Author Topic: 2010 Metro Manila Film Festival  (Read 15971 times)

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Offline Pandidoy

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Re: 2010 Metro Manila Film Festival
« Reply #30 on: Dec 29, 2010 at 08:23 AM »
Paghawak ng sigarilyo ang isa sa naging basis ni Butch Francisco sa pagtimbang kay Jennilyn Mercado?Tsk Tsk  >:( >:(

The part of Rosario is a role of a lifetime. It is a difficult one that called for a long preparation and a series of workshops. That required her to look coquettish and flirtatious. The judges didn’t see that on screen. For heaven’s sake, she doesn’t even know how to hold a cigarette — when the character is supposed to be ahead of her time and one who smokes and smokes like it’s second nature to her character.

http://www.philstar.com/Article.aspx?articleId=643161&publicationSubCategoryId=70
« Last Edit: Dec 29, 2010 at 08:46 AM by pandidoy »

Offline Ashburndaride

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Re: 2010 Metro Manila Film Festival
« Reply #31 on: Dec 29, 2010 at 08:42 AM »
Butch Francisco is an idiot....

Offline kraut

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Re: 2010 Metro Manila Film Festival
« Reply #32 on: Dec 29, 2010 at 09:07 AM »
idiot at ayaw umaming ba??ng.....
I am he as you are me and we are all together !!!

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #33 on: Dec 29, 2010 at 06:56 PM »
December 26, 2010

    * 1.“Si Agimat at si Enteng Kabisote,” starring Bong Revilla and Vic Sotto, P27 Mllion
    * 2. Ang Tanging Ina Mo (Last Na ‘To),” starring Ai-Ai delas Alas P18 million.
    * 3. “Dalaw,” starring Kris Aquino, P11 million.
    * 4. Shake, Rattle & Roll XII, with an all-star cast,P8.1 million.
    * 5. RPG: Metanoia, a 3D animated film, P4.8 million.
    * 6. Super Inday and the Golden Bibe, starring Marian Rivera and John Lapus, P3.2 million.
    * 7. Rosario, starring Jennylyn Mercado and Dennis Trillo, P2.5 million.
    * 8. Fr. Jejemon, starring Dolphy, P1.2 million.


Offline Tempter

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Re: 2010 Metro Manila Film Festival
« Reply #34 on: Dec 29, 2010 at 09:29 PM »
idiot at ayaw umaming ba??ng.....

ang macho ni butch  ;D
"Great minds discuss ideas; average minds discuss events; small minds discuss people."

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #35 on: Dec 31, 2010 at 08:20 PM »
2010 Metro Manila Film Festival Total Box-Office Gross
(December 25 – 28, 2010; 4 Days)

1. Si Agimat at Si Enteng Kabisote – P86.7 million
2. Ang Tanging Ina Mo, Last Na ‘To! – P67.9 million
3. Dalaw – P40.6 million
4. Shake Rattle & Roll XII – P29.1 million
5. RPG: Metanoia – P15.3 million
6. Super Inday and The Golden Bibe – P10.9 million
7. Rosario – P9 million
8. Father Jejemon – P3.8 million


http://www.starmometer.com/2010/12/30/2010-mmff-box-office-update-tanging-ina-beats-si-agimat-at-si-enteng-on-day-4/

Offline Klaus Weasley

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Re: 2010 Metro Manila Film Festival
« Reply #36 on: Jan 01, 2011 at 08:58 AM »
RPG: Metanoia deserves to make more money. I heard they sold it in Japan for $1 million U.S. so that's good news, I guess.

Offline d4nu65+3R

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Offline Klaus Weasley

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Re: 2010 Metro Manila Film Festival
« Reply #38 on: Jan 01, 2011 at 10:30 AM »
nagpapatawa ba si papa butch?

Read the article. It seems to me Butch Francisco thinks playing it safe and achieving your goal > ambitious but falling short of high expectations. He nitpicks Jennylyn Mercado's ambitious, complicated performance while trying to justify voting for Ai-Ai for playing a character that's been tailor-made for her and one she has been playing for 3 movies and a TV show. For me, that doesn't make any sense.

Offline iconoclast87

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Re: 2010 Metro Manila Film Festival
« Reply #39 on: Jan 01, 2011 at 11:05 AM »
Quote
thinks playing it safe and achieving your goal > ambitious but falling short of high expectations

Pretty much sums up the mindset of the mainstream Filipino film industry, we always fail to take chances and when we do, we retreat at the first chance when such a risk doesn't work out.

Offline wacksy1021

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Re: 2010 Metro Manila Film Festival
« Reply #40 on: Jan 01, 2011 at 04:07 PM »
sigurado ako sa ibang bansa pa makakakuha ng award ang rosario. hirap talaga magpaliwanag pag mali ka at ayaw mo umamin na nagkamali ka. no wonder philippine movies is at a mess dahil sa mga "critics" na ito.

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #41 on: Jan 02, 2011 at 06:34 PM »
Final cut

LOCAL CINEMA—the mainstream one, at least, which has dominated the industry all these many decades—has never flagged in complaining about the lack of state support for its endeavors. It has a point. The industry is burdened with onerous taxes, whip-lashed by foreign competition, hamstrung by skewed business practices and at a loss for updated technology that would make it more competitive globally.

A chunk of every movie ticket sold still goes to a Marcos-era flood tax for Metro Manila. What do Pinoy movies have to do with a concern (more a failure, really, a colossal one—where has all the money gone, by the way?) best addressed by political leaders, engineers and urban planners?

But, as largesse goes, Filipino movies also have something no other industry in the country enjoys: a full two weeks with which to showcase its wares exclusively, without competition from Hollywood, by way of the Metro Manila Film Festival. The endowment comes with tax incentives for so-called quality entries, and the full panoply of government support by way of the Metropolitan Manila Development Authority’s adoption of the annual hoopla as a pet project.

From MMDA-produced TV ads hawking the film fest to the use of traffic cops, rerouted roads and other public resources for its opening parade, the MMFF is, in fact, an institutionalized if barely acknowledged corrective to the notion that the government has all but abandoned Philippine movies.

Think about it: The resources of the state are put in service of a protectionist measure meant to ensure that the business interests of a particular group of people would yield a fail-safe return on investment via a captive market. “Captive” is the right word; by carving a non-compete space for local flicks, no matter how temporary, the MMFF essentially wrenches away the power of choice from moviegoers, forcing them to choose from pre-selected, cartelized choices for their cinematic enjoyment.

There is something to be said, of course, for protecting the country’s cultural work—and Pinoy movies are arguably part of that fabric. The MMFF was created at a time when, even as the Filipino film industry was still one of the most vibrant in the world, there was the ever-present fear of Hollywood imports swamping local theaters. The festival was designed as a breathing space for homegrown cinema to catch up with the foreign juggernaut. It had none of the gloss and hype of Hollywood; so, to level the playing field—for a few days, at least, and by way of a government-mandated policy of exclusivity and protectionism—the MMFF freed local movies from having to compete with imports on those blatantly commercial terms.

It was the state stepping up to do its share for Filipino cinema—a commitment it has stood by all these years, for all the circus grotesquerie the festival has devolved into.

It’s fair enough, then, to ask the local film industry: What has it given the state—the public whose taxes bankroll its annual extravaganza—in return? If the MMFF was meant to showcase the best that local film artists could come up with, how has it happened that the crop of entries year in and year out now have come down mostly to a sorry crop of tired, unfunny sequels, rehashes, retreads and regurgitations that, strangely, do manage—always—to make it to the final cut?

How many more dashed-off “Shake, Rattle and Roll” and “Enteng Kabisote” editions must the festival trot out before its organizers’ sense of fairness, good taste or plain common sense is breached—assuming they have such? These movies—given their reliance on the conventional, the fantastical, the tried-and-true; the fact that they’re pitched to the largest common denominator—are precisely the kind that does not need the extra backing of public resources to lure an audience. Vic Sotto’s legion of primetime fans will see him no matter the time of year; why cede his movie a slot in a festival ostensibly pledged to cinematic standards higher and more consequential than commercial viability?

Or is it because that pledge has turned to fiction long ago? In which case, the MMFF should say so, so this long-running national charade—built on an anachronistic anti-consumer, protectionist ordinance, remember, employing public funds and resources—can now be officially retired.

In the bargain between the state rearranging policy to help the local film industry, and the industry churning out better movies in return, the increasingly irrelevant MMFF makes it clear which side has come up monumentally short.


http://opinion.inquirer.net/inquireropinion/editorial/view/20110102-312074/Final-cut

Offline Klaus Weasley

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Re: 2010 Metro Manila Film Festival
« Reply #42 on: Jan 02, 2011 at 07:24 PM »
The problem of course is that the festival is primarily ran by the MMDA. I think if it was ran by say MOWELFUND, CCP or Direk Tikoy, we'd have a completely different festival. There were some excellent suggestions to be made: The inclusion of indies into the festival itself, some special showcase screenings of Pinoy classics, etc. The "special" screening and competing for a 100,000 peso-prize, I agree with someone here, is very patronizing. More of a "oh, eto na, ha? Tigilan niyo na ang mga reklamo niyo"-type of gesture. What they do is ghetto-izing indie films instead of trying to make them succeed as breakout hits on their own.

Sadly, this film festival is primarily about making money than showcasing the best of Filipino cinema.

Offline jekoy

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Re: 2010 Metro Manila Film Festival
« Reply #43 on: Jan 04, 2011 at 01:04 AM »
Absolutely no regrets!

Offline R2

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Re: 2010 Metro Manila Film Festival
« Reply #44 on: Jan 04, 2011 at 04:24 AM »
In all fairness to Mr.Francisco, I think he's got valid arguments in favour of the board of judges' decisions on nominations and awarding of prizes. In fact, anyone could empathize with the situation he and the other reputable jury members got into: choosing what's supposedly outstanding achievements out of mediocre selections and doing so based on spurious judging criteria, imposed by organisers who knows nothing better.
The festival,admittedly,has a notoriously checkered history,and in its defense,is no more controversial than the world's most prestigious filmfests (ie Cannes,Venice,etc). Problem is, our so-called festival attracts controversy for the wrong (and definitely stupid,from all angles) reasons. In past editions however,even with the early ones,purely commercial and escapists fares (entries from FPJ and Dolphy back then, and Bong Revilla and Vic Sotto's movies of late) has always been showcased alongside the "prestige" ones (Insiang,Kisapmata,Himala,etc), and it's almost always the former that gets good box-office returns, despite the latter garnering critical acclaim and festival awards. Having said that, it will be instructive to note that some of those "commercial" entries in the past has actually bagged the Best Picture trophies, in addition to being the top-grosser (ie take a look at the 1979 edition, when "Kasal-kasalan,Bahay-bahayan" won over "Ina Ka Ng Anak Mo").
I guess the problem with the recent festivals is that the organisers has virtually institutionalised the primacy of commercial viability over artistic achievement in handing out the awards, by actually imposing such a criteria and in a very significant percentage at that. Again, it all boils down to politics and thus, the festival's prestige and cultural relevance suffers in the end.
« Last Edit: Jan 05, 2011 at 01:23 AM by R2 »

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #45 on: Jan 04, 2011 at 07:59 AM »
It's all about money.

COMBINED TICKET revenues from the eight official entries to the current Metro Manila Film Festival (MMFF) likely hit the P500-million target set by the organizers when the annual movie event was launched two months ago. SO FAR the Metro Manila Film Fest top grosser is Si Agimat at si Enteng Kabisote

Metropolitan Manila Development Authority (MMDA) chairman Francis N. Tolentino, concurrent head of the MMFF’s organizing committee, expressed optimism that the current festival outdid the record box-office performance of the event last year, when gross revenues reached P437.6 million.

“If we will base our box-office predictions for the entire film festival on the opening day last Christmas, then we can say that we are confident that we can reach the P500-million target,” Mr. Tolentino told reporters.

He said that when the festival opened on Dec. 25, 2010, consolidated ticket sales reached P90 million, the best ever box-office performance of the festival on its opening day in its entire 36-year history.

The stellar opening day came on the back of the popularity of the eight official entries to the festival, led by Si Agimat at si Enteng Kabisote starring Sen. Ramon “Bong” Revilla, Jr. and Vic Sotto. The movie grossed more than P10 million on Dec. 25, 2010 alone.

While the MMFF organizing committee declined to release official box office figures, unofficial reports from cinema owners showed that ticket sales reached P310 million as of Dec. 29, 2010.

Mr. Tolentino said the final box office tally will be determined only after the festival officially ends this Friday, Jan. 7. “Only then can cinema owners consolidate their reports for the entire duration of the MMFF,” he said.

The MMDA chairman said he is pleased with the box office results of the MMFF.

“The revenues that we got would help the institutions that help the movie industry,” he said.

Beneficiaries
The MMFF was organized in 1975 to primarily raise funds for the Movie Workers Welfare Foundation, Inc. (Mowelfund). The Mowelfund aims, among others, to financially support unemployed movie workers. For 10 years until 1985, Mowelfund, being the sole beneficiary, managed the MMFF.

In 1986, Jose D. Lina, then chairman of the Metro Manila Commission, took over and expanded the number of beneficiaries of the MMFF to include the Motion Picture Anti Film Piracy Council, Inc. (MPAFPC), and the Film Academy of the Philippines (FAP).

In 2002, another beneficiary was added, the Presidential Social Fund, which initially received 10% of the total net proceeds of the festival.

Since 2006, two more agencies have shared in the MMFF’s profits -- the Optical Media Board (OMB), and the Film Development Council of the Philippines (FDCP).

Because of the growing number of beneficiaries, then MMDA chairman Bayani F. Fernando decided to change the criteria in selecting the festival’s Best Picture winner by putting more weight on the movie’s box-office appeal.

But that rule was repealed when Mr. Tolentino took over the reigns of the festival’s organizing committee last year.

Leo Martinez, FAP director-general, said that when Mr. Tolentino became the festival’s organizing committee head, he decided to remove the Presidential Social Fund from the MMFF’s list of beneficiaries.

The proceeds of the current film festival will be divided as follows: 40% will go to the Mowelfund; 20% to the FAP; 20% to the MPAFPC, 10% to the OMB, and P10% to FDCP.

“This is a very welcome development because in previous years, even if the festival’s box-office performance had steadily improved, the FAP was getting just 10% of the proceeds,” Mr. Martinez told reporters.

He said the FAP uses the share it receives to finance its operations, as well as its training activities for the members of its various guilds (e.g. acting, directing, editing).


http://www.bworldonline.com/main/content.php?id=23782

Offline Noel_Vera

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Re: 2010 Metro Manila Film Festival
« Reply #46 on: Jan 04, 2011 at 11:24 AM »
Hey, if they cut ten percent out to seedroll new independent films a la Cinemanila or Cinemalaya or Cinema One Originals, then I for one will shut up. Some regard for the cambium layer and not just the profit margin, please...

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #47 on: Jan 07, 2011 at 01:55 PM »
It's been days since the MMFF last gave a box office update.

Offline joelsoldao

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Re: 2010 Metro Manila Film Festival
« Reply #48 on: Jan 08, 2011 at 04:01 AM »
Tanging ina daw ang da best.

Offline sharkey360

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Re: 2010 Metro Manila Film Festival
« Reply #49 on: Jan 08, 2011 at 08:40 AM »
Dynamic exception to the desultory rule

MOST OF the current MMFF entries are standard stuff—sequels and/or comedy, horror or action-adventure-fantasy formats.

One of the few exceptions to that desultory rule is “RPG: Metanoia,” a full-length animated feature made by Filipinos, produced by Ambient Media, Thaumatrope Animation and Star Cinema. For that reason, the film should be seen and discussed.

We’ve been encouraging Filipino animators for many years to come up with our own full-length features because we believe in their talent and potential. Having interviewed Fil-Am animators hired by big movie studios in the States, we know that we’ve got what it takes to challenge Japan’s lead in Asia in the field of animation.

Efforts

Most of the time, however, local production houses’ efforts fall short on point of weak or unfocused storytelling, garish or muggy coloration and undynamic editing.

The good news is that, despite some flaws, “Metanoia” is the best full-length animated feature produced in these parts to date. Its color palette is good, its characters are generally finely limned, its action-fantasy scenes are sometimes visually exciting, and its editing is dynamic.

The film focuses on a barkada of adolescents (voiced by Zaijian Jaranilla, et al) who are so addicted to playing computer games that it becomes the dominant “reality” in their young lives. At first, the film’s emphasis on “gaming” makes it difficult for us to follow its main characters as people.

Later, however, the production regains its proper focus and makes insightful and instructive points about some Filipino youths’ current over-absorption with technology, to the detriment of their development as “normal” young people with families, schoolwork and other less “exciting,” but more relevant concerns.

After “Metanoia” gets its bearings, its emphasis on the barkada and its local psychic resonances emerges as the movie’s strongest thematic suit, next to its young characters’ unreal view of “reality” as “lived” through the fantasticating computer-generated “world.”

Computer game

The boys and girls in its unfolding story may bicker and brawl, but when push comes to shove, they can be relied on to rescue each other—even if it’s only from a fantasy computer game’s “terrors.”

Also significant and empathetic is the movie’s occasional focus on young love—or crushes, at least— made even more appealing by the fact that the barkada’s group crush is an accomplished and confident young lady.

In terms of dramatizing its characters’ diverse relationships, the film is at its best when it limns its young protagonist’s family life, which is “so Filipino” because his dad (voiced by Aga Muhlach) works abroad, leaving his mother (Eugene Domingo) to put up and deal with their boy and his many confusing and even contradictory impulses.

In addition, the film has a lot of cogent things to say about Filipino life today, as seen from an adolescent’s occasionally confused and confounded perspective.

All told, therefore, despite its detours and other lapses, “RPG: Metanoia” “works”—making it, in our view, the best film showing at the MMFF. Now, if only its “export” possibilities will live up to their promise of global success, as well!

http://showbizandstyle.inquirer.net/entertainment/entertainment/view/20110107-313097/Dynamic-exception-to-the-desultory-rule