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Entertainment => Film & TV Talk => Pinoy Entertainment => Topic started by: keating on Mar 27, 2006 at 09:49 PM
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Jeffrey Jeturian's stab at the life of a jueteng collector with Gina Pareno, Nanding Josef and Johnny Manahan.
Sounds interesting.
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Who wrote it?
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Some pics from the movie. Just the subject matter alone, its worth the trip! And Pareno shines wonderfully in the movie. Johnny Manahan plays the jueteng drug lord. Jeffrey Jeturian never fails me.
www.pbase.com/boyyniguez/kubrador
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I hope they consulted with the politicians para sa realism ng movie.
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I hope they consulted with the politicians para sa realism ng movie.
Yeah, it would be more fun if some politicians had cameo role in this movie especially Chavit Singson. ;D
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Who wrote it?
I forgot the writer, Noel. I'll get back to you.
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Seems to me half of a Jeturian film is Armando Lao. Has he done anything outside of Lao? Was it any good?
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Seems to me half of a Jeturian film is Armando Lao. Has he done anything outside of Lao? Was it any good?
Jeturian's comedies are usually written by Chris Martinez. I did like Bridal Shower and Bikini Open, not really for the writing which I thought was spotty at moments, but for Jeturian's direction and frankness. I like the Jeturian-Lao collaborations more.
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Seems to me half of a Jeturian film is Armando Lao. Has he done anything outside of Lao? Was it any good?
Most of his films depends largely on Lao's scripts from his groundbreaking debut, the domestic drama SANA PAG-IBIG NA, to PILA BALDE & TUHOG.
Damn can't find Noel the name of the newbie writer.
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Jeturian's comedies are usually written by Chris Martinez. I did like Bridal Shower and Bikini Open
Ah, well. I got Bridal somewhere round here I think, still unwatched. Lemme try it out one of these days. Can't imagine Chris Martinez doing anything like Pila Balde, Takaw Tukso, or La Vida Rosa, tho.
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Jeturian has a distinct style when it comes to his films. Saw him during the UNCUT screening of TUHOG at UP Film Center before they fielded it to Venice Film Festival.
Maybe he already smoke the peace pipe with Joey Gosiengfiao.
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KUBRADOR goes to Moscow!
http://news.inq7.net/entertainment/index.php?index=1&story_id=74944
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Who wrote it?
Newbie writer named Joel Jover. Finally got it, Noel.
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Most of his films depends largely on Lao's scripts from his groundbreaking debut, the domestic drama SANA PAG-IBIG NA, to PILA BALDE & TUHOG.
d**n can't find Noel the name of the newbie writer.
don't forget MINSAN PA which for me is one of his best works! conventional yet not typical, if you know what i mean. ;D
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will see Kubrador's press preview later...
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Too bad the preem tonight at Greenblet 3 is only exclusive to cast, crew and production people. You're lucky jekoy. The seating capacity is only 50, same venue where Cesar Hernando's KAGAT NG DILIM was shown.
Did you won from Jessica Zafra's raffle on her blog?
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I was hoping to win, keating. But unfortunately, I was too late. What I did though was asked Direk Ellen Marfil (of Pusang Gala) if she has invites. I interviewed her once for a magazine then worked for her for a while. She said yes and I asked her if she could get me in and my friend. Luckily, Atty. Joji Alonso of MLR Films (Kubrador's producer) is her friend. Atty. Joji co-produced her Pusang Gala. So she was able to get us in!
Medyo madami nga tao. Napuno ung theater with lots of guests. Ung iba nga sa stairs na lang naupo while the others remained standing throughout the film.
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Kudos should go to Jeffrey, the crew, Atty. Alonzo and Ms. Gina Pareno for a job very well done! Good luck.
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(http://static.flickr.com/37/89280657_5e115b3d29.jpg?v=0)
Quotes from people who watched the film kahapon...
1 - '(With Kubrador)Jeturian finally secured a place in history of Philippine cinema as a trully gifted master, a title exclusive to the likes of Brocka, de Leon, Bernal and O'hara'
2 - ' Gina Pareño gave the best female performance in recent years after Helen Gamboa's Bayani.'
3 - ' Jeff is back in top form after Tuhog'.
Pics : http://www.flickr.com/photos/kubrador/89280657/
Kubrador will open Cinemalaya this July 7.
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Jeffrey Jeturian is slowly but surely following the footsteps by Bernal & Brocka. His track record is quite impressive.
Can't wait to see it in CINEMALAYA.
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'Kubrador', parang 'Insiang' at 'Maynila: Sa Mga Kuko ng Liwanag' ni Lino Brocka!
Billy Balbastro
FINALLY, I got to see what Philip Cheah of Singapore Film Festival says is Jeffrey Jeturian’s best work since Pila Balde and Tuhog, Kubrador – the digital film which MLR Films transferred to 35 mm.
Last Thursday evening at Greenbelt 3’s Cinema 2 which was SRO (standing room only), I also got to realize what Philip Cheah again says of Gina Pareño’s performance, thus: "The lead actress who is a fat lady is brilliant."
Just like its modest yet competent cast, Kubrador has its disturbing brilliance in the ensemble performance of its actors and actresses, in its subtle visuals and commentary of the current Philippine life.
Robert Yniquez’s visuals alone hit you more than words can ever say and Jeffrey Jeturian exploited Ralston Jover’s screenplay to come up an eloquent study of survival and corruption.
Once more, I see Lino Brocka’s images of Insiang and Maynila: Sa mga Kuko ng Liwanag. Thank God, after the long, long season of flying Darnas and Mulawins and Krystala upon us, we got Kubrador this year which makes Atty. Joji proud.
Production design is most commendable with the scenes and venues we can feel and smell. Leo Abaya knows his business after all these years.
Ah yes, the acting. Gina Pareño is brilliant, as expected, and she runs away with the movie but one cannot detract from the excellent performances given out by Johnny Manahan as jueteng treasurer, Doming Landicho as the grandpa, Soliman Cruz as the chief of police, Nanding Josef as the priest, Nico Antonio as Baste and Miguel Castro as the car owner in one fast-paced, action-filled scene.
Indeed, prior to making it to the theaters in the country, Kubrador truly deserves the festivals of the world, it has been invited to.
It is set to compete in the 28th Moscow International Film Festival – July 24 to July 2 and in the Osian’s Cine Fan Festival of Asian Cinema in New Delhi – July 14 to 20.
In fact, Gina Pareño told us that she already got her round trip ticket for Moscow where she and director Jeffrey are invited to attend, all expenses paid.
Atty. Joji and company, along with Direk Jeffrey and Gina, are set to leave on June 22, Thursday, for Moscow, giving them ample time to attend the opening rites on June 25.
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Kubrador carries the title The Bet Collector.
In a capsule, here’s the story: Amelita collects bets for jueteng an illegal numbers run by a local network of urban slum dwellers under a gambling lord, rumored to be a public official.
To earn her daily commissions, Amelita – wife, mother, grandmother – works and walks thru the neighborhood daily collecting bets. Faith in God gives her strength. She is still haunted by the death of her young soldier son.
Life remains mysterious, arbitrary. No one knows when the local police make sudden arrest. On All Souls Day, Amelita goes to visit her son’s grave, only to be caught in a cross fire. A stray bullet misses her by an inch but killed an innocent bystander. Here she wants to understand why.
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This might be the opening film next month at Cinemalaya.
Word of mouth pa lang, worth it already!
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yes...it will open cinemalaya..
Moscow line-up
http://www.miff.ru/28/eng/moscow/program/49/
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SQUALOR AND SALVATION
(Philippine Daily Star, 10 June 2006)
Joven Vlasco
Jueteng in the Philippines is a numbers game, a lottery, a game of chance. But while games of chance abound in the country, this one has figured prominently in recent Philippine history.
An immediate past President of the Republic was ousted through people power. Among the charges of high-placed corruption in his government, this leader and a son who now sits as a Senator in the Upper House of the Philippine Legislature had been accused of receiving bribe money to ensure the continuous operation of the numbers game, which is illegal gambling in the country.
The ousted President’s constitutional successor, initially perceived to be unassailable as she apparently stood on higher moral ground, ironically finds herself just several years later in a similar scandalous situation, also along with some members of her immediate family, including a son who this time sits as a Congressman in the Lower House. The situation has led to a politically-beleaguered presidency well until this time.
Some Philippine authorities believe that this numbers game should be made legal, since gambling, anyway, has been deeply-entrenched in Filipino culture. Besides, it gives livelihood to the numerous unemployed especially in the countryside. If ever jueteng persists, open secrets disclose, it is because it is not only tolerated but more so perpetuated by the collusion among several parties concerned—the national as well as local officials and politicians; the police, also local and national; and the predominantly below-poverty-line majority of the Filipino populace who find employment as collectors and checkers.
Raids and apprehensions are staged occasionally, whenever the jueteng issue gets hot—temporarily. These token gestures are made to appease those who disapprove of the illegal common man’s lottery, notably some bishops and archbishops. “Some” because allegedly a good number of them are also beneficiaries of jueteng money conveniently to bankroll Christian charity projects!
At the base of this nation-wide, deeply entrenched gambling operation are of course the Filipino folks and masses who bet, ranging from as low as a measly peso to as high as several hundreds or even thousands . The stakes may be high, for some winnings can go to tens and hundreds of thousand pesos, depending upon one’s bet or “investment.” Certainly this constitutes an irresistible come-on for people whose only weapon against abject poverty and lack of opportunities in life is a folk-sense hope that to the more privileged may be sheer folly and a laid-back and misplaced optimism.
If ever some bishops frown at the game, it is because they know the scam behind such operations: operators collect small money from the poor which add up to quite a fortune and they run away with the bulk of the money and leave slim pickings to the unsuspecting bettors (or if they are aware, they wouldn’t mind as long as they have the chance to augment subsistence family incomes). Everybody gets rich—the operator and their “cohorts” in high places—except the poor folks who are appeased with token, once-in-a-while small winnings.
This is the socio-political context of Jeffrey Jeturian’s KUBRADOR/ THE BET COLLECTOR (script by Ralston Jover/script supervision by Armando Lao). The title refers to Amelita or Amy, a post-menopausal wife to an inutile but solicitous husband who seems to have abdicated his role of “taking charge” in his family and household, and mother to adult children who still turn to her for financial help and family upkeep. She “collects” the bets and places them at the table of the hench- or frontmen of Big Operator who is never seen in daily operation and whose identity oftentimes is top secret. They may be the townspeople’s favorite politico or top law enforcer, who knows?
Although Jeturian’s film is a composite story of lesser lives, of the sacrificial children of jueteng rather than the perpetrators who make a big killing each time, it defies plot-oriented retelling. It simply follows the film’s protagonist (excellently portrayed with great sincerity and sensitivity by Gina Pareno) as she goes through her daily routine of collecting bets and winnings on behalf of her clientele, bailing out an apprehended neophyte collector, bribing a police officer, collecting contributions , on the side, for the wake and burial of neighbors who recently died, and transacting sundry businesses with practically her whole neighborhood who seem to accord her with respect and affection.
Rising action is not what makes the film engaging, in fact, even riveting. It is the film’s visual and aural textures that tell all in several levels, from the micro-story of a lowly slum-dweller valiantly struggling for survival, or of a bereaved family lamenting the senseless death of their recent college graduate, their only hope to lead them in their escape from a life of wretchedness, to the macro-tale of a society steep in corruption and injustice, where superstition is the people’s only cling to sanity and salvation. The film is replete with subtle potshots at foibles every ordinary Filipino is familiar with, reminiscent of examples and situations recently heard over the radio, shown in television, or read in sensational tabloids.
The film highlights an acid-etched portrait of a strong-willed woman of great strength and endurance as a centerpiece of a societal mural embellished by details of squalor, depression, inequality, and yet also of faith and hope that are almost magical and divine.
The filmmaker’s treatment of his material is a most appropriate fusion, on the one hand, of the stark reality of social realism, rendered in approximated self-reflexive documentary style (long takes of handheld shots, cinematography and production design that simulate rawness and crudeness, spontaneous interaction among actors devoid of artifice and self-consciousness); and on the other, the mystical atmosphere of magic realism as images of unrelenting hope that things will soon turn out for the better, and unconditional faith in the supernatural, constantly supplicated and oftentimes obligingly protective of those who have completely surrendered their fate into its hands unfold.
It is said that this film is Jeffrey Jeturian’s best to date. We wouldn’t put it that way. Oftentimes, he sinks his teeth into genres he has not tried before, employing unconventional style each time. And each time, too, he bites deep into the thick meat of his latest film extremely well done!
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yes...it will open cinemalaya..
Moscow line-up
http://www.miff.ru/28/eng/moscow/program/49/
Thanks, I'll watch out for it next month.
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Moscow Pics
(http://www.miff.ru/upimg/small/1604.jpg) (http://www.miff.ru/upimg/small/1605.jpg)(http://www.miff.ru/upimg/small/1606.jpg)
(http://www.miff.ru/upimg/small/1607.jpg) (http://www.miff.ru/upimg/small/1608.jpg)(http://www.miff.ru/upimg/small/1609.jpg)
(http://www.miff.ru/upimg/small/1610.jpg) (http://www.miff.ru/upimg/small/1611.jpg)(http://www.miff.ru/upimg/small/1612.jpg)
(http://www.miff.ru/upimg/small/1613.jpg)
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omg! i would love to meet Gina Pareño!!!!!!!
Hope to see this in my local movie house soon.
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Congrats to the whole cast and crew. KUBRADOR won the International Critics Prize at the Moscow International Film Festival!
8)
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I dont know if this was already posted, but here is the link to the flickr photo album of KUBRADOR: (http://www.flickr.com/photos/kubrador/)
8)
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As real as it gets
By Philip Cu-Unjieng
The Philippine Star 07/15/2006
I was invited to a special screening of Jeffrey Jeturian’s new film Kubrador recently; and it drove home the fact that the gap between independent and socially relevant filmmaking on one hand, and commercial and financial film viability on the other, is still a very wide one. The film was brought to the Moscow Film Festival last month, and won the International Critics’ Choice Award. For the producers, MLR Films, it is only recognition and an award that could help create a buzz for this film, and give it even the slimmest of outside chances of generating box-office success here in the Philippines. That much sobering reality direk Jeffrey was ready to admit.
Shot in mock-documentary style, Kubrador follows the life of Amy (played by Gina Pareño) as she goes about her day-to-day existence as a jueteng collector. The period of time covered are the days leading to All Saints’ Day, and November 1 itself. The desperation, the repetitive quality of this life at the bottom of the totem pole of illegal organized gambling here in our country, is what the film focuses on and it’s a searing indictment of the "quality of life" much of our countrymen have to endure and take for granted as their plight in life.
The cinematography maintains this feel of drabness, as while shot in color, there is a monochromatic quality that seems purposely utilized. The story and screenplay is by Ralston Jover, and he fervently mutes the dramatic content and domesticates the conflict, seeking to only put on display a life almost replete of drama. There are shafts of humor that create sparks, but they are done as asides or observations for all that transpires on a mundane level.
Amy is pious and religious – as are all those involved in the jueteng hierarchy – and the irony of this is not lost, as while devoutly praying, she ends with the hope that she’ll pass the day without getting caught by the police.
In terms of social realism, the film reminded me of the Brazilian film Pixote, which followed the life of one homeless child in Rio. Amy has a deceased son, named Eric, and he flits in and out of the film, his presence unseen but felt by Amy. I wish there was something more done with this. An element of magical realism could have been injected, making his presence in the film more functional. Instead, he is a mere spectre, and we leave the moviehouse wondering why they bothered having him there at all. Director Johnny Manahan makes a cameo as a local jueteng lord, and he actually comes off as a "nice lord," as opposed to the menacing stereotype we would have expected.
If I had to criticize the film, it would that there should have been more drama or conflict. There is the promise of that when Amy’s husband forgets to give her the bet of one neighbor, a bet whose number does come out and would have meant big winnings for this neighbor – but that potential is never realized as the issue just fades away. The ambiguous ending that has Amy involved in a shooting incident at the cemetery brings the film to a close that leaves much open-ended and unresolved. While doing a good job of mirroring her drab existence, Amy’s character fails to engage us effectively. While this may be indicative of the more cinema verite quality the filmmakers were after, this may also be the reason why audiences may shy away. We are left passive observers of Amy’s life.
I commend the intention and courage of direk Jeffrey and the producers to come up with the film, and I can only pray and hope success in Moscow will mean genuine interest in the film. While an audience weaned on art films and the like can appreciate a film of this nature, I have to agree with their own verdict of it not having much of a chance stirring interest with a mainstream audience.
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The film is also included in New Delhi Film Festival. Thanks to commentary for the info.
Happy trip, dude!
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Kubrador’ by special request
By Marinel Cruz
Inquirer
Last updated 00:14am (Mla time) 07/19/2006
Published on Page A2-1 of the July 19, 2006 issue of the Philippine Daily Inquirer
KUBRADOR,” the opening movie in this year’s Cinemalaya Independent Film Festival, had to be screened twice on Monday as a result of requests from various foreign embassies, Inquirer Entertainment learned.
The requests for the Jeffrey Jeturian film came from representatives of the Italian, Japanese and American embassies, as well as from the Catholic Bishops Conference of the Philippines (CBCP), according to festival coordinator Tess Ramses.
The American affairs and Association of Southeast Asian Nation (Asean) affairs divisions of the Department of Foreign Affairs (DFA)—all expressed interest in “Kubrador,” as well, said Ramses.
“We find this great interest in watching an [independent] film unusual,” Ramses told Inquirer Entertainment in a phone interview on Monday. “I guess it has to do with the fact that ‘Kubrador’ impressed many when it was shown outside the country—and also because of the controversial subject.”
“Kubrador,” produced by MLR Films, chronicles three days in the life of a jueteng collector played by Gina Pareño.
MLR Films executive producer Joji Alonso confirmed the second screening of the digital movie beforehand. “I lent reels of the film—with subtitles—to Cinemalaya so the members of the diplomatic corps could watch it,” Alonso said. The movie was shown in two theaters at the Cultural Center of the Philippines simultaneously.
A Cinemalaya official who refused to be identified said the film has probably piqued the interest of some sectors because they are implicated in it. In the movie, the official said, a priest places a bet, and a government official protects a jueteng operator.
Critics’ choice
“What’s wrong with that?” Alonso said. “As a movie producer, I subscribe to only two things—honesty and passion. ‘Kubrador’ has both.”
She added: “We believe in the material. No one has made a statement on jueteng yet [through a movie]. It’s about time people started really talking about it.”
“Kubrador,” written by Ralston G. Jover, was unanimously chosen by the International Federation of Film Critics to receive the International Critic’s Prize at the Moscow International Film Festival. It is also being invited to the annual Pusan International Film Festival in South Korea and the Hawaii International Film Festival in Honolulu.
Eight full-length feature and 10 short films are featured in the weeklong Cinemalaya festival, which ends with an awards show on July 23.
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I am very happy to share with everyone the good news! At 6:00PM tonight (8:30PM our time), the Osian's Cinefan 8th Festival of Asia had its awarding ceremonies. Ms. Gina Pareno was all dressed up in a sari.
First, the winner for the FIPRESCI was announced (this year, the FIPRESCI changed its rules. A film can win as many FIPRESCI awards in as many festivals it participates in). KUBRADOR won the FIPRESCI anew as best film in competition from the International Critics Jury which was composed of Max Tessier of France, Lucy Virgen of Mexico and Rwitta Dutta of India. The jury's choice was unanimous.
Thereafter, the Jury for the Asian Competition announced their awards. The jury was composed of Ryuichi Hiroki of Japan, Stanley Kwan of Hongkong, Xie Fei of China, Adoor Gopalakrishnan of India and Jajang Noer of Indonesia. Gina Pareno was declared the Best Actress. No best Actor award was handed out as there was no worthy male performance. This was followed by the special jury prize for TWO GIRLS from Turkey directed by Iki Genc Kiz. Finally, the award for Best Asian Film in Competition was awarded to KUBRADOR.
On behalf of all the people behind KUBRADOR, I would like to thank all of you who have supported us. This is a great moment for all members of the cast and crew who worked very hard on this project.
God bless us all!
Atty Joji Alonso
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The Bet Collector walks away with Cinefan honours
By Indian Express
Monday July 24, 05:08 AM
The 10-day Osian Cinefan fest came to a close today with fond memories of the football World Cup. Aptly, the film that rounded off the ceremony was Jafar Panahi's tribute to the game and the spirit of the Iranian women banished from football stadiums-Offside.
The guest of honour Priyaranjan Das Munshi, chief of the All India Footfall Federation, however, pointed out: "Carrying forward the spirit of the World Cup in Germany, we should have more films to promote the game." He was quick to add that he was merely "echoing football legend Pele's thoughts." But the mood of the festival was rather sombre, considering the rolls of honour.
The best film in the Asian category was The Bet Collector (Philippines)- Jeffrey Jeturian's sensitive portrayal of the common man's battle, trying to eke out a living and their constant fear of the police. Gina Paremo was named the best actress for her role of a woman running an illegal Spanish betting game, who fights against all odds to be able to visit her son's grave in her spare time.
Suddha-the cleansing rites by P N Ramachandra walked away with the honour of the best film in the Indian competition section. Subrato Sen's Calcutta Unabashed walked away with the awards for the best actor and actress-Subrat Dutta and Tannishta Chatterjee. Like most films shown at Osian this year, this film is about the search of the Indian dream: a ticket to the US for a better life and the battle to maintain a balance with the traditional values.
Turkish film Two Girls got the Jury's Special Mention. Yet another film about the rebellious teens-a theme which did the rounds at Osian this year- this film stands out for the way it contrasts the urban retro kids with the traditional values of their parents.
Four-time national award winning filmmaker Girishka Saravalli's Kanadda film Nayi Neralu was also honoured with a Special Jury mention.
There were eight world premieres, including the most popular What If by Naseeruddin Shah and Anjan Dutt's The Bong Connection. Ten films had been in the fray in the Indian competition category.
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Caught this one on Cinemalaya. I liked it, its the best Jeturian film to date since PILA BALDE & TUHOG. Very gritty and realistic portrayal of a bet collector. I can't believe this was only shot for two weeks? The hand held use of camera and semi-docu style add more realism to the movie.
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'Collector' cleans up at Cinefan
Asian cinema fest hands out prizes
By RUSSELL EDWARDS
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NEW DELHI -- Filipino wrong-side-of-the-tracks meller "The Bet Collector" (Kubrador) collected some heavy winnings Sunday at the closing ceremony of Osian's Cinefan Festival of Asian Cinema here.
Pic, which revolves around a housewife who sells tickets for a numbers racket in Manila's slums, won best film awards from both the Asian Competition and Fipresci juries at the fest's eighth edition.
The Asian Competition jury, which included vet helmers Stanley Kwan and Ryuichi Hiroki, also presented the actress prize to "Bet Collector's" star, Gina Pareno. The jury declined to give an actor award.
A special jury prize went to 2005 Turkish film "2 Girls."
The Indian Competition jury gave its top film award to digital pic "The Cleansing Rites" (Suddha), directed by Ramachandra Pn, while the stars of "Calcutta Unabashed" (Bibar), Tannishta Chatterjee and Subrat Dutta, collected actress and actor gongs, respectively.
The Network for the Promotion of Asian Cinema jury awarded its prize to Thai meller "Midnight My Love" (Cherm).
Awards ceremony was followed by screening of fest closer "Offside," the 2006 Berlin Silver Bear winner from Iranian helmer Jafar Panahi.
Cinefan's definition of Asia embraces countries from Indonesia to Turkey; in recognition of the Indian diaspora, fest also screened pics from outside Asia such as Murali K. Thalluri's Australian "2.37" and Varun Khanna's "American Blend."
ASIAN COMPETITION
Film
"The Bet Collector" (Kubrador), Jeffrey Jeturian
Actress
Gina Pareno, "The Bet Collector"
SPECIAL MENTIONS
"Home-land," Tareque Masud, Catherine Masud (Bangladesh)
"Love's Lone Flower," Tsao Jui-Yuan (Taiwan)
INDIAN COMPETITION
Film
"The Cleansing Rites" (Suddha), Ramachandra Pn
Actor
Subrat Dutta, "Calcutta Unabashed"
Actress
Tannishta Chatterjee, "Calcutta Unabashed"
SPECIAL MENTION<,br>"In the Shadow of the Dog" (Nayi Neralu), Girish Kasaravalli
Fipresci Prize
"The Bet Collector"
NETPAC Prize
"Midnight My Love" (Cherm), Kongdej Jaturanrasamee
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(http://i47.photobucket.com/albums/f199/surfsam/jeturian%20photos/LeoAbayaGinaParenoJeffreyJeturianat.jpg)
production designer leo antonio abaya, actor gina pareño and film director jeffrey jeturian at the blue carpet of the xxviii moscow international film festival last 2 july
(http://i47.photobucket.com/albums/f199/surfsam/jeturian%20photos/JojiAlonzoAntonioJeffreyJeturianGin.jpg)
film producer/lawyer joji alonzo antonio, actor gina pareño and film director jeffrey jeturian in moscow
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Congratulations to Jeffrey, by the way, and it's great he got to work with Gina on the big screen--she's an excellent actress. Might mention I talked to Mario O'Hara yesterday, and he praised him for being "matino" and doing good work.
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Jeffrey Jeturian's KUBRADOR, winner of major prizes at Moscow and New Delhi, will finally be shown in in Metro Manila Theaters on August 16, 2006.
It will be screened simultaneously in the following theaters:
SM North EDSA
SM Mall of Asia
SM Megamall
Glorietta 4
Gateway in Cubao
Robinson's Ermita
Cinerama Recto.
We used to complain about trashy Filipino films. Here is one film that dares to go against trash and formula pervading mainstream cinema today.
If you are Filipino, if you love your country, and if you really care about the future of Philippine Cinema please support films like KUBRADOR.
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2006 FIPRESCI Prize, 2006 Moscow International Film Festival
Best Picture, Best Actress (Gina Pareno) and FIPRESCI Prize, 8th Osian-Cinefan International Film Festival (New Delhi, India)
KUBRADOR has also been accepted to have its premiere in the following international film festivals:
1. 2006 Toronto International Film Festival, Canada (September 7-16, 2006)
2. 2006 Vancouver International Film Festival, Canada (September 28-October 13, 2006)
3. 2006 Pusan International Film Festival, Korea (October 12-20, 2006)
4. Louis Vitton-Hawaii International Film Festival, U.S.A. (October 19-29, 2006)
5. 30th São Paulo International Film Festival / 30ª Mostra Internacional de Cinema, Brazil (October 21-November 3, 2006)
6. Thessaloniki International Film Festival, Greece (November 7-23, 2006)
7. Brussels Film Festival, Belgium (January 17-27, 2007)
*******
From Variety ---the Bible of Hollywood
'Collector' cleans up at Cinefan Asian cinema fest hands out prizes
By RUSSELL EDWARDS
NEW DELHI -- Filipino wrong-side-of-the-tracks meller "The Bet Collector" (Kubrador) collected some heavy winnings Sunday at the closing ceremony of Osian's Cinefan Festival of Asian Cinema here.
Pic, which revolves around a housewife who sells tickets for a numbers racket in Manila's slums, won best film awards from both the Asian Competition and Fipresci juries at the fest's eighth edition.
The Asian Competition jury, which included vet helmers Stanley Kwan and Ryuichi Hiroki, also presented the actress prize to "Bet Collector's" star, Gina Pareno. The jury declined to give an actor award.
A special jury prize went to 2005 Turkish film "2 Girls."
The Indian Competition jury gave its top film award to digital pic "The Cleansing Rites" (Suddha), directed by Ramachandra Pn, while the stars of "Calcutta Unabashed" (Bibar), Tannishta Chatterjee and Subrat Dutta, collected actress and actor gongs, respectively.
The Network for the Promotion of Asian Cinema jury awarded its prize to Thai meller "Midnight My Love" (Cherm).
Awards ceremony was followed by screening of fest closer "Offside," the 2006 Berlin Silver Bear winner from Iranian helmer Jafar Panahi.
Cinefan's definition of Asia embraces countries from Indonesia to Turkey; in recognition of the Indian diaspora, fest also screened pics from outside Asia such as Murali K. Thalluri's Australian "2.37" and Varun Khanna's "American Blend."
ASIAN COMPETITION
Film
"The Bet Collector" (Kubrador), Jeffrey Jeturian
Actress
Gina Pareno, "The Bet Collector"
SPECIAL MENTIONS
"Home-land," Tareque Masud, Catherine Masud (Bangladesh)
"Love's Lone Flower," Tsao Jui-Yuan (Taiwan)
INDIAN COMPETITION
Film
"The Cleansing Rites" (Suddha), Ramachandra Pn
Actor
Subrat Dutta, "Calcutta Unabashed"
Actress
Tannishta Chatterjee, "Calcutta Unabashed"
SPECIAL MENTION
"In the Shadow of the Dog" (Nayi Neralu), Girish Kasaravalli
FIPRESCI Prize
"The Bet Collector"
NETPAC Prize
"Midnight My Love" (Cherm), Kongdej Jaturanrasamee
http://www.variety.com/ac2006_articl...47274?nav=news
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VarietyCareers By Russell Edwards
'Collector' cleans up at Cinefan
NEW DELHI -- Filipino wrong-side-of-the-tracks meller "The Bet Collector" (Kubrador) collected some heavy winnings Sunday at the closing ceremony of Osian's Cinefan Festival of Asian Cinema here.
Pic, which revolves around a housewife who sells tickets for a numbers racket in Manila's slums, won best film awards from both the Asian Competition and Fipresci juries at the fest's eighth edition.
The Asian Competition jury, which included vet helmers Stanley Kwan and Ryuichi Hiroki, also presented the actress prize to "Bet Collector's" star, Gina Pareno. The jury declined to give an actor award.
A special jury prize went to 2005 Turkish film "2 Girls."
The Indian Competition jury gave its top film award to digital pic "The Cleansing Rites" (Suddha), directed by Ramachandra Pn, while the stars of "Calcutta Unabashed" (Bibar), Tannishta Chatterjee and Subrat Dutta, collected actress and actor gongs, respectively.
The Network for the Promotion of Asian Cinema jury awarded its prize to Thai meller "Midnight My Love" (Cherm).
Awards ceremony was followed by screening of fest closer "Offside," the 2006 Berlin Silver Bear winner from Iranian helmer Jafar Panahi.
Cinefan's definition of Asia embraces countries from Indonesia to Turkey; in recognition of the Indian diaspora, fest also screened pics from outside Asia such as Murali K. Thalluri's Australian "2.37" and Varun Khanna's "American Blend."
http://movies.go.com/variety/feature?featureid=842303
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By Marinel Cruz
Inquirer
Last updated 00:21am (Mla time) 07/28/2006
Published on Page A2-1 of the July 28, 2006 issue of the Philippine Daily Inquirer
GINA PAREÑO, BEST actress winner in the recently concluded Osian Cinefan Festival of Asian Cinema in New Delhi, India, was still in high spirits when she met with the staff of Inquirer Entertainment Tuesday night.
“I was so nervous on the night before the awards ceremony that I had LBM,” she told us. “It’s gone now, nasa akin na kasi ang trophy. Gan’un pala.”
Gina bagged the trophy for the role of Amy in Jeffrey Jeturian’s “Kubrador (The Bet Collector),” which also brought home the Best Picture and Best Director awards.
Tuesday’s victory party in Greenhills, San Juan, was hosted by Joji Alonso and Roger Rayala, executives of MLR Films, which produced “Kubrador.”
It was reportedly a close fight between Gina and Julie Walters in Moscow?
Joji: Their names were the ones going around the whole time. The press was very warm toward Gina during the press con. Our interpreter said that it wasn’t usual.
But the Moscow jury was mainstream. Of course si Julie ang pipiliin nila.
What was the audience reaction to tricycles and owner-type jeeps in the movie?
Joji: Wala naman. But they were impressed with the rooftop chase scene. Ang hirap kayang gawin n’un! We paid a total of P20,000 for the houses that got damaged. We shot for two and a half days in three different areas in Quezon City.
The ending was re-shot. Was the whole thing changed?
Joji: Not really. It’s just that nobody was satisfied with the first one. We think it was a good decision. Ending ’yun; the movie would fall flat on its face if it wasn’t perfect. It took all of 16 takes. Gina was bruised all over.
Gina: Anong 16? That was a total of 18 takes! I didn’t mind. I love working with Jeffrey.
Jeffrey: That was really difficult. It involved a lot of people and it was a continuous shot -- may babarilin, may mamamatay ...
Gina was the only actress you had in mind for the role?
Joji: Yes, from the very start. I was imagining her while reading the script.
Gina, was something put between your legs to make you walk that way?
Gina: Sinadya ko. ‘Pag pagod na si Amy, kinakaladkad ko ang paa ko. Pero kapag palabas pa lang ng bahay, maganda pa ang lakad.
Joji: Hindi -- mataba lang talaga s’ya nun. (laughter) Pero pumayat na s’ya. She was challenged by what (Singapore International Film Fest director) Phillip Cheah said: “The fat lady is a brilliant actress.” Sinugod n’ya si Phillip.
Gina: Anong sinugod? Subtle lang ang birada ko. When we were introduced, I said, “Remember, you said the fat woman in ‘Kubrador’ was brilliant? Do I look fat?” He said, “No, you don’t look fat; you’re lovely.” Balimbing! Mas magaling pa umarte sa akin (laughter).
What was your speech in Hindi?
Gina: I said, “‘Namaste, namaste. Bahut bahut dhanywad.’ That was, ‘Hi to everyone. Thank you, thank you so much.’ Tuwang tuwa sila. To be honest, I really prayed for that award.
Joji: Parang ako sa Moscow…
Gina: Oo nga! Hindi mo makausap ’yan. Alas sais ng umaga, nagrorosaryo.
Joji: I kept praying, “wag naman kaming umuwi ng luhaan, Lord!”
Gina: Handa ako anuman ang mangyari. Naniniwala ako, ’pag para sa ’yo, sa ’yo talaga. When the script was first given to me, I asked Jeffrey about the treatment. He said, “Hindi mo kailangang umarte, Tita.” I got confused. After a few shooting days, I understood what he wanted from me.
Joji: Tinanggal n’ya yung bra n’ya (laughter)!
Gina: Narinig ko may naghahagikgikan sa set. Sina Direk (Jeturian) pala. Ang sabi,, ‘Good take.’ Salbahe talaga ‘yan.
You spent really long hours shooting.
Joji: They shot the jueteng draw scenefor 36 hours—kasama na ‘yung sa palayan.
Gina: Sa awa ng Diyos, nahulog talaga ako sa palayan (laughter).
So what’s next?
Joji: We’ll wait for the commercial run to finish. I’m hoping “Kubrador” will really interest people and make them watch. It will be shown in six theaters.
We’ve received two invitations for competition today—the first is from the Brussels film fest, the other one is from Vancouver. We’re still thinking about it.
How much did “Kubrador" cost, all told?
Joji: P5.5 million. Out of that, P1.575 million was spend on transfer from digital to film, and P27,000 on subtitles.
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=12109
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Did you know…
By Marinel Cruz
Inquirer
Last updated 00:17am (Mla time) 07/05/2006
Published on Page A2-5 of the July 5, 2006 issue of the Philippine Daily Inquirer
JEFFREY Jeturian’s “Kubrador (The Bet Collector)” got a rave review from the International Federation of Film Critics (Fipresci) and won the International Critics Prize, Inquirer Entertainment learned on Sunday.
“Kubrador” won by a unanimous vote, according to Josabeth “Joji” Alonso of MLR Films, which produced the movie. Alonso, Jeturian and “Kubrador” lead actress Gina Pareño are in Russia for this year’s Moscow International Film Festival.
The jury members were Daira Abolina of Latvia; Sheila Johnston, UK; Claire Clouzot, France; Larisa Malyukova, Russia; and Charles Stephane Roy, Canada.
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=8138
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By Marinel Cruz
Inquirer
Last updated 00:14am (Mla time) 07/19/2006
Published on Page A2-1 of the July 19, 2006 issue of the Philippine Daily Inquirer
KUBRADOR,” the opening movie in this year’s Cinemalaya Independent Film Festival, had to be screened twice on Monday as a result of requests from various foreign embassies, Inquirer Entertainment learned.
The requests for the Jeffrey Jeturian film came from representatives of the Italian, Japanese and American embassies, as well as from the Catholic Bishops Conference of the Philippines (CBCP), according to festival coordinator Tess Ramses.
The American affairs and Association of Southeast Asian Nation (Asean) affairs divisions of the Department of Foreign Affairs (DFA)—all expressed interest in “Kubrador,” as well, said Ramses.
“We find this great interest in watching an [independent] film unusual,” Ramses told Inquirer Entertainment in a phone interview on Monday. “I guess it has to do with the fact that ‘Kubrador’ impressed many when it was shown outside the country—and also because of the controversial subject.”
“Kubrador,” produced by MLR Films, chronicles three days in the life of a jueteng collector played by Gina Pareño.
MLR Films executive producer Joji Alonso confirmed the second screening of the digital movie beforehand. “I lent reels of the film—with subtitles—to Cinemalaya so the members of the diplomatic corps could watch it,” Alonso said. The movie was shown in two theaters at the Cultural Center of the Philippines simultaneously.
A Cinemalaya official who refused to be identified said the film has probably piqued the interest of some sectors because they are implicated in it. In the movie, the official said, a priest places a bet, and a government official protects a jueteng operator.
Critics’ choice
“What’s wrong with that?” Alonso said. “As a movie producer, I subscribe to only two things—honesty and passion. ‘Kubrador’ has both.”
She added: “We believe in the material. No one has made a statement on jueteng yet [through a movie]. It’s about time people started really talking about it.”
“Kubrador,” written by Ralston G. Jover, was unanimously chosen by the International Federation of Film Critics to receive the International Critic’s Prize at the Moscow International Film Festival. It is also being invited to the annual Pusan International Film Festival in South Korea and the Hawaii International Film Festival in Honolulu.
Eight full-length feature and 10 short films are featured in the weeklong Cinemalaya festival, which ends with an awards show on July 23.
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=10511
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Rushes
Inquirer
Last updated 00:40am (Mla time) 07/07/2006
Published on Page A2-6 of the July 7, 2006 issue of the Philippine Daily Inquirer
Weekend thrill packs a wallop
SOME of the country’s biggest stars were caught on cam by celebrity photographer Mandy Navasero at the Araneta Coliseum last Sunday. They were there, of course, for “Mano a Mano.” Scan this spread and don’t be fooled; they were definitely not this calm throughout.
They shrieked, screamed, whistled; kicked and stomped their feet; prayed and chanted Manny Paquiao’s name.
Many more managed to dodge the camera—Senators Ramon and Bong Revilla, Richard Gutierrez, TV news anchors Arnold Clavio and Korina Sanchez (they even sat next to each other). Korina was with Sen. Mar Roxas.
With Claudine Barretto was husband Raymart Santiago; Sharon Cuneta, with Sen. Francis Pangilinan.
Russian victory
“Kubrador” director Jeffrey Jeturian, lead actress Gina Pareño and film producers Joji Alonso and Rogelio Rayala were all in high spirits when they returned on July 5 from a weeklong trip to Russia.
Their movie, which competed in the Moscow International Film Festival, got rave reviews from the International Federation of Film Critics (Fipresci).
“The jury members said they had never seen anything like it,” Alonso said. “They said the film looks simple at first glance, and yet it’s very complex. The Russian [juror] said every Russian should watch it because it mirrors life in Russia.”
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=8497
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'Kubrador' palaban sa Moscow film fest
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Finally, meron nang official invitation ang pelikulang Kubrador ni Jeffrey Jeturian mula sa isang foreign film festival.
Dumating na ang official invitation para sa pelikula (na title role si Gina Pareño) mula sa Moscow International Film Festival. Nakapasok sa competition section ang Kubrador.
Ang 28th edition ng Moscow filmfest ay gaganapin mula June 23 to July 2 at ayon sa invitation, sina Jeffrey Jeturian at Gina Pareño are invited to attend, all expenses paid.
Si Atty. Joji Alonso ang prodyuser ng pelikula na nagtatampok din ng maraming stage actors, katulad nina Soliman Cruz, Nanding Josef, Miguel Castro at Neil Ryan Sese.
Pumayag din si Director Johnny Manahan to play a cameo role.
Noong Marso pa natapos ang pelikula. Pero ayon kay Atty. Joji, it will be a better marketing sa ngayon kung ipalabas muna ang pelikula sa ibang film festivals ng mundo, bago ito ipalabas dito sa regular run.
Kung tutuusin, isa sa mga pinakamalaking filmfest sa Europe ang Moscow filmfest. Kung ang Cannes is the most prestigious at ang Venice ang oldest, ang Moscow is the second oldest film festival of the world.
http://www.abante-tonite.com/issue/may0606/showbiz_bb.htm
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Grand Prix, Golden St. George - OM SARA / ABOUT SARA, Director: Othman Karim, Sweden, 2005
Grand Jury Prize, Golden St. George - DRIVING LESSONS, Director: Jeremy Brock, UK, 2006
Best Director Silver St. George - Bertrand Blier, COMBIEN TU M'AIMES? / HOW MUCH DO YOU LOVE ME?, Italy / France, 2005
Best Actor Silver St. George - Jens Harzer, DER LEBENSVERSICHERER / RUNNING ON EMPTY, Director: Bulent Akinci, Germany, 2005
Best Actress Silver St. George - Julie Walters, DRIVING LESSONS, UK, 2006
Special Prize for Achieving Perfection in Acting and for Loyalty to the Principles of the Stanislavsky Method ‘I believe it. Konstantin Stanislavsky’: Gerard Depardieu, actor, France
The Perspectives Competition Prize: SPRING / CHASHMA, directed by Yolkin Tuychiev, Uzbekistan, 2006
The prize of The Russian Federation of Film Clubs for the Best Film of the 28th MIFF Russian Films program: NANKIN LANDSCAPE, Russia, 2005, directed by Valery Rubinchik
The prize of The Russian Federation of Film Clubs for the best film in Competition: KLIMT, Austria / France / Germany / UK, 2005, directed by Raul Ruiz
Special mention and a diploma of The 28th MIFF Jury of the Russian Guild of Film Critics: DER LEBENSVERSICHERER / RUNNING ON EMPTY, directed by Bulent Akinci, Germany, 2005
FIPRESCI Prize: Kubrador, directed by Jeffrey Jeturian, Philippines, 2006
http://www.altfg.com/awards/2006/moscow.htm
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KUBRADOR: Invited officially to be in the Competition Section of the 28th Moscow Film Festival, from June 23 to July 2, its Jeffrey Jeturian’s latest film for MLR Films, Kubrador.
With Gina Pareño in the title role, the movie tries to depict the three-day life of a jueteng kubrador. Originally made as a digital film, the movie will be transferred to 35 mm for the festival.
It stars mostly stage people like Soliman Cruz, Neil Ryan Sese, Nanding Josef and Miguel Castro with director Johnny Manahan playing a pivotal cameo role.
From what is initially seen, Kubrador gets good reviews. Singapore Film Festival’s Philip Cheak says: "Jeff (Jeturian) has even managed to reference Nickroeg’s Don’t Look Now in one scene, where the narrow lanes of Venice get substituted for the alley of poor Manila. The lead actress who is a fat lady is brilliant. The film is shot digitally with lots of handheld long takes. I think it is Jeff’s best work since Pila Balde and Tuhog.
http://www.abante.com.ph/issue/may0906/showbiz_bb.htm
http://www.miff.ru/28/eng/press-center/2/
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Squalor and Salvation
MANILA, JUNE 8, 2006 (STAR) By Joven Velasco - Jueteng in the Philippines is a numbers game, a lottery, a game of chance. But while games of chance are abound in the country, this one has figured prominently in recent, contemporary Philippine history.
Some Philippine authorities believe that this numbers game should be made legal, since gambling, anyway, has been deeply-entrenched in Filipino culture. Besides, it gives livelihood to the numerous unemployed especially in the countryside. If ever jueteng persists, open secrets disclose, it is because it is not only tolerated but more so perpetuated by the collusion among several parties concerned – the national as well as local officials and politicians; the national police; and the predominantly below-poverty-line majority of the Filipino populace who finds employment as collectors and checkers.
If ever some bishops frown at the game, it is because they know the scam behind such operations: operators collect small money from the poor which add up to quite a fortune and they run away with the bulk of the money and leave small pickings to the unsuspecting bettors (or if they are aware, they wouldn’t mind as long as they have the chance to augment subsistence family incomes).
This is the socio-political context of Jeffrey Jeturian’s Kubrador/The Collector (script by Ralston Jover/script supervision by Armando Lao). The title refers to Amelita or Amy, a post-menopausal wife to an inutile but solicitous husband who seems to have abdicated his role of "taking charge" in his family and household, and mother to adult children who still turn to her for financial help and family upkeep. She "collects" the bets and places them at the table of the hench- or frontmen of Big Operator who is never seen in daily operation and whose identity oftentimes is top secret. They may be the townspeople’s favorite politico or top law enforcer, who knows?
Although Jeturian’s film is a composite story of lesser lives, of the sacrificial children of jueteng rather than the perpetrators who make a big killing each time, it defies plot-oriented retelling. It simply follows the film’s protagonist (excellently portrayed with great sincerity and sensitivity by Gina Pareño) as she goes through her daily routine of collecting bets and winnings on behalf of her clientele, bailing out an apprehended neophyte collector, bribing a police officer, collecting contributions, on the side, for the wake and burial of neighbors who recently died, and transacting sundry businesses with practically her whole neighborhood who seem to accord her with respect and affection.
Rising action is not what makes the film engaging, in fact, even riveting. It is the film’s visual and aural textures that tell all in several levels, from the micro-story of a lowly slum-dweller valiantly struggling for survival, or of a bereaved family lamenting the senseless death of their recent college graduate, their only hope to lead them in their escape from a life of wretchedness, to the macro-tale of a society steep in corruption and injustice, where superstition is the people’s only cling to sanity and salvation. The film is replete with subtle potshots at foibles every ordinary Filipino is familiar with.
The film highlights an acid-etched portrait of a strong-willed woman of great strength and endurance as a centerpiece of a societal mural embellished by details of squalor, depression, inequality, and yet also of faith and hope that are almost magical and divine.
It is said that this film is Jeffrey Jeturian’s best to date. We wouldn’t put it that way. Oftentimes, he sinks his teeth into genres he has not tried before, employing unconventional style each time. And each time, too, he bites deep into the thick meat of his latest film extremely well done!
http://www.newsflash.org/2004/02/sb/sb004099.htm
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MANILA, JULY 3, 2006 (STAR) FUNFARE By Ricardo F. Lo - Curtain-raisers:
•Kubrador is critics’ choice in Moscow
The awarding ceremonies of the Moscow International Film Festival (which started last June 23) was scheduled at 12 midnight (Philippine Time) last night but the country’s entry, the digital film Kubrador (the only Asian film in competition) is already a winner. According to a text message from its producer, Joji Alonso, Kubrador (directed by Jeffrey Jeturian, photo) unanimously won the International Critics Prize (FRIPRESCI Prize) from the International Federation of Film Critics. Written by Ralston Jover (supervised by Armando Lao), Kubrador stars Gina Pareño as a post-menopausal wife (of an inutile but solicitous husband) who collects bets and places them at the table of the henchman of a clandestine gambling operator who could be a politician or a policeman, common fixtures in jueteng-happy Philippines.
From Moscow, Kubrador (titled The Collector for international release) will compete in the following international filmfests: Osian’s Cinefon Fest of Asian Cinema in New Delhi, July 4 to 23; A Window of Asian Cinema in Pusan, South Korea, Oct. 12 to 30; and at the Hawaii International Film Festival, Oct. 19 to Nov. 5.
http://www.newsflash.org/2004/02/sb/sb004147.htm
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Moscow (Russia, June 23 - July 2, 2006).
Prize: The Bet Collector (Kubrador) by Jeffrey Jeturian (Philippines, 2006).
Jury: Sheila Johnston, Great Britain, president ("Evening Standard"), Charles-Stéphane Roy, Canada ("Séquences", "ICI Montréal"), Daira Abolina, Latvia ("Diena", "Kino Pauze", "Kino raksti", "Latvian TV"), Claire Clouzot, France ("L'Evénement du Jeudi"), Larisa Malyukova, Russia ("0Novaya gazeta"). Production: MLR Films, 7th floor Kalaw-ledesma Condominium, 117 Gamboa Street, Legaspi Village, Makati City, Philippines, T +63 (91) 7529 3448, +63 (28) 124 260-61, [email protected]
Festival: www.miff.ru
http://www.fipresci.org/awards/awards/awards_2006.htm
Moscow 2006
In its past, still under Soviet rule, the Moscow International Film Festival had always shown a special interest in the cinematographies of Third World countries. In its last decade and under its president Nikita Mikhalkov, it changed its face and became a real international event, open for all kinds of world cinema. Films by Robert Towne, Bertrand Blier, Raoul Ruiz, István Szábo were, among others, invited to participate in competition.
Paradoxically, the critics forming the FIPRESCI jury awarded their prize to a film coming from a Third World country, the Philippines, The Bet Collector by Jeffrey Jeturian. It's the portrayal of an aging bet collector. She clings to the job she has known for more than twenty years, is taken by the police, returns the next morning to the street and continues her clandestine activity. This portrayal is embedded in a view on everyday life, on the Philippines — country, nevertheless, with a considerable cinema tradition.
http://www.fipresci.org/festivals/archive/2006/moscow/moscow_ndx.htm
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Driving Lessons favourite at 28th Moscow International Film Festival
4 July, 2006 By Kirill Galetski
Source: Screen Daily
Swede's first feature wins top prize at Moscow Film Festival
Kirill Galetski in Moscow 04 July 2006
The 28th Moscow International Film Festival recovered from the debacle of Michael Haneke's eleventh-hour refusal to chair the main jury, finishing with a surprise best picture winner.
The jury, including Julie Christie, Canadian actor Rémy Girard and French film critic and producer Pierre-Henri Deleau, chose cult Polish filmmaker and existing jury member Andrzej Zulawski to be jury president.
And at the closing awards night at the 1,800-seat Pushkinsky Cinema, they gave the Golden St. George Award for Best Film went to About Sara (Om Sara), the first feature from Swede Karim Othman.
Othman was not counting on winning a festival prize and had left Moscow after the last screening of his film and was nonplussed upon hearing the news.
Festival organisers spent the day before the festival feverishly working out the logistics of his return to Moscow to accept the award.
Jeremy Brock's coming-of-age story Driving Lessons was the clear festival favourite winning kudos from critics and audiences alike, plus a Best Actress nod to Julie Walters for her spirited turn as an aging actress.
The Perspectives programme, now in its third year, had a three-member jury chaired by Czech filmmaker Petr Zelenka.
The other two jury members were up-and-coming Russian director Nikolai Lebedev and Macedonian actress Labina Mitevska.
The jury chose The Source (Chashma), directed by Yolkin Tuichiyev of Uzbekistan.
This year's most feted guest was Gérard Depardieu, in town to receive a lifetime achievement award.
BEST FILM
About Sara (Om Sara)
Karim Othman (Sweden)
BEST FILM IN PERSPECTIVES PROGRAMME
The Source (Chashma)
Yolkin Tuichiyev (Uzbekistan)
SPECIAL JURY PRIZE
Driving Lessons
Jeremy Brock (UK)
AUDIENCE AWARD
Driving Lessons
Jeremy Brock (UK)
RUSSIAN FILM CRITICS' AWARD
Driving Lessons
Jeremy Brock (UK)
FIPRESCI PRIZE
Kubrador
Jeffrey Jeturian (Philippines)
RUSSIAN FILM CLUBS FEDERATION PRIZE
Klimt
Raul Ruiz (Austria-France-Germany-UK)
BEST DIRECTOR
Bertrand Blier
Combien tu m'aimes?
BEST ACTOR
Jens Harzer
Der Liebenversicherer
BEST ACTRESS
Julie Walters
Driving Lessons
I BELIEVE – STANISLAVSKY AWARD
Gerard Depardieu
http://www.contentfilm.com/index.php/news/121.html
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OSIAN-CINEFAN Film Festival 2006 Awards
Listen to the international audio of this story on KUBRADOR:
http://cinemaminima.com/2006/07/26/osian-cinefan-film-festival-2006-awards/
BY ANDRÉ SOARES for HOLLYWOOD (CINEMA MINIMA) JULY 26, 2006 —
The OSIAN-CINEFAN Film Festival’s Best Asian Film Award went to Jeffrey Jeturian’s KUBRADOR | THE BET COLLECTOR, the story of a woman who makes a living collecting bets for an illegal game until her life takes a dramatic turn following the death of a neighbor. KUBRADOR also won the International Federation of Film Critics’ Best Film Award, and a Best Asian Actress nod for Gina Pareno.
The Best Indian Film was Ramachandra PN’s SUDDHA | THE CLEANSING RITES, which revolves around the preparations for the burial of an elderly woman, whose family belongs to South India’s now-impoverished feudal class.
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Stars applaud as Osian's film festival ends
Monday July 24 2006 18:35 IST
PTI
NEW DELHI: Bollywood actors Urmila Matandondkar, Juhi Chawla, Nandita Das, Shashi Kapoor and Simi Garewal lent glitz to the closing ceremony of the Eighth Osian's Cinefan festival here on Sunday.
After 10 days of a visual treat for cine lovers across the capital city, the curtains were finally pulled down.
Actor Rajit Kapoor, who was the anchor at the event, said, The last few days have been blissful, soaking in film after film. Finally, we come to the end of this eventful journey. The highlight of the evening was the declaration of awards for this year's festival.
Director Jeffrey Jeturian's The Bet Collector- a film from the Philippines - won the award for best film in the Asian Film Category section for its realistic portrayal of life in a Manila slum.
The film from the Philippines also roped in the award for best actor (female) for Gina Pareno as well as the NETPAC critics award for best film. No award for best actor (male) was given in this section this year for the lack of any significant performance by any male artiste in the screened movies.
In the same section, a special jury award was given to the Turkish film, Two Girls, directed by Kutlug Ataman. Two films from this section, Homeland and Love's Lone Flower, got a special mention by the jury.
In the Indian film section, In the Shadow of the Dog - a film by Girish Kasaravalli - was honoured with the critics' award for best film. The award for the best actor (male and female) went to actors Subrat Dutta and Tannishta Chatterjee for their movie Calcutta Unabashed.
The best film in this category was awarded to The Cleansing Rites by Ramachandra PN.
Throughout the 10 days, the fest had seen active participation by filmmakers as well as the general public.
http://www.newindpress.com/NewsItems.asp?ID=IE420060724081425&Page=4&Title=Features+-+People+%26+Lifestyle&Topic=0&
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News Update Service
Tuesday, July 25, 2006 : 0330 Hrs
Bet Collector’ hogs Osians’ Cinefan honours
New Delhi, July 25. (UNI): Presence of a galaxy of stars from the Bollywood firmament lent glitz to the proceedings, as the Osians’ Cinefan Festival of Asian Cinema drew to a close with the screening of Iranian film ‘Offside’ on Sunday night.
In what would seem a fitting finale to the ten-day celebration of good cinema, cutting across genres and styles, stars from the mainstream Bollywood shared the stage with proponents of parallel cinema at the closing ceremony of the Asian film festival.
So, while on the one hand one witnessed Bollywood stars Urmila Matondkar, and Juhi Chawla handing over awards to Bengali actor Subratta Dutta (who won the best actor award in the Indian competition category for ‘Calcutta Unabashed) and Tulu filmmaker P N Ramchandra (whose film ‘Suddha’ won the Best film award in the Indian competition section), on the other hand one also saw yesteryears’ Bollywood heartthrob Shashi Kapoor and the graceful Simi Garewal (whose film Siddhartha was screened at the festival under a special section on the Buddha) being feted before a huge audience of cinema lovers.
Four time National awardee Girish Kasaravalli won the Special Jury award for his film In the Shadow of the dog, while the Best Actress award was won by Tannishta Chaterjee for her role in the same film.
However, the maximum number of awards went to the Phillipines film 'Bet Collector' from the Phillipines. Directed by Jeffrey Jeturian, the film is a sensitive portrayal of the common man’s battle, trying to eke out a living and their constant fear of the police.
While the lead actress Gina Paremo was named the best actress for her role of a woman running an illegal Spanish betting game, who fights against all odds to be able to visit her son’s grave in her spare time, film also won the FIPRESI jury Award for Best the film and the Best Film Award in the Asian competition section.
Subrato Sen’s 'Calcutta Unabashed' won both the Best actor and the Best actress award - for Subratta Dutta and Tannishta Chatterjee.
The Turkish film Two Girls by Kutlug Ataman won the Special Jury Prize in the Asian competition section. Two films, 'Homeland' by Tareque and Catherine Masud from Bangladesh and 'Love's Lone Flower' by Tsao Jui Yuan from Tailwan, won a special mention in the Asian competition section.
The NETPAC jury award went to "Midnight My Love" from Thailand.
Unlike the opening ceremony where, barring Manisha Koirala, no Bollywood stars was present, the closing ceremony witnessed a galaxy of stars from the Bollywood firmament. Besides Urmila Matondkar and Juhi Chawla, others who attended the ceremony were actors Raima Sen and Meeta Vashisht (who is also in the jury for the Indian competition section), Rajat Kapoor, Jimmy Shergill, Sanjay Suri and filmmaker Onir.
Also present were renowned filmmakers Adoor Gopalakrishnan, Buddhadeb Dasgupta and Pan Nalin and several personalities from the world of international cinema.
Union Information and Broadcasting Minister P R Dasmunsi, who was the chief guest, said the Asian film festival made an immense contribution to bringing together the best of Asian cinema on one platform.
Also, the quality of the Indian films selected for screening at the festival reflects the vibrancy of the Indian film industry, he said.
The ten-day event showcased to the cinema lovers the best of Asian and Arab cinema.
Organised by Mr Nevile Tuli’s Osians Connoiseurs of arts, the Asian film festival this year screened 120 films from 40 countries in Asia.
Unlike earlier years, when the entry to the film festival was free for the public, this year, the general public had to pay Rs 20 per ticket to watch the films on show at the festival.
Despite the shows being ticketed, a huge crowd of cine lovers thronged the Siri Fort Auditorium to witness the 'cream of Asian cinema' at the festival.
Infact, an unprecedented rush marked the screenings of Pan Nalin's 'Valley of Flowers' (which was the opening film at the festival), Naseeruddin Shah's debut directorial venture Yun Hota To Kya Hota', Anjan Dutt's 'The Bong Connection', 'The Last Monk', Rajat Kapoor's 'Mixed Doubles', Rithwik Ghatak's "Meghe Dheke Tara', and 'Siddhartha'.
Infact, repeat screenings of several films like The Last Monk, Mixed doubles, Siddhartha and Stanley Kwan's "Everlasting Regret" had to be organised on popular demand.
Expressing elation at the huge turnout for the screenings at the festival, Cinemaya editor Aruna Vasudev, who started the Asian film festival in 1999, said. "The rush at the screenings, despite the introduction of tickets, shows there is an expanding space for different kins of cinema in India,"she said.
A number of celebrities from the world of Bollywood visited the festival, which included filmmakers Rajat Kapoor, Sudhir Misra, Anurag Kashyap, Naseeruddin Shah and actors Irfan Khan, Manisha Koirala, Konkona Sen, Jimmy Shergill, Sanjay Suri, Urmila Matondkar, Juhi Chawla, Raima Sen and Shyan Munshi.
Naseeruddin Shah, along with Konkona Sen, were here for the screening of Yun Hota To Kya Hota on July 19, Rajat Kapoor was here in connection with the screening of 'Mixed Doubles'. Urmila Matondkar, Juhi Chawla, Sanjay Suri and Director Onir were present in connection with the screening of their film Bas Ek Pal on Sunday.
The festival also played host to a large number of luminaries from Asian cinema such as Peggy Chiao, Jean Claude Carriere, Mark Damon, Xie Fei and Tu Duu Chih Tony Rayns.
Besides the Indian competition and the Asian competition section, Osian's Cinefan showcased a buhch of outstanding films in two of its well established sections - Cross cultural encounters (featuring films from different regions of the world) and Arabesque (the latest films from Arab countries) - and a large mosaic displaying the range of work being produced in Asia and India, in Asian Frescoes and Indian Osean respectively.
Another section, 'In Tolerance' featured three outstanding documentaries that hold a mirror to the past and the present.
While the jury for the Asian competition section was headed by award-winning Japanese filmmaker Ryuichi Hiroki, and consisted of renowned filmmaker from Hong Kong Stanley Kwan, Chinese filmmaker Xie Fei, Indian filmmaker Adoor Gopalakrishnan and Indonesian actress Jajang c Noer, the Indian competition jury was headed by Italian writer-director Italo Spinelli, the other members being award-winning Indian filmmaker Pan Nalin, Egyptian filmmaker Khairy Beshara and Iranian actress Niki Karimi.
Also featured was a special tribute to filmmakers Ritwik Ghatak and Stanley Kwan, which included films like 'Love Unto Waste', 'Rouge', 'Centrestage', 'Lan Yu' and 'Everlasting Regret' by Stanley Kwan and 'Pathetic Fallacy' (Ajantrik), 'Meghe Dhaka Tara' (The Cloud-capped Star), 'Subarnarekha' and 'Ekti Nadir Naam' (The Name of a river) by Ritwik Ghatak.
The film festival had a special section on the Buddha wherein about a dozen films touching upon Buddhism were screened to commemorate the 2550th anniversary of the birth of the Buddha.
Films like Neten Chokling Rinpoche, Sudipto Sen's 'The Last Monk, Bernardo Bertolucci's Little Buddha, Franz Osten's "The Light of Asia", Ho Quang Minh's "Gone Gone Forever Gone', Nabendu Ghosh's Trishagni, Im Kwan Taek's "Come, Come, Come Upward" and Conrad Rook's 'Siddhartha' were featured in the special section on the Buddha titled 'The Middle Path: a Focus on Buddhism."
Four films from the banner of New Theatres were screened at the festival, in acknowledgement of their 75th year in the business.
http://news.indiamart.com/cgi-local/news-link.pl?url=http%3A%2F%2Fwww%2Ehindu%2Ecom%2Fthehindu%2Fholnus%2F009200607250310%2Ehtm
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PAGE ONE
The Bet Collector walks away with Cinefan honours
Sumati Mehrishi Sharma
New Delhi, July 23: The 10-day Osian Cinefan fest came to a close today with fond memories of the football World Cup. Aptly, the film that rounded off the ceremony was Jafar Panahi’s tribute to the game and the spirit of the Iranian women banished from football stadiums—Offside.
The guest of honour Priyaranjan Das Munshi, chief of the All India Footfall Federation, however, pointed out: “Carrying forward the spirit of the World Cup in Germany, we should have more films to promote the game.” He was quick to add that he was merely “echoing football legend Pele’s thoughts.” But the mood of the festival was rather sombre, considering the rolls of honour.
The best film in the Asian category was The Bet Collector (Philippines)— Jeffrey Jeturian’s sensitive portrayal of the common man’s battle, trying to eke out a living and their constant fear of the police. Gina Paremo was named the best actress for her role of a woman running an illegal Spanish betting game, who fights against all odds to be able to visit her son’s grave in her spare time.
Suddha—the cleansing rites by P N Ramachandra walked away with the honour of the best film in the Indian competition section. Subrato Sen’s Calcutta Unabashed walked away with the awards for the best actor and actress—Subrat Dutta and Tannishta Chatterjee. Like most films shown at Osian this year, this film is about the search of the Indian dream: a ticket to the US for a better life and the battle to maintain a balance with the traditional values.
Turkish film Two Girls got the Jury’s Special Mention. Yet another film about the rebellious teens—a theme which did the rounds at Osian this year— this film stands out for the way it contrasts the urban retro kids with the traditional values of their parents.
Four-time national award winning filmmaker Girishka Saravalli’s Kanadda film Nayi Neralu was also honoured with a Special Jury mention.
There were eight world premieres, including the most popular What If by Naseeruddin Shah and Anjan Dutt’s The Bong Connection. Ten films had been in the fray in the Indian competition category.
http://news.indiamart.com/cgi-local/news-link.pl?url=http%3A%2F%2Fcities%2Eexpressindia%2Ecom%2Ffullstory%2Ephp%3Fnewsid%3D194095
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The Bet Collector walks away with Cinefan honours
By Indian Express
Monday July 24, 05:08 AM
The 10-day Osian Cinefan fest came to a close today with fond memories of the football World Cup. Aptly, the film that rounded off the ceremony was Jafar Panahi's tribute to the game and the spirit of the Iranian women banished from football stadiums-Offside.
The guest of honour Priyaranjan Das Munshi, chief of the All India Footfall Federation, however, pointed out: "Carrying forward the spirit of the World Cup in Germany, we should have more films to promote the game." He was quick to add that he was merely "echoing football legend Pele's thoughts." But the mood of the festival was rather sombre, considering the rolls of honour.
The best film in the Asian category was The Bet Collector (Philippines)- Jeffrey Jeturian's sensitive portrayal of the common man's battle, trying to eke out a living and their constant fear of the police. Gina Paremo was named the best actress for her role of a woman running an illegal Spanish betting game, who fights against all odds to be able to visit her son's grave in her spare time.
Suddha-the cleansing rites by P N Ramachandra walked away with the honour of the best film in the Indian competition section. Subrato Sen's Calcutta Unabashed walked away with the awards for the best actor and actress-Subrat Dutta and Tannishta Chatterjee. Like most films shown at Osian this year, this film is about the search of the Indian dream: a ticket to the US for a better life and the battle to maintain a balance with the traditional values.
Turkish film Two Girls got the Jury's Special Mention. Yet another film about the rebellious teens-a theme which did the rounds at Osian this year- this film stands out for the way it contrasts the urban retro kids with the traditional values of their parents.
Four-time national award winning filmmaker Girishka Saravalli's Kanadda film Nayi Neralu was also honoured with a Special Jury mention.
There were eight world premieres, including the most popular What If by Naseeruddin Shah and Anjan Dutt's The Bong Connection. Ten films had been in the fray in the Indian competition category.
http://in.news.yahoo.com/060723/48/663ys.html
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http://showbizandstyle.inq7.net/sim/sim/view_article.php?article_id=12470
COVER STORY
Gina Pareño hits the jackpot
By Eric S. Caruncho
Inquirer
Last updated 02:47am (Mla time) 07/30/2006
Published on page Q1 of the July 30, 2006 issue of the Philippine Daily Inquirer.
“TINAMAAN ng jueteng (Hitting the jackpot).”
That was probably how actress Gina Pareño felt when she walked down the blue carpet at the 39th Moscow International Film Festival, together with director Jeffrey Jeturian and producer Atty. Joji Alonso, to accept the critics’ award for best film for “Kubrador.”
“Para akong bankable star (It’s like I’m a bankable star)!” she gushes, recalling how the moment felt. “Siempre, I know where I stand here—pang nanay-nanay, lola-lola role na lang ako, ganoon naman ang sistema natin pag may edad ka na. (I’m good for mother and grandmother roles, that’s the system here when you’re older). But in Moscow, nakakagulat, talagang nakakataba ng puso. Nagpapalakpakan sila, para naman akong sikat na sikat sa Pilipinas. (In Moscow, it was a surprise, it was so encouraging. They were clapping, like I was so famous in the Philippines.) I told myself, ‘Thank goodness I now know how it feels to be on the blue carpet!’”
Not even a nasty case of amoebiasis, which had kept her in her hotel room in Moscow with the runs for much of the 10-day trip, could dampen the triumphant moment. Although some of the actress’ films in the past had made the rounds of the international film festival circuit, this was the first time she had actually been to one.
Festival favorite
It won’t be the last. The day after “Kubrador” opened the ongoing Cinemalaya Film Festival at the Cultural Center of the Philippines, Gina was on a plane for the Osian’s 8th Cinefan Festival in New Delhi, where “Kubrador” scored a grand slam. Gina won the Best Actress award, Jeturian was named Best Director and “Kubrador” once again bagged the prestigious International Federation of Film Critics (Fipresci) award for best picture. The film has also been invited to take part in several other festivals in the coming months, among them Pusan, Toronto, Vancouver, Hawaii, Sao Paolo and Thessaloniki in Greece.
But even before Moscow, the buzz around “Kubrador,” a look at three days in the life of a jueteng bet collector, had been extremely positive. In particular, critics had singled out Gina’s performance as the title character. “Brilliant” was how one foreign film festival director was quoted as describing it.
Local audiences always knew she had it in her. How else to explain her longevity? Gina herself reckons she’s now on her fourth comeback, after various personal and professional setbacks that periodically dampened her career.
“Mabwenas din ako na hindi sila nagsawa sa akin. (I’m lucky that they didn’t get tired of me),” she says. “Kaya sabi ko sa sarili ko, ‘Naku, Pareño, kung hindi mo bibigyan ng halaga ang ginagawa mo, pagsasawaan ka rin ng tao. (That’s why I told myself, ‘Hey, Pareño, if you don’t give importance to what you’re doing, people will tire of you.)” That’s why she’s very careful, Gina says in Filipino. “I’m really lucky, so it feels good to be given another chance.”
Busier than ever
Exactly 40 years after she first entered show business, Gina Pareño is busier than ever, and she’s loving every minute of it.
“Ang sarap kasing umarte (It’s so much fun to act),” she says. “Ngayon super-trabahista ako, as in, pagbaba ko pa lang ng eroplano galing Moscow, nag-ring na cell phone ko, may taping na kinabukasan. Anong jet lag? ’Di umuubra sa akin ang jet lag (Now I’m a super worker, just as I stepped off the plane from Moscow, my cell phone rang, and I had a taping the next day. What jet lag? Jet lag doesn’t cut it with me).”
Gina’s enthusiasm for her craft is understandable, considering how close she came to losing everything.
In 1993, television viewers were horrified to see an almost unrecognizable Gina Pareño on the program “Lovingly Yours, Helen,” haggard and toothless, pleading for another chance.
She had just spent one and a half years in rehab, as part of her sentence for drug possession. In 1988, Gina had started dabbling in shabu, which was just becoming fashionable in showbiz circles.
“Unang-una, kasi gusto ko (First, because I wanted it),” she says about her initial attraction to the drug. “I know myself—I’m a rebel, and a little crazy. Gusto kong maramdaman. Gusto ko join ako, kasi ‘in’ siya noong panahon na ’yon. Pangalawa, nandoon ’yung nanay-tatay ka sa pamilya, tapos alam mong hindi ka na star, kaya nag-alala ako sa pamilya ko. (I wanted to feel it. I wanted to be in, because it was in. Also, there was the fact that I was both mom and dad to my kids and was no longer a star, so I was worried about my family.) Before I knew it, I was there.”
Deeper into drugs
In hindsight, she says, she considers herself lucky because she didn’t have much money at the time. If she did, she might have gotten deeper into drugs.
“You know what, nagpapasalamat ako kasi kung nagkataon na may pera ako noong panahon na ’yon, lalo siguro ako nalulong, sumadsad siguro ako nang sobra. Buti na lang cheap lang ako, kaya kaunting gamit lang, kunwari okey na ako. (I’m grateful, because if I had more money then, I might have gotten deeper into drugs. Good thing I was cheap, I’d use a little and pretend I was okay.)”
The euphoria didn’t last. Near the end of the 1980s, she was arrested for possession of shabu. It was a rude awakening, but an awakening nonetheless.
“I’ve learned from it,” she says. “That’s when I realized how much I loved to act. Doon ko naramdaman ang freedom at ang talent ko na binale-wala ko (That’s when I realized what little value I was giving my freedom and my talent). Imagine, people idolized me, tapos ganoon? Naawa ako sa sarili ko. Sabi ko, pagtibayin mo ako, Lord, hindi ko na uulitin. (I pitied myself. I said, make me strong, Lord, I won’t do it again.)”
Gina spent two months in the women’s section of the Makati jail, the so-called “Hasmin Brigade.” Her celebrity afforded her a certain status among the inmates, but she still had to toe the line.
Her friends in show business, in particular Rudy Fernandez and Inday Badiday, came to her aid. They offered to raise the P90,000 needed for her bail, but to their surprise, Gina refused.
“Sabi ko hindi na, kasi kahit magpiyansa ako tuloy pa rin ang kaso (I said never mind, because even with bail, the case will proceed),” she says. “Mas mahirap pa, kasi gusto ko nang magbago. Kung nasa labas ako, pwede akong tamnan uli. Kaya nagpa-rehab na lang ako. (It would have been harder because I wanted to change. If I were outside, it might happen again. So I went into rehab instead.)”
The DARE drug rehabilitation clinic, where she spent the next 18 months as a condition for her release, was another eye-opener.
“First day ko sa DARE, I saw the others who had to ‘face the wall.’ Kung matigas ulo mo, napakatagal kang tatayo diyan. Kaya ako nabakla, behave ako. Kasi sabi ko, hindi naman ako ganoong kalalim. (If you’re stubborn, you’re going to stand there for a long time. That’s why I wimped out, I behaved. I said, I’m not that far gone). I saw the others who were hallucinating. Sumunod ako sa kanilang proseso, hindi ako nag-negative, kasi nakakatulong sa akin ’yon. (I followed the process, I didn’t become negative, because it helped me.)”
Out of rehab
After cleaning up, Gina walked out of rehab, bummed a cigarette from the first person she saw, and took a deep drag. It was her first taste of freedom in nearly two years.
“I started from scratch,” she recalls. “Ganoon naman talaga, lalo na sa presyo. Basta lang makaahon ako, makaarte uli. Mababaw lang naman ang kaligayahan ko. (That’s the way it is, especially when it comes to my fees. It was just to get back on my feet, just to act again. I’m easy to please.) I started from zero, I had no money, tapos bungi-bungi pa ako kasi nasira sa drugs (I had bad teeth from all the drugs).”
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Broke and toothless, Gina picked herself up, dusted herself off, and went on with her life, with the same kind of pluck and good humor that often distinguished her onscreen characters, and which probably accounts for her lasting appeal.
As far as she can recall, Gina has only had one dream.
“Noong bata pa lang ako, pag tinatanong ako kung ano ang gusto ko paglaki ko, ang sagot ko palagi, ‘Gusto kong maging artista,’” says Gina. “Talagang iisa lang ambisyon ko bata pa lang ako. (When I was a child, whenever someone asked me what I wanted to be when I grew up, I’d say, ‘I want to be an actress.’ I only had one ambition, even as a child).”
The actress was born Geraldine Acthley in 1950. Her mother, Patricia Dory Ocura, originally hailed from Bacolod City. Her father, Bouffard Acthley, was a German-American who stayed in Manila long enough to father Gina, but not long enough for her to remember him.
“That’s why all I remember as family growing up was Mommy and me, because she was also an only child and she never remarried,” Gina recalls in Filipino. “Wala akong lolo, lola, ate o pinsan. Takilyera si Mommy sa Mayfair Theater sa may Avenida, siya yung nagpupunit ng ticket. (I had no grandparents, sisters, or cousins. Mommy was the ticket girl at the Mayfair Theater on Avenida, she tore the tickets).”
Drawn to movies
Gina grew up in an entresuelo (mezzanine flat) in the rough-and-tumble neighborhood of Gagalangin, Tondo. It wasn’t so much her mother’s job as a ticket taker at the Mayfair that drew her to the movies, as some inborn need that made her want to perform.
“We didn’t have a TV then,” she recalls. “I really just wanted to act. It was in my blood. When I was home and Mommy was at work, I was free to act as much as I wanted on the street corners.”
When she was 3, the entresuelo burned down. The fire erased all traces of Bouffard Acthley, although her mother told her that she was the spitting image of her father, a female version.
From an early age, Gina had to pitch in to make ends meet. When she was 10 or 11 years old, she actually drove a tricycle near Bormaheco, near J.P. Rizal. “We were living on Sampaguita St. Near Zapote St. there was a tricycle stand, at ako lang ang kaisa-isang babae na pumapasada. Dahil nag-iisa akong babae, palagi nila akong binibigyan ng tip. Akala nga nila tomboy ako. Gerry ang tawag nila sa akin. Tapos nagtitinda ako ng maruya pag araw ng Linggo, umiikot ako sa karerahan, sa may Hipodromo. (I was the only girl who drove a tricycle, so I was always getting a tip. They thought I was a tomboy, and they called me Gerry. Then I sold fried bananas on Sundays, I would go around the racetrack.) Survival, eh. I had to earn money.”
Years later, when she was signing autographs at the lobby of the Life Theater in her first movie premiere, someone asked her if she was Gerry, the tricycle driver. She replied proudly, “Oo, pero hindi na ako tricycle driver, artista na ako ngayon. (I’m no longer a tricycle driver, I’m an actress now.)”
Dancing queen
The Beatles were on the radio when Gina got her first break. In 1964, she won a dance contest on the TV program “Dance-O-Rama,” then hosted by Pete and Boots Anson Roa. She was chosen “Miss Dance-O-Rama Queen of the Day,” then “Miss Dance-O-Rama Queen of the Week.”
That was all it took. One day the postman delivered a slip of paper to her home. It was a call slip from Sampaguita Studios. On it, Dr. Jose “Doc” Perez, the studio head, had written: “Please see me immediately.”
Apparently, he had seen her on TV and spotted star quality. Gina jumped at the chance, even though she was only in her second year of high school at the Immaculate Conception school in Balut, Tondo. It was a moot point anyway, since the good sisters kicked her out when she entered show business.
Back then, they did things differently in the movies, especially in Sampaguita Pictures. Potential stars were carefully chosen and slowly groomed, often over a period longer than the average show business career today, before they were given their first big break. Gina spent her first eight months as an extra, for three pesos per appearance. She then graduated to small supporting roles, often playing the sister of the leading lady, usually Liberty Ilagan or Susan Roces.
Sampaguita Studios was like a finishing school, Gina says. Stars-in-training were taken under the wing of Marichu Maceda—“Manay Ichu”—to learn the social graces, which clothes were suitable for daywear and which for evening, which spoon to use for which dinner course, and so on.
“Never wear white shoes after 5 p.m., I still remember, unless they’re satin,” she recalls. “Kung hindi, pauuwiin ka. Ako madalas mapauwi. May pagka-loka-loka ako, eh. Papagalitan ka naman ni Dr. Perez pag napauwi ka. (Otherwise, they would send you home. I got sent home a lot. I was a bit crazy. Then Dr. Perez would scold you if you got sent home.) ‘See me immediately,’ ‘Please see me without fail.’ I would collect my call slips.”
She also got fines for coming late to shoots. “Fifty pesos ang binabawas sa sweldo. Every Thursday ang sweldo noon. Isang pelikula noon P8,000, hahatiin nila ng weekly. Pero yung mga damit provided nila, mga Pitoy Moreno. Dadamitan ka, pati sa mga interview. Pero masaya kami doon, parang may pamilya ka. (They would deduct P50 from your salary. Thursdays were paydays. You got P8,000 a movie, but they’d divide it weekly. But they provided the clothes, Pitoy Moreno. They really took care of you, even for interviews. We were happy then, it was like you had a family.)”
In Star 66
After two years, the studio bosses felt she was ready, and the newly-christened Gina Pareño was launched as a member of Star 66, Sampaguita’s crop of young stars that included Loretta Marquez, Blanca Gomez, Rosemarie Sonora, Sarah Calvin, Shirley Moreno, Dindo Fernando, Edgar Salcedo, Ricky Belmonte, Ramil and Pepito Rodriguez.
Gina proved to be the wild card in the bunch. Where most of the Star 66 bunch were prim and proper to the point of being stiff-necked, Gina exuded an unmistakable sexuality. For one thing, she was the only one who could properly fill out a bikini. (This was long before surgical augmentation became routine procedure.)
For another, she possessed an irrepressible streak, which nearly nipped her career in the bud. Gina had been given increasingly prominent roles, playing opposite Eddie Gutierrez in “Eddie Longlegs.” In 1968, she was to be launched in her first starring role opposite Lolita Rodriguez in “Mama,” when she became pregnant.
“Pinagalitan ako ni Doc Perez,” she recalls. “Hindi pa lumalabas ang unang pelikula na bida ako, buntis ako!(Doc Perez got mad at me. I hadn’t even come out in my first movie as a lead actress, and I was pregnant!)”
In those days, when women who became pregnant out of wedlock were still called “disgrasyada,” something like this could easily have been a career-ender. Sampaguita did their best at damage control, but with little help from Gina.
“Of course that was supposed to be kept hidden, you weren’t supposed to be going out, but I was very open so I got scolded a lot,” she recalls in Filipino. “Sabi ko nga swerte na lang ako. Nakasanayan lang ako ng tao nang ganoon. (I was just lucky, people got used to me being like that.)”
First comeback
In 1969, after she had given birth to her firstborn, a son, Gina made the first of her four comebacks playing the sexiest Darna up to that time in “Darna at ang Planetman,” opposite Vic Vargas. Gina got noticed for her prominent cleavage in the Darna costume, as much as for her performance.
By the time her contract with Sampaguita expired in 1974, Gina was ready to strike out on her own as a freelance talent. But she would still drop out periodically, usually when she was romantically involved and/or pregnant. She would have two more children, another son and a daughter Jannica, who recently tried her hand in showbiz. (Her eldest son has since passed away.)
The pressures of show business life always ended up straining her relationships, however, and Gina ended up like her mother, a single parent.
“I guess that’s the way it is,” she shrugs. “Nothing is permanent. The nature of my work is different, so they don’t understand. Maya’t-maya magpapaliwanag ka, nakakapagod, kaya bandang huli nagkakatampuhan na kayo. (You have to keep explaining, it’s tiring, so eventually you have a falling out.)”
She may have been unlucky in love, but she’s always been lucky in her career. How many actors have been around for four decades? Gina’s Internet Movie Data Base (IMDB) filmography lists 70 entries, some of them landmarks of Philippine cinema such as Ishmael Bernal’s 1984 “Working Girls.”
While the rest of Star 66 have long since faded into memory, Gina is still around and still going strong. It might have been her versatility that ensured her longevity: first known as a sexy comedienne, she could also handle a bit of action.
Now that she has acquired the necessary gravitas, she is also favored for dramatic roles. Jeturian, for instance, already had her in mind for the title character in “Kubrador,” having worked with her before in “Pira- pirasong Pangarap.”
“Tanong ko sa kanya, paano atake doon (I asked him, how should I approach this)?” she recalls. “He said, ‘You don’t have to act. Effortless. Just relax.’”
Hurdling tragedy
The death of her long-time companion a few years ago was yet another tragedy to hurdle, but Gina has survived. Last year she became a household name for audiences who weren’t even born yet when she first played Darna, as Angel Locsin’s grandmother in the “Darna” teleseries. With “Kubrador,” Gina is in the middle of a full-fledged renascence, and she says her acting chops are better than they’ve ever been. (She also admits that she’s had a little work done on her face.)
“I’m more sensitive now, sobra, especially with emotions—I have so much to draw from,” she says in Filipino. “Grabe, I have so many experiences. Ang mga nangyayari sa iyo, sa umpisa masakit, habang nangyayari pa sa iyo, pero later on, magagamit mo. (The things that happen to you, they hurt while they’re happening to you, but you can use them later on.)
“Pero siyempre, you have to filter everything you’ve been through,” Gina qualifies. “You have to choose what was right and what was wrong. Mayroon kasing iba, dumaan na diyan pero parang absent. Dapat aware ka. Dapat bawa’t araw mo sa mundo, mararamdaman mo. (There are others who have been there, but it’s like they were absent. You have to be aware. Every day you spend in this world, you have to feel it).”
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'Kubrador' sa Toronto!
Billy Balbastro
It has been the indies (independent films and producers) which have been winning awards and giving glorious moments and recognition to the Philippines lately.
Maryo delos Reyes’ Magnifico, (2003); Mario O’Hara’s Babae sa Breakwater, (2004); Dante Mendoza’s Masahista and Auraeus Solito’s Ang Pagdadalaga ni Maximo Oliveros made names and won awards in the many film festivals of the world.
Now it seems that it is Jeffrey Jeturian’s digital movie, Kubrador (The Bet Collector) which is also set to win honors for the country in spite of hard times at home.
It had its international premiere at the 28th Moscow International Film Festival last June 27 and where on July 2, Kubrador won its first FIPRESCI (international film critics) award.
So far, this year, Kubrador, directed by Jeffrey Jeturian for Atty. Joji Alonso and MLR Films, starring Gina Pareño, made it to the 8th Osian Cine Fan Festival of Asian Cinema in New Delhi, India (July 14 to 23).
It has also been invited to four more: 11th Pusan International Film Festival (October 12 to 20), Hawaii filmfest (October 19 to November 5), Sao Paolo (Brazil) filmfest (October 20 to November 2) and Thessaloniki (Greece) filmfest (November 7 to 24). As we go to press we got word that it will be in Toronto filmfest in September.
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For the first time in her acting career which dates back to being a member of five love teams launched by the late Doc Jose Perez in Sampaguita Pictures as Stars ‘66 some 40 years ago, Gina Pareño won the best actress award last July 23 at New Delhi, an international award at that.
At the Osian Cine Fan Festival held at the Siri Fort 1 Cinema Complex in New Delhi, Atty. Joji’s film almost made a grand slam. Gina won best actress and Kubrador won best picture. Earlier it won the FIPRESCI (international film critics) award – its second critics prize.
So Jeffrey (who attended the awards rites with Gina) in accepting the honor said: "I am actually starting to love the critics. Thank you to the jury for believing in our films, for this affirmation of the same award we won in Moscow three weeks ago. Thank you again for placing your bets on us."
When Gina was named best actress, she made use of some expressions the daughter of our ambassador to India, Laura Quiambao del Rosario taught her earlier.
She tried recalling her acceptance speech: "Namaste, bhahut, bhahut, daniwad. Thank you for you lives our film. Kubrador, The Bet Collector is a labor for love, everyone contributed to it. Aap Sab ko mera pyar. I will treasure this forever. I also want to thank MLF Films and Atty. Joji Alonso for believing in me. Thank you very much, bhahut bhahut. Daniwad."
When he accepted the best film award, Jeffrey told the audience:
"Thank you to New Delhi for this wonderful experience.
"To the jury and the Osian Cinefan Festival, thank you for this recognition. Our film Kubrador is about taking chances. We as filmmakers took a chance in making this serious, non-mainstream film.
"We don’t even know how this will fare at the box office when we show this back home. But this award, and the reaction of the people whose lives and hearts we’ve touched with the film, makes us feel like we’ve won the jackpot already. Thank you very much."
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Surely, people behind Kubrador consider the honors their film has initially won in foreign festivals as a good starting point for publicity for the movie.
It’s time for Kubrador to be shown to Filipinos, to hit the theaters perhaps here before it goes again to another foreign festival.
http://www.abante.com.ph/issue/july3006/main.htm
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Jeffrey Jeturian's KUBRADOR, winner of major prizes at Moscow and New Delhi, will finally be shown in in Metro Manila Theaters on August 16, 2006.
It will be screened simultaneously in the following theaters:
SM North EDSA
SM Mall of Asia
SM Megamall
Glorietta 4
Gateway in Cubao
Robinson's Ermita
Cinerama Recto.
We used to complain about trashy Filipino films. Here is one film that dares to go against trash and formula pervading mainstream cinema today.
If you are Filipino, if you love your country, and if you really care about the future of Philippine Cinema please support films like KUBRADOR.
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Gina Pareno had her share of sexy comic roles, most notably in Luciano B. Carlos' KAYOD SA UMAGA, KAYOD SA GABI.
Regal films first foray in producing movies.
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http://www.abante-tonite.com/issue/july3106/showbiz_bb.htm
Merong 52 playdates sa buong taon kaya hindi namin maunawaan kung bakit nagsasagupaan pa ang mga Pinoy movies sa isang playdate.
To think na wala nang 30 movies ang nagagawa rito sa bansa sa bawat taon na ipalalabas sa commercial theaters.
Nagkaroon ng May 31 playdate ang Manay Po ng Regal at ang All About Love ng Star Cinema. Kumita ang dalawang pelikula kahit magkasabay na ipinalabas ang mga ito.
Lahat, nagsasabi na kung hindi sila magkasabay, mas malaki pa ang kinita nila sa Metro Manila.
In three month’s time, mauulit ang nangyari sa Regal at Star Cinema. Sa August 30, muling magsasabay ang mga pelikula ng ABS-CBN at ni Mother Lily.
It will be Sam Milby-Toni Gonzaga movie ng Star Cinema, ang You Are The One sa direksyon ni Cathy Garcia Molina VERSUS the Dingdon Dantes-Iza Calzado film ng Regal directed by Mark Reyes.
Hindi lang iyon ang mangayyari sa buwan ng Agosto.
Matagal nang naka-schedule ang pelikulang Kubrador sa mid-August playdate, sa August 16.
Dahil naniniwala si Atty. Joji Alonso, ang producer, na magandang publicity kung maipapalabas ito sa mga foreign festivals. At lalong magiging matunog ito kung mananalo ng awards abroad.
Tamang-tama. Nasali ang Kubrador sa 28th Moscow film festival at noong nakaraang July 2 ay nanalo ito ng international film critics prize (FIPRESCI).
In competition din ito sa nakaraang Osian’s 8th Cine Fan Festival of Asian Cinema (July 14 to 27). Muli, nanalo ito ng FIPRESCI prize plus two more: best film at best actress (Gina Pareño).
With four awards, naging matunog na sa takilya ang Kubrador para sa August 16 playdate.
Pero ang pelikula ng OctoArts, ang Oh My Ghost (bida sina Rufa Mae Quinto at Marvin Agustin) ay sasabay sa August 16 playdate. Umiwas sila sa August 30 pero isang indie at non-mainstream picture ang kakalabanin nila sa August 16 playdate.
"Wala na kasi kaming lilipatan," sabi sa amin ni Atty. Joji.
Naalala ko tuloy ang Mindanao, kung saan Pinoy vs. Pinoy.
Ganyan din sa takilya ngayon among Pinoy films. Sila-sila, naglalaban sa takilya.
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Osian Cinefan pics
(http://www.cinemaya.net/i/c8-pg6.jpg)
(http://www.cinemaya.net/i/c8-pg7.jpg)
(http://www.cinemaya.net/i/c8-pg9.jpg)
(http://www.cinemaya.net/i/c8-pg12.jpg)
(http://www.cinemaya.net/i/c8-pg13.jpg)
(http://www.cinemaya.net/i/c8-pg14.jpg)
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Kubrador: The horrifying truth
FREEHAND
MARIO E. BAUTISTA
LOCAL viewers today go only for feel-good romantic films (“All About Love”, “Moments of Love”) or horror films (“White Lady”, “Sukob”). That is why Director Jeffrey Jeturian’s “Kubrador” is the most daring local film we’ve seen in years. It’s not only politically brave, but also very daring on the part of producer Atty. Jojit Alonso to produce a film that has very little commercial consideration. The film presumes that the viewer is intelligent enough so it does not spoonfeed him with various details. Instead, the viewer has to figure out for himself what exactly are the film’s various political and socially relevant messages, especially after its seemingly abrupt ending.
As a starter, let us quote here the exact words of the film’s prologue: “Jueteng is a numbers game that has been popular in the Philippines since the Spanish colonial period. It is officially illegal, but jueteng operators may be found all over the country. Millions of people depend on jueteng for their livelihood. It is so lucrative that the big jueteng operators are said to wield undue influence over politicians, the military, the police, and even the church. In the year 2000, the President of the Philippines was charged with accepting payoffs from jueteng, and was subsequently deposed. More recently, the current president, her husband (and son) were accused of having links to jueteng.”
What is happening in our society is then shown in the eyes of Amy (Gina Pareño in the best performance of her life and career), a bet collector whose husband, Eli (Fonz Deza), is a bum who can’t even help her tend their small sari-sari store. They have three kids. Mona is an OFW and is never seen. Juvy has many kids and lives in dire poverty with her husband who’s often jobless. Her only son, Eric, is dead, but appears as an apparition in a soldier’s uniform.
The film follows Amy’s life starting two days before Todos Los Santos and ending at the North Cemetery on All Saint’s Day. It starts with her praying the rosary in front of her small altar and praying that “sana po ay huwag naman akong mahuli ngayon”.
She then goes on her job of collecting bets and gets arrested by cops. But it turns out the police officer at the precinct where she is taken is also her customer, places a bet through her, then lets her go.
The next day, she goes back to her routine, meeting their parish priest who tells her that a young man died, the victim of hit and run. She then becomes the ‘priest’ representative to ask for donations or abuloy from their other neighbors. As she goes around the maze-like alleys in their squalid neighborhood, Amy gets lost and ends up in a deadend several times, a sure indication that something is going wrong in her life.
When she later reports to her “kabo” or handler to remit all the bets she collected that day, she learns he has the flu and she is delegated to represent him in the jueteng draw held at a secret location in the ricefields. When the jueteng supervisor (Joe Gruta) arrives, he says that there will no longer be a draw as their boss has rigged it and just gave them the numbers he wanted to win. One of Amy’s bettors wins and she goes to their cashier (Johnny Manahan) to get the cash prize and also asks a donation for the hit and run victim.
When she returns home, her lazy husband tells her he forgot to give her a bet from a neighbor and it turned out the numbers the neighbor has chosen have won. The neighbor forces them to pay. Amy goes out again to borrow money to pay the neighbor.
As she leaves home, we see their neighbors lighting candles in preparation for Todos Los Santos.
The following morning, Amy and her entire family go to the cemetery to visit her dead son. There, they see Eric’s former girlfriend, a nurse, who came to bring flowers for his grave. Amy’s husband continues to annoy her so she leaves them and takes a walk, where an accident resulting from road rage will be the culmination of a series of events that finally shocks Amy in realizing how wounded she really is.
One of the best things in the film is Robert Yñiguez’ cinematography that captures the texture and ambiance its story’s particular milieu: the slums. His camera unabashedly explores all the nooks and crannies of the neighborhood, along with the similarly meaningful sound design. The film is shot with a handheld digital camera that gives it a documentary-like feel. It is later blown up into 35 mm. film and the quality of the transfer is definitely superior. This is apparent from the opening scene where the camera follows another bet collector, Toti, in a very long, uninterrupted take. This sequence ends with Toti being chased by a cop over the rooftops of various shanties.
It’s a risky proposition for a filmmaker to humanize someone who’s doing something illegal like Amy, especially in these times when viewers prefer their characters to be reduced to black or white. Jeturian and writer Ralston Jover have crafted a potent film that peels away the stereotypes and comes up with a lead character that gives us some food for thought. They enhance their material with touches of humor and compassion, but they are unwavering in showing great conviction in their attempt to bring the sharp issues raised by their story to the screen. They let the viewer understand what really happens behind the jueteng phenomenon (where there’s complicity between the financiers and law enforcers, and where both politicians and even the clergy benefit) without making simplistic conclusions.
Gina as Amy makes a fine central figure in the process. She might have an unlawful job, willing to take her work as far as it can go, but she remains a kind-hearted mother and person who endears herself to the viewer as she sincerely wants to help others. In the end, she is a mere pawn in the numbers game who toils futilely for her family, leaving us with troubling questions about our very corrupt society.
Jeturian has previously explored this team in “Pila Balde”, but this film is his most thought-provoking work so far. The truth is it’s really more scary than “Sukob” or any other horror film, simply because it is REAL and we shudder at the thought of how the likes of Amy and the rest of our other marginalized countrymen are trapped in a society where the rich and the powerful continue to exploit them.
http://www.journal.com.ph/index.php?page=news&id=8945&sid=6&urldate=2006-08-06
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Big poster along ATC cinema promoting "Kubrador" I will definitely watch, and drag everyone i know to see this film. I'm so psych. ;D
I even bought "Minsan Pa" DVD of J. Jeturian in anticipation for Kubrador. ;D
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The trailer is now on-line at www.youtube.com/watch?v=l4UjbiJM1ms
8)
I hope this film will last for a week in the theatres.
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'Kubrador' mapapanood na ng mga Pinoy
FOOTLOOSE
by : Leo M. Bukas
Gina Pareño
MAY magandang balita para sa mga Pinoy na mahihilig manood ng magagandang pelikula.
Finally, pagkatapos mapanood at manalo ng maraming awards sa ilang film Festivals sa iba’t ibang bansa at sa nakaraang Ci-nemalaya Independent Film Festival, masasaksihan na rin sa wakas mga si-nehan ang pelikulang Kubrador. Ito ay ipapalabas sa Aug. 16.
Ang Kubrador ay sa panulat ni Ralston G. Jo-ver, directed by JeffreyJeturian at produced ng MLR Films. Ang istorya ay maglalahad ng mga pangyayari sa tatlong araw ng buhay ng isang jueteng collector na ginagampanan ni Gina Pareño.
Sobrang proud sa peli-kula si Joji Alonzo, ang exe-cutive producer ng MLR Films at naniniwala siya na ito na yata ang unang peli-kula na ang tinatalakay ay jueteng.
All praises din siya sa ibang members ng cast na sina Fonz Desa (ang asa-wang inutil), Nanding Josef bilang pari, Soliman Cruz sa papel na chief of police, Miguel Castro, Neil Ryan See at sa big boss ng Star Magic na si Johnny ‘Mr. M’ Manahan!
Maliban kay Gina , agree ang lahat na si Mr. M bilang si Mang Poldo, ang guma-nap na jueteng cashier, ang nagkaroon ng impact sa mga ma-no-nood. Isa lang ang ekse-na ni Mr. M at ka-sama niya sina Gina at tatlo pang artista na gu-maganap bilang batang kubrador, kabo at driver ng conressman.
Para maging perfect ang nasabing eksena, naka- ilang takes din ito, pero tuhog da-pat lahat at walang cut. Litaw na litaw ang galing ni Mr. M sa pag-arte.
Sabi nga, flawless at natural na natural. Na-impress si Direk Jeffrey sa galing, tiyaga at paki-kisama ni Mr. M. Sabi naman ni Gina, iba talaga si Mr. M dahil kung ibang artista ‘yan, lumaylay na ang acting habang dumarami ang takes.
Kubrador ang opening movie sa katatapos lang na Cinemalaya Independent Film Festival. At ayon na rin sa reports, nagkaroon agad ng request mula sa iba’t ibang embassy at maging sa Ca-tholic Bishops Conference of the Philippines (CBCP) para sa isa pang screening. Kaya naman nagkaroon agad ng pangalawang screening with mat-ching subtitles.
Umani na ng mara-ming awards ang Kubrador sa film fests abroad. Kamakailan lang, nanalo ito ng major awards (Best Film, Best Actress, Best Director and Best Picture from the International Critics Jury Fipresci Award) sa 8th OSIAN Cine Fan Festival of Asian Cinema.
Ito rin ang Best Film in competition by the International Critics Jury Fipresci Award sa 28th Moscow International Film Festival. Mapapanood din ang pelikula sa 11th Pusan International Film Festival, 26th Hawaii International Film Festival, 30th Sao Paulo International Film Festival, 27th Thessaloniki International Film Festival, 37th Vancouver International Film Festival at Toronto Film Festival.
Sa rami ng awards na nakuha ng Kubrador, kailangan talagang ma-ipalabas agad ang pelikula sa mga sinehan. Sa-yang naman kung mismong tayong mga Pinoy ay mahuhuling mapanood ang ganito kagandang pelikula na sumasalamin sa buhay nating mga Pilipino. Remember, it’s a date on Aug. 16!
People's Taliba
8/9/2006 17:38 PM
http://www.journal.com.ph/index.php?page=news&sid=6&urldate=2006-08-09
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FUNFARE By Ricardo F. Lo
The Philippine Star 08/09/2006
Jeffrey Jeturian, the new Lino Brocka
Right after the showing of his first directorial job, Sana Pagibig Na (one of Mother Lily’s much-maligned pito-pito movies), in 2000, I did a Conversations piece with director Jeffrey Jeturian and predicted, against raised eyebrows, that he would be the next important director.
It didn’t take long for time to prove my prediction right.
In barely five years, Jeffrey has consistently proven his mettle as a director, following up Sana Pagibig Na (where the late Nida Blanca scored a brilliant performance) with even better films: Pila-Balde, Tuhog, Bridal Shower, Minsan Pa, Bikini Open and Kubrador, starring Gina Pareño as the jueteng bet collector, which has been reaping oh’s and ah’s not only here but in film festivals abroad, winning the film critics’ award at the Moscow International Film Festival last June and, recently, the awards for Best Picture, Best Director and Best Actress, plus the film critics’ award (again!), at an international film festival in India.
Showing in the commercial circuit starting on Aug. 16 (it’s a must-see; don’t miss it!), Kubrador had firmed up direk Jeffrey’s reputation as "the new Lino Brocka" because of his incisive style of story-telling especially when the story is set in the slums (Brocka’s favorite "territory" explored with a sensitive, sympathetic touch in movies like Insiang, etc.).
Asked how he felt about the honor, the self-effacing and ever-humble direk Jeffrey said, "It’s flattering!"
In fact, it was Brocka’s landmark 1975 classic drama Maynila: Sa Mga Kuko ng Liwanag that convinced Jeffrey to be a director.
"I saw it at the (demolished) Maxim Theater on Recto Avenue," recalled direk Jeffrey. "I was then a high school student at San Beda College. It was such a powerful movie. I thought, ‘If a film could move people this way, then I’d like to be a director and move people the way Lino Brocka did.’ The finale scene showing Bembol Roco in a muted scream of anguish at a dead-end, being stoned by bystanders, is forever etched in my mind."
It’s a pity that direk Jeffrey didn’t have a chance to meet Brocka who died in a car crash in 1990. Even then, Brocka has become an integral part of direk Jeffrey’s life through his movies – Insiang, Bona, Kapit sa Patalim, Cherry Blossoms, Tinimbang Ka Ngunit Kulang, etc. – which he watched with childlike adulation.
Because he’s a movie fan (who adored the directors more than the stars), direk Jeffrey also honed his directorial skills by watching films by other directors, to wit:
• Celso Ad. Castillo – "Very visual. His Burlesk Queen (with Vilma Santos) is exceptional."
• Eddie Romero – "He has a casual style of story-telling (Ganito Kami Noon, Paano Kayo Ngayon?, etc.), not heavy-handed."
• Mike de Leon – "Visceral ang style niya (Kisapmata, etc.)."
• Ishmael Bernal – "I love his wit and sense of humor (Pagdating sa Dulo, Relasyon, etc.)."
• Gerry de Leon – "Very poetic; he was ahead of his time (Sanda Wong, Sawa sa Lumang Simboryo, The Moises Padilla Story, etc.)."
Among foreign directors, he admires Francois Truffaut, Akira Kurosawa and Ingmar Bergman because they taught him "other styles of story-telling."
Kubrador, produced by lawyer Joji Alonso’s MLR Films, is not (yet) direk Jeffrey’s best; he has higher heights to conquer, more challenges to face and more stories to tell.
Although, a confessed avid fan of Susan Roces, direk Jeffrey tapped Gina Pareño as female lead in Kubrador because, he said, "Gina is a natural actress, may sense of timing. I believe that a good comedienne, which Gina is, is also a good drama actress. May pagka-naughty. Among her contemporaries, siya ang may spunk."
He has worked with Gina in the TV show Pira-Pirasong Pangarap and in the film Bridal Shower (Gina played Francine Prieto’s mom).
"She’s my one and only choice for the Kubrador role," said direk Jeffrey, adding in jest, "sila ni Gong Li ang pinagpilian ko."
After Moscow and India, Kubrador (rated A by the Cinema Evaluation Board) will be shown (and, in some, compete) in filmfests in the following country before the year is over: Toronto, Vancouver, Mumbai (also in India), Pusan (Korea), Hawaii, Brazil, Greece, Belgium (Brussels) and Rome.
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http://www.philstar.com/philstar/news200608091701.htm
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Kubrador’ binigyan ng ‘A’
by : Vinia Vivar
Direk Jeffrey Jeturian
Maganda ang pagkakaatake ni direk Richard Arellano ng digi-movie na Umaaraw, Umuulan, partikular na ang mga shot niya sa love scene nina Ryan Agoncillo at Precious Lara Quigaman.
Kung hindi namin alam na “daya” lang ‘yun, iisipin naming nagpaka-daring si Miss International.
May promise si Richard bilang direktor at kung buhay lang ang kaibigang si direk Luigi Santiago, na siyang bumuo ng movie, we’re sure na proud na proud siya sa produkto ng dati niyang assistant director.
Incidentally, bukod sa pamilya Agoncillo at Santos (ng girlfriend ni Ryan na si Judy Ann Santos), dumating din sa premiere night ng pelikula nu’ng Lunes ang buong Bautista family — mula sa magulang nina Herbert, Hero at Harlene hanggang sa mga anak nila.
Naroroon din ang iba pang cast tulad nina William Martinez, Yayo Aguila, Susan Henson at ang leading lady na si Precious Lara.
The movie is showing on August 16 sa lahat ng SM Cinema.
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Nang tanggapin ni Gina Pareño ang digi-film na Kubrador ng MLR Films, ni hindi sumagi sa isip niya na gagawa ito ng pangalan internationally at magkakaroon ng Best Actress trophy sa International Critics Jury — Fipresci Award sa 8th OSIAN Cine Fan Festival of Asian Cinema.
Ang unang reaksyon niya’y nasorpresa dahil puwede pa pala siyang maging bida ng isang pelikula at her age.
“Nagti-taping ako noon ng Darna,” kuwento ni Gina, “nang tumawag sa akin si direk Jeffrey at sinabing gagawa kami ng movie na ako ang bida. Ako naman, sabi ko, ‘ganu’n?.’ Parang siyempre, nakatutuwa naman.
“Tapos, pinadala na sa akin ‘yung script. Nasa pangatlo pa lang akong pahina, nagandahan na ako sa karakter ni Annie na gagampanan ko nga.”
Nahirapan daw siyang gawin ang movie dahil metikuloso at perfectionist si direk Jeffrey.
“Ang lagi niyang instruction sa akin, bawas ng effort. Babawasan ko naman, pero bawas pa rin daw nang konti. Minsan, hindi ko na maintindihan kung paanong bawas ang gusto niyang gawin ko. Like sa death scene nu’ng anak ko, huwag ko raw patuluin ang luha ko.”
Pero nag-enjoy siya nang husto while doing the film dahil marami siyang natutunan sa direktor and never did she imagine na mananalo ng acting award.
Kahapon, nabigyan din ang pelikula ng “A” rating ng Cinema Evaluation Board (CEB). Ibig sabihin, entitled ito sa 100 percent ang tax rebate.
Sa mga hindi nakaaalam, nanalo rin ng Best Film, Best Director at Best Picture ang Kubrador sa Fipresci Award, ipalalabas din ito sa 31st Toronto International Film Festival, 11th Pusan International Film Festival, 26th Hawaii International Film Festival, 30th Sao Paulo International Film Festivalk, 27th Thessaloniki International Film Festival, 37th Vancouver International Film Festival, 33rd Brussels Independent Film Festival, 5th Asian film Festival in Mumbai and 7th Asiatica Film Mediale in Rome.
Dito sa atin, ipalalabas naman ito sa August 16, kaya huwag n’yong palampasin dahil maging ang ABS-CBN big boss na si Gabby Lopez ay na-impress nang mapanood ang pelikula.
And take note, siya pa ang neg-request sa produ na si Atty. Joji Alonso ng special screening para mapanood ang nasabing award-winning movie.
People's Tonight
8/9/2006 18:35 PM
http://www.journal.com.ph/index.php?page=news&id=9211&sid=6&urldate=2006-08-09
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Gina Pareño, naluha...
Jojo Gabinete
Gina Pareño
BIGLANG naluha si Gina Pareño sa presscon ng Kubrador noong Lunes habang ikinukuwento ang kanyang malungkot na nakaraan.
Napaiyak si Gina nang sabihin nito na nasaktan siya sa negative write-ups noon tungkol sa diumano’y pagtitinda niya ng mga duster sa Baclaran, pero sa katagalan, na-realize ng beteranang aktres na nakatulong ‘yon para magbagong-buhay siya.
Dalawang dekada na ang nakalilipas mula nang isulat ng yumaong entertainment columnist na si Giovanni Calvo ang pagtitinda ni Gina ng mga duster sa Baclaran.
Sa presscon ng Kubrador, itinuwid ni Gina ang maling tsismis. Totoong nagtinda siya sa Baclaran pero mga personal na gamit niya at hindi mga duster ang kanyang ipinagbili.
Nagsimba raw siya noon sa Baclaran Church at dito niya nakita ang kanyang kaibigan na Remy ang pangalan. May puwesto ng mga duster si Remy sa Baclaran.
Pumayag si Remy na makipuwesto si Gina sa kanyang stall para maibenta ng aktres ang mga gamit na hindi na kailangan.
Ayon kay Gina, kumita siya ng P80,000 sa dalawang araw ng Miyerkules na pagbebenta ng mga gamit niya sa puwesto ni Remy.
Nalaman ni Giovanni ang pagtitinda ni Gina sa Baclaran kaya isinulat niya na duster ang mga ibinebenta ng aktres.
Sinabi ni Gina na pasasalamatan niya si Giovanni sa isinulat nito kung nabubuhay pa ang reporter.
Ang artikulo ni Giovanni ang naging daan para makabalik sa showbiz si Gina na hinanap ng Viva Films at binigyan ng mga movie project.
Survivor ang tawag kay Gina ng mga kausap na reporter dahil sa batch ng mga baguhang artista na ipinakilala ng Sampaguita Pictures noong 1966, siya na lamang ang aktibo sa showbiz.
Si Gina ang counterpart noon ng mga young actress na pasaway ngayon.
Nasangkot siya sa maraming kontrobersya. Naranasan niya na gumamit ng ipinagbabawal na gamot sa loob ng limang taon, isang bagay na hindi ikinahihiyang aminin ni Gina.
Ang mahalin ang kanilang propesyon ang payo ni Gina sa mga young stars.
Apat na beses na nagbalik-showbiz si Gina kaya nagpapasalamat ito dahil patuloy siyang binibigyan ng pagkakataon sa kabila ng kanyang mga pagkukulang.
***
Si Gina ang lead star ng Kubrador, ang pelikula ni Jeffrey Jeturian tungkol sa jueteng na umani ng karangalan sa 8th OSIAN CineFan Festival of Asian Cinema na ginanap noong nakaraang buwan sa New Delhi.
Si Gina ang tinanghal na best actress, best director si Jeffrey, Best Film at Best Picture ng International Critics Jury (Fipresci) ang Kubrador.
Si Gina ang one and only choice ni Jeffrey para sa papel ni Amy, ang kubrador ng jueteng. Malaki ang pasasalamat ni Gina kay Jeffrey dahil binantayan nito nang husto ang kanyang acting.
Dahil naniniwala siya sa project at kay Jeffrey, ni minsan, hindi nagreklamo si Gina kahit inaabot ng 18 takes ang mga eksena niya.
Nang magkita sila sa Kubrador press interview, panay ang sabi ni Gina kay Jeffrey ng "I miss you Direk!"
***
Ipinagmamalaki ni Gina ang kanyang international best actress award. Bitbit daw niya ang trophy kahit saan siya magpunta.
Nanalo na noon si Gina ng acting award pero nawala raw ang trophy niya dahil sa kanyang "pagluluka-lukahan".
Pinupuri ng mga international film critic ang performance ni Gina sa Kubrador kaya posibleng masundan pa ang kanyang mga acting award.
Ipalalabas sa selected theaters sa August 16 ang Gina Pareño starrer. Magkasabay ang playdate ng Kubrador at Oh My Ghost ng OctoArts Films.
Naniniwala si Jeffrey na tatangkilikin ng audience ang Kubrador dahil iba ang plot nito sa Oh My Ghost. Umaasa si Jeffrey na malaki ang maitutulong ng international awards ng Kubrador para makuha nito ang atensyon ng Filipino moviegoers.
Pinabulaanan nga pala ni Jeffrey ang balita na binago o nire-edit ang ilang eksena ng kanyang pelikula. Nagtataka siya kung saan nanggaling ang tsismis. Wala raw binago sa Kubrador dahil kung ano ang print na ipinalabas sa 28th Moscow International Film Festival at Cinemalaya Independent Film Festival, ‘yun din ang mapapanood sa selected Metro Manila Theaters.
Ibinalita ni Atty. Joji Alonso (MLR Films producer) na inimbitahan ang Kubrador para ipalabas sa 31st Toronto International Film Festival, Pusan International Film Festival, 26th Hawaii International Film Festival, 30th Sao Paulo International Film Festival, 27th Thessaloniki International Film Festival, 37th Vancouver International Film Festival, 33rd Brusells Independent Film Festival, 5th Asian Film Festival in Mumbai at 7th Asiatica Film Mediale sa Rome.
http://www.abante.com.ph/issue/aug0906/main.htm
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Human rights
report is alarming
Jess Sison
Malaya
--------------------------------------------------------------------------------
HAS President Arroyo really survived the political and economic crises that confronted her and her administration? If you look at the President, you would say she has. She appears more confident now. She’s no longer tentative in her decisions. But the President could yet be a victim of over-confidence. It still looks like her administration is still under siege. This is mostly the fault of some officials around her.
The report of a delegation from the International Fact-Finding Mission (IFFM), a delegation composed of human rights advocates from Europe is very unflattering. The members of IFFM visited the families and witnesses of missing or assassinated judges, lawyers, journalists, activist and others in different parts of the country. The mission said that the human rights situation in the country today is "very alarming."
The IFFM said the human rights situation in the country is: (a) "Poor" record especially of the Task Force Usig created by President Arroyo to investigate extra-judicial killings; (b) Democratic institutions are weak like the PNP, the military, courts of justice and others; (c) Some government authorities themselves are the ones destroying the democratic institutions; (d) Up to now, there is no justice in so far as the killing of 15 lawyers, 10 judges and almost 700 persons; (e) Witnesses and families of victims of extra-judicial killings are threatened with death or bodily harm; and (f) The perpetrators of extra-judicial killings remain unknown. The government must really do something to stop the extra-judicial killings. In the long run, they will adversely affect the national economy.
The IFFM noted that PGMA in her SONA condemned the extra-judicial killings. But at the same time, the IFFM urged the President to take more concrete steps. It is the duty of the government to protect all its citizens no matter what their political beliefs are. The IFFM report was forwarded to The Hague. Now we are part of the international community covered by the IFFM radar, as far as human rights violations are concerned.
President Arroyo should now learn how to relax. Perhaps as a politician, she has been used to be on the move all the time, now she’s-here-she’s-there, she is almost everywhere. Now, it is only a case of influenza, but prevention is always better than cure.
Executive Secretary Eduardo Ermita, Press Secretary Ignacio Bunye, presidential chief of staff Michael Defensor and management staff head Arthur Yap joined dancing to hip-hop music when they welcomed the Black-Eyed Peas. One of the members of the famous American hip-hop group is Allan Pineda, a Fil-American.
President Joseph Estrada said he has become the favorite whipping boy of Malacañang. I can’t blame him. Every time something goes wrong, he is the usual suspect. In the latest controversy, Erap protested that his name was again used involving former Police Supt. Michael Rey Aquino and Leandro Aragoncillo, an FBI analyst who used to work in the office of Vice President Richard Cheney. He was accused for stealing highly confidential documents and handing them over to Aquino and then Aquino in turn forward the documents to top Philippine politicians. Sabi ni Erap: "Hindi akin yan si Aquino, kay Ping yan."
Is the four super regions a dream? Before her SONA, President Arroyo met with the regional coordinating councils. The President was able to gather information on the projects that the people of the regions need most: airports (in Cagayan, Boracay, Clark), windmills (Batanes and Ilocos Norte), San Roque Dam (Pangasinan) and many others. Palace officials swear that the super regions is not a dream.
It is a concept molded with the help with the regional coordinating councils. It will change the blueprint of progress so that the priorities in the infrastructure programs can be seen in a better light. But some governors and local officials are not happy because their pet projects were not mentioned by the President is her SONA. One governor in Samar pledged to do better next time. But many other local infrastructure projects were missed by the President in her SONA. She did not say anything on the education sector except when she praised the vocational program at the Northern Lyceum University.
No mention was also made of the solution to the ever-increasing cost of health services and medicines. This prompted some people to comment that there are no super projects for the poorest people. Neither did the President talk about the political issues, the eight impeachment complaints against her, the corruption case against agriculture undersecretary Jocelyn "Joc-Joc" Bolante, the linking of six bishops to coup plots, human rights abuses, the increasing prices of oil and other necessities.
Even with new Senate President Manuel Villar, there seems to be a wide and deep gap between the Senate and the House of Representatives on how to deal with the Cha-cha. Speaker Jose de Venecia Jr. expressed optimism that the constitutional amendments to effect a shift from a presidential system to a parliamentary form of government will be approved. He cited that the latest Pulse Asia survey showing 40 percent of the Filipinos favor Cha-cha, while 30 percent rejected it. But in a subsequent interview, Senate President Manuel Villar said that Cha-cha issue was not moving. "Hindi talaga gumagalaw," Villar said.
The movie industry is doing great especially if it keeps on winning international awards. About 3 or 4 months ago, the film industry was reported to be in doldrums. Only a few films were made for 2006, but it is now very active and kicking alive after Gina Pareño won the best actress award in the Osian Cinefan Festival of Asian Cinema in New Delhi, India. She was awarded the trophy for best actress in her role as bet collector in the movie "Kubrador" directed by Jeffrey Jeturian. The movie also garnered the Best Picture and Best Director awards. Another film entitled "Tulad ng Dati" won the best Full-Length Feature category of all-digital 2006 Cinemalaya Independent Film Festival and Competition which ended July 23 at the Cultural Center of the Philippines.
Email address: [email protected]
http://www.malaya.com.ph/aug01/edjesus.htm
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RP films shine in Hawaii fest
By Bayani San Diego Jr.
Inquirer
Last updated 12:12pm (Mla time) 08/02/2006
This autumn, the Louis Vuitton Hawaii International Film Festival (HIFF), now on its 26th year, will feature a special program on Filipino films to commemorate the centennial of Pinoy migration to the Pacific Islands, according to festival programmer Christian Razukas.
“It’s exciting,” Razukas told Inquirer Entertainment in an exclusive interview. “We’re hoping to highlight the renaissance in Philippine filmmaking with this new section.”
He noted that 25 percent of the state population is Filipino.
This year’s HIFF will run from Oct. 19 to 29. Among the early invitees are five to six films that include Jeffrey Jeturian’s “Kubrador.”
Razukas was in Manila recently for the Cinemalaya indie film fest. He said he watched “Kubrador,” the opening film, and the festival entries. After the screenings, he met with Star Cinema, Seiko and GMA Films executives.
He visited the country for the first time late last year, for the Metro Manila Film Festival, noting that its top winner, “Ang Pagdadalaga ni Maximo Oliveros,” went on to create “a lot of buzz” in the international circuit.
“It’s incredible. I can’t wait to bring Filipino films, both mainstream and independent, to the [Hawaii] festival. I am also hoping to showcase music videos of your local bands. The country’s independent music scene is amazing.”
According to Variety, HIFF “functions as a bridge between East and West.” It also has a spring festival, now on its 10th year, and a Korean program.
Razukas related that among the HIFF’s brightest "discoveries" is Chinese filmmaker Zhang Yimou, recipient of its first lifetime achievement honor last year.
US interest in Korean movies was sparked after Sundance festival director Geoff Gilmore caught several titles from that country in HIFF 1988.
What are some of the Filipino films previously shown at HIFF?
“We’ve shown 66 in the last 26 years. Last October, we screened Cesar Montano’s ‘Panaghoy sa Suba.’ In the past, we showed Marilou Diaz-Abaya, Gil Portes and Chito Roño films. Maryo J. de los Reyes’ ‘Magnifico’ got the grand prize in 2003. Last year, Ian Gamazon and Neill Dela Llana’s “Cavite” won Best Feature.
What is the HIFF all about?
“Our festival is about introducing Eastern cinema to the West.”
Where are the screenings held?
“Mainly in Honolulu, but also in the smaller islands.”
What brought you to the Philippines?
“The Cinemalaya film fest. It has produced movies that celebrate the Pinoy spirit and also boast amazing technical and production values and incredible performances.”
What led you to Filipino movies?
“We are looking at what’s going on in the Philippines with great interest. Independent filmmakers are showing a lot of creativity.”
What can help Filipino movies cross over abroad?
“You cannot predict what an audience will go for, but a mixture of mainstream and independent could break through in the US. It is important to [stick] to uniquely Filipino experiences.”
What attracts you, personally, to Filipino movies?
“These are stories that haven’t been told before. In the past, what we knew of the Philippines is only the struggle against poverty. These stories need to be told, but there is more to being Filipino than economic issues.”
Exactly what kind of movies do you want for HIFF?
“Movies that have a strong directorial vision, whether it’s in the context of a commercial bomba movie or in the Cinemalaya mold. I’m also interested in documentaries and music videos.”
How have Pinoy films fared among Hawaiian viewers?
“You have to make a generational distinction. We have the older, more traditional Filipino audience who prefer melodramas and romance stories. But we also have the younger and Western audiences looking for a window to a different world. These are the people who went wild at the premieres of [Marilou Diaz] Abaya’s ‘Rizal’ and [Chito] Roño’s ‘Dekada ’70.’
“Then, there was ‘Magnifico,’ which broke the mold. Filipino, European and American audiences came together for that film.
“That’s my goal: Encourage people not to focus on cultures but to simply enjoy film as art.”
http://globalnation.inq7.net/diaspora/diaspora/view_article.php?article_id=13049
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AT LARGE
Life is a ‘jueteng’ game
By Rina Jimenez-David
Inquirer
Last updated 09:07am (Mla time) 08/06/2006
Published on page A11 of the August 6, 2006 issue of the Philippine Daily Inquirer
ONE leaves the theater after a screening of “Kubrador” finally understanding why the illegal numbers game “jueteng” may never be eradicated, at least during our lifetime.
The kubrador in the movie’s title is a bet collector named Amy (Gina Pareño) who lives in a slum community and does her daily rounds visiting with her regular bettors and convincing them to try their luck—just once more—for as little as P10.
In the three days that is the movie’s timeline, Amy fills her days navigating the narrow alleys of the urban poor community where she lives, touching base with longtime friends, keeping herself updated on their lives, wrangling with her family members, especially her daughter who’s married to a ne’er-do-well, and haunted by memories and images of a dead son, a soldier who died in the battlefield.
At the same time, the audience is given a tour of the jueteng sub-culture, one which thrives on the desperation of the poor, but also operates through a complex structure of social and personal ties, where trust is enforced by social strictures. Amy is the embodiment of this trust. Her “suki” trust her to note down their favored numbers and transmit their bets to the collector. Her collector trusts that she hasn’t absconded with some or all of her collections. And should a two-number combination end up as the winning draw, everyone trusts that a kubrador like Amy will give the prize money to the rightful winner.
So trusted is Amy that on the side she also helps out the parish priest collect alms for the dead. The priest’s letter of appeal, the death certificate and the photo of the departed matter little. The donors trust Amy and know the proceeds will go to the bereaved family. And it never enters Amy’s mind to dip into her collections.
* * *
IN FACT, toward the film’s close, when it turns out that due to her husband’s absentmindedness Amy has failed to transmit a winning bet, she sets out despite the lateness of the hour to borrow the prize money, which she must now assume as her personal obligation.
Which may explain why jueteng persists despite the pronouncements of high officials and the denunciations of prelates. How could her neighbors ever think of someone like Amy as a criminal?
In her way, Amy holds her community together. From her person emanates a web of social relationships that preserves the social order: picking up news from one neighbor, relaying it to the next one she encounters; commiserating with the father of a promising student who was run over a few days after his graduation, she turns her attention to the preparations for the wake; arrested by police while in the line of duty, she intercedes for a less wily collector and then picks up the bets of cops in the station.
But Amy’s life and those of her neighbors are ultimately ruled by uncertainty. When your fate is in the hands of local authorities, landowners, police and the rich and powerful—planning your life is not only senseless and futile, but even foolish. Better to trust in the vagaries of a numbers game, and in the people who profit from it, for at least your lucky day may come and offer you temporary relief from your daily despair.
* * *
“KUBRADOR” is thus a reflection of what it means to be poor and powerless in the mean streets of the city.
It means living with chances and figuring out the odds for survival on any given day. It means reading the “signs” not for the meaning of life, but for clues to the winning combination. It means searching for happiness wherever one may find it, in one’s clever grandchild, as Amy does; or even in a TV game show, as her husband does.
At the movie’s opening, another kubrador is shown walking toward a house where a jueteng draw is taking place. He wears a T-shirt that proclaims: “Ituloy ang laban!—FPJ (Continue the fight!),” a slogan that made the rounds after the death of Fernando Poe Jr. whose frustrated presidential run spelled frustration for the millions of poor who saw him as an icon of their hopes.
And in the movie’s close, as Amy takes a day off to visit the grave of her dead son, she leaves his plot to cool off then witnesses an altercation between two hot-headed drivers, one of whom brandishes a gun. The gun wielder shoots blindly into the crowd, the bullet grazing Amy’s shoulder but hitting a teenager behind her. Amy walks away dazed, trying to make sense of the mayhem.
Life is a jueteng game for the poor—filled with random, senseless violence, fear and suspicion; but also with compassion and tolerance, hopes and endless dreams.
* * *
DIRECTOR Jeffrey Jeturian has always been a skilled cinematic storyteller. Even his sex romps, such as “Bridal Shower” and “Bikini Open,” proceed smoothly and contain biting social commentary that is worked in subtly and not pummeled into the viewer.
But in “Kubrador,” he has shown the maturity of his gifts. Using naturalistic camera movements and working with live sound, he gives the film a documentary feel. He brings the audience into the seamy streets and dark alleys of a slum, neither disguising nor exploiting the squalor and the poverty.
In Gina Pareño, who was awarded “Best Actress” in an international film festival held in India, Jeturian has found his perfect “Amy.” She so embodies the street-smart and resourceful kubrador that it is hard to imagine any other performer in the role. The years may have padded her features (though added to her buxom beauty), but Pareño remains a compelling performer. It is hard to take one’s eyes off her, dominant is she onscreen.
Pareño is aided by a remarkable cast of supporting actors, who lend authenticity and sympathy to the urban poor dwellers they bring to life, and whose stories of desperation they must tell.
http://opinion.inq7.net/inquireropinion/columns/view_article.php?article_id=13719
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Kalakaran ng pambabarat, sana maayos pa -- Gina
TELL & TELL
by : Mercy Lejarde
* * *
KUNG dito ay itinuturing lang na lola, nanay or aging star si Gina Pareño, puwes, sa ibang bansa, kung saan ito nanalong best actress para sa makabuluhang pagkakaganap bilang Amy sa digi-film na Kubrador, itinuring itong superstar, megastar at big star.
Dito nga naman kasi sa atin kapag tumatanda na ang isang artista ay nali-lessen ang pagiging star. As in, bituing wala nang ningning, ’ika nga. ’Di tulad sa ibang bansa, lalo na sa Hollywood, na the more na nagkaka-edad ang isang artista, the more na tumataas ang star value nito.
Aminado naman si Gina pagdating sa ganitong usapan.
“You have to face reality. Ang pelikulang Pilipino since time immemorial ganyan na talaga. Kaya I know where I stand. Maski na sabihin pang sa ibang bansa’y pinapalakpakan ako, na ang feeling ko sikat na sikat ako, na parang feeling ko bankable star ako, siyempre alam ko naman na dito, nanay na, lola ang role, kaya nakatapak pa rin ang mga paa ko sa lupa.
“Ang nakatutuwa lang, sa edad ko ngayon, na-experience ko pa ’yung ganu’n, ’yung oras na ’yon, talagang masarap ang feeling. Naramdaman ko ’yon doon.
“Ang hirap lang dito sa atin, kapag nanay-nanay na ang role or lola-lola, andu’ng babaratin ka, ’di ba? Para bang at their mercy ka, ‘yung ganu’n?
“Pero ang hirap kasing ayusin ’yung kalakaran na ’yon, ’di ba? Sana lang maayos. Kasi sa ibang bansa talagang inaalagaan ang mga artistang may edad na at binibigyang halaga,” mahabang tsika ni Gina sa presscon ng Kubrador nu’ng isang gabi.
Sa August 16 na ang showing ng pelikula, na ang tema ay tungkol sa jueteng. Ang tagline nito’y: “Life is a gamble... sometimes you lose... sometimes you win... and the name of the game is survival... it’s all or nothing.”
Tiyak daw na may mga matutumbok na mga kilalang personalidad dito sa Kubrador.
“Meron, pero hindi sila identified, like no names are mentioned. Walang ganu’n. Kumbaga, bahala na lang ang taong mag-isip.
“Kasi nga ang narrative voice ng pelikula is jueteng will never end for as long as the people high up there in government will not do anything to stop it or even be a part of the system.
“It’s either gawin na lang nilang legal or huwag na lang silang kumibo,” ang malaman na esplika naman ng producer na si Atty. Joji Alonso.
Well, kung sino man ang mag-react sa hanay ng mga politician at kapulisan, abangan na lang natin kapag showing na ang digi-movie.
* * *
http://www.journal.com.ph/index.php?page=news&id=9223&sid=6&urldate=2006-08-09
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http://www.passportmagazine.ru/article/494/
PASSPORT MAGAZINE (Moscow)
Summer Film Cocktail
From June to July, Moscow experienced fits of severe competition as countries contended in the FIFA World Cup for football's Holy Grail, films vied for the Moscow International Film Festival Grand Prix, and the Festival itself wrangled for an audience against the World Cup. And none too badly, judging by the crowds streaming, even on match nights, into Oktyabr Cinema, the main festival venue. Despite the usual zings about a drop in the quality of the selection, there were quite a number of films to look forward to on DVD. Here is a short list.
Volver (The Return)
Pedro Almodovar, Spain
Almodovar himself characterized this movie as "natural surrealism" and this is exactly the feeling you get while watching it. Consider: three murders, two cases of incest, one dead body in the fridge in a restaurant storage room and one ghost – all of which surprisingly enough feels palpably real, at least for 110 minutes. It's a movie where tragedy goes hand in hand with hilarity, and where drama is barely distinguishable from comedy. But first and foremost, this is a story of a family of women who manage to survive through fire, superstition, lies and even death, due to their love for each other and an unquenchable thirst for life. It is the return (volver) of the mother from the other world to apologize to her daughter, and the return of Almodovar to the genre of comedy, to a collaboration with Carmen Maura and Penelope Cruz, and to the beliefs of La Mancha where he grew up.
Kubrador (The Bet Collectior)
Jeffrey Jeturian, the Philippines
Far from being a very typical Filipino film, Kubrador may be easily overlooked by someone who is looking for pure entertainment. Bleak but humane, it shows three days in the life of aging bet collector Amelita (brilliantly played by Gina Pareno) who goes around her povertystricken neighborhood convincing people to entrust their hard-earned pesos to luck – jueteng, a popular numbers game first introduced by Chinese traders to colonial Manila. Although illegal on paper, everyone plays it, even policemen who detain Amelita in order to place bets a huis clos. Day after day, year after year, Amelita wanders around the maze of her shanty town, the maze of her life – not in search of happiness (she has long forgotten what it is), but in search of more numbers which remain her Ariadne's thread.
Le Courage d'Aimer (The Courage to Love)
Claude Lelouch, France
This is a film about love and love is the only theme for the main plot as well as the side stories. Lelouch jangles around his characters so professionally that we never lose track of what is happening on the screen. A street musician, an ambitious and charming kleptomaniac, a bartender and her twin sister, a rich but uneducated pizza magnate, an actress-owner of a chateau – their lives all come together in this film which remains light and rhythmic despite all the unexpected turns of the plot. Tragic at times, the story nevertheless brims with inexplicable French insouciance, thus making Le courage d'aimer as scrumptious as creme brulee and refreshing as a cool Sauterne.
Ask the Dust
Robert Towne, USA
Based on John Fante's novel and produced by Tom Cruise, Ask the Dust talks about Depression Era Los Angeles where fellow outsiders and would-be lovers are trying to catch the American Dream by the tail. Camilla Lopez (Salma Hayek), a seductive but tempestuous Mexican waitress, seeks a Prince with an Anglo-sounding last name, while Arturo Baldini (Colin Farrell), a first-generation Italian with much swagger but little bite, hopes – with the support of editor H.L. Mencken – to pen the Great American Novel. This period romantic comedy sparkles when the leads tussle in wittiness and willfulness, but later fades when the two get pseudophilosophical in an obvious attempt to justify the title. It ill suits a Cinderella yarn to get into longwinded discussions about the real meaning of the pursuit of happiness.
Der Rote Kakadu (The Red Cockatoo)
Dominik Graf, Germany
GDR asserts its claim here as a popular setting in contemporary German cinema. Unlike Goodbye, Lenin, the Berlin wall is yet to be erected in Der Rote Kakadu. So in spring 1961, East Berlin youth, though disturbed by the political atmosphere, dream of a stage designer career, swing to immoral rock'n'roll music and compose avant-garde poetry. "Red Cockatoo" is a club where they gather to dance and party, a place where love, jealousy, treachery and political games evolve. Politics always interferes in their lives and these young souls are forced to make a decision whether they want to stay in East Germany (either as subversive or slave to the regime) or to flee to the West.
La Science des Reves (The Science of Sleep)
Michel Gondry, France
Welcome to the Dream Factory! Or maybe a dream kitchen, where Stephane (Gael Garcia Bernal) tosses daily impressions, carton boards, cellophane, cotton and imagination all in one pot. The whimsical half-Mexican youth returns to Paris persuaded by his French mother to take up a new job, but life cannot compete with the throbbing reality of his dreams. This wide-eyed wonder both attracts and confuses Stephanie, a pragmatic neighbor whose willingness to understand draws Stephane in as well. Stephane could easily be Amelie Poulain's brother and may even surpass her in sincerity, dreaminess, and charm.kadu (The Red Cockatoo)
Dominik Graf, Germany
GDR asserts its claim here as a popular setting in contemporary German cinema. Unlike Goodbye, Lenin, the Berlin wall is yet to be erected in Der Rote Kakadu. So in spring 1961, East Berlin youth, though disturbed by the political atmosphere, dream of a stage designer career, swing to immoral rock'n'roll music and compose avant-garde poetry. "Red Cockatoo" is a club where they gather to dance and party, a place where love, jealousy, treachery and political games evolve. Politics always interferes in their lives and these young souls are forced to make a decision whether they want to stay in East Germany (either as subversive or slave to the regime) or to flee to the West.
La Science des Reves (The Science of Sleep)
Michel Gondry, France
Welcome to the Dream Factory! Or maybe a dream kitchen, where Stephane (Gael Garcia Bernal) tosses daily impressions, carton boards, cellophane, cotton and imagination all in one pot. The whimsical half-Mexican youth returns to Paris persuaded by his French mother to take up a new job, but life cannot compete with the throbbing reality of his dreams. This wide-eyed wonder both attracts and confuses Stephanie, a pragmatic neighbor whose willingness to understand draws Stephane in as well. Stephane could easily be Amelie Poulain's brother and may even surpass her in sincerity, dreaminess, and charm.
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The tax rebate will be nothing or just written in the water, if the Filipinos will not support this movie on Aug. 16.
Just one week run will be ok, just one week, not 3 days.
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saw the trailer.
too much was told. :P
Hopefully, it will last more than a week. Sana dumugin ng mga tao. ;D
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The best picture of 2006 (so far)
STARBYTES By Butch Francisco
The Philippine Star 08/10/2006
We already have a best picture for 2006. And the winner is – drum roll – Kubrador!
Now, if something even more superior comes along this year, then all the better for the local film industry. But Kubrador – as directed by Jeffrey Jeturian – is a tough act to beat.
From the start of the film, it is already impressive – but without calling attention to itself. Kubrador’s opening is done a movie device referred to in local film lingo as tuhog – where the action flows continuously, disregard editing points and without the director shouting, Cut! (Tuhog, incidentally, is also the title of Jeturian’s best film – before Kubrador, that is).
That entire opening sequence is a marvel in itself because it is difficult to do since it goes through alleyway after alleyway that seems to be populated by 10 million people who all cooperate with the production people. This is a directorial feat because you orchestrate the movements of countless movie extras who have no acting experience behind them. It was like directing The Ten Commandments and Ben-Hur, except that Jeturian doesn’t use professional Hollywood extras with Screen Actors’ Guild cards.
The opening scene actually serves its purpose well because it introduces the moviegoers to the events that are about to unfold in the film.
Written by Ralston Jover, Kubrador follows the day-to-day life of a jueteng bet collector as portrayed by Gina Pareño. The film has no major conflicts. The movie instead makes us realize that we already have enough conflicts in our day-to-day existence.
Each day is a battle not only for the poor, but also for the rich – as shown by the character played by Johnny Manahan as a jueteng operator who has to make the corrupt among government officials happy by giving them grease money regularly. (Look closely at those small brown envelopes when you see this movie.)
There are no shock values in Kubrador either – nothing of the extraordinary, maybe except for that one scene in the film where there is a shooting incident in the cemetery on All Saints’ Day. But then, didn’t that really happen one All Saints’ Day at a popular memorial park?
What is shocking to me is the fact that a producer – lawyer Joji Alonso – would gamble on a film like Kubrador, which has no commercial value and is merely banking on merit (oh, it has plenty!). But I hope and pray she wins the jackpot on this one. (Those who keep saying that Filipinos do lousy pictures better watch this film so that you’d all shut up).
I fervently wish it would take the same route followed last year by Ang Pagdadalaga ni Maximo Oliveros. After winning accolades in film festivals abroad – which is what is happening to Kubrador at the moment (hurray for Filipino films!) – the movie eventually gets shown commercially in local theaters where there is an audience waiting for it. I hope the exact thing happens to Kubrador – even better.
I don’t think it would be a blockbuster hit like Sukob (but I’m hoping in my heart it would), but word of mouth about what a great film it is may just prolong its showing at the theaters.
Of course, Kubrador is different from Ang Pagdadalaga. Ang Pagdadalaga somehow has little cute humorous scenes here and there, while Kubrador is more serious.
But that doesn’t necessarily make Kubrador any less interesting than Ang Pagdadalaga. Kubrador may not have big scenes, but every moment is engrossing – and that is the magic of the film.
The artistic success of the film may also be attributed to lead star Gina Pareño and there is only one word to describe her in the movie: Natural. Okay, I will make those two words: Naturally great.
Ms. Pareño had always been an exceptionally good actress – way back during her Sampaguita Pictures days. But this time, she gives the best performance of her life.
And now that we have a best picture in Kubrador (which was graded A only the other day by the Cinema Evaluation Board), I will move on to best actress and my bet (not in the next jueteng draw, but in the awards races next year) is none other than Gina Pareño.
She only has to worry about Cherry Pie Picache, who plays a butch in Brillante Mendoza’s Kaleldo. But other than Ms. Picache, Gina Pareño is the strongest contender for best actress.
Other lead actresses are well-advised to put off writing their acceptance speeches until the year after next and make way for the veteran.
http://www.philstar.com/philstar/NEWS200608101702.htm
*******
Inquirer
Last updated 00:15am (Mla time) 08/10/2006
Published on Page D1 of the August 10, 2006 issue of the Philippine Daily Inquirer
THE Cinema Evaluation Board (CEB) has given an “A” rating to “Kubrador”—a film that chronicles three days in the life of a jueteng collector—citing “effortless storytelling” as one of the reasons for the distinction.
The Jeffrey Jeturian movie is the first film to be given an “A” rating this year, according to CEB chair Christine Dayrit.
“‘Kubrador’ is technically excellent,” Dayrit told Inquirer Entertainment on Tuesday. “The characterization is well-developed. Its director is well-motivated and very keen on details. It may be a social commentary on jueteng, but it is not preachy.”
All-out support
The “A” rating entitles “Kubrador” to a 100-percent amusement tax rebate. As an added incentive, the CEB will pay for Jeturian and lead actress Gina Pareño’s trip to the 11th Pusan International Film Festival in Korea on Oct. 15-18.
Dayrit said MLR Films, “Kubrador” producer, gets to reimburse from the CEB the $2,000 used for the movie’s subtitling and the P65,000 spent for printing.
““Kubrador” is the first digital film to receive such support from the CEB,” Dayrit pointed out. “We will also coordinate with the Department of Tourism and the Philippine consulate in Korea to help promote the film there. We hope Filipinos in Korea would be able to watch it.”
Jeturian said he is very thankful to the CEB, as “this will help my producer recoup her investment.”
Joji Alonso, executive producer, said her production team was “hoping for an “A” rating, but didn’t expect it.”
She added: “It’s hard to determine how people here would react to it. Although people in other countries liked the film, we’re still not sure if the reaction here would be the same.”
Only last month, “Kubrador” bagged four of the five major awards in the Osian Cinefan Festival of Asian Cinema in New Delhi, India. The movie won Best Film, Best Director for Jeturian and Best Actress for Pareño, and brought home its second International Federation of Film Critics (Fipresci) jury prize.
Last week, “Kubrador” received its 12th international film fest invitation. It will be screened at the 2nd International Eurasia Film Festival in Antalya, Turkey, Sept. 16-23.
Film market
The Pusan film fest will coincide with the 1st Asian Film Market, also in Korea, where a Philippine delegation is set to attend. Directors Joyce Bernal, Cirio Santiago, Ray Malonzo, and producers Tony Gloria, Vincent del Rosario, Lily Monteverde, Tikoy Aguiluz have all agreed to participate, said Dayrit.
Dayrit added that the $1,700 needed for the use of a 40-sq.m. booth at the film market will be shouldered by the Film Development Council of the Philippines (FDCP). “We will also produce a brochure and a video wherein all the films we will sell in the event will be listed,” said Dayrit, who is also the FDCP vice chair.
Starting Aug. 16, “Kubrador” will be shown in theaters at SM Mall of Asia, Glorietta 4, Market Market, SM Megamall, Gateway Mall Cubao, Robinson’s Ermita and Cinerama Recto.
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=14369
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Insider
Billy Balbastro
Ang Kubrador ng MLR Films ay ni-review ng Cinema Evaluation Board last Tuesday morning. Binigyan nila ito ng A-rating or 100% tax exemption.
Ang boto ng CEB: 14 members para sa A-rating; two members for B-rating.
Ipalalabas na ang Kubrador, starring Gina Pareño, sa mga sinehan next week, August 16.
Ang A-rating ay inaasahan namin para sa Kubrador na nanalo ng FIPRESCI (film critics) awards sa 28th Moscow at 8th Osian New Delhi filmfests.
Nanalo din ito ng best picture at best actress (Gina Pareño) sa Osian.
As of yesterday, invited na ito sa 9 festivals later this year: Toronto, Eurasian sa Antalya (Turkey) at Vancouver this September, Pusan (Korea), Hawaii at Sao Paolo (Brazil) sa October; Mombai, Thessaloniki, Brussels at Rome sa November.
Ayon mismo kay Atty. Joji Alonso, isa sa mga prodyuser, buwenas sa kanila ang numerong otso. As in 28th Moscow at 8 Osian festivals, triple 8 sa petsang August 8, 2006 nang ni-review ito ng CEB.
Magiging big hit kaya ang Kubrador na ipalalabas sa August 16? Aba, otso ang August at doble otso ang petsang 16. Abangan.
http://www.abante-tonite.com/issue/aug1006/main.htm
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Saw the poster at UP Film Center. Kubrador will have an advance screening there on Aug. 14, 7:30 PM.
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Pinoy na Pinoy!
Billy Balbastro
A week before it hits downtown theaters, Kubrador-- Jeffrey Jeturian’s big small film for MLR Films of Atty. Joji Alonso and company – is making a lot of publicity noise.
Iba ‘to!
No publicity slants on love teams, horrific plots, gigantic budget or an all-star cast.
But this: It got an A-rating from the Cinema Evaluation Board last Tuesday, August 8, with 14 members voting for an A and two members opting for a B.
This means that Kubrador gets a full rebate from taxes on its gross receipts in theaters. Recently, only Ilusyon and Maximo Oliveros got an A from CEB.
And here’s another: One week before showing here, Atty. Joji Alonso gets word that Kubrador is being invited to the London International Film Festival, from October 18 to November 2 – actually this is its 13th foreign festival this year.
As Atty. Joji puts it: "Direk Jeffrey has five fests to attend this October. Dusa talaga!"
Since August marks its playdate here in home country, Kubrador which has already two foreign festivals and four awards to its name in Moscow last June and New Delhi (Osian Cinefan) in July, starts its festival-hopping in September.
This September it goes to three festivals: The 31st Toronto International Film Festival (September 7 to 16), the 2nd International Eurasia Film Festival at Antalya, Turkey (September 16 to 23) and 37th Vancouver IFF (September 28 to October 13).
The other October filmfests include: 11th Pusan IFF (Korea) on October 12 to 20, 26th Hawaii IFF on October 9 to November 5; the 5th Asian Film Festival in Mumbai in October; the 30th Sao Paolo IFF (Brazil) on October 20 to November 2.
To complete the 13 filmfests Kubrador is invited to are the three festivals in November: the 33rd Brussels Independent Film Festival, November 7 to 12; 27th Thessaloniki IFF (Greece), November 7 to 24, and the 7th Asiatic Film Mediale (Rome) in November. More is expected for December and next year.
Add to this well-composed story and script of Ralston Jover, with Armando Lao’s supervision; the excellent camera eye of Roberto (Boy) Yniquez; excellent acting ensemble of Gina, Johnny Manahan, Fonz Desa, Soliman Cruz, Nico Antonio, Ran del Rosario and Nanding Josef.
Plus Jeffrey Jeturian’s brilliance evidence in past films like Tuhog, Pila Balde and Bridal Shower. In Kubrador, he outdoes himself.
If ours is a jueteng country and every Filipino seems to know what jueteng is, then Kubrador is our movie. It is here everyone to appreciate.
http://www.abante.com.ph/issue/aug1106/main.htm
***
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CEB, matulungin sa movie industry
Billy Balbastro
Malaking tulong ang tax rebates na ibinibigay ng Cinema Evaluation Board sa local producers. Naggi-grade sila ng pelikula, ang merit nito.
Kung B-rating ang iginawad sa movie, 65% ang rebate (discount) sa entertainment taxes on gross receipts sa mga sinehan.
Kung A-rating, full rebate o walang entertainment tax ang movie.
Dahil kokonti na lang ang gumagawa ng pelikula, very encouraging ang stand ng CEB. Buwan-buwan, may mga movie na nabibigyan nila ng B-rating.
Noong Film Ratings Board pa ang CEB, may kahigpitan ang pagbibigay ng tax rebates. Since 1985 na nabigyan ng A ang Private Show ni Chito Roño (pseudonym: Sixto Kayco), wala yatang lima ang nabigyan ng A in 17 years of existence ng FRB.
At wala nga sigurong 40 films ang nakakuha ng B-rating mula sa FRB.
Iba na ngayon ang CEB na tila pro-producer at pro-industry. Naging tulong sila sa industriya sa kasalukuyan. Industry-friengly ang CEB.
Kahit walang 30 films ang output ng mainstream industry sa kasalukuyan, maraming nakatanggap ng B-rating.
Pero sobra naman ang obserbasyon ng iba riyan na tila ibinaba ng CEB ang standards nila to accommodate producers.
Aba, tama na nabigyan nila ng A-rating ang mga digital films katulad ng Ilusyon, Ang Pagdadalaga ni Maximo Oliveros at Kubrador dahil magaganda talaga ang mga pelikulang iyon.
Meron din silang pelikulang tinanggihan. Kahit nag-enjoy kami sa pagpanood at alam namin ang hirap na dinanas ng mga artista at direktor sa paggawa ng Batas Militar ni Jess Lapid Jr., hindi nila ito binigyan ng grade.
May mga angal sila sa pelikula at nang tinanong namin si Ms. Christine Dayrit, ang Chairperson ng CEB, sabi niya: "As chairman, I am there only to break a tie. I can’t even vote."
Kung karamihan sa CEB ay bilib sa Kubrador by giving it an A-rating at dalawa lang ang nagbigay ng B (sina Chinggoy Alonso at Tommy Abuel), last Tuesday ni-review din nila ang Umaaraw, Umuulan at hindi ito pasable sa CEB.
Anim na reviewers sa CEB ang nag-rate dito ng B pero siyam ang ayaw.
***
http://www.abante-tonite.com/issue/aug1106/main.htm
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No more ‘jueteng,’ ‘Kubrador’ opens Aug. 16
By Pepe Diokno
Inquirer
Last updated 04:49pm (Mla time) 08/11/2006
THERE COMES A TIME in every teenager’s life when he must stop watching “Life As We Know It” for his weekly fill of drama. This year, let this time be Aug. 16. There also comes a time in every A/B Metro Manila resident’s life when he is jolted by the poverty and corruption around him. This should happen everyday, but if it hasn’t, let this be on Aug. 16.
On Aug. 16, Jeffrey Jetturian’s “Kubrador” opens in theaters around Metro Manila. Before anything, though, two things probably need explanation. A “kubrador” is one who collects bets for “jueteng,” while jueteng is an illegal numbers game popular in the country. “Kubrador” follows Amelita, a bet collector wonderfully played by Gina Pareño. Amelita collects bets while she works her way through a maze of corruption and poverty. As she does this, she keeps her fatigue and her grief over her dead son to herself. Though the movie centers on her, it’s a peek into a world that is around us but ignored.
Amelita is society
“Kubrador” raises questions that need to be tackled in society. It’s more than the jueteng issue—it’s a variety of problems. There’s corruption, poverty, and a whole load of things. But not only does “Kubrador” show us these issues, it presents the way our society deals with them.
Amelita keeps her emotions bottled in as she struggles to make money. She’s a symbol of society—life’s a struggle for a lot of us, and we’re so engrossed with solving our immediate problems, that we lose sight of the big things. However, we see at the end of the film that the big things are the ones that bring us down.
When we see that Amelita is lost, we know why. The grief and fatigue overpower her, her emotions pile up and explode. That is so similar to Filipino society now. We’re a society that’s so engrossed in solving immediates (economy, infrastructure, and stuff), and we refuse to solve the big problems (inequality and injustice, among other things). We’re lost, just as Amelita is. It takes “Kubrador” to make us realize why.
Don’t let my analysis discourage you from seeing the film, though. (“Social issues, nooo!”) “Kubrador” is entertaining. Behind it is a clever script by Joel Jover—it’s not too heavy, it’s even funny at times. There are no Sharon Cuneta lines, but that doesn’t make it any less memorable. It makes it less laughable—I don’t think we’ll be hearing any “Kubrador” lines in a video featuring Jojo Alejar.
Gina Pareño isn’t Gina Pareño
Joel’s script is masterfully used by Gina Pareño. I can use all the positive superlatives there are in this world to describe Gina Pareño’s acting in this movie, and I promise you won’t be let down. Something has to be said about how she stepped into a character’s psyche. Very few actors are able to do that.
In the past few years, Oscar winners have been those who have played characters based on real people. There’s Jaime Foxx’s “Ray,” and Philip Seymore Hoffman’s “Capote.” The explanation for this is that the actors “became” Ray Charles and Truman Capote. But these actors had it easy. They had actual subjects to study, and if they failed to connect to the audience, they had the “but that’s really how (blank) was!” excuse.
Imagine having to think up a character, and not having one subject to base your performance upon. Imagine having to make this character “real” despite it being a product of your imagination. Imagine having to be able to connect with an audience, to make them feel for a character they’ve never seen before, let alone really care about. It’s impossible, but that’s what Gina does.
Most actors ask, “Do I have to cry in this scene? At what line?” You can tell, just watching the film, that Gina Pareño asks, “Would Amelita cry in this scene? What would Amelita do if so and so happens?” She’s so good at it, you don’t even think she’s acting. When the film ends, you feel like you’ve left a person you’ve spent the last three days with.
Hidden Mickeys
Just as Gina disappears into Amelita, Jeffrey Jetturian disappears into the film. There are very few directors who are willing to disappear into their films. I’ll tell you, but just between us, that a lot of us new directors like saying “Hey, look at me! Look what I can do!” I mean, there are movies that you watch and go, “Ah, the director did this and that,” then there are movies that you watch and get so involved in.
“Kubrador” is the kind of movie you watch and get lost in. That is what makes it brilliant. You become unaware that you’re watching a film—you feel like you’re watching the life of Amelita. And in the end, that is what filmmakers should do. It’s easy to call attention to one’s self, it’s effing hard to let go of your ego and realize it’s not all about you.
The technicals are down-pat, too. The movie was shot with high definition digital cameras. (It was later “blown up” to film format.) It was shot kinda like a documentary-not just in terms of the way the camera was held. There were a lot of long takes—that means using just one take for a few minutes—that involved Gina Pareño moving through the community, talking to a bunch of people, running into a bunch of objects and animals and stuff. (Imagine all the effort it took to get everything in sync in one take! Go, Jeffrey Jetturian!)
The film has won numerous awards in Berlin and, most recently, in India. It has been given international critics prizes. Gina Pareño has been awarded best actress, and the film has been called one of the the best in Asian cinema.
Now, I could go on with, “If you love your country, support its arts and yadayadayada!” Or I could say, “We complain about the quality of Filipino movies, here is a movie that goes against the grain, blahblahblah.” But I won’t say that. Filipino films should no longer be a charity for audiences. And I know all that talk doesn’t work anyway; we bask in apathy.
So I’ll say, “If you want to be entertained, and you don’t want to be left out of next week’s discussions, watch ‘Kubrador.’” I’m not lying. You’ll miss out if you don’t see it.
“Kubrador” opens on Aug. 16 at the following malls: SM Megamall, SM Mall of Asia, Gateway, Glorietta 4, Market! Market, Robinson’s Manila, Ffestival Mall, Alabang Town Center. Its English title is “The Bet Collector.”
http://showbizandstyle.inq7.net/lifestyle/lifestyle/view_article.php?article_id=14776
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Jojo Gabinete
ABANTE
8/13/06
***
Nanghihinayang si Gina Pareño dahil hindi nagamit ang kanyang video camera na dala nang dumalo sila ni Jeffrey Jeturian sa awards night ng 8th Osian Cine Fan Festival of Asian Cinema sa New Delhi, India.
Hindi umasa si Gina na mananalo kaya nagulat sila ni Jeffrey nang tawagin ang kanyang pangalan bilang winner sa best actress category.
Kasama nina Gina at Jeffrey sa awards night ang ambassador ng Pilipinas sa India pero dahil nataranta na sila, nalimutan nang gamitin ang kanyang bitbit na video camera.
Kamag-anak ni Miriam Quiambao ang ambassador sa India at ayon kay Gina, nangako si Ambassador Quiambao na hihingi ito ng kopya ng awards ceremony mula sa filmfest organizer para may souvenir ang aktres.
Unang international award ni Gina ang best actress trophy para sa pelikulang Kubrador kaya gustung-gusto niya na magkaroon ng kopya ng awards night ng Osian Cine Fan Festival.
Hindi malilimutan ni Gina ang paninindig ng balahibo nang tawagin ang kanyang pangalan bilang best actress winner.
Masayang-masaya rin si Gina sa mga papuri na nababasa tungkol sa performance niya sa Kubrador, lalo na ang opinyon ng isang film critic na mahirap matalo ng ibang aktres ang kanyang pagganap.
***
Meanwhile, ipinadala sa amin ni Atty. Joji Alonso ng MLR Films ang review ng Cinema Evaluation Board sa Kubrador. Rated A ng CEB ang award-winning movie ni Jeffrey Jeturian at ito ang CEB review:
The CEB members heaped accolades on Kubrador. The film was given a well-deserved ‘A.’ Kubrador was "beautifully and skillfully directed – perfect mixture of all elements."
"Filmmakers should be encouraged to make more movies like this."
Jeffrey Jeturian’s direction was "excellent" and "his best to date."
"He was able to poignantly depict a moving tale of a character’s psyche and situation." His direction was unobtrusive but very strong. The film is shot almost as a documentary."
Jeturian veers away from the histrionics and melodrama that we find in other films that mine the poor’s plight for self-serving reasons.
There is no shrieking here, no climatic stealing of the P180,000 winning, no pontification, no obligatory bad guys who prey on the helpless.
It is quiet, touching and very true. Ironically, by taking this braver more serene route, the film slams you with a bigger wallop and delivers a bigger eye-opener.
As one CEB member says, "He took the hardest way of directing and yet he succeeds!"
The acting is "excellent and is totoong-totoo."
Quoting from one member, "…the acting is extremely well done by all.
It seemed as if they were not actors at all."
They are all very natural, very real and so believable – from the superb Gina Pareño to the support cast, to the bits and extras and even the atmosphere crowd.
http://www.abante.com.ph/issue/aug1306/main.htm
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8 reasons why KUBRADOR is the must-see movie of the year
1. Know the truth about jueteng, the illegal numbers game.
2. Gina Pareno gives the best performance of her career.
3. Jeffrey Jeturian directs the best movie of his career.
4. It was the unanimous choice of the FIPRESCI, the international movie critics body, as Best Film in Competition at the 28th Moscow International Film Festival and the 8th OSIAN Cine Fan Festival of Asian Cinema.in New Delhi, India.
5. It won Best Picture and Best Actress at the 8th OSIAN Cine Fan Festival of Asian Cinema.
6. The Cinema Evaluation Board (CEB) graded it A, the 1st for 2006.
7. It is MY story.
8. It is YOUR story.
OPENS AUGUST 16
SM Mall of Asia / SM Megamall / SM Southmall / SM Manila / SM North EDSA / Robinson's Galleria / Robinson�s Place Ermita / Gateway Araneta Center / Glorietta 4 / Market Market / Festival Mall
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Jeffrey Jeturian's film KUBRADOR Opens Aug.16 in MM after winning in Moscow&New Delhi
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Jeffrey Jeturian's KUBRADOR, winner of major prizes at Moscow and New Delhi, will finally be shown in in Metro Manila Theaters on August 16, 2006.
It will be screened simultaneously in the following theaters:
SM North EDSA
SM Mall of Asia
SM Megamall
Glorietta 4
Gateway in Cubao
Robinson's Ermita
Cinerama Recto.
Market Market
We used to complain about trashy Filipino films. Here is one film that dares to go against trash and formula pervading mainstream cinema today.
If you are Filipino, if you love your country, and if you really care about the future of Philippine Cinema please support films like KUBRADOR.
2006 FIPRESCI Prize, 2006 Moscow International Film Festival
Best Picture, Best Actress (Gina Pareno) and FIPRESCI Prize, 8th Osian-Cinefan International Film Festival (New Delhi, India)
KUBRADOR has also been accepted to have its premiere in the following international film festivals:
KUBRADOR is also set to have its premiere in the following international
film festivals:
1. north american premiere at 2006 Toronto International Film Festival,
Canada (September 7-16, 2006)
2. 2006 Vancouver International Film Festival, Canada (September 28-October
13, 2006)
3. turkish premiere at the 2nd international eurasia film festival in
antalya from 16 to 23 september
4. bollywood premiere at mumbai's 5th asian film festival from 12 to 19
october
5. 2006 Pusan International Film Festival, Korea (October 12-20, 2006)
6. UK premiere on18 october to 2 november at the 50th london international
film festival
7. US premiere at the Louis Vitton-Hawaii International Film Festival
(October 19-29, 2006)
8. latin american premiere at 30th São Paulo International Film Festival /
30ª Mostra Internacional de Cinema, Brazil October 21-November 3, 2006)
9. balkan premiere at Thessaloniki International Film Festival, Greece
(November 7-23, 2006)
10. western european premiere at the 33rd brussels international independent
film festival from 7-12 november
11. italian premier at the asiatica film mediale in rome from 18-26
november.
12. french premiere at the 26th amiens international film festival from 10
to 19 november
13. Iberian premiere at the Sección Oficial of Spain's 51st Valladolid international film festival from 20 to 28 October
*******
From Variety ---the Bible of Hollywood
• VarietyCareers By Russell Edwards
'Collector' cleans up at Cinefan
NEW DELHI -- Filipino wrong-side-of-the-tracks meller "The Bet Collector" (Kubrador) collected some heavy winnings Sunday at the closing ceremony of Osian's Cinefan Festival of Asian Cinema here.
Pic, which revolves around a housewife who sells tickets for a numbers racket in Manila's slums, won best film awards from both the Asian Competition and Fipresci juries at the fest's eighth edition.
The Asian Competition jury, which included vet helmers Stanley Kwan and Ryuichi Hiroki, also presented the actress prize to "Bet Collector's" star, Gina Pareno. The jury declined to give an actor award.
A special jury prize went to 2005 Turkish film "2 Girls."
The Indian Competition jury gave its top film award to digital pic "The Cleansing Rites" (Suddha), directed by Ramachandra Pn, while the stars of "Calcutta Unabashed" (Bibar), Tannishta Chatterjee and Subrat Dutta, collected actress and actor gongs, respectively.
The Network for the Promotion of Asian Cinema jury awarded its prize to Thai meller "Midnight My Love" (Cherm).
Awards ceremony was followed by screening of fest closer "Offside," the 2006 Berlin Silver Bear winner from Iranian helmer Jafar Panahi.
Cinefan's definition of Asia embraces countries from Indonesia to Turkey; in recognition of the Indian diaspora, fest also screened pics from outside Asia such as Murali K. Thalluri's Australian "2.37" and Varun Khanna's "American Blend."
"The Bet Collector" (Kubrador), Jeffrey Jeturian
Gina Pareno, "The Bet Collector"
Tareque Masud, Catherine Masud (Bangladesh) Tsao Jui-Yuan (Taiwan)
(Suddha), Ramachandra Pn
Subrat Dutta, "Calcutta Unabashed" "Calcutta Unabashed"
(Nayi Neralu), Girish Kasaravalli
(Cherm), Kongdej Jaturanrasamee
http://movies.go.com/variety/feature?featureid=842303
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FREEHAND
by : Mario E. Bautista
KUBRADOR’ NOT AFRAID OF ‘OH MY GHOST’
WHAT is the usual comment Director Jeffrey Jeturian get from foreign viewers who’ve seen his “Kubrador” (which got an A rating from the Cinema Evaluation Board, meaning they find it so good it will get 100% tax rebate) at the Moscow and New Delhi Filmfest where it won the best film prize from the critics? “That it’s very honest,” he says. “They all find Gina Pareño in the title role brilliant. They’re also amazed at how we shot the film in the slums of Botocan near Sikatuna Village with its very narrow alleys.”
Jeffrey admits that he’s very nervous about the film that opens on August 16. “Let’s face it, it’s not the kind of film that will attract our moviegoers. But we’re hoping that the fact it won awards and acclaim in international filmfests will help attract viewers to watch it, like ‘Masahista’ and ‘Pagda-dalaga ni Maximo Oliveros’ that did well in the theaters after winning awards abroad.”
Is it true they’re showing a tamer version here? “No. The MTRCB approved it as is. It will be shown uncut, the same one seen abroad.”
Isn’t he afraid that they will be shown at the same time as “Oh My Ghost”? “Well, iba naman ang market noon sa kind of viewers who’d want to watch out ‘Kubrador’. I hope all those who complain that walang katuturan ang local will watch our film to show support for our effort to come up with something that truly mirrors what’s happening in our society.”
How did “Kubrador” start? “The writer, attended the screenwriting workshop of Bing Lao and submitted the script. Bing forwarded it to me and I gave it to our producer, Atty. Jojit Alonso, who approved it. After we did ‘Minsan Pa’, we want something more manageable.
We thought we could shoot this in 6 days, but since we’re using a handheld camera na mahirap ang blocking, inabot din ng 12 days. Gina is supposed to be paid only for six days, but she just so loves the film na hindi na siya naningil noong six extra days.”
So what’s next after “Kubrador”? “I have an offer to do a remake of Ishmael Bernal’s ‘Working Girls’ with Gina again in it. And we have the script of a new writer, Vincent Silarde, that’s very political. It’s like the controversial ‘Fahrenheit 9-11’. It’s the story of five different thieves, and the fifth thief is someone who stole the elections in our country.”
http://www.journal.com.ph/index.php?page=news&id=9797&sid=6&urldate=2006-08-15
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BILLY BALBASTRO
It’s Oh My Ghost, a ghost-comedy movie, vs. Kubrador, drama-reality film in downtown theater tomorrow.
It’s Marvin Agustin and Rufa Mae Quinto vs. Gina Pareño. The best actor of Metro Manila Film Festival 2005 (Kutob) vs. the best actress of the Osian Cinefan Festival for Asian Cinema in New Delhi, India of July 2006.
While Oh My Ghost is a mainstream movie with some 60 prints for the many theaters it has (almost a hundred), Kubrador, an Indie film has eight prints for the 12 theaters it has tomorrow.
One can say that "walang kalaban-laban?" But who knows?
After all, Kubrador banks on its inherent quality which won two international film critics awards (FILPRESCI) in the 28th Moscow filmfest last May and 8th Osian’s Cinefan Festival in New Delhi last July, where it won best actress for Gina too.
Prior to its opening in downtown theaters tomorrow, Kubrador got its 13th festival invitation for London last Thursday and its 14th for Morocco last Saturday.
Its earlier invitations: Toronto, Antalya (Turkey) and Vancouver in September; Pusan, Hawaii and Sao Paolo (Brazil) in October; Thessaloniki (Greece), Brussels, Rome and Mumbai in November.
Producer Atty. Joji Alonso expects its 15th invitation to the world festivals before the movie itself opens in 12 theaters tomorrow.
"Our movie is about jueteng, a very popular game still with us, and well, female kubradors are familiar sights," says Atty. Joji who believes that this Jeffrey Jeturian movie will appeal to everyone.
So as part of her promotions, Gina Pareño who portrays Amelita in Kubrador will have her market tour this morning: The Balintawak, Munoz, Nepa Q Mart and Farmers Market. Add to them, lightning visit to Quezon City Hall, the Makati City Hall and Manila City Hall. Tomorrow she’ll tour the theaters.
http://www.abante.com.ph/issue/aug1506/main.htm
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KUBRADOR has also been accepted to have its premiere in the following international film festivals:
1. north american premiere at 2006 Toronto International Film Festival,
Canada (September 7-16, 2006)
2. 2006 Vancouver International Film Festival, Canada (September 28-October
13, 2006)
3. turkish premiere at the 2nd international eurasia film festival in
antalya from 16 to 23 september
4. bollywood premiere at mumbai's 5th asian film festival from 12 to 19
october
5. 2006 Pusan International Film Festival, Korea (October 12-20, 2006)
6. UK premiere on18 october to 2 november at the 50th london international
film festival
7. US premiere at the Louis Vitton-Hawaii International Film Festival
(October 19-29, 2006)
8. latin american premiere at 30th São Paulo International Film Festival /
30ª Mostra Internacional de Cinema, Brazil October 21-November 3, 2006)
9. balkan premiere at Thessaloniki International Film Festival, Greece
(November 7-23, 2006)
10. western european premiere at the 33rd brussels international independent
film festival from 7-12 november
11. italian premier at the asiatica film mediale in rome from 18-26
november.
12. Iberian premiere at the Sección Oficial of Spain's 51st Valladolid international film festival from 20 to 28 October
13. Kubrador will be competing for the Golden Kinnaree award for Best Film in Competition during the 2007 Bangkok International Film Festival from 26 january to 5 february 2007.
Add these to Moscow and New Delhi, Kubrador has been accepted by 15 international film festivals! Mabuhay!
Please see Kubrador before it leaves for Toronto.
Please show mainstream film producers and cinema operators that there is a market for quality pathbreaking films that defy formula.
Please watch KUBRADOR when it opens tomorrow, August 16!
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http://www.screendaily.com/
Bet Collector gets year's first A rating in Philippines
Silvia Wong in Singapore
14 August 2006 01:00
Filipino director Jeffrey Jeturian’s The Bet Collector (Kubrador), which is set for a North American premiere in Toronto, has become the first film to be given an A rating this year by the Philippines’ Cinema Evaluation Board (CEB).
According to the CEB, the low-budget digital film that revolves around the daily life of an aging bet collector was “beautifully and skillfully directed – perfect mixture of all elements”. The CEB has reviewed 15 films this year, of which 12 were given a B.
An A film is entitled to 100% rebates on entertainment tax as part of the Film Development Council’s (FDC) effort in providing incentives to local film-makers to make high quality productions. A 65% tax rebates is given for a B rating.
Last year, five films received the A rating, three of which were digital films including Auraeus Solito’s acclaimed coming-of-age gay film The Blossoming of Maximo Oliveros.
Kubrador will open on Aug 16 in 10 Manila theatres. Also a first for a digital film, the FDC through the International Film Festival Committee will foot the bills for the director and lead actress Gina Pareno to attend the Pusan International Film Festival in October.
The film began to draw international attention when it won two FIPRESCI prizes last month – in Moscow and Cinefan in New Delhi where it also bagged the best director and best actress award. In addition to Toronto and Pusan, it has been invited to a dozen festivals such as Vancouver, Hawaii and Sao Paolo.
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This is the most overhyped digital film in the history of indie filmmaking! With all the accolades it receive, it certainly deserves a wide, wide audience not only in CINEMALAYA.
Its a shame if this will not make money or break even in our own country.
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‘Kubrador’ imbitado sa 51st Valladolid int’l filmfest
HANDS-ON talagang producer itong si Atty. Joji Alonso ng MLR Films. Involved siya mula sa shooting hanggang sa kaliit-liitang detalye sa promo ng internationally acclaimed digi-movie na Kubrador ni Gina Pareño.
Lagi rin silang in touch ng direktor niyang si Jeffrey Jeturian, kaya matino ang kinalabasan ng movie at patuloy na umaani ng pagkilala at imbitasyon sa iba’t ibang film festivals abroad.
Ngayong Miyerkules na ang simula ng regular run nito sa Metro Manila theaters, kaya todo ang pakiusap ni Atty. Joji na suportahan ang Kubrador.
Eto ang nilalaman ng e-mail letter na ipinadala niya kahapon: “I would like to make my final appeal to everyone to please lend support to the commercial screening of Kubrador which starts tomorrow (meaning today, August 16).
“The first day, as we all know is very critical. We are spreading eight prints in 12 theatres: SM Mall of Asia, SM Manila, SM North Edsa, SM Southmall, SM Megamall, Robinson’s Galleria, Robinson’s Ermita, Festival Mall, Isetann Recto, Gateway Araneta Center, Glorietta 4 and Market Market.
“Last week, we received Kubrador’s 13th invitation to screen at the 50th London Film Festival from October 18 to November 2.
“Today, we were in receipt of its 14th invitation, this time, as a competition entry at the 51st Valladolid (Spain) International Film Festival from October 20 to 28.
“For those of you who have not seen the film, please find time to do so before it leaves for Toronto on the 1st week of September.
“For those who have seen it, you may want to watch it again, this time with a friend? It is great to be screening all over the world but it remains an empty victory if Filipinos don’t lend support to it. After all, this film was made for us Filipinos. It is our story.
“Thank you to one and all who have shared their time, effort, concern, e-mails, blogs, critiques, and most specially prayers, for the commercial success of Kubrador.
“Whatever happens in the days to follow, I can proudly say it has all been worthwhile. The group behind Kubrador owes a lot to all of you.
“Maraming, maraming salamat po!”
Sincerely,
Joji Alonso
http://www.journal.com.ph/index.php?page=news&sid=6&urldate=2006-08-16
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The ‘kubrador’ in Gina Pareño
By Mario E. Bautista
The Philippine Star 08/16/2006
Gina Pareño was taping Darna last year as the grandma of Angel Locsin when she got a call from director Jeffrey Jeturian saying he has a film for her where she will play the lead role, Kubrador (The Bet Collector).
"Of course, I felt glad about it," she says. "But at the back of my mind, I was wondering if it‘s true. But when he sent me the script and I read it, I really found the role of Amy, the kubrador, a really good one any actress will find very challenging as she‘s in every scene from start to finish."
She was told the shoot would last only for six days. "But since we‘re shooting with a handheld camera at the slums of Botocan near Sikatuna Village and its maze of narrow alleyways, inabot din ng 12 days. I was paid for six days only but I did not charge anymore for the additional six days of shooting as I really love the project. I got bruised in the scene where the cops were supposed to raid the jueteng headquarters and I fell to the ground. The film is about the sad plight of the poor people in our country as seen in the eyes of the bet collector and it was really hard to do this."
But all their efforts paid off as Kubrador won the FIPRESCI International Critics Jury Award as Best Film in the last Moscow International Filmfest (where 800 films from all over the world were submitted) and also won as Best Film plus the Best Actress award for her at the Osian‘s Cinefan International Filmfest in New Delhi, India.
"When I accepted the film, I never thought it would take me to festivals abroad and give me an acting award," says Gina. "The only time I won Best Actress was in the Manila Filmfest of 1974 for Krimen, Kayo ang Humatol‚ by the late Jun Raquiza. But I lost my trophy noong magluka-lukahan ako and got into drugs. I never knew where it went. But now, I have a new trophy to display in my home, at pang-international pa. I owe it all to direk Jeffrey. Actually, nahirapan ako rito as I‘m used to scene-stealing. In my younger days at Sampaguita Pictures, I was doing a scene with the legendary Carmen Rosales when she cut it and reprimanded me, "Ano ba? Nagdadrama ako rito, galaw ka ng galaw riyan!‚" I said sorry. Sabi ko, kasi maldita ang role ko kaya nagre-react lang ako sa kanya. With direk Jeffrey, he always tells me to lessen my acting. He told me to watch Gong Li‘s film, Story of Qu Ju, where she played a peasant woman who acts naturally. So I watched it and tried to be as real as I can in my role. He doesn‘t want me to cry at all, even in the most dramatic scenes. In that scene where I go to the wake of a hit and run victim, I couldn‘t avoid it when a tear fell from my eye and he said, "Why did you cry?‚ I said I remembered my eldest son who died. So I really had to restrain myself all the time to please him. And it paid off. Ayan, nanalo na nga ako ng award."
She calls Kubrador her nth comeback. "My last one for Sampaguita was Contessa. I even played Darna for them in Darna and the Planetman‚ with Vic Vargas as the Planetman. Then I went free-lancing. After that, I went into drugs. For five years, I was down in the dumps. That was the time nasulat na nagtitinda na lang ako ng duster sa Baclaran. What happened was I went to church there and I saw a friend who has a stall selling dusters. I asked her if I could sell some of my personal things like my make-up kits, shoes and bags. I did it for two weeks and earned P80,000. But because of that, the late Ishmael Bernal was able to trace me and I made another comeback in Working Girls‚ where I got nominated as Best Actress. I did more movies like Totoo Ba Ang Tsismis with Gloria Diaz and I played Sharon Cuneta‘s mother in Bukas Luluhod Ang Mga Tala.
Wasn‘t she arrested by cops for drug charges? "Yes, I was. It was the late Ate Luds who helped get me out. Then she guested me in her show, Eye to Eye‚ na bungi ako. Immediately, four dentists called up offering to do my teeth for me for free. Nahihiya pa ako. But after a month, I said, why not take advantage of it? And that‘s how I met Dr. Bong Erana (former LVN child actress Nenita Vidal)."
They became special friends and when Dr. Erana was diagnosed with brain tumor in July of 2003, she resigned from the sitcom she was doing with Aga Muhlach at ABS-CBN to personally act as her friend‘s caregiver. "I owe her a lot as she was the one who helped me get up again. She was not bitter when she died as felt the Lord gave her time to prepare before she left, but I really mourned for her."
Gina is now preparing to attend the other festivals where Kubrador has been officially invited: the 31st Toronto International Film Festival, 11th Pusan International Film Festival, 26th Hawaii International Film Festival, 30th Sao Paulo International Film Festival in Brazil, 27th Thessaloniki International Film Festival in Greece, 37th Vancouver International Film Festival, 33rd Brussels Independent Film Festival, Fifth Asian Film Festival in Mumbai and Seventh Asiatica Film Mediale in Rome."But I know where I stand," she says. "Even though I’m being applauded in other countries and felt so famous when they call me on stage after each screening of Kubrador, I know that here at home, I‘ll just play mother role or lola roles. Okay lang. At my age, I‘m just too happy that I was able to experience doing a movie like Kubrador‚ that I can be proud of as it‘s now bringing honors to our country."
http://www.philstar.com/philstar/NEWS200608161705.htm
*******
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Kubrador (Jeffrey Jeturian, 2006) (http://oggsmoggs.blogspot.com/2006/08/kubrador-2006.html)
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saw kubrador, at festival mall. i was awed and moved by Pareño's performance. will try to catch it again by week's end. :)
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How was the box-office on its first day? If SUKOB can take P170 million on its theatrical run, I hope KUBRADOR can at least get P3M on its first week.
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i was on the first screening of the film. barely 15pax watching. hopefully, more went to see this film, this evening.
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Sad, there was hardly anyone in the audience at SM North Edsa tonight. I was crying because I love the film but also because I felt sadder with the reiteration of the fact that Most Filipinos would prefer horror, formula, ghosts and inanities to this well-crafted, moving, daring and genuinely Filipino film.
Please ask your friends to watch and watch it again. Sana umabot ng 1 week. Nakakalungkot kung di umabot. Makabreak even man lang ang producer.
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Watched the 7:50 PM screening at Galleria yesterday with my wife. Not much people, maybe only around 20 were watching. Hopefully other screenings fared much better....
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Sad, there was hardly anyone in the audience at SM North Edsa tonight. I was crying because I love the film but also because I felt sadder with the reiteration of the fact that Most Filipinos would prefer horror, formula, ghosts and inanities to this well-crafted, moving, daring and genuinely Filipino film.
Please ask your friends to watch and watch it again. Sana umabot ng 1 week. Nakakalungkot kung di umabot. Makabreak even man lang ang producer.
Yan ang nakakalungkot sa mga kababayan natin ngayon. Iisa na lang ang perception nila when it comes to "serious" Filipino movies nowadays... "corny". Masakit din for me kasi I'm an avid fan of Filipino movies. I've watched the Digital Film, "Ang Anak Ni Brocka" and sa isang interview with a teenager.. Sabi niya.. Di na sila masyadong nannonood ng Filipino movies kasi mas na-influence na sila ng mga American Films. Oo nga... Int'll Films are better than the local once pero iba pa rin yung dating ng movies natin. Nakakalungkot talaga.. Di na piracy ang dapat sisihin sa pagkalugi ng Movies natin kundi yung perception ng mga tao about Filipino movies nowadays... :( >:(
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Billy Balbastro
http://www.abante-tonite.com/issue/aug1806/main.htm
Patuloy tayo ng foreign festival updates.
Habang showing ang pelikulang Kubrador na 12 theaters downtown, nakatanggap si Atty. Joji Alonso ng 14th invitation nito abroad, sa 28th Valladolid (Spain) International Film Festival, October 20 to 28.
Sa October, limang international filmfests ang pupuntahan nito. Pati na ang Pusan, Hawaii, Sao Paolo (Brazil) at Mumbai.
Nakatanggap din ng imbitasyon ang kanyang Minsan Pa (2004) to represent the Philippines sa 2006 Asian Pacifico Cooperative (APEC) sa Hanoi, Danang at Ho Chi Minh sa Vietnam.
Sabi tuloy ni Atty. Joji: "Kaloka. Imagine if I have 10 movies. Hahaha."
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Jojo Gabinete
MAY special mention sa Kubrador ang Abante dahil dalawang beses itong binanggit at ipinakita sa isang eksena ng Kubrador na pinanood namin noong Miyerkules ng gabi.
Positive ang feedback sa pelikula ni Gina Pareño na tumatalakay sa buhay ng kubrador ng jueteng. Nang panoorin namin ito, at saka lang kami nagkaroon ng idea sa sistema ng jueteng, ang pagpili ng mga nanalong numero at ang mga term na ginagamit ng mga tumataya.
Tama ang mga review na nabasa namin tungkol sa pelikula ni Jeffrey Jeturian. Mahusay si Gina bilang Amy, ang kubrador ng jueteng. Natural na natural ang pag-arte ni Gina at totoong nangyayari sa tunay na buhay ang mga eksena ng pelikula.
Kung ipinalabas sa panahon ng martial law ang Kubrador, tiyak na may mga pulitiko na umalma. May special mention din sa pelikula ang Arroyo family, former President Joseph Estrada, Fernando Poe, Jr. at ang pangalan na JV.
Nag-react din ang theater audience sa special appearance ni Johnny Manahan bilang treasurer ng "influential person" na nagpapalakad ng jueteng.
http://www.abante.com.ph/issue/aug1806/main.htm
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Mercy Lejarde
CONGRATS nga pala kina Atty. Joji Alonso, Gina Pareño, Direk Jeffrey Jeturian at sa lahat ng bumubuo ng digi-film na Kubrador, dahil laging standing room ang naturang pelikula sa Glorietta.
Keep up the good work!
http://www.journal.com.ph/index.php?page=news&id=10058&sid=6&urldate=2006-08-18
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KUBRADOR has also been accepted to have its premiere in the following international film festivals:
1. north american premiere at 2006 Toronto International Film Festival,
Canada (September 7-16, 2006)
2. 2006 Vancouver International Film Festival, Canada (September 28-October
13, 2006)
3. turkish premiere at the 2nd international eurasia film festival in
antalya from 16 to 23 september
4. bollywood premiere at mumbai's 5th asian film festival from 12 to 19
october
5. 2006 Pusan International Film Festival, Korea (October 12-20, 2006)
6. UK premiere on18 october to 2 november at the 50th london international
film festival
7. US premiere at the Louis Vitton-Hawaii International Film Festival
(October 19-29, 2006)
8. latin american premiere at 30th São Paulo International Film Festival /
30ª Mostra Internacional de Cinema, Brazil October 21-November 3, 2006)
9. balkan premiere at Thessaloniki International Film Festival, Greece
(November 7-23, 2006)
10. western european premiere at the 33rd brussels international independent
film festival from 7-12 november
11. italian premier at the asiatica film mediale in rome from 18-26
november.
12. Iberian premiere at the Sección Oficial of Spain's 51st Valladolid international film festival from 20 to 28 October
13. Kubrador will be competing for the Golden Kinnaree award for Best Film in Competition during the 2007 Bangkok International Film Festival from 26 january to 5 february 2007.
Add these to Moscow and New Delhi, so all in all, Kubrador has been accepted by at least 15 international film festivals! More festivals will be added to this list soon.
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New Delhi 2006
An Indian Summer of Asian Films
By Max Tessier
As well as the Asian film quarterly Cinemaya, Aruna Vasudev's Cinefan festival of Asian Cinema, walks now under the banner of Osian's, a powerful company based in Bombay. Its 8th edition (July 14th-23 rd, 2006) was once more the occasion of viewing a wide range of Asian films, and of Arab cinema (part of it being geographically in Asia , although not really culturally…). Apart from the competition films, one could always shift to many different sections, such as Asian Frescoes, Arabesque, Cross-cultural Encounters, a Focus on Buddhism (which gave us the rare opportunity to see a film made in Bhutan, Milarepa, directed with talent by Neten Chokling), a retrospective on Stanley Kwan, one of the sharpest 'auteurs' in Hong Kong, and, last but not least, a retrospective of the great Bengali director Ritwick Ghatak (1925-1976), in the presence of his widow and son. On top of that, one could also attend some of the events of IBM2 (Infrastructure for Minds and Markets), notably an international media round table, and Talent Campus India , or go and admire the outstanding exhibition of selected masterpieces of Asian Arts, passionately gathered around the world by Osian's master mind and soul, Neville Tuli.
Although the competition of Asian films, as presented to the main jury and the FIPRESCI Jury (composed of Miss Ritwa Dutta, from India, Mrs Luz Maria Virgen, from Mexico, and Max Tessier, from France) was quite uneven in its choices, it was enough to appreciate the wide diversity of themes and styles (or absence of style in some cases), from Iraq to Japan. If we could have done well without films like To-day and To-morrow (Kayf al hal?), made in Saudi Arabia by Palestinian film-maker Izidore K.Musallam, or Love's Lone Flower (Gu Lian Hua), a very conventional soap melodrama by Taiwanese director Tsao Jui Yuan, we could also pick the better and the best among the heterogeneous selection of twelve films, from younger and older directors: Two Girls (Iki Genc kiz), a provocative portrait of established mothers and rebellious daughters in present day Turkey by Kutlug Ataman, Homeland (Ontarjatra), by Tareque and Catherine Masud, honestly showing the return of a mother and her son to Bangladesh after fifteen years of absence, or The Companion (Dosar), a B/W portrayal of a man, his mistress and his family after a car accident, filmed by Bengali director Rituparno Ghosh. A very strange film came from Japan , in the shape of a stylish mystery-thriller, Ubume (Ubume no natsu), by veteran director Akio Jissoji, once a post-New Wave experimentalist (as in, for example, his film This Transient Life (Mujo, 1970)).
However, one of the most interesting films came from Sri Lanka, with Letter of Fire (Aksharaya), the fourth feature by controversial director Asoka Handagama, already shown in competition at the latest Tokyo Film festival. This highly self-conscious, provocative film, is a deliberately frontal attack on various sexual and moral taboos of the modern Sri Lankan society, through the quite explicit story of a boy (whose mother is a magistrate in the High Court), who happens to kill a prostitute, and is hidden by his mother, when he should be delivered to the Justice. “The whole film is about a trauma”, says the passionate director of This is my Moon (2000) and Flying with one Wing (2002).
“Everyone in it faces some kind of trauma, so, when I was trying to find a title for this film, I came to know that (Jacques Derrida, the French philosopher, was explaining that this kind of traumatic experience cannot be interpreted by language; it can only be inscribed in letters of fire. So, I borrowed that idea…” (unquote). Although quite intriguing, and powerfully directed, the film (a French co-production with Heliotrope Films) happens to be rather quickly over-demonstrative, through a series of long scenes (running altogether for 136 minutes), involving the mother, the boy, who has an embryonic sexual relationship with her, and the impotent father, to an almost slapstick sequence in a deserted museum, where the mad magistrate destroys almost every object of art, in the name of a true liberated life… Not surprisingly, this big ball of fire thrown at the face of a rather prude and traditional Buddhist society, as radically opposed as it may be to the stylistic approach of another recent Sri Lankan film, The Forsaken Land (Camera d'Or at last year's Cannes festival), has triggered the wrath of the local authorities, who called the film pornographic and subversive, leading a to its ban, and a trial against Asoka Hanadagama, still pending.
The other outstanding film came from the Philippines, with The Bet Collector (Kubrador), a very gripping portrayal of a female bet-collector for the popular, if illegal, number game 'jueteng', played by excellent actress Gina Pareno, and skilfully directed by Jeffrey Jeturian, with a HDV camera. Deservedly, the film won the main prize (also for the actress), and the FIPRESCI prize, after a long discussion to know if it could be awarded by FIPRESCI again, after it was honoured in the recent Moscow festival. But it WAS definitely the best film according to most of the people and juries here (see the special review of the film by Ritwa Dutta).
Let us also mention the highly cerebral and overwhelmingly personal film Love Story, a Chinese puzzle directed by Kelvin Tong, from Singapore. Unfortunately, the film's vision was badly damaged by a terrible projection (out of focus as a rule…), which is a recurrent technical problem in this otherwise rather well organised festival, as compared with most of the other festivals in India. Let us underline the warm reception for all juries, including ours, more than well treated in one of the very best hotels in town, and let's also hope that the technical flaws, unworthy of an international film festival, will be solved as soon as next year.
Max Tessier
© FIPRESCI 2006
Max Tessier is a French film critic and historian, specialising in Japanese and Asian cinemas. A regular contributor to Osian's Cinemaya, Les Voix/France –Japan, and occasionally to Positif, Paris. He is the author of several books in French on Japanese films.
http://www.fipresci.org/festivals/archive/2006/delhi/delhi_asianfilms_tessier.htm
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Moscow 2006
What is our life but gambling?
By Larisa Malyukova
Strange as it may seem, gamblers of all sorts have turned out to be the main characters in the programme of the Moscow International Film Festival. The corrupt police officer Andreas from the Greek entry The Wake (Grypnia) is playing with justice, gambling on his life, which leads to a tragic payoff. The aging Amelita from the Philippine entry The Bet Collector (Kubrador) by Jeffrey Jeturian is a commissioner in the illegal lottery business. The immigrant Sebastian from 13 (Tzameti) by Gela Babluani gets into the dangerous world of people playing Russian roulette for money. In the German film Running on Empty (Der Lebensversicherer) by Bulent Akinci all characters are playing an all-or-nothing game with their lives. In all those films life itself is at stake.
At first sight it seems that the insurer Burhard Wagner can hardly have anything to do with gambling. He talks his customers into getting insured against all kinds of hazards. He is out for a prosperous and happy life, and the rustling of the rosy sheets – the policies in his hands – is the music of hope, the promise of happiness and well-being in his family, the well-beloved family he has time to have contacts with only by means of a telephone answering device. So far he is compelled to live in his car, to make up with fast-food, and to have his clothes cleaned at the roadside dry-cleaner's for an agent insuring someone's life has to produce a good impression on his customers. Oh, Burhard is a true artist, he can easily gain his customers' confidence and find their deeply hidden fears, complexes and dreams. If necessary he will sing and dance for his customers. He even makes hints to one of his customers as to how one can end days and let the family get the insurance money. The sacred folder with the rosy sheets from his customers' policies is getting thicker. Closer and closer is the moment when he'll be able to regain his family, his home and himself. There remains a question though – where is his home, where is Burhard himself? Will the endless tape of a road, this lonely ‘life insurer' is driving along, ever let him go? Where shall he go if one can't see the goal? Watch the road signs, try as much as you can; the ‘Out' sign is nowhere to be found.
With Running on Empty presented at the Moscow Festival film director Bulent Akinci is making his full-length feature film debut, and a very successful one at that, although the film leaves a very pessimistic impression. If only because behind the routine details of an insurance agent's life meeting his unfortunate customers - most of them déclassé, thrown out on the roadside by prosperous society – one sees a metaphor. The lack-lustre clerk with greasy hair, this life-saver, turns out to be a Death Angel, and meeting him bodes ill. The every day life details take an ominous tint. In the darkness, drowned in incomprehensible sullen roaring, the water stream merges with the earth and the sky. Purgatory? No, no. It's just a car wash the insurance agent is getting through. And here are dummies stuck to their cars… well, it is just people refuelling their cars. Reality is frowning, its features taking an infernal look. The routine life psychological drama crosses the borderline of inexplicable suspense. Recalling Camus one can say: “Hell is not others, hell is us.”
The polyphonic main character as performed by Jens Harzer is the revelation of the film. He is truly ambivalent. The actor manages to brilliantly render this state of mind of a hunted down, lost soul.
The German film director of Turkish descent, Bulent Akinci, has made a sombre and desperate road-movie devoted to the problem of loneliness. This, at first sight, trivial story of a road leading nowhere with stops offers deep philosophical questions dealing with the meaning of existence, values of life, the true and the seeming. The main character meets a specialist in fakes: brandies, cigars, wines, and perfumes, they are all fakes, they look real, but cost nothing. Burhard didn't notice when all of his life had turned fake. The gambler gets lost while gambling. The lack of self-confidence, and a professional push, gives way to fears and doubts. Burhard's eyes don't glisten any longer. They are filled with anxiety of a philistine who has lost the meaning of life, almost with madness. May he have turned into a road-ghost? The initial aim of making money to ensure the well-being of his family has got lost in thin air somewhere behind the yet another turn of the road with the endless traffic strip…
Larisa Malyukova
© FIPRESCI 2006
Larisa Malyukova is a Film critic: Reviewer of the New Gazette (www.novgaz.ru); correspondent of the Art of Movie monthly; latest reports from Cannes and Sochi (“Cinetaurus”) 2006. She is interested in the problems and tendencies of the modern film industry and film creativity; another direction of her interests is animation.
http://www.fipresci.org/festivals/archive/2006/moscow/moscow_malyukova.htm
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Moscow 2006
Betting on a Winner
By Sheila Johnston
The FIPRESCI jury in Moscow wasted little time in voting unanimously for the Filippino film The Bet Collector (Kubrador). True, its director, Jeffrey Jeturian, is not a new talent - this is his seventh feature - nor, at 47, a young one. But The Bet Collector has urgency, freshness and hidden depths; to paraphrase the poet Walt Whitman, it may not be a large film, but it contains multitudes within its rough-edged simplicity. It's also a most welcome sign of life from the Filippino cinema, from which not much has been heard on the international scene since the death of Lino Brocka fifteen years ago. In short, despite the dearth of other strong candidates for the prize, a very deserving winner.
Amelita and her lazy, telly-addict husband barely subsist on their income from a small convenience store, which she supplements by collecting bets for an illegal gambling racket - in a New York crime movie, she'd be known as a "numbers runner". Cajoling and bullying clients into placing bets they can ill-afford, Amelita (forcefully played by Gina Pareno) is an ambiguous figure, both curiously vulnerable and one of those powerful matriarchs whose sheer force of will holds her struggling family together.
Superficially, The Bet Collector looks as though it could have been made by the Dardennes Brothers. Like their films, it is concerned with society's have-nots; as in their work, the nervy, hand held camera pursues the main character, emphasising her driven, desperate quality as she ploughs doggedly about her daily business through the crowded city streets. But, unlike the Dardennes, who home in on one or two individuals with minute intimacy, this story fans out from its protagonist to capture a whole teeming world. There is a broad cast of characters here, and not all the performances are top-class (in one too-long scene, a bereft grandfather turns his grief into ham). The street scenes, filmed apparently on location, are fluidly staged and somehow Jeturian mostly avoids having passers-by peering into the camera.
Though in outline the film sounds miserabilist, it moves along swiftly with a good deal of energy and humour. Building on unemphatic but revealing moments - for instance when Amelita's friend cadges a cigarette and a light, then tries to pocket the lighter - it avoids the temptation to sink into melodrama. In one scene, the bet collectors are arrested, but it's apparently all in a day's work and the police chief avails himself of the opportunity to place a secret wager of his own. In another, Amelita's feckless husband has forgotten to pass on a bet, which turns out to be the winning one. Somehow, the family will have to find the prize money themselves, but again one has the sense that they will cope and life will continue.
The film takes place over the three days leading up to the Feast of All Saints on 1 November when, in the Philippines, people traditionally descend en masse upon cemeteries to tend the graves of deceased relatives. The date is of great significance to Amelita, whose son, a soldier who died under unspecified circumstances, appears to her periodically in visions, almost as a guardian angel. This touch of the supernatural borders on sentimentality, but the scenes are elegantly downplayed in a way that resists that.
The Bet Collector nails that mix of fatalism and religious fervour which people suffering conditions of extreme poverty use to cope with their lives. Devoutly Catholic, the superstitious Amelita sees signs and portents everywhere (in one well-staged sequence, she gets lost in the city's labyrinth of narrow alleyways, and believes she is placed under a curse). Her clients, too, bet on numbers which for them have the prophetic value of tarot cards; on a broader level, the lottery is a metaphor for the laws of chance ruling a society where human life - as is seen in several scenes - is cheap. Ultimately, in the lottery as in life, the rules are rigged.
-Sheila Johnston
FIPRESCI 2006
http://www.fipresci.org/festivals/archive/2006/moscow/moscow_johnston.htm
****
New Delhi 2006
A Poignant, Humane Saga of the Subalterns
By Rwita Dutta
Since Osian (the connoisseurs of Art Pvt Ltd) joined hands with the Cinemaya Festival, it emerged as the most spectacular, extravagant feast of Asian Cinema, bringing forth as many as 120 films from all across the continent. This year, the festival witnessed its 8 th version. Besides the Asian and Indian Competition it introduced, for the first time, the most coveted Arabesque section - films from the oil countries.
The festival began with a gala ceremony of folk music played by Rajastani singers. Valley of Flowers was the inaugural film, directed by the talented Indian director Pan Nalin. It was a fruitful product of collaboration between the nations of Germany, France, Japan and India. The film offered a visual treat for the curious and uncompromising cinephiles worldwide.
The FIPRESCI Jury Award was meant for the twelve selected films from Asia. The competition was comparatively less complicated as there was a shortage of well-treated films for the winning post. Finally, with no hiccups from among the juries, the award went quite easily to a very talented director from the Philippines, Jeffrey Jeturian for his excellent film The Bet Collector (Kubrador). This very film has also received the same award in the last month's Moscow Film Festival. Nevertheless, its mundane storytelling, docu-feature style of film-making, incredible shots taken in a mere HDV camera outshone all the other big budget films in the competitive section.
The film is based on three days in the life of Amelita (stunningly portrayed by the veteran actress Gina Pareno who walked out with the Best Actress Award from the Asian Competition Main Jury Section). The film humbly depicts the day-to-day life of the subaltern class of the Philippines. Amelita is a middle-aged woman who lives with her husband in a slum area. The narrative from time to time stumbles upon the remorse existence of Amelita's soldier son who perished during some unmentioned war. She runs an illegal but popular game called 'jueteng' (The Bet) and collects her regular players, often using tricky and witty measures. She is into this weird profession and everyone knows her as a 'jueteng kubrador' (The Bet Collector). Besides her clandestine activities, she is also the Good Samaritan almost to everyone. Interestingly, the film, at the outset, declares the involvement of politicians and powerful people in this game and they have also been accused in the Philippines recently. Moreover, the picture becomes clear in a particular shot taken in the police station when Amelita, the main character, was chased by the police and taken into custody until the 'kabo' (The Handler) bails her out. Interestingly, the policeman also wishfully wanted to be a part of this so called illegal game. And he also bets.
Besides collecting the bet Amelita also arranges 'abuloy' (donations) from her friends for the burial of poor people who meet an accidental death. That metaphor uncannily raises her to the status of a Robin Hood – the Prince of Thieves from the pages of history. The film with its sharp camera movement hovers around and takes the bemused spectators into the most humble lives of downtrodden people. Amidst the ruins, we gleefully observe the humanitarian approach of the ordinary fellows, their struggle for meeting the days ends, their love, prejudices, and undying hope for a better life. Though it's a national problem for the Manila government, in actuality this illegal trade harps on the tremendous unemployment problem of the masses in general. Notwithstanding this, the director helps us to justify the life beyond the so-called rule of law.
Jeffery Jeturian is from Manila, he holds a Communication Arts Degree from the University of Philippines. He started his career as an assistant director before taking up direction. When poverty is in steep rise, life has been too harsh for Philippinos; they don't embark upon a chance to live but to survive. Death is a common intruder here. While poverty reigns, the distinction between legitimacy and illegitimacy blurs. Even the authority becomes a part of it. Often, it has been observed, the de jure rulers thrive mostly on the support of games like betting than other transparent business deals. In the world of grief, only money talks and unfortunately transcends the concept of legality.
Inevitably, this film outshines all the others for its mere as well as rare simplicity. As juries we do get to see various works of craftsmanship but hardly come across such a film which touches the core of everyone's heart in spite of our own cultural limitations. But, shouldn't this be the very essence of every film worth watching? Moreover, the film sincerely shows a lack of budget but the technicalities used reveals the power of digital technology. So, the following is the suggestion for the upcoming new breed of directors: try and use digital media and blow it into 35mm, which has already ushered a revolution in filmmaking. The film wins for its sincerity and, throughout the 98 minutes of projection, it swings and overlaps the reel life with the real ones. The subaltern class, with all its nuances, reigned supreme in this heart-ravaging tale. The film correctly symbolises a universal content and that makes the jury's work easier, as all of us almost unanimously agreed upon its award.
-Rwita Dutta
© FIPRESCI 2006
Rwita Dutta is the Editor of FilmBuff, an international film journal. She is a lecturer of Political Science, nonetheless researching on the politics of films in Bengal. She writes on film theory, popular culture and media and is also a documentary filmmaker. She writes extensively for national and international journals. She is based in Kolkata, India.
http://www.fipresci.org/festivals/archive/2006/delhi/delhi_bet_collector_dutta.htm
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KUBRADOR (The Bet Collector) makes it to Cebu!
Billy Balbastro
CEBU NOTES: With the movie Kubrador being shown this week in 12 theaters in Metro Manila, the film which won four international awards will have its premiere night in Cebu City on Monday, August 21, at SM Cebu, Cinema 1 at 7 p.m.
Guest list includes Mayor and Mrs. Tonny Osmena, producers Atty. Joji Alonso, Atty. Rayala, Gina Pareno and Jeffrey Jeturian.
A press conference will be held earlier, at 6 p.m. at SM Cebu. Sixteen editors and columnists confirmed attendance.
http://www.abante.com.ph/issue/aug1906/main.htm
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'Kubrador', palaban sa Bangkok Int'l Filmfest!
Billy Balbastro
FESTIVAL CHAMP: While a good audience each day appreciates the Gina Pareño movie, Kubrador, in 12 theaters downtown, producer Atty. Joji Alonso received the 15th invitation to a foreign festival for his movie.
After it hit the theaters, the movie which made it to Moscow and New Delhi last month will go to Toronto, Turkey and Vancouver this September; to Pusan, Hawaii, London, Sao Paolo (Brazil), Thessanoliki (Greece), Brussels, Mumbai, Rome and Valldolid (Spain) this October and November.
Kubrador’s 15th invitation comes from the Bangkok International Film Festival, competition section.
We were told that festival programmer Theresa Hayes saw the view at Osians in New Delhi and says Kubrador is "fabulous". Jennifer Stark, director of programming sent the invitation.
Kubrador has its premiere night tomorrow at Cebu City’s SM Cinema 10 with producers Attys. Joji and Rafael Rayala, Gina Pareño and Jeffrey Jeturian presents.
***
http://www.abante.com.ph/issue/aug2006/main.htm
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KUBRADOR (THE BET COLLECTOR) ***1/2
Cast: Gina Pareno, Soliman Cruz, Johnny Manahan.
Dir: Jeffrey Jeturian
Another terrific entry in what I can best describe as a Filipino New Wave of very good films of recent years. Gina Pareno is outstanding in the title role. Excellent film.
FYI: The assistant production designer of the movie is a friend of mine.
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hmm..one week na sya sa cinemas..nice..
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Kubrador and a few hardy A’s
By Juaniyo Arcellana
The Philippine Star 08/23/2006
MLR Films’ Kubrador got an A grade from the Cinema Evaluation Board, the first for the year 2006. It is the ninth film to get a 100 percent tax rebate since the CEB-reconstituted from the old Film Ratings Board – started grading local films in early 2003.
Others that got this rare nod were Noon at Ngayon and Crying Ladies in 2003; Santa Santita and Panaghoy sa Suba in 2004; La Visa Loca, Pagdadalaga ni Maximo Oliveros, Bigtime and Mulawin in 2005.
Kubrador, directed by Jeffrey Jeturian and starring Gina Pareño, has been showing for the past days in theaters, and anyone of betting age should see it. If one has read all the blurbs, the sundry reviews, the critics’ unabashed hosannas, all that’s left to do really is take the not so giant step into the moviehouse and watch for 98 minutes that unfold on the big screen three days in the life of Amy, jueteng kubrador. At the very least, the film is sharp social commentary, echoing Brocka and Bernal, two of our national artists for film.
Then again it is more than that. We aren’t really sure if the term is cinema verite or film noir (let’s leave that to the certified critics) but the camera generously feasts on the squalor of the slums where Pareño as Amy does her rounds in a maze of small coincidences and number combinations replete with zen interpretations, something very Asian and, in this case, very pustahan tayo Filipino.
Much has been said about the effortless storytelling that never stoops to preachiness, the actors who are a natural ensemble cast, the documentary-like matter of fact exposition that does not lose the thread of narrative, on the contrary even manages a few jabs in inventiveness as in the recurring presence of the ghost of Amy’s son, as if to suggest that though jueteng may be a dead end, in the hereafter the dead never really write finis or the end, rather find a way through a power stronger than anyone can imagine to insinuate themselves into the present story.
Which by and large is our story, anak ng jueteng, the game of numbers that led to the downfall of a president and continues to cast its irreverent shadow on the denizens of bookies, revisadors, cabos, the whole hog from the rank and file to the jueteng lords stretched out on a spit roasting in the various circles of hell, again our hell where the game is the only possible ticket out.
And so nowhere is the irony richer than in this latest Jeturian flick, that ranks up there with his earlier work Pila Balde that launched the career of Ana Capri as well a thousand ships of the well worn imagination. It may be true that Brocka et al have done this before and better, but that is beside the point: Kubrador is originally a digital film later blown up into the regular 35 mm., something the old masters had never done and so lends this film a unique, distinct quality not only technical-wise, but also in terms of resolution and composition or whatever the industry nerds call it.
In an interview Jeturian relates how he watched Maynila sa Kuko ng Liwanag in a Manila moviehouse while he was enrolled in San Beda, and tells how that silent scream of Bembol Roco as Julio Madiaga in the final fadeout remains forever etched in his mind. In a way, Kubrador is one long silent scream of the plight of the poor who have to turn to jueteng and yet lose none of their humanity, and so becomes an indirect tribute to Brocka and other ghosts who set the standard in our past cinema.
That we are nearing the -ber months with only one A so far could suggest this year has slim pickings. Last year’s relative bumper crop was spurred by the inclusion of a couple of entries from the first Cinemalaya festival; things could just as quickly turn around in 2006 if the films in the latest Cinemalaya submit for review, as there are at least a couple that would merit the full tax rebate.
It has always been a tricky business grading films translating into tax exemptions, as neither is the CEB tax assessors nor full-fledged critics, but at best a collective sounding board to help guide the industry and moviegoing audience on the setting of possible parameters and direction of the cinema of our times, verite, noir, or bete noire.
One should also not lose sight of the fact that film grades are done in their undeniable context. Why for example did Magnifico, the first rated by the board in 2003, get only a B and Mulawin, a sleeper in more ways than one in the last Metro film fest, get an A?
Magnifico was like the guinea pig that became the celebrated lechon, the board’s way of trying out and adjusting their lenses of critical and other faculties to get a clearer picture. Mulawin provided some flighty thrills but was by and large carried over by unspoken tradition that at least one December film fest entry would get an A. But neither As nor Bs would make them better or lesser films, because that is ultimately for the private viewer to decide in his or her rightful, private context.
http://www.philstar.com/philstar/NEWS200608231704.htm
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Unbelievable, Noel's observation is beginning to be true! Its two weeks now in cinemas.
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SUN STAR CEBU raves over KUBRADOR
Tuesday, August 22, 2006
Kubrador
So to Speak
By Myke U. Obenieta
Moralists say it’s synonymous with hell, but gambling is what compels bettors to hope for heaven after invoking God’s blessing.
Where there’s no raining the parade of Catholic piety, there’s also no stopping the gods of gambling from whipping up a storm. Amen, many in this country do believe in grace or redemption, and winning comes close to being granted the gift of wings.
Gambling is what makes the world go round for many of us Filipinos. Even if God favors the meekness of children, that doesn’t stop them from starting innocently enough in the excitement between winning and losing. Consider how they start licking spittle off their lips for Lady Luck to kiss them over a game of spiders pitted to death. And to expect them to outgrow their obsession for betting might as well be as spectacular as walking on water as they inevitably raise their hackles in their own heydays of cockfighting.
Who else have feathers to rise above the enticement of easy money and the jackpot, only angels can answer. Even those roosting in the Church are not spared from the windfall out of state-approved games, in the name of charity and public welfare, such as bingo and lotto. “This hypocrisy is sickening,” huffed a legislator during a Senate inquiry over the illegal numbers game popularly known as jueteng.
There goes the rub. Even Malacañang, from the days of Erap up to the present occupant, continues to be under the cloud of jueteng. Whether or not the perks of the presidency include getting kickbacks from jueteng might as well be anybody’s bet.
What makes taking chances tick in this side of purgatory? How come expecting the end of games like jueteng might as well be waiting for Godot?
We may know why—no matter if the answers prove to be unsettling— after watching Jeffrey Jeturian’s critically acclaimed film “Kubrador” (“The Bet Collector”). To be shown starting tomorrow at SM Cinema, the film has been winning its lion’s share of awards in the international circuits (with more invitations to compete in film festivals in Toronto, Antalya Turkey, Vancouver, Mumbai India, Pusan Korea, Hawaii, Sao Paulo Brazil, London, Greece, Brussels and Rome).
Produced by a Cebuana (Atty. Jojie Alonzo), “Kubrador” has so far won as Best Film at the 28th Moscow International Film Festival and went on to sweep the major awards at a competition of Asian Cinema in New Delhi, India where it won Best Film, Best Director and Best Actress (Gina Pareño). Chronicling three days in the life of a jueteng collector, the film recently received a “Grade A” rating from the Cinema Evaluation Board (CEB).
“Jeturian brings the audience into the seamy streets and dark alleys of a slum, neither disguising nor exploiting the squalor and the poverty,” raves Rina Jimenez-David in her column (Philippine Daily Inquirer).
To see is to believe, you bet.
http://www.sunstar.com.ph/static/ceb/2006/08/22/oped/myke.u..obenieta.so.to.speak.html
*******
Kubrador
VIEWPOINTS
Archbishop Oscar V. Cruz
08/15/2006
By its title, the film kubrador focuses its story on the life — the hopes and fears — of a collector of jueteng bets from many poor people in many poor places. It is a trying and tiring way of life, a pitiful way of living. Jueteng collector is poor though dedicated, honest though much needy. In short, the main character in the film appears admirable and even heroic.
The basic reason for such character appreciation is based on the shameful and detestible truth that the jueteng kubrador is a well exploited figure in the jueteng syndicate. The collector of jueteng bets plus the bettors themselves are usually poor people. And it is their poverty that makes them willing victims of exploitation by gambling operators. Poor they all are and poor they all remain.
It is their exploiters — the capitalists, many local officials and police authorities who are jueteng protectors — who are the real and big beneficiaries of jueteng bets made by bettors and taken by the kubrador. That is why jueteng appears to be invincible. That is why the so-called “jueteng lords” seem immortal. It is definitely not the jueteng bet collectors that make it so, but the vicious jueteng protectors and the greedy beneficiaries.
The kubrador is at the bottom of the heap in the jueteng hierarchy. He or she being a slave of the jueteng trade, it is not difficult to make a pitiful and touching story about this character. The jueteng bet collector is certainly not altogether to blame, being but twice a victim of poverty and of exploitation.
It would be truly challenging and interesting if a true-to-life film could be made about a “jueteng lord,” making this appear pitiful and admirable. It would take a good amount of big lies and many twisted moral values to produce a make-believe film of a noble and lovable jueteng lord.
How can this administration speak with a big show and glow about mega this and super that when it does not even dare counter the jueteng syndicate? How can the national leadership claim pious superiority when it deliberately promotes the vice of gambling through Philippine Amusement and Gaming Corp. and the Philippine Charity Sweepstakes Office? No wonder then that both Pagcor and PCSO are placed directly under Malacañang control.
http://www.tribune.net.ph/commentary/20060815com6.html
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Jeturian in the league of Brocka, Bernal
A LITTLE BIT
by : Remy Umerez
People's Journal
SATURDAY, AUGUST 26, 2006
IF you are a sucker for reality shows on television, trek to the nearest theater and watch “Kubrador.”
Rated A by the Cinema Evaluation Board, it stars Gina Pareño in what we would like to regard as her most triumphant performance since she was launched by the late Doc Perez of Sampaguita Pictures in 1966. She portrays the title role, a bet collector and as we follow her in performing her dangerous task, we get to see slices of life through the various people she encounters and whom she persuades to place their bets. Each of them, bettors or non-bettors, has their own tale to tell (someone leaving for the States having found an American husband; a grandpa wailing uncomfortably over the death of his grandson who just graduated from college, to name a few) plus the personal sorrow of the central character over the loss of her son.
The setting is the slums where we see more realities in life which director Jeffrey Jeturian presents at times with a dash of biting humor. The documentary style of “Kubrador” ends at the cemetery for the celebration of All Saint’s Day where a passersby asks where lies the tomb of Erap which was immediately corrected, “buhay pa ho siya, doon po si FPJ.”
With “Kubrador” which won several awards from foreign film festivals (including Best Actress for Gina Pareño) Jeffrey attains a stature attributed to genius directors Lino Brocka and Ishmael Bernal. He is the embodiment of the two whose magnificent works have become a legacy to the new breed of filmmakers.
http://www.journal.com.ph/index.php?page=news&id=10821&sid=6&urldate=2006-08-26
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KUBRADOR has been accepted by a total of 16 international film festivals:
1. north american premiere at 2006 Toronto International Film Festival,
Canada (September 7-16, 2006)
2. 2006 Vancouver International Film Festival, Canada (September 28-October
13, 2006)
3. turkish premiere at the 2nd international eurasia film festival in
antalya from 16 to 23 september
4. bollywood premiere at mumbai's 5th asian film festival from 12 to 19
october
5. 2006 Pusan International Film Festival, Korea (October 12-20, 2006)
6. UK premiere on18 october to 2 november at the 50th london international
film festival
7. US premiere at the Louis Vitton-Hawaii International Film Festival
(October 19-29, 2006)
8. latin american premiere at 30th São Paulo International Film Festival /
30ª Mostra Internacional de Cinema, Brazil October 21-November 3, 2006)
9. balkan premiere at Thessaloniki International Film Festival, Greece
(November 7-23, 2006)
10. western european premiere at the 33rd brussels international independent
film festival from 7-12 november
11. French premiere at the 26th Festiaal International du Film d'Ameins (in competition) from 10-19 November 2006
12. italian premier at the asiatica film mediale in rome from 18-26
november.
13. Iberian premiere at the Sección Oficial of Spain's 51st Valladolid international film festival from 20 to 28 October
14. Kubrador will be competing for the Golden Kinnaree award for Best Film in Competition during the 2007 Bangkok International Film Festival from 26 january to 5 february 2007.
Add these to Moscow and New Delhi, so all in all, Kubrador has been accepted by at least 16 international film festivals! More festivals will be added to this list soon.
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Cebuana gets international acclaim
‘Kubrador’ a bittersweet success–producer
By Regina Aguilar
Cebu Daily News
Last updated 09:08am (Mla time) 08/27/2006
SUCCESS would have been sweeter for Cebuana independent film producer Josabeth “Joji“ Alonso-Antonio if more local moviegoers learn to appreciate and patronize Pinoy-made films.
Alonso recently reaped accolades abroad for her latest film “Kubrador” (The Bet Collector), which premiered last Monday night at Cinema 1 of SM City Cebu.
The internationally acclaimed film stars veteran actress Gina Pareño, who was also awarded for her lead role performance.
“It really feels great that people abroad appreciate the kind of films we have. Ironically, it's sad here in the Philippines because dili man ginapansin ang atong mga films diri,” Alonso told Cebu Daily News.
Less than a hundred people watched the free premiere showing of Kubrador, the 101-minute film which follows the life of Amy (Pareño) a bet collector for jueteng, a popular and controversial illegal numbers game in the country.
A few experimental film enthusiasts, some people from the academe and the media joined Alonso, Pareño and director Jeff Jeturian during the premiere night.
The trio received kudos and loud applause after the showing.
Pareño said Cebu City Mayor Tomas Osmeña, who sat beside her, told her “ang galing-galing mo.”
Kubrador reaped major awards from two recent film festivals abroad. It won Best Film, Best Director, Best Actress and Best Picture from the International Critics Jury Fipresci Awards during the 8th OSIAN Cine Fan Festival of Asian Cinema held in New Delhi, India.
The film also received the Best Film award from the International Critics Fipresci Jury in the 28th Moscow International Film Festival.
But the internationally acclaimed film was not a blockbuster hit in the local market.
Alonso said during the first week of showing in Manila which started last Aug. 16, the P5.5-million film hardly earned a million pesos.
“It's nothing like Star Cinema, layo kaayo pero at least compared to other digital movies, if they made P50,000 in one week, we're probably times 20 (more). In that sense, it's good,” she said.
Alonso, however, said she continues to produce experimental films to let Filipinos “see films they don't usually see and for them to welcome change.”
Alonso, who is a lawyer by profession, has been independently producing experimental films under MLR Film Productions, including “Pusang Gala” and “Minsan Pa,” which featured Cebu's scenic spots.
Her desire to veer the youth away from Hollywood films also inspired her to produce socially relevant films.
She said growing up with icon filmmakers such as Lino Brocka and Ishmael Bernal made her want to reintroduce quality films in today's generation.
A prominent foreign film critic, in fact, noted the comeback of Philippine movie in the global scene saying that “Kubrador is a welcome sign of life from the Filipino cinema, from which not much has been heard on the international scene since the death of Lino Brocka 15 years ago.”
“I'm feeling a void that's why I'm filling what's lacking in today's movie industry,” said Alonso.
Kubrador will be shown in 13 more film festivals abroad this month.
In September, the film will be featured in the Toronto Film Festival, where Alonso hopes to find a buyer for her film.
An Oscar nomination is also in sight for Kubrador.
Kubrador and another experimental film “Ang Pagdadalaga ni Maximo Oliveros” were endorsed by one of the screening committees of the Film Academy of the Philippines, which submits the nominations for Philippine entries in the Oscar Awards.
The two films have been nominated as entries for the Best Foreign Film category.
http://globalnation.inq7.net/cebudailynews/news/view_article.php?article_id=17482
*******
34 Globe-Spanning Titles Join Contemporary World Cinema
Toronto - The 31st Toronto International Film Festival announces 34 films from 26 countries to round out this year's line up of Contemporary World Cinema titles. The complete programme features 60 titles, including 19 world, 4 international and 32 North American premieres from a total of 40 countries. Contemporary World Cinema titles announced today include Alejandro Gomez Monteverde's BELLA; Mel Chionglo's TWILIGHT DANCERS; Dror Shaul's SWEET MUD; Cate Shortland's THE SILENCE; Jeffrey Jeturian's THE BET COLLECTOR; and Chris Kraus' FOUR MINUTES. Limited Festival Passes and Coupon Books are available until August 25. Single tickets on sale September 6. For all information and to purchase tickets call 416-968-FILM or visit bell.ca/filmfest.
In Tom Vaughan's STARTER FOR 10 (UK), based on the novel by David Nicholls and produced by Tom Hanks, working-class student Brain Jackson (James McAvoy) navigates his first year at a posh university in hopes of making it onto the television quiz show University Challenge. BELLA (USA), written and directed by Alejandro Gomez Monteverde, tells the story of two individuals whose lives converge and turn upside down on a single day in New York City. In FICTION (Spain) by filmmaker Cesc Gay (NICO AND DANI), a shy and introverted film director leaves his wife and children for a few days of calm and to write his last script, only to find his solitude broken by the arrival of an attractive female musician. Mel Chionglo's TWILIGHT DANCERS (Philippines) offers a disturbing yet humourous look at Philippine social realities through the eyes of three macho dancers. From executive producers Steven Soderbergh and George Clooney comes writer/director Scott Z. Burns' debut feature THE HALF LIFE OF TIMOFEY BEREZIN (USA), about a nuclear technician drawn into the underground world of the Russian mafia in an attempt to save his family from destitution. Filmmakers Rakhshan Bani-Etemad and Mohsen Abdolvahab tell the story of a bride-to-be grappling with heroin addiction as her wedding day fast approaches in MAINLINE (Iran). Katherine Dieckmann's DIGGERS (USA) combines humor and pathos in a story about clamdiggers on Long Island in the election year of 1976. Niki Karimi directs and stars in A FEW DAYS LATER (Iran), exploring the life of Shahrzad, a famous graphic designer living in Tehran whose busy daily routine is disrupted by the prospects of a relationship. After a tragic family accident shreds through his blissful life, Santiago reappears beyond recognition, working at an airport in the remote, frozen landscape of southernmost Argentina in Pablo Trapero's BORN AND BRED (Argentina/Italy/UK). Ole Christian Madsen's PRAGUE (Denmark) tells the story of the deteriorating relationship between Christoffer and his wife Maja while visiting Prague to claim the remains of Christoffer's recently deceased father. These ten films will be world premieres.
Four films will see their international premieres in Contemporary World Cinema. In Dror Shaul's SWEET MUD (Israel/Germany/Japan), Dvir, a 12-year-old boy in a kibbutz in southern Israel in the 1970s, realizes that despite the kibbutz motto of equality, his mentally ill mother has been abandoned by their collective community. A former police detective, now working as a curator at the Justice and Police Museum, becomes obsessed with a beautiful victim in one of the crime scene photographs in his exhibition from the 1960s in Cate Shortland's THE SILENCE (Australia). Reha Erdem's TIMES AND WINDS (Turkey) focuses on three adolescent children living in a tiny, poor village where the day is divided into five by the sounding of a prayer. A woman leaves her family in Russia and heads for Europe in search of a better life, only to find herself a sex slave instead in Teresa Villaverde's TRANSE (Portugal/France/Russia/Italy).
Eighteen titles will receive a North American premiere at this year's Festival. Acclaimed stage director Neil Armfield offers up CANDY (Australia), a contemporary, heroin-infused love story about the crippling effects of addiction for artist Candy (Abbie Cornish) and occasional poet Dan (Heath Ledger). Debbie Isitt's comedy CONFETTI (UK) follows three couples as they fight it out to win a magazine competition for 'Most Original Wedding of the Year.' Silver Bear winner at Berlinale, Jafar Panahi's OFFSIDE (Iran) sheds light on issues of gender inequality in Iran as soccer fanatic females attempt to sneak into a stadium only to be apprehended by authorities. Jeffrey Jeturian's award-winning film THE BET COLLECTOR (Philippines) sees aging bookie Amelita clinging to her job of more than 20 years during a police crackdown on the illegal numbers racket. Andrei Kravchuk's THE ITALIAN (Russia) sees a six-year-old Russian boy at the threshold of his own destiny, forced to choose between a comfortable life as the adopted child of a loving Italian family or continuing the search for his biological mother. In Hans Steinbichler's WINTER JOURNEY (Germany), 60-year-old Franz Brenninger loses $80,000 in an African con game - money he should have spent on a much needed eye operation for his wife. Determined to get his money back, he and his young interpreter Leyla travel to Nairobi, embarking on a life-changing journey from which Brenninger will likely never return.
To raise money for a new life, teenaged mother Suely decides to raffle herself off in Karim Aïnouz's SUELY IN THE SKY (Brazil/Germany). Nikos Grammatikos' THE WAKE (Greece) sees Andrew, a cop who just shot his wife and is trying to flee the country, reunite with his estranged younger brother Nick, a priest, after a decade spent without speaking to one another. Jasmila Zbanic's GRBAVICA (Bosnia and Herzegovina/Austria/Germany/Croatia) sees single mother Esma tormented by the violent events of her past while her 12-year-old daughter attempts to discover the truth behind her father's supposed martyrdom. In Jan Hřebejk's BEAUTY IN TROUBLE (Czech Republic), an ordinary young woman must choose between the affections of a well-off older man and the sexual addiction binding her to an undeserving husband. Five thirty-something friends - returning to their small hometown for the funeral of a beloved teacher - reunite for the first time in 14 years in Barbara Albert's FALLING (Austria). In Francisco Vargas Quevedo's THE VIOLIN (Mexico), after the military seizes his village, humble rural musician Don Plutarco devises a plan: to play up his appearance as a harmless violin player in order to return to the village and retrieve hidden arms and ammunition.
In an attempt to reconnect with his elder brother, 19-year-old Tung leaves behind his aging mother for the urban chaos of Kuala Lumpur in Ho Yuhang's RAIN DOGS (Malaysia). After 17-year-old Eva flees reformatory school and the country, her seven-year-old brother - convinced that Ceausescu is responsible for his sister's departure - devises a plan to kill the dictator in Catalin Mitulescu's THE WAY I SPENT THE END OF THE WORLD (Romania/France). In Chris Kraus' FOUR MINUTES (Germany), an 80-year-old piano teacher decides to retransform her pupil Jenny - convinced her life is over after having committed a murder - into the musical wunderkind she once was. LA TOURNEUSE DE PAGES (France), Denis Dercourt's sixth feature, sees Mélanie, a young woman with a special gift for the piano, take the Conservatory entrance exam to follow her dream of being a concert pianist. A long forgotten actress in retirement, a part-time eccentric stage director-cum-part-time Ritz pool boy, an established star of a mainstream television series, and a young and dangerously handsome social worker are all searching for their dreams to be fulfilled in Anne Fontaine's NOUVELLE CHANCE (France). Starring Asia Argento, daughter of revered director Dario Argento, Tony Gatlif's TRANSYLVANIA (France) sees the surreal journey of Zingarina and her friend Marie as they travel to Transylvania.
Two films will receive their Canadian premiere. Inspired by actual events, Hans-Christian Schmid's REQUIEM (Germany) tells the story of a young religious woman whose violent epilepsy causes her to submit to an exorcism. PALIMPSEST (Poland) from filmmaker Konrad Niewolski sees a police succumb to a dangerous mental breakdown while attempting to solve a case.
Contemporary World Cinema is made possible through the generous support of Sun Life Financial.
http://www.e.bell.ca/filmfest/2006/media_centre/news_releaseItem.asp?id=256
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Kubrador has been accepted by a total of 16 international film festivals:
1. World Premiere at the 28th Moscow International Film Festival, Russia June 23-July 2, 2006 where it won the FIPRESCI Award fpr Best Film in Competition.
2. Asian Premiere at the 8th Osian-Cinefan International Film Festival, New Delhi, India, July 14-23, 2006 where it bagged Best Picture, Best Actress and its 2nd FIPRESCI Prize for Best Film in Competition
3. North American premiere at 2006 Toronto International Film Festival,
Canada from September 7-16, 2006
4. 2006 Vancouver International Film Festival, Canada from September 28-October
13, 2006
5. Turkish premiere at the 2nd International Eurasia Film Festival in
Antalya from September 16-23, 2006
6. Bollywood premiere at Mumbai's 5th Asian Film Festival from October 12-19, 2006
7. 2006 Pusan International Film Festival, Korea from October 12-20, 2006
8. UK premiere at the 50th London International Film Festival, October 18-November 2, 2006
9. US premiere at the Louis Vitton-Hawaii International Film Festival
From October 19-29, 2006
10. Latin American premiere at 30th São Paulo International Film Festival /
30ª Mostra Internacional de Cinema, Brazil from October 21-November 3, 2006
11. 19th Tokyo International Film Festival from October 21-29, 2006
12. Balkan premiere at Thessaloniki International Film Festival, Greece
From November 7-23, 2006
13. Western European premiere at the 33rd Brussels International Independent
Film Festival from November 7-12, 2006
14. French premiere at the 26th Festival International du Film d'Ameins (in competition) from 10-19 November 2006
15. Italian premiere at the Asiatica Film Mediale in Rome from November.18-26, 2006
16. Iberian premiere at the Sección Oficial of Spain's 51st Valladolid International Film Festival from October 20-28, 2006
17. Kubrador will be competing for the Golden Kinnaree award for Best Film in Competition during the 2007 Bangkok International Film Festival from January 26-February 5, 2007.
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2006 TORONTO INTERNATIONAL FILM FESTIVAL
The Bet Collector
(Kubrador)
Programme: CONTEMPORARY WORLD CINEMA
Director: Jeffrey Jeturian
Country: The Philippines
Year: 2006
Language: Tagalog
Time: 98 minutes
Film Types: Colour/35mm
SCREENING TIMES:
Friday, September 08 7:30 PM VARSITY 4
Friday, September 08 7:30 PM VARSITY 5
Sunday, September 10 9:00 AM CUMBERLAND 1
Friday, September 15 5:15 PM VARSITY 6
Production Company : MLR Films
Executive Producer: Josabeth V. Alonso
Producer: Rogelio I. Rayala
Screenplay: Ralston Jover
Cinematographer: Roberto Yniquez
Editor: Jay Halili
Production Designer: Leo Abaya
Sound: Ditoy Aguila
Music: Jerrold Jarog
Principal Cast: Gina Pareño, Fonz Deza, Nico Antonio, Ran Del Rosario, Johnny Manahan, Nanding Josef
Amy (Gina Pareño) paces through the ramshackle alleys of her Manila neighbourhood, counting every penny. She collects bets placed on jueteng, a popular numbers game. Betting is illegal, but everyone does it. In fact, when Amy is arrested, the police first impose a fine - then place a bet. Her skill at finessing the situation is what keeps Amy in the game.
Director Jeffrey Jeturian begins The Bet Collector as an observational portrait of one fierce woman. His camera follows Amy as she cajoles neighbours for bets, squabbles with her husband and offers unsolicited advice to a young woman about to marry a foreigner. But as Amy emerges as a more complex, layered character, her story takes on dramatic momentum. She struggles to balance the demands of money and faith, at one point interrupting her jueteng rounds to help the local priest (Nanding Josef) collect alms. She does this even though she is already in serious debt and earns precious little from her work - receiving $1.15 in commission is a bright spot in her day. So when her husband forgets to tell her about a bet that ends up paying off, she is thrown into an impossible predicament.
Jeturian understands the pleasures of melodrama and gives The Bet Collector just enough delicious anguish to satisfy his audience. But his observational style opens up the hothouse atmosphere common to the genre. The film ranges through the streets and homes of working-class Manila, offering an up-to-the-minute portrait of life lived in the hope of one small victory. Jeturian's greatest asset here is Pareño: like Fernanda Montenegro in Central Station, she builds a deeply affecting portrait of a woman governed equally by necessary strength and overpowering emotion. She has a forceful physical presence, but remarkable delicacy and nuance of expression. Her performance is a revelation.
- Cameron Bailey
Jeffrey Jeturian was born in Manila and studied broadcast communication at the University of the Philippines. He made his debut, Enter Love, in 1998. Since then, he has made the films Fetch a Pail of Water (99), Larger than Life (00), Bridal Shower (04), One Moment More (04) and Bikini Open (05). The Bet Collector (06) is his most recent film.
Cameron Bailey, International Programmer
Cameron Bailey is a writer, broadcaster and film programmer in Toronto. He reviews film for Toronto's NOW Magazine, CBC Radio One and the CTV network's "Canada AM". He presented international cinema nightly on Showcase Television's "The Showcase Revue", and also produced and hosted the interview show "Filmmaker"on the Independent Film Channel Canada.
For eight years Bailey selected films for the Toronto International Film Festival� (1990-97). He is the founder and former programmer of Planet Africa, and former programmer for Perspective Canada.
Born in London, England and raised in Barbados and Toronto, he graduated from the University of Western Ontario with an Honours Degree in English literature. He pursued graduate study in Film at York University.
Bailey has contributed articles on subjects including cinema, Black culture and new technology to The Globe and Mail, Take One, The Village Voice, Screen, CineAction! and Borderlines, as well as to the MIT Press book Immersed in Technology and the Banff Centre anthology Territories of Difference.
He has been a guest speaker at several Canadian universities, as well as the Smithsonian Institution, Harvard University, New York University and the Banff Centre For the Arts.
He has also curated film series at Cinematheque Ontario, the National Gallery of Canada, the National Film Board of Canada, and Australia's Sydney International Film Festival. He has served on awards juries at film festivals in Canada, South Korea, Greece, Burkina Faso and Tanzania.
Bailey serves on the Advisory Board of the Royal Ontario Museum's Institute for Contemporary Culture. He is also a former board member of the Ontario Film Development Corporation, and Toronto's Images Festival. He is a founder of the Black Film and Video Network.
In 1997 Bailey completed his first screenplay, THE PLANET OF JUNIOR BROWN, co-written with director Clement Virgo. The film was named Best Picture at the 1998 Urbanworld Film Festival in New York, and was nominated for a Best Screenplay Gemini Award. He recently completed a video essay shot in Brazil, HOTEL SAUDADE. It premiered at the 2004 Toronto International Film Festival and makes its U.S. premiere in 2005 at New York's Museum of Modern Art.
http://www.e.bell.ca/filmfest/2006/films_schedules/films_description.asp?id=173
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Jeturian understands the pleasures of melodrama and gives The Bet Collector just enough delicious anguish to satisfy his audience. But his observational style opens up the hothouse atmosphere common to the genre. The film ranges through the streets and homes of working-class Manila, offering an up-to-the-minute portrait of life lived in the hope of one small victory. Jeturian's greatest asset here is Pareño: like Fernanda Montenegro in Central Station, she builds a deeply affecting portrait of a woman governed equally by necessary strength and overpowering emotion. She has a forceful physical presence, but remarkable delicacy and nuance of expression. Her performance is a revelation.
- Cameron Bailey, Toronto International Film Festival
Inevitably, this film outshines all the others for its mere as well as rare simplicity. As juries we do get to see various works of craftsmanship but hardly come across such a film which touches the core of everyone's heart in spite of our own cultural limitations. But, shouldn't this be the very essence of every film worth watching? Moreover, the film sincerely shows a lack of budget but the technicalities used reveals the power of digital technology. So, the following is the suggestion for the upcoming new breed of directors: try and use digital media and blow it into 35mm, which has already ushered a revolution in filmmaking. The film wins for its sincerity and, throughout the 98 minutes of projection, it swings and overlaps the reel life with the real ones. The subaltern class, with all its nuances, reigned supreme in this heart-ravaging tale. The film correctly symbolises a universal content and that makes the jury's work easier, as all of us almost unanimously agreed upon its award.
- Rwita Dutta, FIPRESCI 2006 (New Delhi)
The FIPRESCI jury in Moscow wasted little time in voting unanimously for the Filippino film The Bet Collector (Kubrador). True, its director, Jeffrey Jeturian, is not a new talent - this is his seventh feature - nor, at 47, a young one. But The Bet Collector has urgency, freshness and hidden depths; to paraphrase the poet Walt Whitman, it may not be a large film, but it contains multitudes within its rough-edged simplicity. It's also a most welcome sign of life from the Filippino cinema, from which not much has been heard on the international scene since the death of Lino Brocka fifteen years ago. In short, despite the dearth of other strong candidates for the prize, a very deserving winner.
- Sheila Johnston, FIPRESCI 2006 (Moscow)
The desperation, the repetitive quality of this life at the bottom of the totem pole of illegal organized gambling here in our country, is what the film focuses on and it’s a searing indictment of the "quality of life" much of our countrymen have to endure and take for granted as their plight in life.
- Philip Cu-Unjieng, Philippine Star
15 July 2006
LOCAL viewers today go only for feel-good romantic films (“All About Love”, “Moments of Love”) or horror films (“White Lady”, “Sukob”). That is why Director Jeffrey Jeturian’s “Kubrador” is the most daring local film we’ve seen in years. It’s not only politically brave, but also very daring on the part of producer Atty. Joji Alonso to produce a film that has very little commercial consideration....Kubrador is (Jeturian's) most thought-provoking work so far. The truth is it’s really more scary than “Sukob” or any other horror film, simply because it is REAL and we shudder at the thought of how the likes of Amy and the rest of our other marginalized countrymen are trapped in a society where the rich and the powerful continue to exploit them.
- Mario Bautista, People's Journal
6 August 2006
DIRECTOR Jeffrey Jeturian has always been a skilled cinematic storyteller. Even his sex romps, such as “Bridal Shower” and “Bikini Open,” proceed smoothly and contain biting social commentary that is worked in subtly and not pummeled into the viewer....But in “Kubrador,” he has shown the maturity of his gifts. Using naturalistic camera movements and working with live sound, he gives the film a documentary feel. He brings the audience into the seamy streets and dark alleys of a slum, neither disguising nor exploiting the squalor and the poverty.
- Rina Jimenez David, Philippine Daily Inquirer
6 August 2006
Rising action is not what makes the film engaging, in fact, even riveting. It is the film’s visual and aural textures that tell all in several levels, from the micro-story of a lowly slum-dweller valiantly struggling for survival, or of a bereaved family lamenting the senseless death of their recent college graduate, their only hope to lead them in their escape from a life of wretchedness, to the macro-tale of a society steep in corruption and injustice, where superstition is the people’s only cling to sanity and salvation. The film is replete with subtle potshots at foibles every ordinary Filipino is familiar with.
- Joven Velasco, Philippine Star
8 August 2006
We already have a best picture for 2006. And the winner is – drum roll – Kubrador!
- Butch Francisco, Philippine Star
10 August 2006
“Kubrador” is the kind of movie you watch and get lost in. That is what makes it brilliant. You become unaware that you’re watching a film—you feel like you’re watching the life of Amelita. And in the end, that is what filmmakers should do. It’s easy to call attention to one’s self, it’s effing hard to let go of your ego and realize it’s not all about you.
- Pepe Diokno, Philippine Daily Inquirer
11 August 2006
In Kubrador, (Jeturian) outdoes himself.
- Atty. Billy Balbastro, Abante
11 August 2006
Filipino wrong-side-of-the-tracks meller "The Bet Collector" (Kubrador) collected some heavy winnings Sunday at the closing ceremony of Osian's Cinefan Festival of Asian Cinema here. Pic, which revolves around a housewife who sells tickets for a numbers racket in Manila's slums, won best film awards from both the Asian Competition and Fipresci juries at the fest's eighth edition.
- Russell Edwards, Variety (Hollywood)
Here was a work which took you walking through the streets of the city, introduced you to its people in flesh and blood, and showcased the evils of an omnipresent but banned betting game, with collectors to regulate it in underground channels....unabashed by raids, threats, capture and crackdown....(Jeturian's) film showed humour, fellow feeling, compassion, and an endearing cock-a-hoop spirit in the midst of squalor.
-Gowri Ramnarayan, Frontline: India's National Magazine
Volume 23 Issue 16, 12-25 August 2006
Far from being a very typical Filipino film, Kubrador may be easily overlooked by someone who is looking for pure entertainment. Bleak but humane, it shows three days in the life of aging bet collector Amelita (brilliantly played by Gina Pareno) who goes around her povertystricken neighborhood convincing people to entrust their hard-earned pesos to luck – jueteng, a popular numbers game first introduced by Chinese traders to colonial Manila. Although illegal on paper, everyone plays it, even policemen who detain Amelita in order to place bets a huis clos. Day after day, year after year, Amelita wanders around the maze of her shanty town, the maze of her life – not in search of happiness (she has long forgotten what it is), but in search of more numbers which remain her Ariadne's thread.
- Passport Magazine (Moscow)
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Billy Balbastro
UPDATE: Kubrador on its third week in theaters got its 16th and 17th invitation to festivals of the world: Bangkok International Film Festival, Feb. 17-27; Tokyo International Film Festival, the Winds of Asia Section.
http://www.abante.com.ph/issue/sep0206/main.htm
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Big deal for ‘Kubrador’
By Marinel Cruz
Inquirer
Last updated 11:31pm (Mla time) 09/03/2006
Published on page E6 of the September 4, 2006 issue of the Philippine Daily Inquirer.
THE PRODUCER OF THE AWARD-winning Jeffrey Jeturian film “Kubrador” is set to ink a 25-year worldwide distribution deal with Cinemavault Releasing International, Inquirer Entertainment learned on Friday.
Cinemavault, a Toronto-based outfit currently representing over 280 movies, operates primarily as an international sales entity for independent films.
“I’m studying the contract very carefully. After all, I’ll be binding ‘Kubrador’ to them for 25 years,” MLR Films producer Joji Alonso said.
Two weeks ago, Cinemavault confirmed its interest in “Kubrador” through an e-mail sent by Michael Paszt, vice president for acquisition.
Among Cinemavault’s famed art house releases are “Sexual Dependency,” “Innocence,” “Tale of a Naughty Girl” and “Atanarjuat: The Fast Runner,” which won at the Cannes and Hawaii International Film Festivals.
Alonso said Cinemavault has big plans for “Kubrador,” including dubbing it in French, Spanish and English, “so that the movie could be sold to more countries.”
She said MLR Films likewise received inquiries on sales and distribution from Stephen A. Oxman Jr., director of Film Sales Company (which represents the controversial “Fahrenheit 9/11”), and Seiji Park of New Line Cinema (producer of the “Lord of the Rings” series).
Trailblazer
According to talent manager Ed Instrella, the interest on “Kubrador” could help pave the way for other good Filipino films in the international market.
“If we don’t get much from local sales, foreign market ang bubuhay sa industry,” (the local movie industry can depend on foreign market) Instrella said. “This is exactly what happened to the Japanese and Korean film industries. MLR Films’ decision could work for other Pinoy indie films.”
Instrella line-produced Mel Chionglo’s “Sibak,” a controversial sexy film in the ’90s, written by Ricky Lee. It was sold to 14 distributors worldwide and shown in 21 countries.
“If this pans out well, local producers wouldn’t have to worry if their movies don’t make much here,” said Instrella.
“Kubrador” recently received its 17th invitation from the Tokyo International Film Festival, where it will be screened in the Winds of Asia section. The festival runs from Oct. 21 to 29.
“With Cinemavault as agent, MLR need not worry about promotions when ‘Kubrador’ competes in international film fests,” Instrella noted.
“Kubrador” is a strong contender, along with “Ang Pagdadalaga ni Maximo Oliveros,” as the country’s entry in the Best Foreign Film category of the next Oscars. The Film Academy of the Philippines is expected to announce its decision this week.
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=18771
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i've watched this film. the only film i've watched since nasaan si francis? which was last feb. pa. barely a handful was inside d moviehouse sa megamall. the movie was great, gina pareño was great. she was able to spook me when she was lost in the labyrinth of houses.
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'Twilight' at 'Kubrador', handa na sa Toronto!
Billy Balbastro
IF Cannes is the most prestigious film festival of the world and Venice and Berlin pride themselves in their expansive and quality film selections, it is Toronto which is now known as the top film market of the world.
In spite of its vast official selection each year, the Toronto filmfest has no competition section and if awards would be given at all, they are principally people’s choices -- the festival’s most popular to viewers.
This year’s 31st Toronto International Film Festival will start this Thursday (Sept. 7) and ends 10 days later, on Sept. 16.
It will screen more than 400 films from all over the world in 10 days.
This year, two Filipino films make it to Toronto. With the festival merely two days away, the people behind Centerstage’s Twilight Dancers and MLR Films’ Kubrador are preparing to go to Toronto for film screenings.
Tomorrow, the MLR delegation will be leaving and the group includes producer Atty. Joji Alonso, film director Jeffrey Jeturian and lead actress Gina Pareño.
This is the third world festival for Kubrador, an earlier winner of the film critics award in Moscow (May) and New Delhi (June), where it also won best director and best actress.
Its local exhibition here in the Philippines started last August 16. It will have its North American premiere exhibition in Toronto on Sept. 8 (Friday), 7:30 p.m. at the Varsity 4 and 5.
However, its press screening will be on Sept. 7 (Thursday).
Next screenings are scheduled on Sept. 9 (Saturday), Sept. 11 (Monday) and Sept. 15 (Friday).
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The delegation of the Centerstage group behind Twilight Dancers includes film director Mel Chionglo, scriptwriter Ricky Lee, actors Allen Dizon and Tyron Perez, associate production designer Jens Peter Gaw and they are set to leave on Friday, Sept. 8.
Allen’s manager, Dennis Evangelista, and his mom will also be flying to Toronto since they will be visiting relatives after the filmfest.
Last Sunday, producer Ferdinand Lapuz flew to Toronto to do pre-screening preparations.
After all, Twilight Dancers will have its first public screening, a world premiere in Toronto on Friday, Sept. 8 in the evening. Earlier in the day, it will have its press preview.
It will have its industry screening on Sept. 11 and two more public screenings on Sept. 13 and 15.
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NOTES: Toronto is the first world festival for Twilight Dancers. It goes to its second filmfest in Chicago International Film festival in October.
But before that, it will have its regular commercial run here in the Philippines on Sept. 20. It will have its Philippine premiere on Sept. 18 (Monday) at Gateway, Cubao.
Kubrador, on the other hand, has three festivals to attend this September. According to Atty. Joji Alonso, film director Jeffrey Jeturian will proceed to Turkey, straight from Toronto, as she and Gina Pareño come home.
Direk Jeffrey will represent them at the 2nd Eurasian Film Festival (Sept. 16 to 23) in Antalya, Turkey.
And there’s still the 37th Vancouver filmfest (Sept. 28 to Oct. 13) to think about before the London filmfest (Oct. 8 to Nov. 2) and Pusan (Oct. 12 to 20).
All told, Kubrador got its 17th invitation with the Tokyo filmfest next year.
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http://www.abante.com.ph/issue/sep0506/main.htm
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ONLY IN HOLLYWOOD
Toronto fest fare includes 2 RP movies
By Ruben V. Nepales
Inquirer
Last updated 09:55pm (Mla time) 09/09/2006
Published on page G1 of the September 10, 2006 issue of the Philippine Daily Inquirer.
TORONTO, ONTARIO—THE TORONTO International Film Festival (TIFF) may boast of a varied fare—from the Philippines’ “Kubrador (The Bet Collector)” and “Twilight Dancers” to Brad Pitt’s “Babel”—but one entry is stirring controversy: “Death of a President.”
Why? “Death of a President,” set to world premiere here today, Sunday, is a mock documentary that shows the fictional assassination of US President George W. Bush. Set in 2007, the British film, which the festival decided to list under the low key title of “D.O.A.P.,” mixes archival footage and computer-generated imagery. The assassination opening scene, in which Bush’s face is attached to the body of an actor, reportedly looks chillingly realistic. The aftermath of the killing—the investigation and the consequences—supposedly make up the bulk of the film directed by Gabriel Range.
Before we tell you more about this controversial addition to TIFF’s lineup, let us share our thoughts on the entries that were screened to us in LA, before we flew to Toronto.
Penelope Cruz should prepare for a busy sked come awards season time—her performance in Pedro Almodovar’s “Volver” should earn her nominations. Acting again in her native language, the Spanish actress shows the brilliance and depth missing in her English films.
Pedro, who wanted Penelope to evoke those sultry, bosomy women of Italian neo-realist cinema like Sophia Loren and Anna Magnani, reportedly encouraged his star to wear a pair of prosthetic buttocks. Needless to say, Spain’s preeminent filmmaker is in top form in his homage to his childhood roots.
Flashback
A DVD screener of “Kubrador” allowed us to appreciate Gina Pareño’s excellent performance. Director Jeffrey Jeturian took us back to our childhood where every dream has an equivalent number in jueteng. What we particularly like about “Kubrador” is that it is more of a series of vignettes, rather than a succession of plot contrivances. It’s a rarity—a Pinoy film that dares to tarry and linger on the protagonist even when she is basically just walking. But what a pleasure it is to watch Gina as she reacts to the things she encounters as she collects bets.
“Little Children,” starring Kate Winslet (“Titanic”), Jennifer Connelly and Patrick Wilson, is being hailed by critics as a worthy follow-up effort of director Todd Field to his acclaimed “In the Bedroom.” This is a drama which essays the affair of a married man and woman (Patrick and Kate have several nude scenes) in a suburban town in a tizzy over a child molester living in their midst. Former child actor Jackie Earle Haley is so convincing as a convicted sex offender—he is disturbing and creepy. Best supporting actor nods should come his way.
“Venus” offers us a rare chance to relish the undiminished acting prowess of Peter O’Toole, one of the greatest actors of our time. In his first lead role in more than two decades, Peter, 74, and another distinguished actor, Leslie Phillips, play a pair of veteran actors whose comfortable senior life is turned upside down by the arrival of Leslie’s character’s niece (newcomer Jodie Whittaker). The conservatives may squirm at the sight of some scenes involving Peter and Jodie but these sequences are realistic, bittersweet encounters.
Engaging comedy
On the eve of our departure for Canada, we were shown “Stranger Than Fiction,” an engaging comedy from director Marc Forster (“Finding Neverland,” “Monster’s Ball”) about a writer, played by Emma Thompson, who is planning to kill off the principal character in her novel. But her supposedly literary creation, Harold Crick, portrayed by Will Ferrell, turns out to be alive. He goes into action to avoid being literally written off. Will (effectively subtle), Emma and Maggie Gyllenhaal (even in The Girlfriend role, this terrific actress is engrossing to watch) turn in top-rate performances.
Investigative docu
Going back to “D.O.A.P.,” here is a description of the film by Noah Cowan in the festival’s Web site: “An unknown gunman assassinates George W. Bush. A couple of years later, an investigative documentary is made. It features all the people involved that fateful day: the protestors outside a Chicago hotel; the suspects in the shooting and their families; the Secret Service men who failed to protect their charge; the press; and an array of experts, desperately seeking meaning in this horrible act of violence. We learn, agonizingly, what happened to America… after the death of a president.
“This is easily the most dangerous and breathtakingly original film I have encountered this year. Director Gabriel Range’s 2003 project ‘The Day Britain Stopped’—which asked what might happen if Britain’s transportation grid was suddenly halted—was his first experiment with this style. He assembles a vast array of media, manipulating and subtly altering it to act as a continuous background illustration of falsified histor—-and then employs the conventional, after-the-fact style of ‘History Television’ and its ilk as narration.
Attack on Bush?
“As one might expect, Range is ultimately interested in addressing today’s political issues through the lens of the future. Xenophobia, the hidden costs of war and the nature of civil liberties in a hyper-media age all come under the microscope. The film is never a personal attack on Bush; Range simply seeks to explore the potential consequences that might follow from the President’s policies and actions.”
With the mounting controversy about the pseudo-documentary, TIFF officials had to issue a press statement defending the film’s inclusion in the fest’s Vision program: “‘D.O.A.P.’ was chosen to screen as a world premiere at the Toronto International Film Festival in the Festival's Visions program. Visions spotlights films which challenge our notions of mainstream cinema and explore new cinematic territory… ‘D.O.A.P.’ addresses a wide array of contemporary issues including the loss of civil liberties, the ramifications of war, and ultimately critiques the overwhelming influence and manipulation of mass media.
Free expression
“The Toronto International Film Festival is committed to the free expression of ideas and to engaging audiences in thoughtful discussion about issues of the day. ‘D.O.A.P.’ contributes meaningfully to the public discourse surrounding current social issues, demonstrates highly original storytelling techniques and utilizes innovative digital effects. The film is not exploitative in any way and treats what would certainly be a great tragedy respectfully and un-cynically. In the tradition of great cautionary tales, a terrible and horrifying event unveils certain aspects of society’s current fears and future trends. The perspectives and/or opinions expressed in films presented at the Festival are those of the filmmakers and do not necessarily reflect those of the Toronto International Film Festival Group.”
Gabriel, however, was frank about his film’s objective. In a press release, the director said, “We’re thrilled to be screening the film at Toronto… (‘Death of a President’ has) a striking premise which may be seen as highly controversial. But it’s a serious film which I hope will open up the debate on where current US foreign and domestic policies are taking us.”
Objections
Two conservative personalities have already denounced the film without having seeing it. Radio host Rush Limbaugh and US Congressman Peter King, chairman of the House Homeland Security Committee, described the movie as “sicko” and “absolutely disgraceful,” respectively.
“Sicko,” by the way, is also the title of Michael Moore’s in-the-works documentary indicting the US healthcare and pharmaceutical industry. The liberal filmmaker behind “Fahrenheit 9/11” and “Bowling for Columbine” will show excerpts of “Sicko” and “The Great ’04 Slacker Uprising,” his other unfinished docu, at the TIFF.
Tough on presidents
Another documentary that will surely get its share of media attention, partly on its title alone, is “The Prisoner or: How I Planned to Kill Tony Blair.” This fest is tough on presidents and prime ministers! “The Prisoner…” employs a comic book approach to tell the story of Yunis Khatayer Abbas, an Iraqi cameraman who was jailed for months by US forces on the false grounds that he was plotting to assassinate UK’s prime minister.
Here are excerpts of TIFF’s online description of the two entries from Manila, as written by Cameron Bailey:
‘Kubrador (The Bet Collector)’
“Jeturian understands the pleasures of melodrama and gives ‘The Bet Collector’ just enough delicious anguish to satisfy his audience. But his observational style opens up the hothouse atmosphere common to the genre. The film ranges through the streets and homes of working-class Manila, offering an up-to-the-minute portrait of life lived in the hope of one small victory. Jeturian’s greatest asset here is Pareño: like Fernanda Montenegro in ‘Central Station,’ she builds a deeply affecting portrait of a woman governed equally by necessary strength and overpowering emotion. She has a forceful physical presence, but remarkable delicacy and nuance of expression. Her performance is a revelation.”
‘The Twilight Dancers’
“Director Mel Chionglo expresses the flow of power among his characters in bold strokes and drapes the mise-en-scène with beautiful bodies, but this is a remarkably sensitive film. He draws a performance of inchoate longing from (Tyron) Perez, who plays Dwight as a man whose looks gain him everything but what he desires.
“The macho dancer story has become a small genre within Filipino cinema, with Chionglo at its forefront. His ‘Midnight Dancers’ and ‘Burlesk King’ took inspiration from Lino Brocka’s ‘Macho Dancer,’ mining both the desperation and the unabashed sexuality of this world. With ‘Twilight Dancers,’ Chionglo once again finds an unexpectedly graceful balance between sober social drama and pure erotica.”
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