DEATH OF TRADITIONAL CINEMA

* English title: "Crossing" * Official entry, 1st ToFarm Film Festival 2016 "Paglipay" (Crossing) is a rarity in Philippine cinema. Although a love story, the film firmly plants its roots on traditional values, and the clash between tradition and modern culture is both humorous and heartbreaking. The decision to cast real-life Aetas Garry Cabalic and Joan Dela Cruz validates the film's intentions for authenticity. In "Paglipay," a young Aeta named Atan (Cabalic) is arranged to be married to fellow Aeta Ani (Dela Cruz). Despite belonging in the same tribe, they may not necessarily "love" one another. Yet before the marriage can proceed, Atan is required to pay a "bandi," or dowry to Ani's parents. As such, Atan peddles root crops to the lowlands and plows fields to earn money. Atan's undisturbed world is shaken with the arrival of Rain (Anna Luna), a city girl pursuing her thesis about the inter-marriages...

* Official entry, 1st ToFarm Film Festival 2016 The thing about Dennis Marasigan is he knows how to differentiate theater from film. The dialogue in "Free Range," his new advocacy film about free range farming is always compelling. The characters mostly talk about the mundane, especially during the first act, yet the scenes are never boring. The acting invites you to be a part of the conversation.  Unlike Marasigan's last film "Anatomiya ng Korupsyon" (Anatomy of Corruption) which heavily borrowed elements from theater (and rightfully so, since it was based on a play), "Free Range" is entirely cinematic. Al Linsangan III captures the beauty of Coron, Palawan in stunning drone coverage, among others, coupled with Nor Domingo's intimate shots that places the viewer in the middle of conversations. Meanwhile, lead actor Paolo O'Hara delivers admirable restraint in portraying Chito, the son of a lodge owner and influential local busine...

*Official entry, 2016 World Premieres Film Festival, Main Competition "Daughters of the Three Tailed Banner" is the first of filmmaker Teng Mangansakan's two-part tale of the Bangsamoro struggle. Albeit brief and could use more exploration of its characters, the film is not short on symbolic elements, embedded within the arcs of its rich storytelling.  It is important to note that the film is told entirely from the perspective of women, and while Mangansakan navigates femininity in modern age, he also tells it in the paradigm of a land deeply steeped in tradition, where women are not always free to make their own life choices. Philippine society has always been patriarchal, and the family of Tonina (Haidie Singkad) knows this very well. After the death of her brother, Tonina's family is suddenly without a male member, and this presents a great deal of pressure for her and her sister to find suitable husbands. At first, Tonina seems to be a victim of r...