DEATH OF TRADITIONAL CINEMA

Whitewashing controversy aside, Hollywood's live-action adaptation of Masamune Shirow's manga "Ghost in the Shell" is a visual feast, among other things. Rupert Sanders, who will now be forgiven for the disaster that was "Snow White and the Huntsman," herein directs with a steady eye for detail. Sanders borrows some shot-for-shot iconic scenes from Mamoru Oshii's 1995 anime version, while setting up plenty of stunning images himself, through the help of lensman Jess Hall ("Transcendence"). In this new "Ghost" adaptation, 3D holograms adorn the facade of huge skyscrapers, which could be a reverse "Blade Runner" because much of the story, or at least the exterior scenes occur in daylight. Most of the visual composition focuses on circles, like the shape of Major's "apartment building" and the cemetery, which could either be a metaphor for the brain (the "ghost") or the narrative path which leads us...

Familiar romcom elements abound in JP Habac's feature-length debut "I'm Drunk, I Love You." There's the road trip, the beach, drinking (lots of it), a best friend/confidante/wingman and yes, unrequited love. However, the film treads rather dangerously on familiarity that it misses being a full-blown mainstream fare by only several inches.  Co-written with Giancarlo Abrahan (Dagitab), "I'm Drunk, I Love You" centers on Carson (Maja Salvador) and her seven-year hell being best friend to Dio (Paulo Avelino). Carson likes Dio a lot, and for seven years she harbored her secret feelings for him. Jason Ty (Dominic Roco), Carson's other best friend is the only other human in the know of such intentions.  The film opens days before both Carson and Dio graduate from college. Dio takes Carson and Jason Ty on an impromptu trip to La Union province for a music festival, with the two unaware of what lies ahead. Enter Pathy (Jasmine Curtis-Smit...

2016 has been a great year for Philippine cinema, with a large variety of stories and genres, and a number of film festivals. It is also notable for the revamp of the Metro Manila Film Festival, which reverted to its roots of handpicking entries based on finished film rather than scripts. As such, the usual escapist fares were out, in favor of thought-provoking yet accessible films. Despite this phenomena, this reviewer still had a hard time watching all films. For transparency's sake, the following films were not seen for consideration due to time and scheduling constraints: * Hele sa Hiwagang Hapis by Lav Diaz * Ang Taba Ko Kasi by Jason Paul Laxamana * Expressway by Ato Bautista * Lila by Gino Santos * A Lotto Like Love by Carla Baful * Straight to the Heart by Dave Fabros * 1st Sem by Dexter Hemedez and Allan Ibanez * Pitong Kabang Palay by Maricel Cariaga * Kakampi by Vic Acedillo Jr. * Pilapil by Johnny Nadela * EDSA by Alvin Yapan * Iadya Mo Kami by Mel Chiong...

"Die Beautiful" is a tale firmly rooted in contrasts and ironies. The narrative design itself, an examination of a trans woman's colorful life through the context of her unexpected death, lends to endless possibilities. The film could not have been more timely, too, released in the midst of important LGBTQ milestones in Philippine history. In May, people elected the country's first openly transgender woman lawmaker, Bataan 1st District Representative Geraldine Roman. Just about two years earlier, Jennifer Laude, another trans woman was found dead in Olongapo City, an apparent victim of hate crime. Reporters and newscasters are stumbling whether to call her Jeffrey, or Jennifer. In a way, "Die Beautiful" mirrors both important events through the ups and downs of Trisha Echevarria's (Paolo Ballesteros) life.    Rody Vera's script follows a nonlinear narrative, starting off with Trisha's unexpected death and journeying back to importan...

“Area,” the new film by Louie Ignacio attacks the subject of prostitution on a systemic perspective, via the parallelism of the multi-generational family which operates a brothel, and the dysfunctional relationship among the sex workers living under one roof.  Of course, prostitution has always been an offshoot of poverty, yet “Area” narrowly but cleverly avoids the route of poverty porn through the use of humor. Despite the depressing condition of its characters, “Area” finds the silver lining in the mundane. The sex workers are allowed to laugh at their misfortunes through sarcasm and irony, providing them a momentary escape from reality.  Much of why the film excels as a poignant realist drama is due to Robby Tantingco’s solidly-written script, working from a story by Ferdinand Lapuz. The characters are all distinct from one another, and each of their personal journeys are exciting to follow. Ai-Ai delas Alas, acting in her second indie film plays Hillary, ...

(English title: "Strands of Gray") * Official entry, full-length feature category, 12th Cinemalaya Independent Film Festival Filipinos are known for close family ties, which is why most of our elderly are being cared for by relatives instead of strangers, unlike in other countries where old age means automatic hospice care. In "Hiblang Abo," Ralston Jover's big screen adaptation of Rene Villanueva's play of the same name, four aging men are living together in a hospice called Bahay ni Juan. What cruel circumstances that brought these men together under one roof is part of the story's mystery, yet as with most morality pieces, it still boils down to choice. In Jover's film, we get to witness the daily routine of former writer Huse (Lou Veloso), ex-union leader Blas (Leo Rialp), former farmer Sotero (Jun Urbano) and former vagrant Pedro (Nanding Josef). Despite their seeming friendship and the peacefulness of their sanctuary, these men...

* 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...