DEATH OF TRADITIONAL CINEMA

In almost every family, there's that one member everybody is annoyed with. Such is the premise of Jesse Peretz' OUR IDIOT BROTHER, with Paul Rudd playing Ned, the titular 'idiot' brother. Ned is not an idiot per se (but then again, what really defines idiocy?), and the reason he is tagged as one is because of his infectious optimism and generosity. In a family of women, with three sisters and her mom, Ned stands out separated, yet her mom Ilene (Shirley Knight) loves him of all her children. The sisters' contempt for Ned is obvious to everyone but Ned, and this is quite funny especially the way each of them lie in front of him out of familial duty. Paul Rudd is exceedingly effective as Ned, where we see a human stripped down of all ego and pride, and yet he is mocked and ostracized for his smallness and shortcomings.  The actresses playing Ned's sisters are all charming and funny, and surprisingly dynamic; each actress gives their unique portrayal of a unique...

I have seen Brillante Mendoza's SERBIS (At Your Service) and liked its take on Philippine cinema vis a vis family as intertwined; I have also seen his TIRADOR (Slingshot) and admired it for its wit and ferocity; so when the first few minutes of KINATAY (The Execution of P) unfolded, I wasn't certain where Mendoza is headed, until I realized that what seemed as random events are actually metaphorical devices for later events in the film; the mass wedding at city hall, the classroom discussion about police procedure, and the image of a child so innocent- all have ripple effects for later occurrences. KINATAY, as the second half begins proves to be a difficult experience to go through. Coco Martin plays Peping, a criminology student suddenly pitted in the shadowy underworld of unspeakable violence. Throughout the film we see his transformation from optimistic to disillusioned, from confident to fearful. Via carefully mounted stylistic shots, especially during that lengthy van sc...

There is much to love in Adolf Alix's ROMEO AT JULIET, a film based on an unpublished novel by Jean Altavas. For instance, there's the heavy use of strong colors a la Almodovar or Wong Kar Wai, to highlight the emotional context of the story, which isn't typical Adolf Alix. There was a lot of play with the cinematography and editing (the split screens are most apparent) and the musical score by Teresa Barrozo is hypnotic.  Sadly, there is also much to dislike. The musical score, however beautiful, cues in inappropriately about once or twice. There is too much exposition on the characters' back stories, which in a way felt like spoon feeding, or preachy if you will. Most of all the abrupt cuts from one scene to the next diminishes, if not completely destroys any piece of emotional attachment the viewer could have with what's going onscreen. Mention the names Romeo and Juliet in one sentence or phrase, and connotations of "love story", "Shakesperean...

Perhaps the most bizarre film I have seen yet, Sergio Caballero's FINISTERRAE is equal parts intriguing, humorous and surreal. It is a film loaded with so much symbols that you just sit back, relax, and hope that you can piece together the plot (or the lack of it) as soon as the credits roll.  The basic premise is that there are two ghosts who decide they want to become human again, and so embark on "The Way of St. James" to the Cathedral of Santiago de Compostela, and on to Cape Finnistera (or Finnisterae), which literally means "land's end". Along the way, they consult with an oracle, meet a hippie chick, elude an unknown assailant, encounter a forest filled with trees who bear ears (literally human ears!), and even find time to go fishing. The adventure is quite funny, at times just plain absurd, but all throughout existential questions abound. Just when I thought two guys dressed in white sheets were just escaped mental patients, Caballero pushes the s...

Like any other mockumentary, Antoinette Jadaone's SIX DEGREES OF SEPARATION FROM LILIA CUNTAPAY intends to flesh out a bitter truth out of its subject matter, in this case the role of bit players in local cinema, as represented by one particular bit player, whose presence in film and on TV for about 30 years is extremely underrated. However, unlike any other mockumentaries (Christopher Guest and Jerrold Tarog conveniently come into mind), SIX DEGREES breathes striking vigor to the film medium because the actor is actually playing herself! And not just as a means for comedy, but rather as an echo for her own life story. Jadaone and her crew made a research on Cuntapay's life, located where she lives, and out of it she wrote a performance art that is to become Cuntapay's crowning glory, sort of a retrospective cum tribute to her "non-existent" presence in the movies. In its ultimate, SIX DEGREES is able to achieve a sense of recognition for Cuntapay that she righ...

At the center of BIG BOY, Shireen Seno's dazzling feature debut is the story of a young boy facing the pains and pressures of growing up, circa 1945 in post- war Mindoro. Amidst all the symbolism, surrealism, and variation of experimental techniques,  Seno achieves to recreate a memory of her father's stories with enough tenderness for her subject.  Seno makes good use of literary devices to mirror her story's theme: the young boy, Julio is forced to drink a concoction of cod liver oil devised by his parents, in order to force him to grow taller; his limbs are then pulled in opposite direction, and made to stand under the sun. These are done so his parents can sell the concoction, and have him as a success story. Metaphorically speaking, this visual image of Julio being forced to grow taller, is a way of saying that Julio is also forced to grow up, emotionally.  His parents has six children, and two of his siblings are given to his aunts because of poverty. His father ...

ENGKWENTRO comes as a huge surprise. It is a violent, bleak, and unforgiving film and yet it flourishes in beauty; the handheld shots are visceral and they add depth and intensity to what’s happening onscreen. The story, which is THE most important element, succeeds in delivering a representative documentation of an actual phenomenon in the Philippines, which is the prevalence of state-sponsored vigilante killings. Pepe Diokno’s script, co-written with four others including lead actor Felix Roco and scribe Jerry Gracio (LIGO NA U, LAPIT NA ME) manages to compel because of the human element at the center of the story, which is the strained relationship between siblings Richard (Roco) and Raymond (Daniel Medrana). Set against a backdrop of urban decay, a suppressive legal system that is blind to reason, and real characters that are caught in between, ENGKWENTRO delivers a solid, suspenseful action story within its 60-minutes running time. Within that short span of time, Pepe Diokno, in...

Corruption is a term Filipinos are very much familiar with. Hailed as one of the most corrupt countries in Asia, and even the world, the Philippines has a very rich historical documentation of tyranny, theft and yes, red tape. So when a filmmaker like Dennis Marasigan, who's already proven he can make a compelling and realistic political film via "Vox Populi," decides to adapt Malou Jacob's play to the screen, he's more than welcome.  ANATOMIYA NG KORUPSYON is set during the Marcos era, when corruption in the country is as its peak (or I could be mistaken or inaccurate, depending on who you ask, say Imelda Marcos); at first I didn't notice the period in which the story takes place. My friends readily saw the Marcos picture hanging by the office (the setting is in a Family Court). For me, the black vintage telephone and the trendy dresses worn by Che Ramos and Bea Garcia (who play office clerks) gave the milieu away.  At the center of the story...

"SAYAW" is a highly-artistic interpretation of a seemingly ordinary story of three people affected by the power of dance and literature. What could have just been a love triangle is instead presented as a soulful journey of feminist ideology and homosexual tendencies.  The film, the latest feature of filmmaking tandem Alvin Yapan and Alemberg Ang (ANG PANGGAGAHASA KAY FE) makes use of a number of poems from noted feminist writers such as Ophelia Dimalanta, Merlinda Bobis, and Rebecca Anonuevo to name a few. The poems are either chanted, or sung, as the characters dance to it, as means of presenting us the story hidden beneath the facade. And it is exactly such technique that won me over; like Wong Kar Wai's IN THE MOOD FOR LOVE and Bernardo Bertolucci's BESIEGED, less is more. The whole story is not laid out and spoon fed to us; we scavenge for all the clues layered within subtexts of dialogue, images, and montage.  The poetry unfolds like magic. Tender and yet pr...

My hesitation with ZOMBADINGS before, is that it can easily fall into the mainstream cliches that people have become tired of, like over-the-top performances and what-have-you. Make no mistake. I am not talking about Roderick Paulate. His piercing stare alone elicits shivers. As the gay who cursed the film's main character Remington (Martin Escudero) early in the story, Paulate is highly effective; his iconic status in Philippine cinema and comedic talent bring credibility to the character. ZOMBADINGS 1 starts off fine enough. A young boy pokes fun at homosexuals he encounters, until one of them hexes him, turning him into a homosexual when he grows up. Fast forward to present time; a spree of killings victimizing gays abound the town of Lucban, Quezon. Remington is all grown up and masculine now. His mother (Janice de Belen) is a police officer investigating the murders. His father (the comeback role of John Regala) mans the eatery. There goes your role reversal. Then Remingto...

In filmmaker Adolf Alix Jr's oeuvre, there are slow films, and then there are really slow films. LIBERACION belongs to the latter, in the tradition of his earlier film AURORA, starring Rosanna Roces. The thing that fascinates me in terms of Alix's visual style is that either in color or black and white, he gracefully presents his elements onscreen, and there is this unwritten, indescribable visual signature that tells you it is Alix's brainchild. For instance, he favors those long takes of his opening scene to establish either the character, the environment, or the scenario. In LIBERACION, we see a couple of Japanese soldiers tunnel out of a dark cave; since Alix follows an ultrarealist or realist approach to most of his films (if not all), we see what the soldiers see. The screen is dimly-lit, therefore if the soldiers are having a hard time visualizing their exit, then so must we.  I held back this review until I've seen Apichatpong Weerasethakul's UNCLE BOONME...

I partially read Eros Atalia’s novel before actually seeing the movie, and one difference I’ve noticed is that the movie did not follow the order of events in the book. But that isn’t my main objection to the movie adaptation. There was a lot of hype that surrounded even before the movie premiered during the seventh Cinemalaya at CCP, and I am one who was hit by all the buzz. I guess most of the festival’s audience (which are students) dig love stories, especially painful love stories. I remember the same reception for Jade Castro’s ENDO. I am not a buzz kill for these sorts of movies. I love watching people suffer in the name of love because only then, lessons are taught and empathy is expressed. However, I cannot get my head around the confused translation of Eros Atalia’s novel onscreen. When you’ve seen Wong Kar Wai and Almodovar and even Adolfo Alix, Jr. discuss about the pain of unrequited love, LIGO NA Ü stands elementary. Don’t get me wrong. I’ve read the entire novel prior...

There are not many lesbian local films around. Gay, yes but lesbian, no. However, ROME AND JULIET can hardly be called a lesbian film; Connie Macatuno staged her scenes so well that any notion of homosexuality is set aside, rendering the story as a normal love story involving humans fighting for their relationship. In fact, ROME AND JULIET neither condemns nor condones homosexual relationship. We are shown that being a lesbian isn't something that you planned on becoming for a long period of time- the thing is, it just happens. Maybe, because of the environment, or repressed feelings.  Opposing characters headline the story of the film. Juliet (Andrea Del Rosario) is the prim and proper school teacher who is set to be married to a politician (Rafael Rossell). Rome (Mylene Dizon) is the independent and  dominant florist who eats men's bones for breakfast. When they meet, an uncontrollable attraction ensues, and neither of them don't know what it is. It's romantic and...

AMOK is many things. Call it an updated CRASH. Call it a Scorsese fest minus the mob. Call it the ROTONDA of 2011. Nevertheless, AMOK captures the fast and brutal streets of Metro Manila where lives intersect and eventually clash. What makes AMOK worth watching is the event which triggered all mayhem in the movie, which is a very senseless argument. As testosterone levels go through the roof, innocent people get shot at, ego maniacs get what they deserve, and the unexpected happens.  Gary Lim is enormously compelling; so is Dido Dela Paz who both play urbanites at each other's crosshairs. Mark Gil's segment is hilarious (there goes your tribute to stunt actors) and it's good to know that Efren Reyes, Jr. is still acting. Here he plays a crooked cop hatching an arson plan. I keep remembering his terrific portrayal of a gay friend to Richard Gomez's character in BABAE SA BINTANA. Beautifully photographed, scored, and edited, AMOK showcased Pasay Rotonda in all its raw...

Why ANG BABAE SA SEPTIC TANK works as a film and as a work of art is because of its objective- to deconstruct mainstream cinematic conventions as well as misguided aspirations and visions of young filmmakers. Also, it exposes the actors who are in the limelight per se, embodied here as Eugene Domingo playing herself, and we revel as Domingo, representing the glamorous movie star is being brought down to the level of the septic tank (literally and metaphorically). The script by Chris Martinez and the direction of Marlon Rivera with Eugene Domingo's comic timing and caliber as a dramatic actress made ANG BABAE SA SEPTIC TANK a witty critique of some of Philippine cinema's bane of existence-those things a lot of us were enraged about, but can only do so much. A film within a film, we see a trio of filmmakers (director, producer, production manager) do a quick pre-prod at Starbucks, throw bitter remarks at their friend who has become a successful director, and get a dose of thei...

BISPERAS, for what it's worth is a solid drama featuring compelling performances by Raquel Villavicencio and Julia Clarete (they bagged the Awards, FYI). The premise is simple enough- a burglary fleshes out hidden unresolved issues of a family just in time for Christmas day, a day supposed to be about joy and giving, but for the characters in Jeturian's film, this is probably the worst day of their life.  Featuring some of the shakiest shots this year reminiscent of Jim Libiran's TRIBU, or Pepe Diokno's ENGKWENTRO (but these two are urban thrillers, so what's your excuse BISPERAS?), BISPERAS tells a conventional family drama rooted in Filipino religious Catholic traditions, and as Jeturian tells it... a family struggling to remain Catholic. Told in ultrarealist manner (we follow the events from start to end in real time) BISPERAS has the family members gutting at each other's throats at repressed anger. Villavicencio truly shines among everyone, with her disp...

The beauty in the films of Adolf Alix is that they enable you to meditate on their elements, the minutest details even— the color of a blanket, the arrangement of furniture in a house, or the mood changes on a character’s face. Alix likes to start his films by establishing his location. In KARERA, we see the Sta. Ana race track and a nameless figure watching by. Then we see Laurice Guillen as she attends worship at El Shaddai, a religious group convening every week in Parañaque, from night till dawn. Later on we learn that Guillen’s character is named LV, who runs an illegal betting scheme and seems to be influential within the race tracks. People know her, and she commands this implied reverence that probably comes with how long she’s been connected with the race tracks. We also see that LV is superstitious, and does not seem to have the makings of a career criminal. In a way it could imply that there are a lot of people like LV, everyday people, who are good-natured but pressured...

Call it whatever you want- a hybrid of visual narrative and documentary, or an extended punk rock music video. Khavn's SQUATTERPUNK, one of the precursors to his later feature MONDOMANILA, is an undeniable artistic experimentation.  The electric guitar protrudes onto the screen, highlighting informal settlers' lust for life amidst a backdrop of decay and depravity. Khavn's camera follows youngsters as they play makeshift soccer, sniff rugby, and act all punk. One of the characters even sports a Travis Bickle haircut, and like what the other characters would feel, the audience anticipates the result when such character sits for that said haircut. This is one of the film's plus: it makes the audience a part of the immersion.  If you're not into genres where dialogue is substituted with visuals, especially where tracking shots are overabundant, then this is not for you. The characters need not say anything. Khavn's camera speaks some unspeakable truths about urb...

MONDOMANILA is sure to shock unprepared viewers. Those who are so polluted with Pinoy mainstream romcoms may find themselves walking out of the theatre. Even die hard fans of that relentless Regal horror franchise will curl up and die, just die. Raw, uninhibited, and unforgiving, Khavn's 28th feature is a fitting tribute to those films which have tackled urban catharsis (Brocka's for example) serving as well as an artistic adaptation of Norman Wilwayco's triple Palanca-winning short story, novel, and screenplay. As Khavn stated, MONDOMANILA is not about realist cinema nor a faithful adaptation of the novel. From my point of view, what it is instead is an absurd and surreal interpretation of present-day Manila that never loses its angst or its sense of credibility. Believe it or not, MONDOMANILA depicts our modern society better than recent films claiming to do so. What it does is to make a social commentary underneath all that cussing, graphic sex and violence, and see...