Topic: CAVITE

[jekoy]

An indie film done by Filipinos in America. It's starting to create a buzz in US! Some say it's a Pinoy "24"!

www.cavitemovie.com

There are talks that this film might be shown in the upcoming Cinemalaya.

[Phobos]

This film deserves all the exposure it can get so I'll allow this thread even though we already have an existing thread about it.

[jdv1229]

it's a great movie... an extremely breathtaking thriller. even documantary filmmaker and Oscar winner Michael Moore loved the film!

[jdv1229]

an invitation from the filmmakers of this outstanding film.

Dear Friends,

 

How often is it that a movie is released in theaters where Filipino-Americans can watch a representation of their generation up onscreen? Not often enough. Cavite opens tomorrow, Friday May 26 in New York's Cinema Village and Los Angeles' Nuart Theatre and three weeks later, on June 16 in San Diego and San Francisco, with Seattle to follow on June 30.  It’s easy for us to ask all of you to come and support so we can continue our careers as filmmakers. But what we ask is so much more than that.

 

Cavite has been called “a landmark in diaspora cinema” and it could not be more true. It represents a journey back to our homeland that not only we, as a generation of Filipino-Americans, but audiences outside our culture have responded to as well. And it’s that idea of Cavite traveling beyond the lines of the Fil-Am boundaries that we should celebrate on this occasion. Now we have a chance to show people of all cultures and races a slice of the Filipino-American experience told in a manner that anyone, no matter what your heritage, can appreciate.

 

And it’s in that thought that we humbly urge you and your friends to come see Cavite. It will thrill and it will educate, it will present a side of a spectacular world rarely seen in cinema today. But most of all, if people see this movie on the weekend of its release--and let’s not kid ourselves, attendance will be key— it will allow all of us as filmmakers or storytellers to make more films that our generation, and future generations can be proud of. 

 

In conclusion, what we kindly ask for is a celebration—a celebration of a movie born out of a desire to represent who we are and what we can do. So let’s rejoice, go see the movie, tell anyone that will listen, and not wait another minute to watch a representation of Filipino-American filmmaking up onscreen.

 

Sincerely,

 

Ian Gamazon/ Neill dela Llana

co-directors, CAVITE

 

For more info/ catch the trailer on www.cavitemovie.com

 

THEATERS/ PLAYDATES/ SHOWTIMES:

 

Starts tomorrow Friday, May 26 in NY & LA (limited one week engagement only!)

 

Cinema Village, 22 East 12 St., NY NY, 212-924-3363

--daily Showtimes (Fri/Sat/Sun/Mon-Thurs):  1:30, 3:30, 5:30, 7:30, 9:30

 

The Nuart (Landmark), 11272 Santa Monica Blvd., LA, 310-281-8223

--daily Showtimes (Fri/Sat/Sun/Mon-Thurs):   5:15, 7:30, 9:45

--additional showtimes on Sat/Sun/Mon:  12:45, 3:00, 5:15, 7:30, 9:45

NOTE:  Q&A with the filmmakers on Friday & Saturday at 5:15, 7:30 & 9:45


Starts Friday, June 16

Landmark Hillcrest, 3965 5th Avenue, San Diego, 619-819-0236

Landmark Lumiere, 1572 California St., San Francisco, 415-267-4893

 

Starts Friday, June 30

Landmark Varsity Theater, 4329 University Way NE, Seattle, 206-781-5755

 

REVIEW QUOTES:

 

“CAVITE is a gripping political thriller. The film ingeniously turns a Hollywood action movie premise into a report on the Philippines and the social and religious divisions that continue to roil the country.  Directors Gamazon and Dela Llana get into locations not seen in the West since Lino Brocka’s provocative, politicized films of the 70’s and 80’s….Among the most striking American independent movies of the year.” –The New York Times

 

“CAVITE is a brilliantly resourceful film with sensational camerawork…A landmark in diaspora cinema.  An ingenious indie with a sweaty-palmed climax!” –The Village Voice

 

“An intimate political thriller that’s fresh and compelling to the end.”  --Los Angeles Times

 

“A taut and clever thriller!   Directed with impressive pluck and craft.  Dela Llana's handheld videography has a documentary authenticity, and the descent into unfamiliar and dangerous ground ratchets up the tension with a horrifying precision."

--New Yorker magazine

 

"Quite a feat!  A remarkably austere and impressively suspenseful action thriller.”

--New York magazine

 

“A breathless, jugular thriller.  Electrifying!” –LA Weekly

 

“Smart, tense, raw, and uncompromising!” – Austin Statesman

 

“A must see!” – Asianweek

 

“Fast-paced and grittily entertaining.”– Efilmcritic

 

“Guerilla Filmmaking at its finest!” –Hollywood Reporter

 

AWARDS:

 



Independent Spirit Awards, “Someone to Watch” award 2006

 



SXSW (South by Southwest), Special Jury Prize 2005

 



SFIAAFF (San Francisco International Asian American Film Festival) Special Jury Award 2005

 



Golden Maille Award, Best Picture, Hawaii International Film Festival 2005

 



Maverick Award, Woodstock Film Festival 2005

 

 ---------------------------------------------------------------------------------------------------

 

 

And coming very soon from acclaimed filmmakers Ditsi Carolino and Nana Buxani:

 

RILES

at the ImaginAsian, 239 East 59 St.

Saturday, June 10, 7pm w/ Q&A

Wednesday, June 14, 7pm w/ Q&A

 

BUNSO

at the ImaginAsian, 239 East 59 St.

Sunday, June 11, 5pm w/ Q&A

 

And also coming soon in June:  Steve Mallorca's SLOW JAM KING

 

catch the opening night, Friday, June 9 at 8pm,

w/ reception & movie & live concert for only $10

starring Ron Domingo, Rona Figueroa, Mia Katigbak, Lydia Gaston

Regular Theatrical run at the ImaginAsian, 239 E. 59, from June 9-15

 

Don't miss the Filipino Arts & Film Festival from June 9-15 at the ImaginAsian:  for tickets and schedule, visit www.theimaginasian.com

or call:  212-371-6682 / 646-435-9431.

 

And finally, coming to theaters in August/September 2006:

The award-winning "Ang Pagdadalaga ni Maximo Oliveros"

(The Blossoming of Maximo Oliveros)

Written by Michiko Yamamoto

Produced by Raymond Lee

Directed by Auraeus Solito

[keating]

This film might also reap the accolades of BIG TIME & PAGDADALAGA NI MAXIMO OLIVEROS. I hope its included on this year's CINEMALAYA.

[Qoheleth]

This film might also reap the accolades of BIG TIME & PAGDADALAGA NI MAXIMO OLIVEROS. I hope its included on this year's CINEMALAYA.

Cavite is scheduled to be screened at the Cinemalaya film festival. Screening time is 330pm on Saturday. Venue is Dream Theatre at the CCP.

http://www.cinemalaya.org/index.php?bn=2&seq=4&f=0

[keating]

Cavite is scheduled to be screened at the Cinemalaya film festival. Screening time is 330pm on Saturday. Venue is Dream Theatre at the CCP.

http://www.cinemalaya.org/index.php?bn=2&seq=4&f=0

It is showing at 3:30 pm today at the CCP.

[oggsmoggs]

Cavite (Neill dela Llana & Ian Gamazon, 2005)

The fascinating thing about Cavite is that when the end credits roll, there will be probably less than ten people (minus the families and the musicians) involved in the film. It is quite obvious that the film was made with practically a microscopic fraction of what it would cost to make a Hollywood film. However, the amount of tension, of suspense, and actual content contained in this little film would have it towering over the overdressed Hollywood productions. Cavite is written and directed by Neill dela Llana and Ian Gamazon, Filipino-American filmmakers who were awarded as the most promising filmmakers in the 2006 Independent Spirit Awards. It's really no surprise as Cavite is probably the most independent of all independent features made in the United States. I can imagine how these filmmakers would go to their aunts, uncles, godmothers and godfathers, and have them donate a few hundred dollars just to buy more digital tapes for further footage. The amazing feat here is Cavite doesn't look amateurishly done. Despite the fact that the visuals are compromised because of the duo's guerilla style filmmaking, the film is visually harrowing, depressing, and poignant in all its ugly and filthy reality. If anything, the lack of aesthetic appeal is overpowered by the courage and the cleverness of the cinematography (again, by Neil dela Llana), most of which, quite surprisingly, are stolen shots (I wouldn't think the filmmakers, with their budgetary and time constraints, would have secured permits from the different airports and localities).

Cavite is somewhat of a travelogue of the Philippines. However, instead of having a Caucasian professional traveler detail the viewers of the wonderful white sand beaches, the majestic waterfalls, or the historical forts and chapels, we have a returning Filipino-American, Adam (Ian Gamazon) who receives a mysterious call from an omniprescent person demanding that he follow his every command or else, his mother and sister who were kidnapped, are gonna be killed. The film then follows Adam as he makes his way to the titular Cavite where he witnesses the most visually unappealing parts of the Philippines.

The plot is thin but the repercussions are hard. The filmmakers might be stretching their imaginations too far when they propose that the kidnappers are actually Abu Sayyaff terrorists who have spread around the many island of the Philippines (one finally ending up in Cavite), but the unrealistic elements of the film are beyond the point. Actually, it can happen as the threat of terror, as President Bush would arrogantly proclaim, is everywhere. I think the point here, which finds basis by the fact that the mysterious terrorist caller's omnipresence is never logically explained, is that oppression breeds terrorism. It's simply a vicious cycle. The mysterious caller notes the atrocities of the Philippine Armed Forces against the Muslims of Mindanao, and there might be inaccuracies as to the numbers of deaths, but the truth of the matter is that there is oppression. We find it in the fact that the people of the shantytowns have very little privacy. These families are too poor to even buy their kids underwear, or a private bathroom, or a decent meal. A sideplot involves a little kid purchasing a value meal from McDonalds after being paid for his services in stealing Adam's bad. He takes it home, and shares it with his grandmother --- a very good gesture, but is rooted out of an evil act. The message is clear, that terrorism does not happen when two airplanes hit the World Trade Center, it happens when there are people too poor, too marginalized, too oppressed to even live like human beings.

The fact that the film is shot in guerilla-style, meaning there were no sets, and there no actors (except for those who actually forward the plot), is very disturbing and disquieting. Those who have not seen the poverty in the Philippines might consider it outrageous that a man will take a bath in a garbage-infested river, or that actual smoke comes out of the filth-ridden soil of the shantytowns, but it's all true. Cavite's biggest point is that it shows the Philippines for what it really is and what its leaders would try its best to hide. Take the film's plot as an added bonus, a thriller that furthers the filmmakers' point that at gunpoint, even the most sheltered, most reasonable, and most morally upright man can do the most heinous of crimes. It's effective in all its aspects, despite the far-fetchedness of its plot.

pro+

[riverfan]

now showing at SM Cinemas. 

[jekoy]

^

Yehey!  I'll try to catch it!!!

[jekoy]

di ko na naabutan ito! la na siya sa megamall.. 

[jdv1229]

sayang it's a really good film...

[keating]

di ko na naabutan ito! la na siya sa megamall.. 

You mean, pulled out again like MAGNIFICO? I was about to see it this week in Sm North. 

[jekoy]

seems like that is the case. only in metro manila though. still showing in sm southmall, pampanga, and cebu.   

[Lex Luthor]

so sad, but when i watched it in megamall, there were only 3 of us watching it...

[RMN]

In Megamall , Cavite lasted all of two days. 

[llanesmark777]

Ive seen the film already. Astig!!! Simple lang ang pagkakagawa pero ang daming sinasabi. Its not only about Cavite., Pero tungkol na din ito sa kahirapan ng Pilipinas. 

[marj]

It's now available on DVD.

[llanesmark777]

                           Notes from www.cavitemovie.com


Years ago, Neill and myself decided to buy cell phones to communicate with each other about filmmaking and sorts. He lived in San Diego and I was in Los Angeles. We were in so much debt, after producing three films out of credit cards and nothing to show for, that we became too cheap to call each other up just to ask how each other was doing. So we took advantage of the free nights and weekend minutes that our cell phone provider gave us to talk about how pitiful our lives were for being failures in filmmaking.

The last film that we did was a feature film that I directed called Freud's 2nd Law that was showcased at the South by Southwest Film Festival and Los Angeles Film Festival in 2001. Although the film wasn't received well by Variety we had a great review from FilmThreat and  aintitcool.com comparing the film to movies like Requiem for a Dream and Base Moi. I pondered why one critic would give such a really bad review while the other had nothing but great things to say. We figured maybe that Freud's 2nd Law would be the kind of film you either loved or hated but with enough attention it would open doors for us to make bigger budget films. We thought the film could not be ignored because the film centered on an original idea that required a beautiful female lead to wear a strap-on a dildo around her waist while going around sodomizing men as a form of revenge. Who wouldn't want to see that? I thought. I was very confident that the film would create a controversy of some sort. But I was totally wrong in that prediction. The film died down after a few festivals and we never received any deals.

After a year and a half of getting over the pain of failure, Neill was living in a studio that is about as big as a prison cell paying 300 dollars a month while working at J Crew in San Diego and I was living in a much smaller cell paying 600 dollars a month while working at Banana Republic in Santa Monica. We were both stock boys with no idea what to do with three feature films that cost us an average of 20,000 each. I was walking home from work one day talking with Neill on my new cell phone about how we should never have followed our dreams in high school and how we should have joined the navy right after graduation when Neill came up with the idea for Cavite. Neill says to me what if while I was walking towards my prison cell I was suddenly kidnapped and he was helpless to do anything about it. And we immediately thought that that would be a brilliant low-budget idea that we can build on.

Over the next few months we shot ideas back and forth and decided the best way to film this would be to shoot the movie in the Philippines. We thought we could easily do the film in Los Angeles or San Diego but Philippines would be better visually.

During the writing process we came up with the idea that the lead should be an Asian-American actress. We preferred her to be Filipina but with just a handful of Asian actresses in Hollywood we didn't have the luxury to be picky. After months of writing and rewriting we finally finished the final draft and we were ready to cast. The hardest thing in the world is to find an Asian actress, let alone a Filipina actress, willing to go to the Philippines without any bodyguards, without pay (well, after fifty rejections we decided for paying the actress but that didn't seem to change their minds), willing to share a room with two strangers because of the limited space we were staying at, the probability of getting sun burnt from the hot sun of the Philippines, shooting in locations where tourists wouldn't dare go to and last but not least she had to eat an unfertilized egg for the film that shows the actual form of the baby egg in a fetal position. But that was what we proposed to all the actresses we auditioned. We wanted to be honest with them before they took on the role. We interviewed over 100 actresses and they all turned it down without even reading the script.

We were two weeks away from going to the Philippines and we didn't have anybody. (At this moment in the production I was the sole director and Neill was there as my assistant.) I was ready to throw in the towel and bury the script in my closet next to the 16 mm answer print of Freud's 2nd Law and the strap-on dildo when Neill came up with the worst idea in the world. He suggested I be the lead. For a second I thought he had lost it but after mulling over the script I realized it was possible to rewrite the script and have the female lead transform into a male. So out of necessity and with great hesitation I decided to take on the role. But with so much responsibilities of being the director, cinematographer, lead actor and at the same time the sound man (when you see the film you'll know what I'm talking about) I thought it would be a really smart idea to have Neil as co-director since he will have to be behind the camera most of the time. Watching the movie now I realize that sharing the directing credits with Neill was the best decision I could've ever made for the film. I think Cavite wouldn't have been as visually striking if I did everything myself. And that is how Cavite was born.

One thing I learned about guerrilla filmmaking is persistence doesn't necessarily pay off but at least we have four expensive home videos to show our friends and family.

If the film is distributed this would be considered our first film but it took three films to get to the first.

- Ian Gamazon



On my side of these notes, I'll get into some of the more technical details of the film since I've been fielding a lot of these via email.

We shot the film with the first generation Panasonic DVX100 in 24P Advanced mode and as you can see, it looks almost like film, very close to 16mm quality. Editing was done on a P4 3.0 mhz HTT with about 500 GB of hard drive (20 hours of video footage, about 15 hours of DAT sound).1 gig of ram, dual monitor setup, Nvidia Graphics card, and Soundblaster for sound.Through extensive research, I wanted to go with Sonic Foundry's Vegas for editing, reason one being I could still use the PC platform, which I was familiar with (as opposed to Macs) and reason two being that 24pa could be edited on it.

This equipment was very easy to work with, though Vegas took a couple of weeks to learn (trial and error, countless message boards, and of course, the manual). The camera was a beauty, I treated it like my first born, babied that sucker.We had the camera for a very limited amount of time and shot some short pieces of test footage in San Diego which turned out well.

Ian mentions that due to him being casted, as a necessity he had to hand the cinematography duties to me. I felt like it was a blessing in disguise. When I originally wrote the very first draft of the script, I visualized a lot of what I was writing (location wise) because I had spent some time in Cavite when I was a kid. I also visualized the style of the film to be very "action" oriented.Frame compositions, editing, I wanted everything to be in constant motion, to capture the energy that is found in the Philippines, hence, the reason why I wanted to take care of the majority of the editing duties as well. If we stuck with our original plan, Ian took the bulk of the duties and me being just a go-getter, who knows how it would’ve turned out. Better? I guess that's one of those questions that's worth pondering if this film ever succeeds.

Anyway, I hope everyone likes what they see!

- Neill dela Llana

[llanesmark777]

One of the Best indie films ive seen!!!