer Gil Quito in attendance (may not have English subtitles)
9:00 Kisapmata , dir. by Mike De Leon

THURSDAY OCT 12

MIDWAY BREAK
NO FILMS AT THE IMAGINASIAN ON THIS DATE
special film event at Perlas Ng Silangan restaurant

FRIDAY OCT 13

3:30 Memories of a Forgotten War preceded by assorted short films
5:45 The Blossoming of Maximo Oliveros
8:05 The Debut
10:10 Slow Jam King with director Stephen Mallorca in attendance

SATURDAY OCT 14

2:30 Tinimbang Ka Ngunit Kulang, dir. by Brocka
5:00 Tatlo Dalawa Isa, dir. by Brocka (may not have English subtitles)
7:30 Angela Markado, dir. by Brocka
10:30 Tubog Sa Ginto, dir. by Brocka (may not have English subtitles)

SUNDAY OCT 15

1:00 Himala
3:30 Tatlong Taong Walang Diyos (may not have English subtitles)
6:00 Minsa'y Isang Gamu-Gamo, appearance by writer Marina F. Gonzalez (may not have English subtitles)
8:30 Merika by Gil Portes, appearance by writer Gil Quito (does NOT have English subtitles)

MONDAY OCT 16

3:30 La Visa Loca
6:30 Tatlong Taong Walang Diyos (may not have English subtitles)
9:30 Insiang

TUESDAY OCT 17

3:30 Cavite
6:30 Ganito Kami Noon, Paano Kayo Ngayon, dir. by Eddie Romero (may not have English subtitles)
9:15 Passionate Strangers, dir. by Eddie Romero

WEDNESDAY OCT 18

3:30 Ang Balikbayan, dir. by Kidlat Tahimik
6:00 Mababangong Bangugot (Perfumed Nightmare), dir. by Kidlat Tahimik
8:30 American Adobo with cast members in attendance

THURSDAY OCT 19

5:00 DOUBLE FEATURE: An Untold Triumph & Sandaan
7:30 Forum with filmmaker Noel Izon in attendance
8:00 Closing Night Reception
9:05 Rigodon, filmmakers Sari Dalena & Keith Sicat in attendance

keating · « **Reply #1071 on:** Oct 09, 2006 at 08:00 PM »

SHAKE, RATTLE & ROLL

(Baso-Emmanuel H. Borlaza/Pridyeder-Ishmael Bernal/Manananggal-Peque Gallaga)

Twenty two years after I saw it on its first day run at Gotesco Cinema during the MMFF, still kicked a punch whether you are an adult or not. The horror trilogy that started it all and nearly monopolized the career of Peque Gallaga by directing the succeeding episodes, no close.

BASO was nearly ripoff from Maruja, the gothic love story that deals with life, death and revenge rolled into one. Arlene Muhlach looks so lovely indeed during her heyday. Only the ending is worth the trip. PRIDYEDER still sends me chill, the place embodies the typical haunted house that you don't want to live or step inside. Bernal should have made more horror films, he can deliver the shock and suspense value. MANANANGGAL was pure fun and the best among the lot. Except that Gallaga turned the flying sequences into animation which perhaps lessen the creepy impact of the flying creature. Certified cult classic that deserves to be revisit over and over again.

Noel_Vera · « **Reply #1072 on:** Oct 10, 2006 at 11:35 AM »

Anyone seen the DVD of Manila By Night? Is this the censored version? According to the CCP encyclopedia, the censored version was used in film retrospectives abroad--anyone remember when the uncensored version was finally screened?

And did Ina, Kapatid, Anak experience censorship problems? Or is that Insiang I'm thinking of? Thanks.

keating · « **Reply #1073 on:** Oct 10, 2006 at 12:08 PM »

Noel, the uncensored version was screened at the Shang Cinema when Pelikula at Lipunan made a tribute to Bernal before he passed away on that same year.

He gave an introduction on the film before the screening at the cocktails saying.....this is the definitive version of the film intended for Berlin Filmfest before it ruined gravely by the Marcos Regime.

I have the dvd but haven't got the chance to see it.

Noel_Vera · « **Reply #1074 on:** Oct 10, 2006 at 02:45 PM »

I remember someone seeing it and writing about it--that all the expletives were bleeped out and the hilarious epilogue added.

keating · « **Reply #1075 on:** Oct 10, 2006 at 06:35 PM »

There were I think hold your breath........more than hundred cuts that resulted in hundred bleeps excised from the movie! All the profanities were taken out.

To put exactly in the words of the late Ishmael Bernal on that screening........"kinatay-katay ng husto ng rehimeng Marcos ang Manila by Night!"

rse · « **Reply #1076 on:** Oct 11, 2006 at 03:40 AM »

Quote from: Noel_Vera on Oct 10, 2006 at 11:35 AM

Anyone seen the DVD of Manila By Night? Is this the censored version? According to the CCP encyclopedia, the censored version was used in film retrospectives abroad--anyone remember when the uncensored version was finally screened?

And did Ina, Kapatid, Anak experience censorship problems? Or is that Insiang I'm thinking of? Thanks.

I have the DVD and yes it is uncut! But they butchered the ending; they included (badly inserted) the epilogue and then after that followed the real ending as seen in Cinema One.

keating · « **Reply #1077 on:** Oct 11, 2006 at 10:06 AM »

The mind-boggling finale was done to please the Aquino administration.

Bernal didn't want a happy ending.

Noel_Vera · « **Reply #1078 on:** Oct 11, 2006 at 12:03 PM »

Here's the funny thing: Dave Kehr emailed me and said he didn't notice any epilogue! Is that a brand new release? A different DVD maybe?

Noel_Vera · « **Reply #1079 on:** Oct 11, 2006 at 12:24 PM »

You mean the Marcos administration, keats.

The New York Times' film critic Dave Kehr on Manila By Night (Ishmael Bernal, 1980), and Ina, Kapatid, Anak (Mother, Sister, Daughter, Lino Brocka, 1979)

He also mentions all the Filipino films being shown in New York this October.