Spring Roll

My Annual Christmas Wish List

2011-12-12T14:45:00.005+08:00

Here I go again, well, this year, it may be more impossible since I am miles away from majority of my friends and family.

It never rang truer, the inclusion of Purefoods Corned Beef, which always make it to this list of gifts I do to spare you of the guessing game on what to give me this Christmas.

Being away from Filipino cuisine, and the deluge of everyday flavorful hawker dishes, aside from the corned beef, someone to just cook simple nilaga for me, or tinola will do, without the MSG please.

The OFW solitude makes this gift list less of a list of tangibles, or perishables, or consummables.

1. Visit Singapore, my friends. Persons are truly the best gifts God can give. Let's spend the after hours or weekends together.

2. I miss good massage and power stretches. Massage is quite pricey from this side of the earth. Power stretching, thanks
then to my gym trainer, have increased my flexibility. My joints' versatility and reach may have deteriorated now.

3. Singing Filipino songs but not on that MagicSing or WOW microphone with instrumentation that sounds Casiotonic.
RedBox and Centerstage, and my co-singing friends, come to the Lion City, now na!

4. Heavenly Alavar sauce, and curacha. Ahhhhhhhh, Zamboanga, make it your major export please.
Share it with Southeast Asia!

5. ANC. There's no ABS-CBN News Channel even if I have subscribed to TFC. I am a TV news watcher. Sadly, Pia Hontiveros
has said goodbye. I miss her "no-care" "she has to ask a question" "i need a direct answer" stance. And the live coverage
of Senate interrogations is one circus show I miss.

6. If only someone can send by courier, my old apartment, I miss its wide space and circa 70's design.

7. Filipino indie films. Thanks to the intermittent arrival influx of film friends, I usually get screener copies of their films, when
they arrive. And boy, do I miss my ka-pelikula adiks and the discussions.

8. A dog. I want a dog. I bought a cute stuffed toy dog from Ikea, fluffy and embraceable. But this is impossible since
I cannot leave a dog alone in the apartment while I am working. I don't have the heart to do that.

9. Chicharon Bulaklak. Crispy happiness. And Sisig. The bulaklak at Lucky Plaza is too salty. The Sisig along Tanjong
Pagar has the right flavor, but not as sizzlingly crispy. Sigh.

10. I miss Greenbelt 2 to 5. No matter how filled with malls this city is, I miss my "home mall," and comfort zone.
See, I am not really looking for gifts. But definitely, I am looking for the feeling of home, sweet, home, and friends,
priceless friends.

What I don't miss at all is the heavy Yuletide traffic of Metro Manila.
But sometimes, that I can bear, just to be with my comrades, kababayans, Kapusos, Kapatids, Kapamilya, Kaibigans.

Merry Christmas, to a country that's 3-and-a-half hours away by plane. (Sniff, sniff.)

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Browsing

2011-11-16T11:16:00.005+08:00

In between the breaking news that the Supreme Court of the Philippines has upheld ex-President Gloria Macapagal Arroyo's right to travel, I learn that now I can hear Mass as if I am still in Quiapo, Manila, with live streaming online.

The internet sites and news feeds on Facebook lead me to unexpected developments on a trivial but interesting scale such as that online Black Nazarene holy mass access.

Spiced up by absurd antes, like this guy Topacio who's willing to castrate one of his balls if Arroyo doesn't come back to Manila, the weird wild world unfurls in humor no playwright can match, because it this funny line was blurted out spontaneously and for real.

The prospect of Mrs. Arroyo landing in Singapore gave me wild thoughts on what would happen if I see her down Orchard Road or stepping inside the wonderfully designed "Glass Island Store" of Louis Vuitton on Marina Bay, where the finest skyline in the world could be.

Of course I would take a snap shot and nothing more. But I see a woman who allegedly changed the course of history by depriving Fernando Poe, Jr. his seat at the Presidential Palace.

Then I learn amidst this Executive Branch - Judiciary Branch debacle that a Singaporean family has made flight reservations for Virgin's trip to space. Cool, wealth has its boundless possibilities and could take your family on an orbiting tour beyond what usual planes can reach.

If indeed ex-president GMA squandered on Philippine taxpayers' money or used her position to amass wealth, then this Virgin space flight is one ride she can afford, and hold the distinction of the first President or National Leader to reach outer space. It's a space where no Laws in the Universe could bar her from traveling, and no extradition treaties exist so she could be sent back to Manila to face trial, and most possibly, a guilty verdict.

Too bad, the APEC leaders didn't do a Raul Roco number and decided not to wear Hawaiian shirts for the Leaders' Family Picture. But I am sure they had their fill of pineapples and macadamia nuts.

Hillary Clinton must be in Manila as of this writing. Maybe this has got something to do with the controversial Visiting Forces Agreement allowing military "practice exercises" between American and Philippine soldiers in Mindanao.

One Facebook user's status hilariously wonders if she can ask ex-President GMA to bring to Singapore the authentic Purefoods Corned beef in can that eludes us here. If ever it is available, it is not the real thing.

Currently, I am enjoying the new supply of Purefoods' Chorizo de Bilbao courtesy of my current house guests, Chuck and Ruth Gutierrez, who is now enjoying a well-deserved break here in Singapore.

Buying Sizzling Sisig (grilled and diced pork cheeks) from a Filipino restaurant called Kamayan, not as toasted as I wished it to be, requires further frying. I added the sliced chorizos and topped it with egg, and voila, it was an instant gastronomic feast and a taste of home cuisine I've missed. And what makes it best, is it is shared with friends from Manila I've been missing terribly as well.

The Gutierrez couple highly enjoyed the Titanic exhibit at the Arts & Science Museum at the Marina Bay. This I got to see. For S$28, it gives you a lifesize experience of being in the hallways of the tragic luxury cruise ship. You receive a boarding pass with a name on it, and at the end of the exhibit, you'll know if your "passenger name" survived or died in this mega-James Cameron popularized journey.

Work flows continously, and deviations like these, in the middle of Arroyo's Escape from Manila keep me in good spirits.

If GMA finally arrives, we'll have a heyday doing "Arroyospotting" and taking that iPhone photo proving she's is really here, away from legal dangers.

The Triumph of the Middle-Class Indies

2011-10-31T09:10:00.006+08:00

As "The Woman in Septic Tank" delectably, wickedly and deliciously parodied the proliferation of poverty-themed festival-touring independent films, two "middle-class" themed movies finally brought home the Asian top bacon from two prestigious competitions, the Busan and Tokyo film festivals.

"Niño" and "Trespassers (Bisperas)" were named the Best Asian films for this year, a feat no Filipino creation has accomplished in the high-profile movie events of Korea and Japan.

Both feature dysfunctional Filipino families which are tangentially affected by the economic and social decadence of today's Stagnant Global Economy phase. Indirectly, the pressures of coping with dwindling middle class incomes take its toll on both families and the quality of their relationships.

Poverty, as spoofed by "Septic Tank," well-reviewed as well in its foreign festival tours, and not dominantly featured in the recent triumphant "mid-class" movies mentioned doesn't necessarily mean it's becoming passe.

A comment by a festival programmer in Korea noted an X-factor among Filipino independent films, in contrast to the high-concept art films of Europe and the USA. I thought he would mean the ultra-low production budget our films can only muster, which is a feat in itself, how the Filipino filmmaker can complete a picture and still be found noteworthy with the impossible financial conditions he is faced with.

The programmer says it's the "sincerity and lack of hypocrisy" of the films he saw coming from the Philippines which make us shine against the artsy output of the rest of the world to wow the most discriminating international juries and film experts.

At first, I didn't get it. Does that make the ultra-high concept art films of the West hypocritical?

He mentioned for example, a technically flawed film as "Cuchera" compared to "Maria Full of Grace," which both dealt with drug trafficking and its human couriers, and simply told me, "now you see what I mean by what's sincerity versus hypocrisy?"

I knew it wasn't about production rawness. Maybe he meant the integrity of the film and its filmmaker is dealing with the issue?
I am just assuming. But this was his analogy between two similary-themed movies from opposite ends of the movie planet.

The triumph of "Niño" and "Trespassers" lies in its mingling of characters as a family unit, whether it's "dirty poor," or "filthy rich" is not a part of the winning equation. Both stories had an authentic heart, and an outstanding grasp of human behavior and interrelationships. And both films were able to weave the social issues that were universal in nature, but also, locally nuanced, which only a Filipino can tell from his own world and experience, and point of view.

Even "Septic Tank" was refreshing and different, even if a film-within-a-film may sound like a filmmaker's conscious design, what made these three movies good is its capability to connect to the viewer and not just please themselves for artistic splendor.

And they were all a product of Cinemalaya, the festival credited by Philip Cheah, in his speech before announcing the win of "Bisperas" in Tokyo as the Asian competition head of jury, which he thanked for bringing good Filipino movies to the world.

Sincerity and integrity in telling a story through film will never go out of style. That's not bounded by class. It is the power of the filmmakers' heart and soul and why he wants to tell his story in the first place, and how well he can tell it as a movie.

Who knows? Maybe the richest of rich and the human struggles they face in the Philippines may become a movie theme, too, and stand a chance as to duplicate, if not, beat the highest triumph "poverty" film maker Brillante Mendoza has achieved in Cannes?

Just do that movie in your mind, heart, and soul, whether it's about the poor, the middle class, the wealthy, or something even that doesn't exist in real life but only in your mind. Let your burning passion make it shine. And let your true heart speak, so it makes sense to the snobbiest of judges, or even to the most mainstream, popcorn movie viewer. Films are not just about artistry, films capture the state of humanity and point of view at a certain point in time, in one's life, in one's class, and in one's country.

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Rissent Before the Big Dissent

2011-10-24T15:53:00.005+08:00

It smells so Imelda Marcos’ “City of Man” to me. The blind eye of a dying regime sustaining the bourgeoisie when a socio-political powder keg is about to transform into an explosion is captured on film, “Cinq Et La Peau” (Five and the Skin).

Sadly, with our lost film history for lack of a true-blue film archive then, we have to rely on this rare 35-mm film print, borrowed from the Museum of Modern Art in New York, to get a glimpse of this French film entirely shot in Manila.

Pierre Rissent, the film’s director, and the godfather of Cannes-bound Philippine Cinema of the 1970’s, introduced the film in the very well designed Singapore National Museum, with a screening room that’s bigger than the usual multiplex movie houses along Orchard Road.

It is unfortunate that Filipino cineastes can’t get the same privilege of seeing a profoundly interesting movie like this. Its impact for us, where the milieu is set, have a different effect, remembering the cusp of Marcos’ Martial Law and the assassination of Ninoy Aquino which immediately follows the timeline of Rissent’s story.

Luckily for me, being based in this ultra-modern city exposes me to special film screenings. Last week, through the courtesy of Singapore Film Society’s programming, I was also able to catch a documentary called “My Perestroika” which sweepingly narrates the Russian transformation from an empire into a state where the Union’s other members have declared their sovereignty.

In Rissent’s film, his lead character’s journey to find meaning in his life as he discovers exotically Third World Manila combines with his explorations with the city’s “finest” women. He walks into a maze of five-star hotel hallways for the tourist or business traveler to walk comfortably through in carpeted floorings, like it’s another world compared to the unpaved small streets of the slums.

The contrast of the struggle for survival of the majority of the citizens becomes all the more glaring with the protagonist’s quest to find his soul and redefine his existence. The ladies he goes to bed with living in luxury and fine clothes, and definitely, uncaring of the poverty that surrounds their fellow countrymen.

It mirrors the apathy of the ruling class and the people they rule. While they bask in personal problems like affairs of the heart or desires of the flesh, the rest of Manila cope to be able to eat three meals a day. No wonder the privileged few can think in prose, while the majority of the inhabitants are presented without a voice of their own except for the hopeless, passive stares that says more than what can be spoken.

I had a nostalgic feeling seeing my city in the 1980’s when I was young, aware and unaware of the evolving democracy around me. The energy of my youth and its optimism overruled the implications of the changing society.

The memories of yellow cabs in box-type shapes, like the old Mitsubishi Lancers somehow gave me my lingering of youth when life had less responsibilities. The look of the five-star hotels then by the Bay, considered posh and luxuriously tasteful then, gave me Philippine Plaza reminiscing and the now non-existent Regent of Manila look, or even the old Hyatt, too.

I had a heyday identifying models and actors of the 80’s, beauty queens and Lino Brocka protégés. Beauty queen and modelspotting gave me a fine viewing experience from Chat Silayan, Bessie Badilla (who became an arthouse film producer herself with the internationally acclaimed “Baseco Bakal Boys), Emma Yuhico and Gloria Diaz. On the Brocka camp side, theater colleague Joel Lamangan and his finest actors Phillip Salvador and Bembol Roco played cameo roles as well.

This was an added bonus aside from watching a socio-esoteric rarity on a different but rewarding cinematic plane.

Life, even though it was democratically tumultuous, seemed simpler then. Rissent reminded me of not only my awakening of the troubles in my country back then, but also, the colors around me during my college years and my entry into early adulthood.

Oh, sweet memories. Thanks for the trip down memory lane, to Singapore’s great film programmers, and yes to Mr. Rissent for sharing your interesting piece of work to us. It is always enlightening to see my country through someone’s eyes from the outside looking in, for a wider perspective.

It Hurts So (Quite A Bit) Good

2011-05-29T10:05:00.003+08:00

Much has been done about minority groups and illegal migrants in America from Mexico. But Mexico itself has its share of workers from poorer-than-Mexico countries, too. And so goes the backdrop of Inaritu's "Biutiful," whose beauty lies in the ugliness of this coping world.

There's not much new in its style, but its power is definitely too hard to ignore. Combining mortality's realism with afterlife's surrealism in a bookend manner where the beginning is the end may not be surprising.

But the ugliness of the underbelly, the sweatshops, a ruined marriage, no thanks to survival and bi-polarism provide a tapestry worth sitting through, aside from the long-haired presence of Javier Bardem.

The Mexican emotionalism is still there, tears, shouting bouts and wrist-slashing melancholia and helplessness, but put together, Inaritu still manages to strike our mind and our hearts' vulnerabilities.

The generosity of close-ups turn into distant shots, as we begin with character sketches and personal involvements. Then towards the latter act, the shots consciously zoom out to consciously provide the big picture, while speaking of near-death and actual death as though we are now spirits looking at tragic mortals.

Its handheld camera beginnings stabilize to the main thematic conflicts, when its chaotic worlds burst, ironic to its camera movements, and become more controlled against its uncontrollable issues and aftermath. Imminent death may have provided an anchor to the madness of living in this kind of world.

The issues are too many to handle, and they're wide and encompassing. Yet, the character binds them together, as a helpless protagonist hoping to change the course, or correct the wrongs, in spite of his wronged acts and goals.

It's a good downer. But the techniques and overall directorial style somehow get in the way of an explosive story. It dingdongs from one tone to another, and fails to be cohesive.

But there were brilliant moments like ghosts in the ceilings and yes, the unexpected "instant basement graveyard."

The sound engagingly, interestingly, provides a combination of din and deafening noise. What is made obvious by the visual treatment that appear literal at times to make us comprehend its stylized intent, is magically compensated by an eerie mix of music, sound and stingers, providing a rewarding audio impact to an otherwise conscious auteur's imprint.

But the sadness feels good, suicidally hopeless, but good. It's a stimulating depressant after all.

It's a welcome multiple stab case, whose lacerations, have become too deep a pain, with no healing in sight, so it has become a masochistic stimulation of the Mexican kind.

You are pained by Javier's plight, and you are further tortured by its social sharpnels flying everywhere to hit you in your face.

At the very least, It's more rewarding to see it on film, rather than reading through the postcript analyses of current Third World issues from an American Time Magazine's context.

*Caught this movie exclusively showing at Shaw Lido Cinema, Singapore.

Dreaming Of, And Doing The Impossible

2011-05-09T08:53:00.004+08:00

Keep on dreaming, or should I quote Leo Burnett's famous line, "When you reach for the stars you may not quite get one, but you won't come up with a handful of mud either."

So goes the story of attempting to make it to Sundance, home of American avant-garde cinema.

When Sheron Dayoc, director of Halaw, a film which I co-produced, brought up the idea, "Lilit, we need to do a screenplay, fast." I initially reacted as "oh no, not another conceptual project that might lead to nowhere," I thought Sheron was just into one of his future theoretical movies in his mind.

When is the deadline, will be the first question I have in mind, and for what?

Sheron simply said, "Sundance, in two weeks' time."

Sundance? Yeah right. And two weeks to write a script? Yeah right.

So I looked at the website, there was this deadline for March, and another one for August. It was a real deadline, and a real opportunity.

I tried to haggle, "we're so busy," (actually I am between jobs so I am officially, a bum), "why don't we try the September deadline instead?"

Little did I realize that he was invited to apply, with a March deadline, unlike the Sundance August deadline which was free for all, open for anyone and everyone who dreams of Sundance.

But invitation isn't enough, it doesn't mean automatic admission to the Sundance Institute's Script Lab. They will still choose from the many they sent invitations to.

OK then, since the deadline is too tight, let's bring in John Paul Bedia, writer of "Amok", a Cinemalaya 2011 entry, to help us out in the laborious task of detailing the scenes we have in mind, and a sounding board as well, when we're stuck and we're in doubt.

Originally, Sheron wanted us to develop a mining story, also set in Mindanao. But, due to time's constraints, it felt impossible, since research is intensive for this kind of material. But this story was powerful as well.

Then, out of panic, we gave our minds more thinking on a material that is familiar already, so we'll make it to the deadline.

We remembered Sheron's documentary, "A Weaver's Tale," which was commissioned by NHK Japan, and even won a prize in one of those American documentary competitions. We saw its promise, in a feature, narrative form. It will definitely be different. There are many unexplored powerful imagery and messages in it. So we're still starting from zero. But at least we have all the research needed to complete a screenplay.

The feature narrative screenplay is now titled, "Satra."

The rest is brainstorming history, filled with creative differences and epiphanies, and yes, sleepless nights typing the script away. I can't stay up all night, so while I slept, John kept his fingers on the computer keyboard, while Sheron continues to imagine scenes. I was the morning shifter, while both their minds were still unproductive, or they were still asleep from the graveyard shift.

What made it easier is that we realized, the Found Story Sessions we've had with Bing Lao came in so handy, because it's different when we listen to it as a theory. But when we are already in the actual writing process, little did we know we have imbibed it and automatically, it aides us in knowing what's lacking in our script, and how we move it forward, or keep still, and give it more thought.

So we made it on time, and we were able to send all the necessary requirements to be considered by Sundance Institute.

So that's been put on hold, as we await if we successfully made it. If not, we move on and prepare for the other festivals "Halaw" is still embarking on.

Sundance is too big a word, so we weren't really expecting anything.

But by merit of "Halaw," which they saw and they liked a lot, and the colorfulness and power of the material we submitted, the Sundance people said they'll be calling 2AM Manila time.

It was a make or break call, we were expecting maybe they need other requirements that's why they will be calling, or to simply thank us, and better luck next time, submit another script for the August deadline, instead.

But the perkiness of the voice at the other end of the line had an excitement to it.

YES! The voice said it, we're in! Well, in a nutshell, that was the gist of the almost one-hour call. It was a teleconference call and all we had was an old iPhone that manifests its quick depreciation.

For more of this story, check out Philippine Daily Inquirer's feature on this today, by getting a copy of the newspaper, and go to section E, page one, of the broadsheet, or visit this link :

http://showbizandstyle.inquirer.net/entertainment/entertainment/view/20110508-335340/Pinoy-filmmaker-makes-it-to-Sundance-Script-Lab .

I can't make it to Sundance, for reality reasons, like waiting for a new job assignment, so I can't go on leave. But Sheron will.

And I know, by the time he comes back, with the renowned mentors he'll be having in Utah, it will be a gem of a screenplay. It marks the beginning of new journey after the other unxepected dream's success, "Halaw" (Ways of the Sea), has proven to us, we can dream. We can aim on something big. And yes, by dreaming, we can reach for the stars.

Sheron, please bring my Blu-Ray copy of "The Natural", and have Butch Cassidy's partner, Sundance Kid Himself, Robert Redford sign on it! Oh I also have Brothers and Sisters, the TV series on DVD, have one of the Sundance advisers, sign on it too, no less than "Norma Rae" herself, "The Flying Nun", Sally Field!

And yes, finally, I am a co-writer, and not a co-producer! Yahoo!!!

The Best Lenten Sacrifice Is Not By Abstaining from Meat

2011-04-20T17:44:00.003+08:00

It's hard to let go when there are unclosed wounds, and unexpectedly new and fresh ones from the most unexpected people and even from those dearest to you. The dearer they are to you, the deeper the pain.

There's no amount of abstinence from meat that can be as greater a sacrifice than the courage and strength to forgive.

The wrongdoers, may actually be right after all, for they may have wronged us for the right reasons, reasons that God only knows to bring us closer to Him.

Instruments sent by the Lord are not only those, who, like angels, bring good news. Even those who bring the bad, or have pained us, or misunderstood us, are messengers as well. They may not be necessarily be bringers of bad fortune. They actually strengthen our discernment, and test our limits to forgive, and make us more whole.

But there are truly mean ones, too, strangers or distant relationships, like business, or anything else, beyond circle of family, of friends, who do us harm, for their self-interests' sake. They are the ones who we simply say, "let go, let God." It's easier for in fairy tales, we classify them as the villains, out to grab power or simply to sustain their beauty.

It's been proven that villains get their justice, not necessarily in this world, but maybe, in the next. Or setting afterlife aside, in stages, and phases in our lifetimes.

But for the Lord's bottomless capacity to love and forgive, we are made in God's image and likeness, then we have to forgive, too.

We don't have to skip eating beef. That's easy. For a Lenten sacrifice, in fact, there's luscious seafoods to eat in lieu of pork and beef, so it's so easy.

What's hard, is to forgive, yes, and to forget.

"Father, forgive them for they know not what they're doing." (Sometimes, actually I think the wrongdoers actually KNOW what they are doing.) But, we forgive. It's painful to accept those who've given us pain. Those who, at times, nail us at our own crosses, spit on our faces, pierce us beneath our ribs, and ridicule us or judge us without basis. But if the Lord can, in a more extreme manner, and in a more excruciating level of pain, for the forgiveness of our sins, why can't we?

It's hard to say, I forgive you Arroyo administration, (but that macro case should be accompanied with justice), or I forgive you my ex-lover, or I forgive you my betraying friend.

But, it's the real essence of Good Friday, forgiveness, and don't forget to say sorry as well to those you might have wronged.

To those who made us feel, "My God, My God, why hath thou forsaken me?" We say, "thanks for making me learn and making me stronger, and testing my capacity to love and forgive."

Try forgiving. Then we have observed a truly meaty Lenten season and will truly be a brother of Christ crucified, and Christ who rose from the dead, the Christ Triumphant.

Lots of love, to those who have done me wrong, misunderstood me, and caused pain in my life.

Sorry to those I have wronged , misunderstood, and caused pain in their lives, as well.

Peace, I leave with you my friends, and non-friends. Shalom, my peace, in all you do.

Destinations And Destiny

2011-04-12T07:32:00.002+08:00

In a series of good news where the "Adjustment Bureau" finally reveals what the true plan is, it's nice to sit back and absorb the surprising and overwhelming NEXTS, while forgiving the soon-to-be-forgotten PASTS.

The pasts and all its present effects might have been the wrong path, therefore the clash to what one needs and wants were actually not the fate and the destined destination.

Sometimes, we who cope with our lives have immediate financial needs and dreams, but there are more priceless rewards that come along. The farthest and unseen things from our minds, unplanned, but a different, unexplainable yearning will be addressed.

The Higher Being envelopes our existence and reason to live, therefore the plan has a Higher Order we mortals don't think about. It's a deeper need that will be addressed if we only let the will be done, without question or pause, and more importantly, without fighting it. Let it be. Let it be.

Then, we come to realize, the rest of our worldly and survival needs will fall into place because of that Higher Order.

In a nutshell, a dream has been given its concrete chance.

It will affect positively not just the talented, gifted, proponent himself, but those involved with him, for a common passion, brought about by a supportive Team Who Dreams and other truest friends.

Our dreams become real while we sleep, for the good news came our way before the break of dawn, literally, when we were supposed to be asleep.

And as this happened, my other friends' creations were validated as well, in a major way. One's fruit of passion is going to a world beyond our expectations, the WORLD among worlds. Another one of my friends even found love, finally, along the way. (Mushy! I won't say who.)

Good things happen to those who wait. Those who were humbled will be lifted up. (Sadly, those who feel so exalted don't have to fall, I hope not, but will learn what is right, by realizing what is wrong. I don't want to sound self-righteous now. If you only knew what we all went through, individually, with other people.)

Trust the Plan. It may seem vague, or realities become worse, but, cliche as it may sound, "everything will be alright," for we are never forsaken like the sparrows all over the sky.

"In His Time, He makes all things beautiful in His time."

All I can say for now, is, Lord, thank you. Thank you. Thank you!

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Precious Truths

2011-04-02T13:24:00.002+08:00

*Photo: Coreen Jimenez, director of "Kano" takes a break from the Milan Film Festival and check out the Duomo's rooftop.

Sadly, in this film-viewing world, the documentaries take a backseat to the gala-premiere, red carpet, and celebrity dazzle of feature films.

But after Ditsi Carolino and Coreen Jimenez's groundbreaking works, fueled with passion and patience, and spending more time than what a feature film maker has to spend to complete his work, there's life, real life, and real power in the documentary feature.

These two women quietly wowed the world, while not betraying what their films were all about, the societal side of this very colorful yet troubled nation, in all honesty, which no feature film can match. For what they really see around them, is what we get.

Most recently, I was bowled over by "KANO, An American And His Harem." On first sight, it seemed like a subject's storyline, the philandering and polygamous American whose life after the Vietnam War is occupied with collecting women and making them all live under one or two roofs, at his convenience.

But the psyche of the women who agreed to this arrangement makes the picture bigger. Lack of money, lack of education, colonial mentality, and perhaps even boredom in their lives at a non-eventful barrio in Negros make us helplessly cringe in anger. It's the state of the nation, in spite of all the high-profile feminist militant crusades.

The film maker never actually imposed on us what she thought of her subject matter, or what her stand is. She just let the characters come to life, and let us weigh what we should think or feel.

It may be polarizing for some, for instantly, in a Catholically-correct country, it's easy to accuse, and condemn,

And in a politically correct world, it's easy to loathe a film which just tells it like it is, for it is not the filmmaker who made the story but she just captured it on film.

But I never felt anything for the American, I neither liked nor hated him. I was more overwhelmed by the submission and dependence of his women, in spite of that arrangement, and started to think how survival has possessed us, and dictated our mores. And why blame the women as well?

It's a societal study. It exists. That's the power of a documentary film. It is not manufactured. But it can also engage, and its crafting can also be a proud testimony to a worthy film maker.

There are a thousand and one more quirky, or socially disturbing situations in a country like ours. And it doesn't only encompass the disenfranchised members of our society, but even the other side of the economic gap, as well, the luckier ones.

It takes a brain, to spot one. And an eye, to capture it. And the passion and patience to let the subject come alive, and most of the time, the need to be with them, and live with them is required, to capture the whole picture, and its more revealing sketches and details.

Two women leads the way, Ditsi (Riles, Bunso, etc.) and Coreen (KANO). Their films are capsules of the unsaid, the unexplored, or what other people don't want to see, but we have to see, as a nation in order to understand what troubles us, really.

And the golden opportunity, along the way, is, the world applauded them and saw them. It's just a bonus.

What matters is, it was made, and told. And it will make open our minds, whether its effect is analytical, or prods us into action, or yes, make us sad and hate the honesty and the fact that they are TRUE, there's no denying that they EXIST in our world.

And yes, documentaries are as important, if not, more important than most of the feature films we see.

The red carpet will be more bloody and more meaningful if we really put documentaries under the spotlight, for they are not just film makers, they are the historians and sociologists of our times, who just happened to use FILM as medium, and who just happened to do it so well, with a capital R for RELEVANCE or a capital S for SUBSTANCE.

Start shooting your real subjects, film makers, and put your "gifts" and "observant minds and eyes" and consider making a documentary. I know it's more tempting to always do the feature film of your dreams. But let Carolino and Jimenez be your inspiration. But be warned, a documentary is very hard to do. Once you start it, there's no stopping and you wouldn't know when it will be done. But it's the least you could do to liberate this nation with the numerous, unspoken and unseen truths that not even TV news will tell us or will be patient enough to cover.

The World Is Going Through An Adjustment By The Bureau

2011-03-14T07:10:00.004+08:00

Master Plan, the invisible path no human can reverse, is rearing its manifestations oh so loudly in a world clinging to unreliable normalcy.

While despots fight or give in to change crusaders, and a zen-filled nation is rocked by a mammoth earthquake, with so many inflections happening in a month, it was timely for me to see "The Adjustment Bureau."

The world, after watching the movie, and seeing all these events unfold on my TV, seems to be adjusted, why and leading to where? I don't know.

The constancy of change has elevated into intensity.

Who would think Egypt will change its leadership?

Who would expect one the century's most powerful quakes will rock one of the most tranquil nations on Earth?

If I go by the philosophy of "The Adjustment Bureau," someone is rewriting the history of our lives, and correcting it, because it is moving to a direction that wasn't part of the "Plan."

"Plan" as viewed by a Catholic can only mean God's plan. In fact, "free will" was often mentioned in the film so obviously, it had spiritual connotations.

Personally, I have been readjusted too, so suddenly. I didn't plan for this. Neither did the persons responsible for the adjustment planned for it. I have been inflected the way the world is being inflected now.

Therefore, I go as planned, by the Unseen Force, and ride with the winds of change.

Change is irreversible and unstoppable like an approaching tsunami.

It's how we react to change and cope with it, that will be personal, and beyond what fate dictates.

When someone counters change, it leads to turmoil, look at what's happening in Libya now.

"Free will and fighting for it, might counter Fate and what has been written to happen, beyond human control," so says the preachy conclusion of the film.

Gadhafi is fighting the Fate.

While the Japanese was overrun by fate, through Natural diversions, and no one can fight Nature.

I am rebooting. I've always been ruled by unexpected inflections, and I simply embrace it, for I believe that there's a Master Plan that only seeks to move all of us to better lives, or better meanings, or more purposeful missions.

However, the world has become one village, what happens in one area, ripples to another. It's like an earthquake which can unleash ripples in the sea, that doesn't only affect where it comes from, but can travel like a tsunami in 50 countries around the Pacific Rim.

I am an instrument of change. I don't mind being its puppet.

I am only another token to make this world change, and I can only change that, and make waves, if I was born not as a person, but as a tsunami.

For now, change, let it happen. I'm all for it.

But to whoever is the Captain of Change, please, let it happen with less casualties.

Master Planner, please be gentler on us.

What This Woman Wants

2011-02-27T11:23:00.004+08:00

It's a bit perplexing to go through "Brownian Movement", a Dutch film, with sparse dialogue to go with a woman's absurd escapades. It's one of the films I was able to see at the Berlinale Forum.

But the tension and seduction and sexual gratification combined with eye contact and body gestures, make them powerful and somehow, interactive, for the viewer to see through them and read their verbal connotations.

This woman is happily married, with a kid, and is doing a good job as a doctor, yet, for no reason at all, seems to be wanting men, impulsively, in all shapes, textures, and sizes, to the point of renting her own apartment, aside from her marital abode, to accommodate her special needs.

The imagery is antiseptic, clinically white, and with bare proppings and furnishings. Perhaps it's the way a doctor should be, or her case is actually, a clinical case, or a lab experiment.

She is aware of what she wants. Yet, when the forces collide with her normal world, she goes into a crisis, unable to handle the problem, and clueless for the right solution.

Her love towards her husband in unquestionable. When the husband learns about her dark ways, their marriage doesn't collapse immediately.

A counselor can be the key, they did that.

They left their country as the husband is reassigned to another, to forget the past.

Brownian Movement is a chemical term on random reactions of particles, as to what it is exactly, I vaguely remember my Chemistry days.

Random encounters, in the defense of it just happens, scientifically, may explain the woman's penchant for more. But it somehow creates the statement that monogamy and love isn't enough. There are needs that not one person can fulfill. Or it can be her source of power and liberation.

One of the most powerful scenes in the movie was the marriage counselling scene, where she was asked why she behaves that way. Her answers were incomplete sentences, for she doesn't know the reason at all.

In the third act, when they have left everything behind to start anew, the husband is still paranoid when the woman leaves home for her usual "morning walks." He followed her, only to find out that she's not going for other men, but feeling herself, and the cemented floor of a construction site. Her need for texture and other sensations continue. But it's not with an actual man this time around.

It's the unspoken that makes this film so elegant yet at the same time, subtly revolting.

The scientific title of the film, counters what science can actually explain.

The needs of a human being cannot be collapsed under one principle. And the needs of a woman, can never be explained by a husband, and by the wife herself. It doesn't just randomly happen. But no one can ever put logic or science to why these things happen.

It's this inner complexity and outward manifestations brought to life, on film, that makes "Brownian Movement" an odd wonder to behold, and a hard sex habit to break.

How The Sweet Berlinale Surprise Came Our Way

2011-02-21T08:48:00.002+08:00

The night before Saturday, there was a message in our hotel inbox that we were supposed to go to the Berlinale Forum Guest Office at 1115 am the next day.

So I asked Sheron, why the exact time?

Both of us knew it's odd, and at the back of our minds, there must be some good news waiting.

But we didn't want to raise our hopes.

Theories ranged from, "maybe, a film distributor got in touch with them, and wanted to meet with us." If this was the case, we will be more than happy, so we can recover our financial expenditures to make this dream film a reality.

Or, maybe "they might give us tickets for the main competition awards night."

So I wondered, why does it have to be exactly at 1115 am?

There was excitement about the mysterious appointment, but also, we don't want to expect anything.

I was restless, and even slept for only three hours. I was still imagining scenarios for the reason for the meeting. The first we had to let go, was to watch another film in the morning.

Exactly at 1115, we were already accounted for, and went to the person who sent the message.

I told her " good morning." She was all smiles. To probe, I said, "we didn't win the Cinema Fairbindet Award." We were nominated for it, but, they sent an email saying, they had a hard time deliberating on which film deserves the prize. But sadly, it wasn't us.

Then her smile got bigger. And she wrote something on a post it note, and handed it to us. She told us to keep quiet about it.

The note said, "you won, a special mention for the NETPAC PRIZE."

I wish I kept the note for souvenir!

She was excited as well. Sheron and I had to quietly exchange high-fives, and tried to hide our ecstatic feelings in a silent "shout for joy."

Isabel Lopez, our actress, was with us, to get her movie tickets for the day. We whispered the news to her.

She was so happy, and said, "our film was really suited for Europe!"

We only had to keep mum about it for the next two hours, since we had to go straight to a place, a 10-minute walk, for the official announcement ceremonies of all Independent Juries' Prizes.

This is the awards morning before the main awards night for the Main Competition Films.

It ranged from Ecumenical Jury Prize, to German Kino awards, to acronyms like CICAE award, and a newspaper's Readers' Award, and a whole lot more.

Then our moment came, after over an hour of the other awards' announcements.

The NETPAC Award went to a Japanese film.

We got the Special Mention complete with a certificate from the NETPAC Jury.

This is an award specifically for the Best Asian Film which was part of the Forum Section.

The head of jury said, they were really debating between two films, ours, and the Japanese Film.

The power of our movie, and its cinematic execution of a timely issue, in its honesty, pleased the jury so much, they can't resist not to give something to our film.

The reason for the Special Mention are my words, the Jury Head read the thought before calling us, so I just got the gist for the citation. I wished at that time I had a pen and a notebook to accurately report what was said and done.

The German judge I got to talk with told me she was really rooting for our film to win. And they were unanimous in saying it will be the Japanese film and our movie which will fight it out for the NETPAC Prize.

So, there, that was how the moment went before and during the awarding rites.

I am so happy, and proud, to bring home at least something honorable for our country.

So far, the film is on its way to compete in two more European film festivals.

And it is also screening again, at its birthplace, Zamboanga City on the last week of February.

To the NETPAC Jury, and the Forum's Festival programmer, Christophe Terhecte, our deepest thanks for discovering our small film, and bringing it, and us, to Europe.

Thanks to Oggs Cruz, as well, the respected Manila critic who is also a part of the Berlin Talent Campus, for taking time out to take our picture during the Awarding Ceremonies.

And special thanks to Paolo Bertolin and Pepe Diokno, the Venetians, for believing in our movie.

And to everyone involved in the making of this film, and to those who supported it, merci!

And most of all, to Armando Lao, our creative consultant, and the people behind Cinemalaya, you rock! Without you, this film wouldn't have seen the light of day.

Chilling at -3 degrees, and cheers from Berlin,

Lilit

Pre-Departure Notes

2011-02-09T08:47:00.004+08:00

Rooted on the ground, remembering the miles I've traveled and the highs and lows of my life, I write this as I am on the verge of my groundbreaking first.

Europe has always been a dream. There's a different charm to medieval castles, as though knights continue to battle dragons, while Mona Lisa's Smile represents the pinnacle of arts and culture, and yes, in the more modern times, this cluster of countries has produced the finest of films outside the moneymaking Hollywood machine.

This weekend, I shall set my foot on this part of the world, finally.

I have flown through different phases of my life unplanned, my destinations were mapped by the proverbial will of the wind and the stroke of luck.

My first ever disembarkation was a very close proximate, Hong Kong. All I needed to do was to accompany our fatherly producer, to color grade an ad that has been shot, and simply put the slogan text on the ad. There were more hours to taste the cuisine, and enjoy the first alien milieu I ever landed on. It was a paid, official junket.

The rest was so ASEAN, where visas are not required. One will get tired of seeing rice fields and temples at a certain point.

The struggle to see Broadway and the Big Apple took years and many visa denials until, at the time I wasn't so eager anymore to see it, I saw the neon lights hovering above me at Times Square. New York was my first taste of a truly global city.

It was also my first taste of winter, for climate is an obvious sign that I am not in my sun-dried homeland.

Once the visa jinx was lifted, it was easier to get other license-to-enter seals like Japan, Korea, and now, Europe. It gives me a feeling that I am allowed to be a part of this world, and a legitimate global citizen.

Travel is priceless. It becomes a treasure all the more that for my virgin European tour, aside from the castles, the museums, the galleries, and the cafes, it reunites me with my advertising mentor on the side.

And as a main course, it brings me to the temple of my passion, a major major film festival. This is it, this is the world screening of our film, the final and biggest test for what we have done. And yes, I expect to see snow. Only when you grew up in the tropical latitudes will you understand why snow is a big thing for us.

I hope I get the chance to have a picture with Isabella Rosellini or Ralph Fiennes. They will be there! Forgive me, I am a humble movie fan.

I don't mind the tightest budget I've ever had for such an expensive currency and destination. This is a lifetime first.

Excited is too tame a word to describe my current emoticon.

Two weeks may be too short a duration for a major destination. A thousand euros may be too small, but there will always be a next time, and a next destination. I consider this a dry run, for the next embarkation points in my life.

I dream of Latin America, specifically, Buenos Aires, Argentina. I never thought I'd ever make it to New York, not even to Berlin nor Paris, but, look Ma, I'm getting there. So the dream to get to the land of Tango and Peron may become a reality, someday.

Wish our film, "Ways of the Sea (HALAW)," lots of luck, and promise, I will be updating you with photos and notes, as soon as I can land on a free-Wi-Fi zone. Together with "Sampaguita" and Francis Pasion, we will proudly carry our flag in Berlin and our warmest tropical smiles in the land of freezing temperatures.

I can't even concentrate now on my tropical tasks and duties. I am now practicing my nasal "bonjour, monsieur!," and my heartfelt "danke schoen's."

Euro-struck, and Euro-bound,

Lilit.

Look! Up In The Sky!

2011-02-05T08:46:00.002+08:00

When was the last time I ever looked at the stars in the sky? Not in the middle of a business center can I do that. The domed sky would never be completed as blocked by buildings, and yes, blurry smog or clouds.

And when was the last time did I ever mention the word, Planetarium? It's so grade school to do so, when, as kids, we were brought to that kind of structure by the Roxas Boulevard, in batches, by sections. That would also include a tour of the Rizal Park on the side.

Yesterday, we did have a chance to go to a planetarium once more. Cosmos mesmerized me again. Of course, the technology has advanced a lot, since I was in primary school.

This was at the Science Discovery Center at the SM Mall of Asia. Yes, kids, by groups, with the same t-shirt uniforms, aided by their teachers, some accompanied by their parents, all converged to have an indoor view of the night sky.

The planetarium looks like a cinema, the seats are so comfortable. The viewing dome screen feels bigger, than what I used to remember when I was a child. I always thought everything looked bigger when I was a kid.

The lighting inside the planetarium before the program begins feels like a dance club. It turns bright red all around, to bright blue, then green.

I can sense the excitement of the students. When the dome screen turned black, and the house lights were switched off, the kids started clapping.

The intro alone was not actually a sky, but a sea dome, so we all felt we were underwater. This was just an intro for the planetarium, which became an aquarium for a while. The shark hovered around the 360-degree dome, as if looking for its prey among us. Then it started cracking the dome! The glasss was breaking. Oh, my! Am I now in Steven Spielberg's "Jaws?" When the glass broke, the dome screen fades to black, to introduce the credits of what we were there for, "Passport to the Universe."

The stars lit, and twinkled, enveloping the theater. And wow, a voice started to speak as the narrator. It sounded so familiar, yes, it was the voice of Tom Hanks.

Then the magical graphics and renditions of the galaxies and planets, as close as to what has been seen by the roaming space voyagers and the Hubble Telescope were mesmerizing.

It brought out the geeky child in all of us, as if, yes, we were part of the touring school, and we were Science students once again. Except in reality, they can mistake us now as the School Dean or principal, or their teacher, or worse, the students' accompanying parents, hopefully not as their nannies.

Cosmic and magical, and of course, educational, even the script of the show was written in a witty manner, befitting of a Tom Hanks interpretation.

It's a far cry from my kiddie days and how a planetarium looked like. There are more mini "dome movies" screened at the SM Discovery Planetarium, and I can't wait to go back.

It's nice to feel like a kid once more, and it's nice to remember we're just but a tiny speck in the whole universe, all humankind combined.

And yes, I think this is a perfect venue to bring a date, than the usual movie or dinner date, for a change.

I also thought, if someone had a joint, he would have the time of his life seeing the cosmic fantastic while he's under a spell.

Astronomically awed,

Lilit

Miss TwoFace

2011-02-01T12:48:00.005+08:00

No, she's not a new Batman character, ( she'd play the Catwoman though, as the Dark Knight returns), but rather, a darling of my film viewing fare, Anne Hathaway.

She can be an every man's All-American princess with the very British Julie Andrews, wasted and a party ruiner in "Rachel Getting Married," a fashion transformer in "The Devil Wears Prada," an aristocratic victim in "Brokeback Mountain," and now, a Parkinson's victim in the confused "Love and Other Drugs."

She's the representative icon of a film industry that has two faces, to go the blockbuster route, or to go for the awards.

And my, how she can be a great guest emcee like in the past Oscar Awards show with that classy musical act with Hugh Jackman, and soon she's the main co-emcee in Tinseltown's biggest night this February.

She's the next versatile actress after Amy Adams, and she's definitely more exciting than the consistently smug and bland Scarlet Johansson. But she has the face that's more Hollywood like an icon than Amy, but both have the big, expressive, and eager eyes, which could be a handy pair for movie acting.

How can someone so pretty, with eager and prominent eyes, switch from cute land to a psychological case, with the gamut of roles she has so far, played.

Her two sides merged in "Love and Other Drugs." It's a film that tried to be Oscar-worthy yet wanted to be a rom-com blockbuster at the same time, therefore confusing my latest favorite into a schizophrenic lead.

By schizophrenic, she tried to be the chick flick heart warmer, and at times even a breast exhibitionist, yet, muddled within the film is her more serious side of acting, shaking as a stage 1 Parkinson's disease sufferer, and denying the need to need.

The use of Anne with Two Faces are maximized in her latest Hollywood movie. Being obedient to a producer's wish or maybe, a director and a writer who wanted a more serious film, she shifted from girlfriend to actress throughout the film. She behaved like a chick-flick rib tickler and heart warmer like Katharine Heigl in some moments, and getting her Rachel Getting Married groove back in other scenes.

I felt she was robbed of her Rachel Oscar for being too new and young, on the cusp of being a major actress yet, she's too lucky to be promoted to the elite circle of true, acknowledged thespians, so the Academy members felt, she'll win someday, but let's not give it to her now, or that was then.

She was more in her element as a true actress, being in the moment and in her character than Kate Winslet, whose role was manufactured for an Oscar.

I hope she makes up her mind, the way I felt "Love and Other Drugs" could have been better if it made up its mind to be Sundance-like or simply a Box-Office Mojo success story to ring the Hollywood cash register.

If Anne Hathaway had her way, if she was more Parkinson's than America's current sweetheart in this film, she could've given Natalie Portman the paranoia if she'll certainly grab the plum Oscar Actress statuette or not.

But for now, I am happy seeing her in the movies, and looking forward to her hosting in this year's Oscars.

Anne, can you be my Valentine, or, better yet, won't you be my number two?

Starstruck,

Lilit

The Late 40's Checklist

2011-01-27T10:12:00.003+08:00

It's an odd stage to be in. I am neither golden in my 50's but I am way past where life should begin, at 40.

I assume by this time some dreams I had in college, our most ideal phase to dream, has been realized.

I should've been rich by now. But wealth isn't everything.

This is the age of the Body Tune-Up. I've been away from the gym for the past three months or so, so the belly girth has increased its hugging circumference.

I've been alcohol-free since the year began.

I've had an oral overhaul, the teeth, the gum, the mouth and the throat, dictated by setbacks brought about by smoking.

I should have my first Executive Check-Up before the first semester of 2011 is over. I have never had it. Colonoscopy should be high on my executive checklist, and I have to have an image of my lungs captured again.

The European dream, to get to the land of history and civilization, was earlier realized than forecast or declared. Although I am not that financially prepared, it's happening mid-February. Thanks to my passion for films. Who would think a film would force me to advance this wish?

It's the same film that placed Northeast Asia in my travel map, Japan and Korea, which were not in my dreams. But Japan was oh so worth it.

The dream to have my own dwelling is hanging. I think I've missed on the first two months to catch up on its payments. I hope this hasn't been jeopardized, yet.

Stability is also a concern of the late-40-something worker. And this doesn't necessarily mean financial, but more of for mental health and peace. Am I at peace? Hmmmm... all I know is I am too old for ambition, or be a recipient of people who want bigger things in life. The corporate climb is for the young. I've had enough of that for I was never known to aspire and become a top honcho. To the young and the restless, the V.I.P, very important position, is all yours. I have moved on to a higher self-fulfilling path, that is not necessarily for fame or fortune, but more for stability, consistency, deeper selfless fulfillment, and peace.

An employee will never be stable, while to aspire to become a self-made employer requires talent and it should actually have been destined in the palm of anyone's hands.

But the question is, who is more at peace, the employer, or the employed? Now that depends on what one desires. I don't have kids, to require such shift, from hired to hirer, or be an entrepreneur.

The realization of personal happiness, or what makes me happy, simplicity and true passion, gets top priority before my age goes closer to the graveyard geriatric phase.

Happiness is fleeting. But peace can be planned, and built.

A life of happiness, for man is never satiated by nature, is elusive. But a life of simplicity and peace, can compensate for the lack or impossibility of true joy.

The late 40's is about inner peace, inner health, and the definition of wealth changes from tangibles to intangibles.

But what is most certain is, I have the right to be me, to be the captain of my soul, and to be the master of my fate.

I will never allow myself to become a slave for money, neither for love, nor for others.

But the late life, in terms of others, mean working for the happiness of others, as well.

As I preserve myself, I also want the people I value to be happy, and do what I can to help them become happier, or be more at peace, or at the very least, realize their dreams, or at the very least, be consoled.

That's what being older is all about.

Live, and let live, to a life that's fit for me, and to let others who matter to me, live well, too.

The Truest Independent Filipino Movie Audience

2011-01-23T13:12:00.004+08:00

There's a notion, some may actually be guilty of it, that indie filmmakers make films to win awards and make it to foreign film festivals.

Sineng Pambansa, "Filipino films for Filipinos" , conceived by the new leadership of the Film Development Council of the Philippines (FDCP) disproves that notion or maybe, even reorients the filmmaker himself on who should see his film.

The throves of people lining up to catch the 11 Filipino indie films brought to Iloilo, for Sineng Pambansa's maiden voyage, was astounding.

It was also perfectly timed as a pre-event to the peak of the Dinagyang Festival, Iloilo's famous fiesta in honor of the Santo Nino.

Of course, part of the reason is there is no need to buy a ticket, it's free admission. But then again, the audience stayed on, completed the films, and were reacting to some scenes accordingly.

It also helps that today's provincial or city Plaza, the SM City, is a highly visible and accessible venue for moviegoers to have a taste of independent cinema.

The Iloilo government went all out to make the festival big, and well-promoted. They even treated the film makers to welcome dinners, lunches, and day tours to showcase what Iloilo can offer and what true hospitality really means.

The FDCP staff were also very helpful and accommodating to make sure every film is screened properly, and the film makers are doing fine, from transportation service to accommodation!

True, Metro Manila has always been lucky to be the venue of Cinemalaya, Cinemanila, Cinema One Festival, Euro Film Festival, Spanish Film Festival and more. What about the other city centers of the Philippines who might want the chance to watch culturally, artistically, and socially significant films?

Good thing this "centralized" mentality is gradually demonopolized with the rise of regional cinema, and of course, the thrust of Sineng Pambansa to "bring Filipino films to the Filipinos."

The relevance of the films matter more for us, Filipinos, because it is about us, and it is not simply a postcard or sad tales for foreigners to marvel at. The impact will be different for us, because these films are about US.

The issues regular movies don't dare dwell on make us, Filipinos, think deeper on our social, economic, religious, political, and yes, ethnicity problems. The power of cinema to transform lives, and maybe, policies can never be understimated. A picture is more worth a thousand words than a grandstanding politico's speech or a lobbying "vested interest" lawmaker.

This was evident in the question and answer sessions, where Ilonggos enthusiastically discuss the issues presented by a film, and also its artistic merits.

The best part about this is, the response of Iloilo to film makers make the producers, actors, and directors feel well-respected and welcome.

We envy the support of governments to their country's films, now, the FDCP presents a tool for the Filipino film to be seen by more people, and meaningfully, to people outside Metro Manila.

The goal is daring, to build an audience for independent cinema. It's like sampling a product. Once they get a taste of it, they might like it and make it a staple.

There's nothing wrong in aiming high, as one famous ad man says, "When you reach for the stars you may not quite get one, but you won't come up with a handful of mud either."

Kudos to the vision of FDCP. Zamboanga, you're next. Iloilo was such a gracious host and a responsive audience. It's a challenge, for the pilot city where Sineng Pambansa went to was such an encouraging debut.

We enjoyed the molo, and the la paz batchoy. I am sure they will fall in love with Zamboanga's Curacha in its deliciously indulgent Alavar Sauce. Ready, get set, Chavacanos!

What Happened On The Way To The "Forum"

2011-01-18T09:04:00.005+08:00

It was a secret that was too big to ignore or keep. Waiting for the official announcement seemed like years so we can finally let the cat out of the bag. We can't hide our excitement two months ago, for this is one major breakthrough for us and our country.

"Halaw" (Ways of the Sea) is officially a part of the Berlin International Film Festival's "Forum", which is touted to be the most daring section of the festival. (Feb 10-20, 2011.)

Now, is Forum a competition? In a way, the answer is both a yes and no. It's technically, an exhibition of political or socially relevant films, and a showcase for new cinema trends, so it's not. But films participating in the Forum can be awarded the FIPRESCI Award, the Ecumenical Jury Award, and the Caligari Prize. Also, the Best First Feature Award encompasses Forum films as well. So in a way, the answer is a yes, as well.

A small film like ours is now on its way to its largest event, but being tropical for life, the freezing February winter will definitely be a challenge in our participation.

The festival participation of "Halaw" so far is one that's to be really happy and be proud about with Pusan, Tokyo and now, Berlin, as its competition screening venues.

It was also invited in Toronto, Goteborg and Rotterdam Film Festivals, but sadly, we had to give them up, for, in the case of Toronto, it required an international premiere ( we had to premiere in Pusan.) For the Goteborg and Rotterdam film festivals, Berlin required an exclusive European premiere.

Not bad, eh, considering the kind of festivals which noticed our film. For us, it's a validation that our little movie does have merit after all. Sometimes, being artists, we do doubt ourselves and we can be our worst critics, yes, we can be worse than how blogger Oggs Cruz criticizes (hehe).

"Halaw" has indeed, come a long way from its first screening at Manila Bay. Thanks to Cinemalaya, for discovering this movie.

And to all the people who supported the making of this very tough film to complete, our deepest thanks to all of you. And to those who believed in "Halaw," specially Pepe Diokno and Paolo Bertolin, you're our angels! While others have forsaken us, you stood by our side. Your contributions are more than enough to keep us warm in freezing winter temperatures that await us.

Deutschland, danke schoen, too!

See ya snow, see ya winter, see ya Berlin!

.

An On-And-Off-Line Relationship

2011-01-13T08:44:00.003+08:00

Before it used to be the sports channel which stunts relationships. As Daddy watches his basketball or football game, Mommy is left alone with no one to talk with. She relegates herself to the kitchen to wash the dishes. This is your typical American movie set in the suburbs or a Manhattan apartment. It says "love on the rocks."

Now, everyone's hooked on the internet.

But this time, it's not Daddy's vice alone, but Mommy's as well, developing another "excuse" not to talk to each other.

The addiction to an anti-conversation habit has created "firewalls" in relationships, not only between couples, but also, between parents and children as well.

Countless kids these days rush their dinner, lock themselves quickly in their rooms, for the internet, or if you include video games to this, for anything computer.

The idyllic living room post-dinner picture of a family watching TV together, or Dad reads the papers, Mom reads her favorite book, while the kids are on the rug, drawing doodles or playing with their toys, has quickly become extinct.

To prevent the decay of conversation, or even spending normal quiet time together...

1. Set a deadline for online involvement with the computer. Maybe midnight will do. Then before sleeping at least, you spend time together as persons, rather than intimately engaging one's self to a non-human monitor.

2. Before it was TV, now it's the computer. Don't allow its presence in the bedroom.

3. Do your internet addiction while the significant OTHER is away. This way, when you're both together, by the miracle of more time at home in spite of your hectic jobs, there's quality time to make up for the lost time. By the time he or she arrives, you've had your fill, at least, of the need to go ONLINE.

4. Make it a point to go out, together, and breathe. You don't have to spend much by eating out or watching a movie. It can simply be a walk at night. Just make sure you're ears are not plugged to the iPod or mp3 player as you do this evening walk together.

5. For those with kids, implement an earlier computer curfew. This way, not only have they got more time to finish their home work, they might have more time spending it quietly or conversationally with the rest of the family as well.

If these steps don't work, try talking to your partner this way, use the internet. Talk through the Chat Window of Face book while he or she, or your kid is online.

If not, disconnect the source of internet server, without warning. This way, you'll surely get the attention of the Wired Addicts.

Technology is both good, and bad, for humans.

Control it before it controls your lives.

.

Sizzling E-Cig

2011-01-11T09:04:00.003+08:00

Cold turkey is almost impossible. There's a queasy constant discontent and yearning on the first three days of withdrawal from cigarettes.

How did I do so far?

I stole some puffs, puffs not sticks. Sorry. But the decline of consumption is drastic. When I say puffs, it's like just 10-12 puffs, compared to puffing whole 30 sticks a day.

Forgive me, I'm only human who has been smoking for 25 years! Truly, I am a certified cigarette addict.

So out of desperation, I needed something to support me. It's really hard.

I just have to try something.

The E-Cig is available, or electronic cigarette.

It's actually smoke-free, for it's vapor that comes in and out with every puff, in chocolate, mint or coconut flavors.

Is it really just an oral fixation, that something has to be placed in a chronic smoker's mouth?

I know it's also the addiction caused by nicotine and other chemical additives placed in a cigarette for that craved smoke.

Well, the "e-cig" helps. It's the act of smoking that appeases the restlessness and the craving.

In fact, it lessened my "stealing puff syndrome."

Out of discontent and withdrawal, I realized I am eating more, except for the Prohibited Foods as enacted by My Doctor's Resolution and Ordinance for Throat Recovery.

Then, I saw "The Tourist." Johnny Depp's character has a bound object, the "e-cig." I felt more hip having it, and using it.

The voice, yes, it's gradually coming back. Although I know it isn't back to normal yet, for I can't sing yet, and I can't yet hit the refrains.

It's a struggle, for health and throat's sake!

If you haven't smoked yet in your life, never try it. It is addictive.

And yes, it will take out the Pinoy singer / videoke addict from you.

Take note, this is not yet a success story. I may quit or come back after being healed.

So help me quit. So help me God.

Trying really harder,

Lilit

.

Facing The Throat And The Truth

2011-01-06T10:31:00.002+08:00

"I want you to see this yourself."

The doctor has placed the endoscope deep into my mouth, and into my throat.

I have almost lost my voice, and its hoarseness has become a source of discomfort, while I talk. This has been going on for more than a month, so I had to finally visit a throat doctor. I knew there must be something so wrong.

He has seen what I haven't seen. He knows there's something so wrong. But his voice had that excitement.

While I know, for a fact that he wants me to see it myself means there's something really wrong.

I had to struggle having that endoscope in my mouth. It's like placing your finger deep into your tongue to make you puke.

Then I saw the innermost recesses of my throat right before my eyes. Its image reminds me of the graphically repulsive photos on those cigarette packs with the most dreadful warnings on the effects of smoking.

I have forgotten my Biology lessons in the past so I don't know the parts of the throat. Looking at it, I can't figure out what's wrong.

Like a movie, this is the time the doctor delivers his monologue. It's that necessary part of a screenplay which explains a problem in one swoop. It's the boring part. But this time, it won't bore me because it's about my endangered health.

He pointed out the vocal chords. They were swollen. Its position is not normal because of the swelling. They should form something like an upright triangle. But mine seemed more expanded, to the point that they've flip flopped and starting to block the air passageway. Then there's this greenish "nodule" that is beginning to grow right in the middle of the vocal chords.

The first question I had in mind was, "is there a need for biopsy?"

The doctor explains if it gets worse and I don't follow that Do's and Don'ts at this point, medication won't be enough.

Of course he told me to quit smoking.

That was the hardest don't.

I knew there's only smoking that's to blame. I've smoked since I was 19 years old, averaging one and a half packs a day.

If he told me I had tumor, I might have done a Vilma Santos moment when she learned she had AIDS in "Dolzura Cortez Story," shouting, "Diyos ka ba? Bakit Diyos ka ba?", Vilma venting out her shock on the doctor asking if he was God to have the power to decide if she's going to live or die.

Then the litany of dont's, as if I was Moses receiving the Ten Commandments has begun.

DON'T smoke.

DON'T stay up late.

DON'T
shout
sing

DON'T EAT
spicy foods, nuts, chips
chocolates, candies, all citrus fruits
mangoes, ice cream, mangoes

DON'T DRINK
alcohol, too hot or too cold liquids

AVOID
cold air
construction site dust
talking as much as possible (oh no!)

Everything I can easily avoid or stop doing except for talking and smoking.

"Doctor," I asked, as if negotiating on the do's and don'ts, "am I allowed to kiss?"

He said, "yes of course." ( YIPPEE!!! )

Obviously, this wasn't a bacterial nor viral infection.

He gave me "steroids" in tablet form, and an anti-coughing capsule.

"Steroids?, I asked. "Does that mean it will build my muscles, too?"

He laughed, explaining my stupidity, for the steroids I was referring to was different. This wasn't about anabolic steroids.

Coming back, I had to google "throat cancer and its symptoms."

Prolonged hoarseness of voice.

Scary. If I don't follow the DON'Ts, this would really evolve into a tumor or cancer.

It's the smoking that caused this condition. And it's the hardest part for me to give up.

I have to.

A friend asked me bluntly, "it's your choice, smoke and you'll develop tumor, or stop smoking, and live."

The only good news about this throat condition is , I can still kiss.

You can't stop a hopelessly romantic person like me from kissing!

"WARNING, SMOKING LEADS TO CANCER." I should sell my throat endoscopy photo to the cigarette pack designers that go with this warning, and make money out of my miserable condition. Anyway, the cigarette companies have made a lot of money from me because of my bad habit!

But then again, there's no one to blame except me, the stubborn smoker.

Voicelessly yours,

Lilit.

Un-Friending On Facebook

2011-01-04T10:06:00.003+08:00

If Facebook made "friend" a verb, meaning add one as a friend, then there's the act of deleting a friend, or "un-friending."

Perhaps the most politically correct reason to un-friend someone is "I have reached the Facebook friend limit." Wow, that means you've got 5,000 Facebook contacts!

But then again, the 5,001st friend you want to accept can only be accommodated by "un-friending" another. So that un-friended one will wonder, "why me?"

I have been un-friended by two ex-office mates, and a prospective employer, who I did not actually turn down, but it was simply because of a busy week, that I failed to commit to an appointment with their Finance Chief. There was one who un-friended me, then added me again. He must have realized I was actually a true friend worth keeping.

I have un-friended contacts I classify as "nuisance." They are the ones who keep commenting at my wall, with no sense, or whose only intent is to provoke or create intrigue.

How can you tell if you've been un-friended?

The most obvious sign will be someone who always has a wall status update seems to be suddenly so quiet on your Facebook home page's news feed. His statuses suddenly disappeared from your sight because you are no longer his Facebook contact.

You go to his page, then it's back to "add as a friend," because he or she is not your friend.

Un-friending is a hard act to do, because we want to be sociable and kind. The fact that it's hard for us to ignore a friend request, it's harder to delete a current Facebook friend, right?

Another reason why I "un-friend" someone is of course, he or she couldn't be my friend, or I've lost my trust, or he or she has done some deed that proves one is actually not a friend.

I bet one reason to "un-friend" someone is he or she has become your "X." Yes, breaking up is hard to do.

At least, two of my "X's" are still my Facebook contacts.

"The average Filipino social networker has 171 friends. This is only slightly lower than the US average of 178."

If you wish to remain with the average, and you've got 171 friends now, then don't un-friend anybody. Haha.

I believe Facebook should rather use the word "contact" than friend.

Your Facebook friends aren't actually your friends, except for those within your inner circle.

"We may have 5 people whom we consider to be our closest friends, and 20 whom we maintain regular contact with, 50 is roughly the outer boundary of our personal networks."

it's kinder to add someone you don't really know, someone you added because you've got a lot of mutual friends. You're afraid that you might actually know the person, you may have forgotten you've met somewhere, somehow and you were actually introduced to each other.

Eventually, you might "un-friend" them anyway, when you do your Facebook contacts cleaning, and simplify your Facebook social network.

To subtract, delete, block, un-friend may sound harsh, and a very mean thing to do.

But sometimes, we have to do it, for different reasons.

I have been un-friended, and I have un-friended some people.

They have their reasons. I have mine.

I would only worry if a close friend will suddenly un-friend me.

I've got to know the reason why.

"Tell me, where did I go wrong, what did I do to make you change your mind, completely."

Real friends do have misunderstandings, too. But it's better to save, and keep a real friend, for he or she, counted as one, is more worth it than the countless others, our Facebook "contacts."

.

English 1-01

2011-01-01T14:27:00.004+08:00

Resolutions, I don't do that. For this first day of January, I declare goals, or themes , perhaps. I do it in parts of speech for it's only words and words I all I have. These may be dreams, wishes, goals, mottos, whatever you may call them, it's all about semantics.

Verb. Transitive.

TRANSFORM. The direct object of this verb may be a person, a habit, a thing, a place.

Noun. Profound.

FREEDOM. Personal freedom, the freedom to act on what makes me happy, for I am tired of pleasing others, at my expense. This time, I am free to choose what I like, and what I don't like. I'll let go.

Pronoun. Personal.

"I." My best friend is myself. I am responsible for myself. I am the only one to be commended or be blamed for what I do, of fail to do. I do not expect others to make my year for me. I will direct and define, my 2011.

Adjective. Descriptive.

SEXY. Yes, I want to feel good and look good, and be shapely, only to what my age and metabolism rate can accommodate. There are biological realities entering my late 40's. But I'll give it my best shot.

Adverb. To an Adjective or A Verb.

SIMPLY. I like the bottom line, the simplest way to get to something. Cut the drama, remove the non-essentials, simply BE.

Article. To Myself.

"A". I am simply "a" person, than "the" personality. The trappings of wanting to be famous, or feel different, or think one is special, are too counterproductive to SIMPLY doing good. There you go, I was able to apply my adverb.

Gerund, remember the verb + "ing" which makes it the Subject rather than the Predicate?

SWIMMING. Swimming is a good therapeutical activity. Not only is it good for the back, without even the risk of injuring a knee like running, I will revive it this year. Because of workouts in the gym, I've forgotten to hit the water. I like the silence which mutes all sounds above the surface.

Runner-Up. LOVING. It becomes a gerund and not simply a verb when I use it this way. In any day, in any year, this is always the key to a better world.

Loving is the right thing to do.

Cheers, 1-01,

SIMPLY "I"
Simply, Lilit

My Personal Life's 10 Best for 2010

2010-12-30T19:28:00.005+08:00

To move on to 1-1-11, it's good to look back at the positive side of 2010, in my life. Here's my list of the highlights of the outgoing Tiger Year life.

1. Victory at Cinemalaya

No doubt, it's incomparable to any film event in my life, being a movie addict. I simply used to watch, follow and cheer Cinemalaya's filmmakers and their films for the past 5 years. On its 6th year, it's a lot different if I am suddenly part of one project as a creative producer, and seeing the film I got involved in, win. The tension, troubles, and triumphs are too intense to simply forget.

2. Bigger Space.

Moving out of my almost a decade-old residency at The Peak, May 2010 saw me relocating to a bigger space. Now, I can host dinners or parties for friends, even Taboo sessions, and yes, watching films on a better TV and sound system.

3. First Time In Tokyo

An offshoot of number 1, our film competes in Tokyo, which made me see that unique world capital for the first time. Rains didn't stop me from absorbing its modern quirkiness and stamp of ancient traditions in a stimulating blend, that's way, way different from New York, yet, equally inspiring and surprising. And it's been a while since I experienced cold weather, which I so love.

4. Back-to-Back Bit Roles

Being a cameo player with speaking lines, for "Donor" and "I Do", I never thought I would love being magnified twenty times over on a bigger screen. It doesn't mean I like the way I looked, but I admit, it's thrilling.

5. Birthday Bash

I never had a big birthday celebration. Every year, it's with a group of say, four, or five of my closest friends. This year, I dared do an open invite, a come-what-may party, potluck. There's tension in not knowing what kind of meal will arrive, will it be enough for the guests, and who is really arriving. It turned out to be more than what I expected. We never ran out of drinks nor food. And yes, friends just kept on arriving.

6. Celebrity Reunions

Working with John Lloyd Cruz once again, and Sharon Cuneta for their respective TV ads will always be a memorable highlight. C'mon guys, that's the Matinee Idol and the Megastar, so it won't be another ordinary day!!!

7. Piano Bar Nights

Videoke sessions can be tiring and repetitive, but singing live with a piano player allows more variation in vocal expression. Discovering Serenade Hall just around the corner where I live can remove the stress out of my working days, in a not so stressful venue, while doing what I like the most, singing as if nobody is listening. It's a therapy.

8. Treehouse Sundays

One is never too old to learn. This has become a weekend habit, to listen to a mentor sharing his epiphanies on writing and film making, for free. And yes, after the mind challenging jargon and processes, it ends with happy hour, beer drinking sessions, or eating out with the Gutierrezes ( I now address Ruth and Chuck as a couple to get used to it), sealing the week with passion (films) and fulfillment (indulging in food).

9. Forming and Strengthening Old and New Alliances

The Gutierrezes (again, now addressed as a couple), the Halaw Team, its actors and the Zamboangenos, FabFour (Delacuestas and Jalandoni), Gang of Four (Meilys and Fernandez), Cinemalaya Batch 5, Gelabear Pena, Gym Buddies, Blackpencil Buddies. Erik Matti and Borgy Torre. Hans Sebastian. Betsy Baking. Lito Gemora. Nonie Azores. Pinky Amador. The TBWA Star Reachers, Ms. Royo and Mr. Banez. And many more. The best way to make life worth living, and make it lighter, is to have real and true friends around you. And yes, simplify by weeding out the untrue.

10. I leave the last blank, there are 2 more days left in 2010, I am sure I will end it with an unforgettable, big bang.

.

May every day of 2011 be memorable for all of us. Each new day is an opportunity to make your life and others' lives unforgettable.

Cheers,

Lilit

The All Too Sweeping Story of "Rosario"

2010-12-27T14:46:00.003+08:00

The good news is, for the big-budgeted "indies," "Rosario" is a film way better than the other expensive independent film of the year, "Emir."

"Rosario" is a character-driven film, by the title alone. No amount of amazing technological support or brilliant production design can mask the true weakness of this film, the writing.

The good news again, is, finally, a Filipino period film does look like an authentic period film, the feel, the look, the props, the costumes, everything. I haven't seen a good periodness of a period film in recent years until "Rosario."

After viewing the highs and lows of "Rosario," what happened to her life, for she is a colorful character indeed, considering she existed in the olden days, is "so?"

What was her point of view after being banished from marital bliss, exploited by a landlord, hanging on to another man, but this next option left her? She just went through the events without us knowing what is her stand.

She was convicted of adultery. She was exiled in HongKong.

Her life was so sweeping, yet, we never felt her nor empathized with her.

Every stage in her life is a film in itself worth sinking one's teeth into already.

An adultery case is interesting, specially in the olden days, and she was defeated, but it was just a scene in this movie.

To be exiled because of adultery, as punishment, and live in another country not of her own wish, with another man, is interesting in itself, but it was just a scene in the movie. What happened while she was there, is a good period film already. But only up to that point, please. Let's not be too epic or time-sweeping.

To be separated from her kids, and seeing them again, in a piano recital, is just another scene in the movie.
Her unexpressed musicality in itself is a noteworthy character inflection that wasn't explored.

To be "modern" in colonial times, how society might have frowned on her acts, is nowhere to be found except for that adultery case. It could've been a good material for colonial and societal tension.

Will the soul of "Rosario" please be exposed? What was going on in her heart and her mind when all of these big life events where happening?

We want to feel, and experience her torment, and how she sees life and men, for what she went through was extraordinary. It would surely affect her point of view.

The intent was to retell her story, as rediscovered by Manny Pangilinan, being a direct descendant of Rosario, so that Rosario can apologize for her sins and those who were victims of her sinful ways.

With all the artistic craftsmanship all available for this period film, perhaps the biggest investment and labor should've been spent on the screenplay first. And they should've decided which part of a long story could've been concentrated on and made into a film.

It's a woman's film, without the complexities of what the woman has gone through.

It's a glossy, well-orchestrated series of images and production design, for a story that could've been interesting, yet it tried to cover eveything in her life, there's not time to relate to it, nor empathize with it.

Watch it, for its visual and production design spectacle, at least, that alone is worth your ticket price.

If you felt something, or learned something from it, then, maybe I am wrong.

At least, as I've said, it's better than Emir. Is that good enough?

You be the judge.

Same. Same. (YAWN)

2010-12-27T10:22:00.003+08:00

Kris Aquino tries to scare us, again, and Ai-Ai Delas Alas tries to make us laugh, again.

I wished I just stayed home and watched DVD's instead of going through these same old things.

The template of the box office successes of "Sukob and Feng Shui" for Kris, and "Tanging Ina" for Ai-Ai cease to suprise us anymore. Because, it's duplicating the elements that made their previous films work, again, for "Dalaw" and "Ang Tanging Ina Mo, Last Na 'To."

There's something wrong in a system that seem to define, cut and paste, how a movie or a TV show should behave.

Watch an ABS-CBN prime time soap drama, or these two Metro Manila Film Fest entries, obviously, a hand is guiding (or mandating?) them to incorporate ingredients that made their shows rate high, or their films earn a lot, as though it's like there's no adobo if you don't put vinegar and soy sauce.

Therefore, the freshness is gone. The scream for "Dalaw" has become a whisper. The laughter for "Tanging Ina" has become a snicker.

The gargantuan ABS CBN and STAR CINEMA machinery have made film and TV show creators not creative, but "recreative." They just have to recreate what worked.

Obviously, they might be sadly right, for people swarmed to the theaters, and their shows still rate high.

But the thrill of more growth, to make more money, with surprising materials, may be the road to fatten further the ABS CBN profit bag.

"Dalaw" will never duplicate the mammoth box office gross of "Feng Shui." Their soap operas will never rate as high as the Eula-Jeanne-Jericho "Pangako Sa 'Yo."

Think of recent films like "Kimmy Dora," this year's "Here Comes the Bride" and the upcoming "Zombadings," they're really funny, because they were something new to us. You can't say the same joke over and over again.

And go back to that time when someone thought of "Feng Shui," or the first "Tanging Ina," they were fresh, and they were entertaining, no wonder they broke box office records, then. Go back to the thrill when these projects were presented, you don't know if they will work, but you feel it in your gut that this is something new, and exciting.

Change is good, ABS-CBN/ STAR CINEMA, be not afraid! Change and freshness might be the golden keys to unprecedented profit margins, you've always been wanting, to please your stockholders. Or if you, at the very least, want to please us, viewers, who've been always had watching the same old films, and the same old soap operas.

The key to wealth is invention, not reinvention, and creation, and not re-creation.

Upgrading A Horror Franchise

2010-12-26T11:51:00.003+08:00

*The teacher guides his mysterious student in "Punerarya."

Oh we've been through it all, in good times or bad, I mean sometimes it hits the jackpot, sometimes it's plainly stupid.

The 12th Shake, Rattle and Roll has been advanced by better effects and newer directors. But it is still like a Horror House, where cheap thrills abound, in family-friendly fashion.

For one, the graphics for the titles and credits have behaved better.

But good things don't come in three's. Like an advertising campaign, one can weaken a series. So it's better to evaluate it in an episodic way, rather than a 3-in-1 piece.

The first episode, "Mamanyika," is Chucky Child's Play. Spooky doll from the grave is dug up by a child who's lost her mom, and lives with a sister who blames her crippled Dad for their Mom's death.

Zoren Legaspi, yes, Carmina Villaroel's partner directs! He does attempt to create different camera angles to at least make this genre more interesting. And obviously, he attempted to shoot scenes in a different manner, at least, visually.

The fun is if the devil doll is a doll. Once it is made to move by having a real child stand in as a doll, the magic dissipates. Initially, it was a moving non-living doll until it became a person, acting like it is still a doll.

There goes budgetary constraints for you. But this episode is palatable, just think you paid for a carnival ride. A ride that is all too familiar already, the fun is in its being a cliche.

The second episode, "Isla," is a messy and contrived story. Somehow, it feels like a writer's lazy side. A gang of girls goes to an island, to heal one of their friends' broken heart, but the place is filled with spirits.

Then Andi Eigenmann, learns about the mystic lake, and goes there by midnight to reveal who her soulmate is. The soulmate, Rayver, has been inhabiting this island for two years or more, which is actually a friend of the girl gang. He is there to recover his "soulmate," another girl, who was taken away by the spirits. Whew, just by narrating its story alone I feel so messed up.

Then the spirit is like one of the walking trees of "Lord of the Rings," whose roots can delay his eventual defeat, but speaks in a super reverb voice, that can get irritating sometimes.

Oh we have dragonflies too, who are actually small people with wings. Nice touch though is having one of the girls try to hit them with a battery operated fly swatter.

John Lapus tried to be funny as a tattooed sidekick to Rayver, who's a dude, but makes advances, so he's not. But it failed. In fact, the character is unnecessarily gay. And there seems to be no room for comedy in this episode, with his slapping scenes and witty talk.

All the young actors seem to be blank, but they were never in the moment, or simply, had no expressions at all. The swimsuited ladies could have been, out of tackiness, a perfect cast for a remake of "Temptation Island," but not in this horror genre, which could have gone campy, since as it is, it simply didn't work.

The last but as the cliche goes, not the least, in fact, it's the best, is "Punerarya." It's about werewolves. Okay, I know, I know, werewolves seem to be so cliche and overused, but to put them in a local funeral parlor, now that's a new world.

This "Shake, Rattle and Roll" episode seals in the hunch I always have that Jerrold Tarog is the director to watch for this generation. From political mystery, like Confessional, to a weakly written "Mangatyanan" but finely directed, to his youth film, "Senior Year," and now crossing over to mainstream cinema with horror, his mettle in staging, handling, and taking care of post production elements are obvious marks of a true and major director in the making.

His style is fresh, as always, fitting for a cinema industry that keeps coming back to the 80's, the way I choose my decade, and behave like it.

"Punerarya" is a good film in itself, with punk rock shades and inner organs combined. The story is not so original, borrowing concepts from different horror stories we've seen, like "The Others," or the numerous wolves and vampire movies we've witnessed good for a drive in movie show.

But it is in the execution, that makes a truly magical difference. From texture, the location chosen is so engrossingly rich, to its wolf transformations that didn't require much Industrial Light and Magic effects.
Then the casting was almost perfect.

The creation of suspense is steady and doesn't scream or blare with loud music, but it is in the uniqueness of the milieu that makes this episode not scary, but EERIE.

Don't get me wrong, in fact it succeeds in creating the audience reactions, and fulfill their need for horror during Christmas. But it doesn't make you feel cheap, like a rundown Horror Train. It is in the details, and staging of its scenes which make you thrilled, by its mastery of execution.

From a timely use of a digital camera under one's bed, to a strange world of lupines eating corpses' organs, and the wolves in human forms aiming for the kill, like a matador kicking off his shoes against sand to get ready for the battle with the bull, so many amazing nuances for so short a film, 41 minutes I guess, make "Punerarya" a class of its own, in an already tired Asian Horror genre.

To have a fighter heroine getting ready for a duel, but instead of having a shot gun, she carries two big bottles of formaldehyde, in cheap brown glass color, against a half-finished construction project filled with wood scaffoldings.

"Punerarya" is definitely worth the ticket price of "Shake, Rattle and Roll." It's a fine horror piece with an attitude. "Mamanyika" is an entertaining, and tried to be innovative, but cliche thrill. "Isla" is messy. I just wish they made me pay only 2/3 of the price though.

2010's 10 Most Unforgettable Filipino Movie Moments

2010-12-22T09:32:00.004+08:00

Rather than come up with the best films of 2010, I chose to run down my personal most unforgettable moments on screen from among the local films I saw in this very productive year.

I haven't seen some of Cinemanila's new local indies, the pre-MMFF indies, and the Metro Manila Film Fest which has yet to begin this Christmas.

So here they go:

1. "Donor's" Big Bang

Its finale, after a steady and slow build-up of its story remains this year's shocker. It's impossible not to forget Baron Geisler's tryst with the Gloc 9. It's punctuating a film with a super exclamation mark.

2. "Limbunan's" Quiet Submission

That end scene where the wedding ritual has yet to start, and where we are still at the Bridal Quarters, show three women, quietly awaiting in the bride's bedroom, the moment we all know yes, its protagonist still has to give in to tradition, and tie the knot with someone she doesn't love. It's a sad snapshot of how women who have the right to choose, still has to succumb to what society dictates.

3. "Sa 'Yo Lamang's" Human Warmers

Lorna Tolentino experiences the chills, and her family has no choice but to keep her warm by hugging her from head to toe, as they pray the Apostle's Creed. Not only a tear fell, from the moviegoers, but buckets of tears enough to water their orchids and wash their clothes. It's a hauntingly effective, and highly charged dramatic moment.

4. "Sampaguita's" Tricky Opening

The National Anthem is played against contrasting visuals, by force of habit, hearing its first bars, the audience viewing it stands up to pay homage to the song, while we are actually witnessing an irony with our national symbols.

5. "Halaw's" Uneasy Reckoning

Hernand checks on Lydia, after being raped, and in a nonverbal, long take, the uneasiness between the recruiter and his recruit, unmasking the horrors of exploitation, becomes an implosive scene, which tortures both Hernand, and the film's viewers.

6. "Ang Damgo Ni Eleuteria's" Long Goodbye

An exchange of farewell hugs and kisses before Teria boards on her boat essay the different characters' take on her "forced" leaving, and also, how Teria really feels about her loved ones, the way she embraces warmly, or passively the ones who want or not want to see her go.

7. "Here Comes the Bride's" Bed Scene

John "Sweet" Lapus is oh so gay yet suddenly oh so straight and makes his triumphant advances to her chubby object of affection, eliciting roaring laughters and shrills of an "ewww" in unison, at the awkwardness and rib-tickling gender-bending mix-and-match magnitude of this moment.

8. "Senior Year's" Hard Hitting Ball

Solenn's head banging ball encounter was so well staged, and timed, I cannot explain further so as not to spoil the fun.

9. "Sheika's" Boob Job

Madness meets unrequited love, as the cinematically bald Sheika's breasts are "adored" by her unofficial asylum partner.

10. "Tsardyer", in its Entirety

You don't forget an entire movie that's so unusual. In life, you remember the best moments, and yes, the most painfully bad moments. Right, Mr. Oggs? ( http://oggsmoggs.blogspot.com/ . )

.

Star(less) Cinema Presents: "Senior Year"

2010-12-19T11:06:00.002+08:00

This is not a youth film which showcases the best-looking kids of the season, out to become future John Lloyd Cruzes or Bea Alonzos.

Think teenage oily skins and pimple-infested faces, overeating adolescents and malnourished ones, the way we actually were during high school. Imagine ordinary-looking Joey's and Sheila's you're most likely to see in real-life public transportation rather than hidden in tinted windows of celebrity trailers and vans.

Yet, the lack of cuteness raises its charm factor, which makes the film "Senior Year," a highly edible buffet of juvenile delicacies, endemic to a specific middle class school, yet, universally a reminder of any generation's high school highs and woes.

Like a buffet, you get to enjoy it more by simply tasting a sampling of each dish, which before you realize it, you end up feeling full and satisfied, rather than gobbling up on the main entree.

It's a refreshingly natural take on the young and the restless, and an array of story sketches and school characters we've seen in our respective alma maters.

The troubles they have range from yes, domestic parental squabbles, secret admirers, the bully and the bullied, love triangles, which, when read as text seem like another youth movie that doesn't say or show anything new.

But when brought to life by the likes of the overgrown Bunda, the uncommercial model who behaves like one Solenn, the independently-driven Mitch whose sensitivity revolves around an unconsumed snack, see I remember the character's names not the star actor's names, the magic of this movie is its perfect nameless casting, in spite of its typical youth issues.

Its preachy stand, is naturally palatable since it will be the weaver's point of view, Henry, who is destined to deliver the valedictory address. But when he does, it's rooted on the ground, the way high school doesn't actually define what one will become, for the fathers should forgive them, for they still don't know what they're doing or will be doing.

The velocity is refreshing, shifting from "past imperfect to future tense" at high-speed, or it feels like it. (Meaning, the film is not boring.) At least, the future tense, happening 10 years later, doesn't bring us to future galactic fashions and technological fast-forward advancements in automobile changes, but nothing changed. I suspended my judgment for I deem it unnecessary for the film to do so.

The shift from one character to the next, with spontaneity rather than an obviously well-laid out script, complements the natural candor of the film's overall tonality.

The dialogues which make Jerrold Tarog a league of his own, as a writer, as exhibited in his first feature film, "Confessional" is not verbosely cinematic not sounding like dramatic, but without losing some wit, a whiff of welcome air and a refreshing attitude.

I wanted to see more of the teachers' stories as well, with the likes of Che Ramos, LJ Moreno, and Angeli Bayani rounding up the roster of teachers most pubescent guys' wet dreams are made of, for they were so interesting as the students themselves.

I do wish during the future tense though, the actors who portrayed the older selves of the students had some physical semblance. Dimples was very Sofia though, in terms of features.

And oh, the great music, which provided a welcome beat to the cacophony of talky students is highly commendable, I do wish I get a copy of the soundtrack. It adds texture without imposing, but you couldn't help but notice the very good songs chosen for the film.

"Senior Year' is not your typical youth film pattern, from a plot's template of build-up to climax. It's a collection of moving snap shots and moments in our high school lives, without being as cute and love struck as "Sixteen Candles," nor as rebellious as high school angst and rock nor is it as staged and conscious as "Pisay."

(Being my sarcastic self, what's the big deal about passing the college entrance requirements to La Salle??? Haha. Good thing I am not Atenean. We're from the very neutral University of the Philippines.)

It's simply a highly relatable high school movie with a refreshingly different and spontaneous attitude.

I give it the highest Pinoy high school movie grade. Mr. Jerrold Tarog, this is your valedictory moment.

What Else Can One Do With A Boxing Film? "The Fighter" Shows Us How.

2010-12-19T08:39:00.004+08:00

Ever since "Rocky" ran through that monument with blaring "Gonna Fly Now" musical scoring, triumphant boxing stories have come and gone.

Squeezed dry with ultra-mush by "The Champ," made gender-neutral by "Million Dollar Baby", David Russell provides another boxing character once more, with Micky Ward.

The grit and filth of grassroots boxing is still there, for it has never been associated with the elite, but rather the poor man's way to glory, if the boxer is indeed, a strong one. For boxers are born, and trained, by natural and nurtural causes.

The depressing small-town America milieu, like in "The Wrestler", where honky tonk characters meet fading sports stars, like Christian Bale's magnificently acted role here in "crack documentary" fashion and hero-antihero presentation.

What differs this time around are the characters that surround our lead boxer, played by Mark Wahlberg, which makes "The Fighter" a worthy view.

It's the actors' performances which carry the film to a higher level, and a mix of sweet and sour affectations, interacting as immediate proximates which can make or break a boxing dream.

The conflicts within a family, where the elder boxing brother has become a "has-been," endangers the younger brother's chances which might fall into a "never been." But one without the other cannot complete the road to that significant, but very elusive, literally, "fighting chance."

The tug-of-war between blood, and love, is made more complex as Amy Adams enters the picture as an "MTV girl," who almost acts like the typical supportive girlfriend. She defiantly challenges Mark Wahlberg's blood ties and its inseparable emotional and psychological bondage.

The matches outside the ring, equally punch us out, the way it did inside the ring.

What it lacks though is the central character's real dilemma as this tug-of-war happens around him.

Some may think it's underplayed, to contrast the strong performances churned out by Bale and company, but I personally felt it was underwritten.

Too bad, the lead's role being underwritten, made worse, because the ensemble acting is so good, drowns out Mark Wahlberg.

The supporting actors and actresses were so good, they actually defined what Mark's character is going through or should go through.

Bale (as his brother) and Leo (as his mother) churn out interpretations so vivid and uniquely layered, it makes Mark, like his boxing style, inactive, unresponsive, and simply out there to block off the aggressive acting punches executed by his co-characters.

But the tug-of-war is what makes "The Fighter" almost a masterpiece.

It's the filial bond, that Mark needs and doesn't need, that makes this ringside bout different.

Christian Bale and Melissa Leo were the true fighters in this movie, and their victory should be sealed, not by the boxing champ's belt, but by the golden Oscar statuettes.

.

The Not-So-Magnificent Seven (Cinema One Originals 2010)

2010-11-18T10:10:00.007+08:00

I wouldn't say, wow, that's Magnificent Seven, after seeing all the seven entries this year for Cinema One's movie festival.

I am in no mood to review every film I saw.

But the best English language delivery is a toss-up between the driver/ cousin of Megan Young in "Astro Mayabang" and the Maria Ressa-like character portrayed by Shamaine Buencamino in "Tsardyer." And I mean this, in a positive sense.

If I had a bar, I would definitely play "Dagim" while people are drinking, in multiple screens like a music video, with edgy homo-eroticism and it will definitely add to the buzz of alcohol.

(The best film obviously for this year's batch was "Ang Damgo Ni Eleuteria." I hope more people will have a chance to see it, and have it screened again soon.)

I would have an album release of "Tsardyer's" soundtrack, for it encompasses all music genres, from ballad, to rap, to ethnic percussion. It's the most eclectic musical score for a film I've ever encountered.

(I would prefer Mark Gil to grab Best Supporting Actor honors for his performance in "Ishmael," over Marc Abaya in "Dagim.")

I want to have that national flag-colored Nike shoes of "Astro Mayabang."

I conclude, in general, there's an overall screenplay weakness in most of this year's entries.

The strongest screenplay was of course, my favorite Cinema One film this year, "Damgo ni Eleuteria."

Jodi Sta. Maria was effective in "Third World Happy," (but I was bowled over by the charm and natural candor of the cousin of "Eleuteria" who came from Germany. I felt she deserved the Best Supporting Actress citation.)

I hope they come up with a video game version of "Ishmael" on Playstation 3.

You want an unexpected plot twist? Stay tuned with Richard Quan's role in "Third World Happy."

For unexpected comic relief in a seriously dramatic film, follow the quirks and timing of Jaime Fabregas in "Layang Bilanggo."

We had the most discussions after watching "Tsardyer" and "Dagim," it necessitated a couple of beers after viewing. Is that good or bad? It depends on who we were with after the movie, during the post-mortem "movie reaction session."

It's hard to decipher the merits of cinematography of every film when the projection at the Premier Theater of Shangri-La was bad.

If I was feeling restless with the movie I was watching, I was so tempted to go to the only Ben Sherman store I know in Metro Manila. It was just three floors below the theater! And yes, twice, or thrice, I think, Sam Milby was wearing a Ben Sherman shirt in "Third World Happy." But that wasn't the movie that made me feel so restless.

"Layang Bilanggo" wasn't that bad. It wasn't that good either. It had a lot of contrivances though.

The best story premise could have been "Tsardyer", but premises were made to be broken, right?

There was the Eleuteria role, or Terya, so I wonder why there was no Best Actress citation this year. Does a best actress always have to be dramatic or intense? Eleuteria was an interesting portrayal, and organically engaging and believable.

The most unique world was the world of "Dagim." And the most intriguing character was the girl there who looked Korean, and sucked blood. She had a very cinematic and fresh face. It was the most unexplained world, too. I had no choice but to take the ride, and engage myself in this out-of-this-world world.

"Layang Bilanggo" made me realize that Miriam Quiambao and Tetchie Agbayani should play daughter and mother tandem someday. I don't know why they had that facial feature link to me.

So there, it's the first Cinema One edition where I was able to see all films.

I almost wasn't able to see "Third World Happy." On my third attempt, tickets were still sold out. The seller told me the tickets were bought in bulk purchase by Sam Milby followers. Thanks to its director, whom I saw coming out after viewing "Damgo", he was able to secure us some tickets from his production manager.

The last time I felt really pleased with a Cinema One film was after I saw Jerrold Tarog's "Confessional".

It was repeated again this year, that certain kind of feeling you get after seeing a good film. Hands down, this edition of Cinema One was made truly worthy by "Ang Damgo Ni Eleuteria."

And the good thing about it is, I love Shangri-La Mall as a venue. There's a higher chance of seeing someone cute, sexy or good-looking here. It's a good antidote, in case the film I saw was bad.

Where In The World Would You Rather Be?

2010-10-21T11:34:00.003+08:00

Choosing a festival to go to, at the back of one's mind is actually like spotting a thousand places to see before you die. Take for example the exotic Marrakesh, where sands and rulers abound, but sadly, our film wasn't accepted to that festival.

Let's go Europe for instance, there's Goteborg, where our film has been accommodated, the land of ABBA and maybe, aurora borealis, the Northern Lights. Cool, right? Or cold, it will be during winter's peak chill. Originally, I thought Goteberg was German, sounding like the first Bible printer. Hehe.

But Eurospotting can be maddening, for they require a European premiere, so it's a toss-up between seeing the Berlin Wall or ogling at the land of windmills and tiptoeing to the tulips.

It depends on the Land of Tulips if we're accepted as competition film or exhibit film.

We had to give up the view of Niagara and CN tower in favor of an Asian international premiere.

I do sound like as if I am going. I am not. Only the director gets free hotel accommodation and air fare. I will just wish him well, wherever in the world he will be. And I will simply await his posted pictures on Facebook to see the sights of the world.

There are still unexplored festivals, like seeing Prague perhaps, through the Karlovy Vary Festival, or go extremely Russian like Vladivostok. Well, we haven't checked if they'll consider us.

I dream of Buenos Aires, for the mileage going to that city is enough to merit a gold status, heehee. Imagine going all the way to New York, then flying down south past Brazil, datsalotsa miles, baby!

Of course we'll have our share of our Southeast Asian neighbors, like Bangkok, where "Ways of the Sea /HALAW" will also be competing, after trying it out in Pusan, and next week in Tokyo.

But American premiere, how I dream of Robert De Niro's Tribecca, and shop at SoHo on the side. Or I fantasize an exclusive screening at MoMa. Who wouldn't want to take Manhattan, right? I can dream, can't I?

We had to give up Rome, for there's the Berlin Wall and the windmills, which might be decided by a toss of a coin. But I saw Trevis, that romantic structure in Three Coins In the Fountain. But it was only a replica in a nice mall in Pusan, haha.

It's been a long journey since the cameras started rolling in Zamboanga City.

Sheron will surely be accumulating miles. And I don't mind riding on that status to get access to an airport's Gold Card Lounge. (OOPS, I forgot, they don't give producers like me free hotel accommodation and plane fare.)

Anyways, Bon Voyage, HALAW! Keep sailing, for this boat movie rises above the sea and just keeps on flying.

Our Red Carpet Moment

2010-10-18T09:37:00.005+08:00

It's nice to feel special. As we were donning our suits and tuxedo outfits, little did we know, as we get down to the lobby, cars will be waiting for us to take us to the Closing Night venue of the Pusan Film Festival!

The weather was cold, the air was crisp. The heater inside the car, driven by a young volunteer, helped a lot. There was no thermal underwear underneath my trousers.

At first, the car took us to the side entrance of the venue. As we attempted to enter, the security officer talked in Korean to the volunteer, as if there's a mistake. What he meant was, we shouldn't go that way, but should be WALKING ON THE RED CARPET!

So there, feeling like Oscars, the car took another route, right smack where the red carpet begins.

We walked outside, Koreans with their cameras were taking our pictures, maybe wondering if we were actors, or from Hong Kong, or China, or maybe even Japan, but nevertheless, they were enthusiastic.

As we walked closer towards the main stage, another red carpet was laid out, to reveal the big outdoor seating venue and hundreds of Koreans were already in place, standing, with more cameras.

I walked with Ruby Moreno, while Sheron walked with Isabel Lopez. Ruby was the very fine actress in "Segurista," who made it big in Japan and even won as Best Actress in Japan's equivalent to the Oscars.

Our walk was also magnified in wide screens surrounding the venue! The applause, as we were announced as "the director, the actors, and actresses of 'Ways of the Sea,' was so roaring and warm. I waved, like an actor, even if I was Mr. Producer, Mother Lilit.

Isabel Lopez greeted them in Korean language, which made the cheers and applause more energetic. And then we took our seats.

After the awarding ceremonies, we skipped the closing film, and decided to go straight to the Grand Hotel were the after closing ceremonies party will be held.

Exiting the venue, the staff ably pulled us to the assigned cars that will even bring us to the party place!

Inside the party, we talked with the Sundance, Rotterdam, Versoul, Goa, Dubai and Berlin Festival directors, and even squeezed in our way to get a picture with Oliver Stone.

We were welcomed by no less than the Pusan outgoing chairman, well-loved by all, who has made the festival bigger and bigger, Mr. KIM. I guess everyone is a Kim here, right?

There was no sight of Juliette Binoche, though, who came for the premiere of her Abbas Kiarastami film. She must have left after her Q&A and premiere done days ago.

I got to thank the Pusan festival director, and Cho, the Asian Film Academy expert, and even got tips from her which of the two major European film festivals should we finally have our European premiere. It's never easy to turn a festival down over another.

I gradually am learning how to break the ice, to get through the programmers, without sounding too schmoozing.

It's an exercise of subtlety and aggressiveness, with tips from Binibining Pilipinas/Miss Universe candidate herself, Isabel, and even a boost to get us out of the "shy zone," and have the guts to open a conversation or two, to a stranger, who's actually a who's who in the festival world.

Isabel, charming and beauteous, became our ice breaker, then Sheron and I, follows through after to say our intents. and business.

The nice thing about these parties, is a good amount of salmon servings, and free-flowing wine.

Now that I've been lulled to sleep by the influence of alcohol, but loaded with Omega 3, by salmon, my suit was put to good use, and my social skills honed.

I would want to be a Festival Hospitality Manager someday. I can entertain these film programmers now. And definitely, I can speak better English, thanks to our American colonial history background.

Red wine, red carpet, and pinkish red salmon. It was one worthy closing night, as I close another first in my film loving lifetime.

I can't wait to get a taste of my last bibimbap and Kimchi, as our inflight meal going back to Manila, where "Halaw" was born.

But also, I can't wait to have a taste of my Yaya Marilyn's cooking, Sinigang na Baboy is running in my head right now, and good old reliable patis.

I wish the storm approaching Luzon wouldn't be bad at all.

The aircon will be running more often as we adjust from cooler autumn weather, to tropical humidity and rain.

Oh, and by the way, I made it through with my measly travel budget! Yeah!

Cinematic Cheers from Pusan,

Lilit.

One Singular Sensational Theater and Its Collocations

2010-10-10T11:18:00.004+08:00

Yes, there were no multiplex cinemas then. If it was Glorietta Theater was as monolithic as before, it will only be one Glorietta, no Cinema 1,2,3...

And yes, there were curtains, real theater curtains, to unveil the silver screen.

My fondest movie viewing venue was Rizal Theater in what was used to be called as Makati Commercial Center. This was when Makati was still Makati, Rizal and not Makati City, Metro Manila.

If I remember it right, geographically, it will now be where Makati Shangri-La Hotel is standing.

The competitor of Rizal Theater then was Magallanes Theater. These were the premium cinemas then, to those who would like to avoid the Cubao and Recto moviegoing crowd.

I remember the ticket to a cinema costs only P 2.25! And that's the orchestra ticket, or ground level, where you look up to the screen. Yes, before, there was Loge, which is the most comfortable, so the screen is at your eye level. And then, the vertigo-causing Balcony, where you look down on the screen. Now it's hovering between 110 to 170 pesos!

Here is where I saw films like "Summer of '42," or "Chitty Chitty Bang Bang."

Right at the lobby is where people mingle and wait before the next screening starts, Leila's Restaurant and coffee shop.

Right beside Rizal was D'Bankers, which is now something like your Bruno's barbershop. And there was Alemar's, a National Book Store type of store.

Rizal Theater then was surrounded by now non-existent favorite stops like the Sulo Restaurant. There also was the then "for shoes" only ShoeMart, before it became a department store, and before it gargantually evolved into mega malls.

Across will be Little Automat, it's like Triple V or what we now call as all-in-cuisine stop.

If you were richer, your family would go to Jade Garden, beside Little Automat, for Chinese cuisine.

There used to be the PECO building, or the Philippine Education Co. building, where a cute bookstore called Erehwon exists. Take note, I used to wonder what Erehwon means. It's simply Nowhere spelled in reverse! This is now similar to what you know as Bibliarch, or A Different Boookstore, and they specialized on coffee table books.

And yes, this is the same building that hosted Jazzie, it's like Cinderella, and it used to be a hip clothing store for women, for those times when georgette was not a name but a fabric.

There's no Landmark then, nor Shangri-La. And oh my, no ATM's!

Timezone's predecessor, is across where the first Makati multiplex cinema finally was built, the QUAD Theater, was at the parking lot across this theater, which is now what you call Glorietta 1 cinemas.

The arcade had Pac Man video table machines, and Crazy Climber, and Space Invaders, and Galaga, with real bump cars on the side, all housed under that QUAD Amusement Park. Alas, it was ordered closed under Martial Law, the same time Voltes V was banned on TV, for parents complained that the kids allowance were going to video games, or watching Voltes V might make them violent. Then it was Game and Watch's turn to be banned, so I was deprived of my Octopus, Parachute, and Chef game time.

I still remember the first movie I saw in a multiplex cinema, the QUAD Theater, it was this Elizabeth Taylor film called "Ash Wednesday." I vaguely remember the story, but I knew it was about cosmetic, plastic surgery, and changed identity.

I miss Old Makati. But then again, how it took its shape now, with the efficient walkways and finer shops all linked to each other, I so enjoy and find convenient.

Now we're into 3D and THX. There was 3D already back then, kids. But THX? It used to be called Sensurround, and it was reserved for a staple box office genre hit in the 70's, the disaster movies, like Rollercoaster, and Earthquake.

Oh well, times have changed. And I think I am really old, I am beginning to reminisce and be nostalgic.

New or Old Makati, distant past Rizal Theater, or present-day Greenbelt 3 or what never changed is, it's still the city where I watch films, whether filmed on film, or now in digital HD video.

The Nights Before Pusan

2010-10-09T06:56:00.002+08:00

Humbling indeed, calculating and recalculating how to finally make it to the first ever international film festival I'll attend in my lifetime.

I used to travel in excess, meaning, with always excess resources as a security blanket. Now, untimely as it seems, coming from apartment renewal contract, advances and deposits, plus airfare, I am disciplined to make do with what little cash I have left.

Not that I am down and troubled, I've been a film lover all my life. And who would've thought I'd be co-producing a film, which has global potential. Suddenly, money which used to matter, doesn't matter at all. This is one experience I cannot pass up.

I have never been to the northern part of Asia. I've been ASEAN boy all my life, going around Malaysia, Singapore, Hong Kong, Thailand, and Indonesia, all visa-proof destinations. By northern I mean, higher costs of living, South Korea and Japan. The thought scares me. But fear is drowned by excitement.

The early review, the first ever foreign review I ever saw of "Halaw," internationally called "Ways of the Sea," was encouraging. Undoubtedly, it validates the film making gifts of its director, Sheron Dayoc.

Flashback to the trials we encountered, making both ends meet just to finish the film, this travel expense crisis is nothing compared to the stress in completing the movie.

I can imagine myself simply drooling over potential merchandise to buy, the screening venues being so close to the mall, but simply walk away, for cash-strapped reasons.

I can imagine myself going straight back to the hotel, avoiding the night which spells beer expenses, and lull myself to sleep, to control the urge to explore and see the evening beat of Pusan.

But beyond these things I usually do when I travel, and what I cannot do now, the excitement overrules the letdowns. I was born into films, started to write because of the love for films, and this festival is a testament to my soul's ultimate filler, the movies.

Instead of thinking of this humbling and deprived travel plan, I can imagine witnessing a major cinema event, the biggest this side of Asia. Entitled to view 4 films per day, in a cooler weather, and seeing the hustle and bustle of filmdom Asia, I forget the travel wishes, or what I have been used to.

"No popcorn, just simply view a film, control, Lilit, control your expenses."

"No fancy restaurants, Lilit, go for McDonald's, control your expenses."

"Live within your means, Lilit. Ignore a funky shirt when you see one."

"Look for parties, where there's free booze, Lilit."

I reboot and rechannel my thoughts from balancing expenses, to what I so love, cinema. This is the only way to justify the lack of resources.

Early on, I was called into films, even remembering the first movie I saw inside a cinema, this Dick Van Dyke movie called "Yours, Mine and Ours," which had a remake later on. Even the first Nora Aunor film, in the then new ABC Cinemas in Guadalupe, I recall being tagged by our maid, even if we were not encouraged back then to watch Tagalog films. "Nora, Mahal Kita," was the title, Our maid was a true-blue Nora Aunor fan. You bet my Mom was really pissed off, when I was brought to that movie. Our maid though, was able to keep her job.

I can't recall though which was the first art film I saw.

There was a point too, I was rehearsing an awards speech. Haha. It's just a fantasy. I have always dreamed of winning an award for screenplay. Unfortunately, for now, there is no Best Song award, which is the only writing credit I have for "Halaw." And there is no best Cameo Role award, too, or a Best Supporting Doctor, as Jinky Laurel says, after my appearance in Donor. Yes, "Donor" too is being shown in Pusan.

I forgot, I am a producer, this time around, as Mother Lilit, so am I fondly called now. So the fantasy is set aside.

But proudly, I am representing "Halaw", and the Philippines, as it launches its international voyage, with Pusan and Tokyo.

This thought alone makes me forget the liabilities.

Being part of a film with creative merit is enough an asset to make me forget about financial shortage.

And yes, it's a Cinemalaya reunion of some sorts, too. For there's a good number of films from Cinemalaya which made it to Pusan.

The world is watching indeed, that ad slogan we did for Cinemalaya 2010 was validated, at least.

Suddenly, money doesn't matter.

Just don't let me see a good shirt in that Pusan mall. (Lilit, control.)

Soon, I am going home, in Korea, and as a cinema side dish, Japan. For home is where the heart is, where good movies are, I am there with them.

(I WISH BULGOGI, KIMCHI AND BIBIMBAP WON'T COST ME MUCH. OR SUSHI OR SASHIMI. OR ASAHI BEER. OR A VOLTES V TRULY MADE OF STEEL. Sigh, here I go again calculating.)

The Grouch On Oscars

2010-09-27T11:02:00.003+08:00

Choosing the film to represent the country in America's high profile Academy Awards is left to the hands of a few people who, by mandate, has the power to anoint a film as our bet for Best Foreign Language Film.

The Philippine Academy for Film, equivalent to the Academy that bestows the prized Oscar golden statuette has chosen "Noy," a Star Cinema "indie" movie which parallels the lives of a campaigning president whose namesake is another "Noy," the struggling Juan dela Cruz whose life become worse, as Noy Aquino is on his way to the highest position in the land.

This is the same Oscars that has awarded Argentina last year for their fantastic film, "The Secret In Their Eyes" as Best Foreign Language Film. And we submit "Noy."

The last time we ever went closest to the trophy, according to the grapevine, was when Mark Meily's "Crying Ladies" made to the the magic circle of 10, but too bad, there will only be five nominees for the award.

In between were "Ploning," "Ded Na Si Lolo," all mediocre films, confused about what an art showcase should be.

If our academy commissioned for film can't even have an updated criteria of what a good film is, how can we ever get the first Oscar ever? And why would this group represent the whole film industry, who has churned out better independent films every year, with a choice such as "Noy?"

Yes, I never liked "Noy," so I am grouching about the Oscar choice.

I lament the standards of the chosen few who entitles a film to the highest honor of being our National Bet. I am not even tickled pink at their other choices as finalists, before "Noy" became their anointed one.

It's about time the Film Academy of the Philippines review its reviewing committee. Or has this committee even saw what the 2010 outstanding films of the year were to make a sound choice? If they did, then didn't they see the merit of this years' crop that they found "Noy" better, or the best among the better films?

I have a hunch they don't know what a good film is anymore, or they are too trapped in a criteria that has become irrelevant.

Like obviously, "Ded Na Si Lolo" is quirkily too local to be understood by the unviersal audiences, and more so, Academy members from Hollywood.

And now, we have "Noy," as if even the President's moralistic bandwagon that's why he won the elections, will also carry us through for the Academy voting.

"Noy" is a bad film. That's my opinion. Bad choice, means bad criteria. It's not to the level of other winners of the Oscar Foreign Best Picture like Japan's "Departures," Netherlands' "Character," Germany's "The Lives of Others," and other glittering winners.

Let's give the Oscar goodbye. And hopefully, someday, we'll say goodbye to the Film Academy of the Philippines as the mandated reviewer for our Oscar Philippine entry.

Dream Weaver

2010-09-14T10:38:00.004+08:00

I remember this was the title of my first blog. Little did I know, the older one gets, the more one thinks of others. For once in my life, my most impossible wishes happened. Now, as I enter the latter phase of my 40's, I suddenly become an instrument for others' wishes to happen as well. It's the least I can do, for other people gave me a break as well, considering I was a college undergraduate searching for his career path.

A closet creative who landed in account management never told anyone she entered advertising because she wanted to write. But those were the days when the demand was high for "suits." Good thing, I read her blog somewhere, and discovered the writer in her. The rest is history. She even became our national young creative representative for Cannes.

I used to look for new directors, when advertising clients were open to discovering unsung film makers. There was a time I set the trend. I was on the lookout for film directors whose movies I liked and invited them to do an ad. After an ad or two, they are now among the busiest advertising directors in town.

I wish the days of risque and searching for new styles of directing are back.

I became an accidental godfather of "Halaw." I've discussed that lengthily in my previous post. I was just lucky I helped a film which turned out to be something we are all proud of.

I push friends whose writing I am impressed with to join the Palanca, knowing how fulfilling it is to be recognized in our local equivalent of the Pulitzer. I give credit to Ompong Remigio who everyday, in our overtime lives, kept on prodding us to join this competition. It's a writer's ultimate validation. I did it after more than a decade. After the nagger in Ompong was way behind me, for when one is nagged, one is less likely to do it. But now I got her point. I did it!

I never joined again, though. Haha. it's tough.

I have friends who still push me to pursue other endeavors. They are my dream weavers. It's a circle of support. It's like the Domino Principle, in reverse. When a piece of dream falls, you raise it up again.

They are our Muses in life, those who support artists and in return, they support us back as well. When a Dream is set in motion, this community of Muses are always ready to help. And again, this doesn't necessarily mean financial help.

My muses made it possible for me to see short film scripts and even dream ads to come to life.

I even had a mentor muse way back then, who assigned me to go to a seminar in the U.S., even if I wasn't supposed to be the one there, just to fulfill my long time dream of seeing a loved one once again, one our family hasn't seen in more than a decade.

While we live, and there's no age limit to this, let's try and chase our impossible dreams. Dreams are not reserved for the new graduates from college. Dreams remain a dream if we don't make it real in our waking lives. As long as we all can breathe, and walk, even in the twilight years of our existence, even if we age like the fogeys of "Cocoon," everyone has their place in the sun. And like the "cocooners" in that Ron Howard film, they made their wishes come true, thanks to "aliens" locked in their eggshells.

Dream Weaving is the antidote to Crab Mentality. Rather than pull others down, those who have the gifts of skills, or even connections, pave the way for other dreams to happen.

Muses, gather once more. I've got another dream to make. It's part of the things I've got to do before I die.

The pursuit of a film, a dream has begun.

I shall be knocking on your doors, and ring on my Muses' bells. It's gut feel. The power of our passions is more than enough to make this dream come true. Let's continue the cycle of dream weaving, and be a part of that magic fabric, where everyone's fiber becomes a part of a magnificent tapestry.

Ecstasy At Midway

2010-09-13T11:47:00.002+08:00

I always remember writing a script as a lonely job of solving a jigsaw puzzle alone. But now that I've started writing again, I almost forgot how exciting it can be.

When a scene, commonly thought of as necessary, to narrate an information related to a character, think bio-data, example, like Character A is an "Acclimatizer", whatever that is. You need scenes to illustrate that job, photographable, to show what his work is all about. But yes, there's an "acclimatizer" in my script. You'll know soon what this obscure but reasonable job is all about.

In advertising mode, this process of describing, which one cannot get away from in telling a character's profile, is called mandatory.

But growing up in the ad business where mandatories like these are requested by clients to make sure the commercial is idiot-proof, I've learned to make that box. bigger. It's thinking out of the box while being in the box.

So back to the acclimatizer necessity in my working script. There's a way to write a scene, with a "lateral" requirement (describing rather than moving the plot), which can be made interesting, than just for example having a scene to establish that Queen Bee (my character A) is an acclimatizer.

So to define what an acclimatizer is, it's that kind of job that aids expats in a foreign land, to acquaint themselves of their new country residence, where to look for apartments, which side of the city is good for shopping and other needs, etc. etc.

The acclimatizer scene is when my Character A meets new recruits characters B and C. There's tension as B and C doubts character A on his tips in adjusting to the city. Prompting Character A to say, "never doubt me and don't come running back to me if you've got stupid questions on this city. You know who you're dealing with? It's me. And I AM HONGKONG." It's ironic for a Filipino to say that but he does know his city, he's been there for 15 years knowing the in and outs, the schemes and deals and its underbelly.

That "I AM HONGKONG" line alone made me jump with joy. Lucky the actor who gets to deliver this line. It's actually, the soul of the movie between the old hag, and the new "fags."

Okay, okay, that was born simply out of the need to show my Character A in action as an acclimatizer.

Then the rippling effect of that scene alone made me write faster, with more scenes I can imagine inside my head, how a cinematographer would paint the scene on widescreen, and how the nuances of the actors, even with minimal dialogue can make the moment awesome as they breathe life into my medium that's only made of words.

I wish I could relay more as I experience one epiphany after another in every scene I come up with.

Writing is not lonely after all. It's like Curie discovering Radium accidentally, perhaps. There's sheer joy in bit by bit, putting the pieces together. The delight is in every piece, not in the ultimately assembled big picture. It's figuring out the parts, that make it a whole. And part by part, I can see every scene in my head. And I can now see the final scene in my mind. But I won't rush to get to the finish line.

It's true, like life, writing a script, it's the journey that makes it special, before the final destination. Take care of every scene. It's not just there for nothing. Whether there are 50 more scenes to come up with, I am experiencing joy in every little moment of the "movie."

Okay, I give in. Writing isn't lonely after all. It's a joy. But it it still a solitary process. When I jump, or smile, or shout at another scene to come, after figuring it out and it works, I only have myself to be happy with. I seem like crazy after every solitary ecstasy moment. And yes, that happens a lot of times in every scene actualized as a sequence in a script.

It's worth the solitude, the ecstasy felt is way, way fantastic.

It's been a while, since my last screenplay. When I walk, and the next scene to come is still brimming in my mind. And with the characters I've given birth to, they are all in me when I get out of the house. Each has become like a friend to me. It's as if I've got a multiple personality since they've been written, and they're breathing and evolving, as the script process goes on.
I can't wait to work on them again, and feel them, and think like them.

I can't wait to write more, but reality check, oops, I have to get back to my real job. I can't wait to reunite with my keyboard again, as soon as I get home.

I've never thought I'd be so excited again to come home to a computer.

Power Crisis

2010-09-05T13:17:00.002+08:00

The culture of power abuse is not exclusive for the top level authorities of our national lives.

In our private sector lives, little pockets of authoritarianism happen, which exhibit how in our life's immediate tokens, a psyche of hunger for power exist.

The taxi driver has the power to accept a passenger or not, even if he is obliged by the nature of his chosen profession, bring people from Point A to Point B. How many times have we attempted to stop a cab, and he will ask first, "where to?" And when you say for example, "Marikina," immediately, he shakes his head, and goes away. Or worse, he will say, "if I don't use the meter, how much?"

Another source of abuse is the security guard, who, shall we say, your appointment to a person in that building is "informal," will deny you entry, since, like in a school I went to, the one who invited me didn't follow the procedure. And that is notifying their department a day ahead who's expected to arrive. I felt demoted from an invited guest speaker, to a stranger who, as if, will do a dastardly "Columbine" massacre.

Even the guard in our office building, will always ask me, where am I headed to, even if he sees me everyday, and will simply remind, in a Voice of Authority Figure manner, "Pin your identification card on your pocket!"

At least I don't drive. Imagine the daily abuse drivers get from traffic enforcers, as they anticipate a violator of rules, for the much awaited, "here comes the bribe."

Even business relationships can be subjected to power tripping. The client who feels like we are suppliers, rather than idea makers or brand building partners can send a nasty email, forgetting the ethics of business correspondence, with a tonality that brings me back to African slavery, or the Dark Ages. "Bring me what I want, you PAID slaves!" Well, that is not the verbatim of the email exchange, but it felt that way.

I am sure there are more tales of power abuse, even in the most private partnerships, like a husband to a wife, simply because of this "machismo" societal illusion, but not a justified source of authority. It's an "ego trip" thing, which is usually, a male thing.

There are more verbal abuses, that may also come from Utilities Bill Collectors. They have the power to disconnect a service. So, even a simple day of missing the due date, perhaps out of forgetfulness or simply being busy, can make the Collector feel like a Prosecutor, and the poor utility consumer, feel like a major Criminal once he explains why he missed out on a payment.

The collector judge will say, "by virtue of due date, we find you guilty as charged. Live in the dark until you're able to pay, if it's electricity, for example. And bear the humidity, for without electricity, there's no aircon nor electric fans."

So it's not just the marginalized sectors of our society, the landless, the workers, who are subject to feudal power abuse. Even middle class consumers, and taxi riders, and those of us who enter buildings are powerless against the power-wielders.

A psyche is hard to break. This is a national habit so it seems, that has been with us, throughout our struggling history.

Even in this digital age, feudalism, lords, and fascism exist, in a highly urbanized, and metropolitan world.

Once colonized by masters, we're always a colony, by mentality.

Back to Movies Behaving Like Movies

2010-09-02T10:28:00.002+08:00

You can feel it's major major. The cast is not just stellar, but carefully chosen and skilled.

The directorial control of the film's tonality, velocity, and more importantly, truthfulness in spite of its melodramatic mainstream fervor is apparent in every scene.

The story is sweeping yet, it isn't riddled with subplots like soap operas do.

It's as classic as "Tanging Yaman," yet it's more personal and heartfelt.

Nothing like a family drama captured on film, like "Sa 'Yo Lamang."

The shots behave like a movie, than an indie film that's overly documentary-realistic.

What makes "Sa Yo Lamang," an above-average commercial film are its secrets waiting to explode.

It makes the lead family real. It's not your perfect "Wanted Perfect Mother" family. In fact, the mother in the film is flawed. (I won't reveal why, so as not to spoil your viewing.)

The coping family, I can so relate to, where siblings seem to have a checklist of what they have done for the survival of their fatherless family. It makes an authoritarian sister not soapy villainess, but I am sure most breadwinners will relate to Bea Alonzo. She's a major bitch with a substance, and for a reason.

The errant father, Christopher de Leon, is not done overboard, as someone who's on his knees for his abandoned family's acceptance. He let go, when the ideal notion of second chances seemed futile.

Coco Martin is not the matinee idol but someone you'd love to make love to and hate at the same time. He plays the field, and abandons women with gusto.

Lorna Tolentino breaks down, throws all fragile objects in the air, after trying to be intact and solid for her family. Then she resumes, without fanfare, her motherly duty, as if her temporary declaration as a hermit never happened, all for her family's sake. The need to regain normalcy, as she is tagged to be "strong," even if she can't be one, somehow, suspends a time bomb that has been opened. Yes, a mother can fail, and for a change, be weak, and even reach her tipping point. We just never saw our Moms do it, because they need to maintain that solid as a rock facade.

The melodramatic flavor of this movie is tempered by erring and "sinned" protagonists. It prevents itself from being a run-of-the-mill soapy movie.

The flawed personalities of the film make this film special.

It makes them real, yet it retains its cinematic bigness. It makes them effective, you'll see yourself in one of the characters, and even see your relative in one of them.

Its religiosity becomes effective, because it doesn't preach, but it pinches your heart, and moves you to tears. Therefore, faith and submission to God's will become genuine, and not like a Catholic Sunday Mass sermon. It makes us believe again.

Its family's dysfunctional character is so Filipino. In fact, Enchong's friend says it all, "is there a family without a problem? Your case is not at all unique. So don't feel overdramatic and as though you're the only one having a burden."

The sins of this family are human, very mortal, yet, not moralistic.

We forgive them because we understand, because we are like them.

"Sa Yo Lamang" is hands down, the best commercial movie of the year, so far.

It brings me back to the days when movies were made for an audience, not for a jury. And it hugged my soul, never has a major Filipino movie done that to me, since "Tanging Yaman" and "Magnifico."

We need a good cry for a change. You're gonna love your loved ones more.

This movie is a must-see. It's not fancy, deep, or sometimes, self-serving indie art.

It's a sincere, truly Filipino family movie that comes from the heart.

Driving Me Mad

2010-08-20T18:25:00.002+08:00

I never learned how to drive, but bumpcars and video games dealing with car racing bring out the best in me.

Perhaps incapacity in a virtual sense, or toy sense, becomes a capacity fantasy, fueled by steering wheel aggression.

It's a good thing I never drive, for real, for I may be ruthless on the road, as shown by the way I reverse my car quickly, then step on the gas pedal, for the bump assault momentum that will shake the wits out of my other bumpcar mates.

I always seem to beat real drivers in video games. Is it the automatic mode, for I am no gear shifter on manual mode?

I am Vin Diesel folks, the fast, the furious.

The years I've been a passenger all my life, takes on its vindication in arcade road trips, crashes, tumbles, and victories.

It's my turn, so it seems.

I wonder, like driving, the virgins who haven't had sex in their lives may become aggressive and ooh dirty mamas and papas in cybersex? For it isn't real anyway. But the incapacity turned to virtual capacity may apply.

Does this logic make sense?

I can only see mortals becoming superheroes in animation. We fly, leap, become faster than a speeding bullet in the DC Comics and Marvel world. Or perhaps even beating an enemy in the wrestling craze with a kick, a high jump, and a loud thump on the poor nemesis.

I have a feeling though, that if I did learn how to drive, maybe, just maybe, I am actually a potential race driving champion.

I think it's time to contact a driving school.

But then again, where's my car?

It's so expensive to buy one and pricey to maintain. And the cost of fuel can be draining.

OK, I'll just make sure I'll go back to San Miguel By The Bay, and go bumping on slow drivers, too frail and tame to be on the bumpcar wheel.

I am the King of the Road. So be very afraid when you see me down that highway to the danger zone.

Moment By Momentum

2010-08-15T12:36:00.002+08:00

And so the spark has begun, and the fires of passion have been fueled. There's got to be a next flame to prevent this from dying like an ember.

Inspired by good stimulants around me, like the perfect words of Mr. McNally's "Master Class," ably translated into an unforgettable bravura performance by Miss Cherie Gil, I feel like I'm on fire.

In between is the resurrection of Roman Polanski as "The Ghost Writer".

The writer in me gained more hope.

While the minds and hearts are aflame, as the Cinemalaya enlightenment starts to dwindle, these little stimulants keep the fire burning.

After "Master Class," I felt high. My brain was rolling and tumbling, my writing pen's ink was raring to burst.

I immediately threshed out magical scenes in my mind, and shared it with a director, Mr. Dayoc, who's more than willing to listen. As Maria Callas the teacher says, that's what's been lacking these days, people who listen.

The elusive opening scene, for a dream next project materialized. Even the experimental punctuation, which was an exclamation rather than an ellipsis, has been visualized. The beginning is there, the ending is there. It's time to work on the substantial and engaging middle.

It seems fate and destiny connive as one, we feel like we should do our next project immediately.

Finally I can be a writer again, not Mother Lilit the producer.

Even the lead actor we had in mind, instantly, showed some mobile uploads from his cellphone, proving to us, that yes, he has that LOOK that we need for the role that serves as the weaving fabric of our conceptual film.

The fact that he has those photos in his phone, when we visited him, for another reason, was so SYNCHRONICITY moment. "Every Little Thing She Does Is Magic," was that also from the same Police album? I've lost track of my inherent 80's discography.

Eureka after eureka, or in Treehouse Clinic terms, epiphany after epiphany, I was so itching to write way before researching even more.

I knew last night I can write continuously, but alas, I also know, by Found Story dogma, I shouldn't.

For it was The Guru that is Mr. Lao, who said, let the object (the referent) come to life on its own, and not us, breathing life into it, or forcing life into it.

Stimulated to the highest caffeine level, I need to get back to earth. My writing spirits were soaring beyond what The Hubble Telescope can see.

Funding. The first grounded task is to search for funding.

So I am back to the terrestrial level.

I am now on the hunt for the right moolah source, where soul and integrity shouldn't be made as collaterals.

ROI? Return of Investment? Oh, I cannot promise that.

Isn't there a way to quantify ROP? Return of Passion? For the fruits of passion are never monetary. And its rewards are more than what financial profits can give.

Well, in this Wall Street world, I doubt if I can use that as a come-on.

But dreams defy realities. "I'll keep on dreaming, because I still believe in love."

The love for films can never be underestimated. There are a thousand and one people who love films.

And when this dream is peddled to fellow lovers, and dreamers like me, if you dream of it, it will come.

"Rainbows are visions, but only illusions, and rainbows have nothing to hide. Someday we'll find it, the Rainbow Connection, the lovers, the dreamers and me. All of us under its spell, we know that it's probably magic."

To the little magicians along the way, like McNally, Cherie, and Polanski, we all need your daily doses of dream boosters. There will be many more little victories and spicy stimulants to make this world less dreary, by filling the blanks with true SOUL. There will be future inspirational muses, that take the shape of poetry, film, theater, visual arts, and yes, sometimes even gustatory works of heavenly edibles.

Spread the magic, be it in little bits or pieces, it's still, magic. Stimulate the world, in your own little, or grand way.

GABI NG MEGADRAMA

2010-08-08T09:59:00.004+08:00

"Ang iyong kalinga, ay kanlungang matibay. Lilim nito ay langit, na aking sandigan"

Yan ay patikim pa lang sa mga titik na galing sa awiting "Magbalik Ka Na, Mahal." Kung ito'y patugtugin, o lalo na kung ito'y awitin sa entablado, para akong nakadroga, high na high ang pakiramdam ko dahil isa siya sa mga pinakapaborito ko'ng likha ni Maestro Ryan Cayabyab.

Lalo na kung ito'y awiting sabay-sabay nina Kuh Ledesma, Zsa Zsa Padilla at Sharon Cuneta, langit, ang pakiramdam ng langit ay abot-kamay ko na!

Eh, pagkaganda-ganda pa ng puwesto namin sa Megadrama Concert ni Shawie, Row 3 lang naman. Mas malapit pa kami sa kinauupuan nila Regine Velasquez! Yabang ko di ba? Salamat sa McDo, at nabiyayaan ako ng dalawang tikets para sa gabing ito sa Araneta. Biro mo, dalawang hakbang na lang, eh mayayakap ko na ang stage!

Sold na ako sa concert ni Shawie, sa umpisa pa lang. Mantakin mo ba naman ang pambungad niyang awitin ay "Tuyo Nang Damdamin?" Tapos tinuloy tuloy na niya kasama na ang "Panalangin."

Bagay pala na si Shawie ay umawit ng mga APO Hiking Society Songs, dahil karamihan sa mga kanta ng APO, puno ng pag-ibig. Pag sinamahan na ni Shawie ng kanyang tinig na alam mo'ng galing sa puso na nagdaan na sa sari-saring level ng pagmamahal, lalong nagiging immortal ang mga love songs. Kasi, puso na ang mismong umaawit.

Dapat talaga magka-Sharon SIngs APO na album. Yaman din lamang na nagka-Sharon Sings Valera, Canseco at kung anu-ano pang pagbibigay pugay sa mga batikan nating mga kompositor.

Pati ang pagka-jukebox na jukebox na awitin ni Didith Reyes, nag-ibang anyo nang kantahin ni Shawie. Nawala ang tunog inuman sa beer, nagmukhang sinlalim ng sakop ng mga movie theme song classics, sweeping, at hitik sa emosyon. Maipagmamalaki talaga ni Shawie ang kanyang version ng "Bakit Ako Mahihiya?"

Dahil puro ma-dra-drama na awitin ang nakahanay, "Megadrama" kasi ang tema di ba? Pasok bigla si Ai-Ai delas Alas at Pokwang, para gawing katawa tawa ang mga ballads. May yo-yo, hiphop na rendition ang dalawang mukhang bakla na mga babae. Riot siempre.

Eto na, sabay pasok si Ogie Alcasid, bitbit ang kanyang mga ginawang kanta, at nag-Ogie-Sharon opus na makapanindig balahibo. Pag si Shawie talaga ang umawit, mas naiintindihan tuloy ang titik, at ang damdamin ng kanta. Kaya ngayon ko lang lalong naunawaan at lalong hinangaan ang mga likhang Ogie, na sa akin noon ay pop ballad lamang, pero sa gabing ito, naging awitin sila ng ating makulay na buhay.

"Kailangan Kita," natural, may Piolo Pascual. Sabi ng aking katabi, "bakit parang tumanda si Piolo?" Kako, baka haggard lang. Kung ako nakamukha ni Piolo, kahit tumanda ako, lamang pa rin kasi naman sa karamihan, saan ka pa ba nakakita nang ganyang kaguwapo?

Di mawawala na bigyang pugay ni Shawie ang mga awitin ni Louie Ocampo, na nagsilbi ring musical director ng Megadrama concert. At sa bahaging ito, si Sarah Geronimo na ang kasama ni Shawie sa Louie medley.

Napansin ko, ah, maganda naman pala si Sarah. Ganun siguro pag lalong nagiging matagumpay, gumaganda lalo.

"Sana, ikaw'y muling makita ko, damhin ang tibok ng puso mo." Yan ang Ocampo. Yan ang "Kahit Isang Saglit." Orihinal na inawit ni Vernie Varga, bago nagka-Martin Nievera version, ngayon ay babanatan ng Cuneta-Geronimo, haaay! Klasik! Klasik talaga!

Hindi ko na mabanggit pa ang mga kaganapan sa concert ni Shawie. Ang maganda basta concert niya, alam mo'ng di ka uuwing bitin. Hindi siya isang oras lamang. At lahat ng gusto mo'ng marinig na kanta, at mga di inaasahang kakantahin at nakakatuwa na isinama nila, kasama sa buong concert.

Puso, musika, at Sharon Cuneta. Mega-happy siempre, dahil natunghayan ko ang Megadrama!

"Sana'y wala nang wakas."

Chronic Sleep Talking

2010-08-03T01:38:00.003+08:00

The mechanics of metaphysics, explained step by step, stage by stage, lulled me to la-la-land as I saw the now, much-talked about Christopher Nolan film, "Inception."

There were points in the movie I really wanted to shout, "I got the physics, I got the psychobabble, please just let me enjoy the mesmerizing effects and slam-bang action!" I wonder how these long dialogues look like on paper. It could've wasted a lot of ink for the numerous pages that have to be printed!

It's like seeing and hearing on audio what you're seeing anyway.

Save for the closure of the horizon duplicating the ground, into a 360 degree-world which left my mouth wide open, for the marriage of technology and imagination that only big-budgeted Hollywood films can execute, I got bored.

I got exhausted with the metaphysical melodramatics between Marion Cotillard and Leonardo DiCaprio.

Honestly, I am biased by Leonardo's acting, I never became a fan of his kind of dramatic attack. This movie further validates my personal opinion.

I cannot see the incarnation of a new character from Leonardo. It's the same Leonardo I see in "Blood Diamond," "The Beach," or "Titanic." I only see the same actor in different roles, but not an actor disappearing to become one with a new character he's portraying.

I had more empathy with the reappearance of Robin Williams' deceased wife in "What Dreams May Come," and the antagonist dead father of Che Ramos in "Mangatyanan," or Nida Blanca's philandering dead husband, Chinggoy Alonso, in "Sana Pag=Ibig Na." For there was the need to accept Robin's wife's death, and the need to forgive Che Ramos' dad, or Nida Blanca's husband, therefore the "ghost-like" resurgences made an impact on me.

The dead past that is Marion kept coming back. Again, I got the point already.

OK, let's display the car chase scenes that action films are made of. Bewildering stunts and computer effects, but tell me what else can one introduce to reinvent an action film, when Leonardo DiCaprio has been Bourne again many times anyway in this genre.

Nolan is also known to reshuffle the usually linear flow of a storyline, so he juggled it one more time in "Inception." Ah, ok. It helped keep me glued, at least.

This is the type of film where I liked the action sequences a lot, but it attempted not to be an all-out summer action film, for pure entertainment. I wish it has just become as such.

In the beginning, I thought it will be a significant action film since it wanted me to think. But it wasn't. I could've appreciated that, too.

Sorry, I know most of my friends were too ecstatic about "Inception." It was too dreamy than seeing a dream movie of a lifetime that can blow me away. It's just me. Don't let my "Inception" impact stop you from seeing the film, it's just me.

I'd sleep now, without sleep talking. With almost 2 and a half-hour running time of "Inception." I lost more hours to sleep and wake up for the next day's grind. That's less dream state for me, as well. Sweet dreams eveyone!

The Cinematic Risk of Mario O'Hara

2010-07-29T09:17:00.005+08:00

*Photo: Alfred Vargas, actor who portrays the role of Andres Bonifacio

Why the hype on the jury's snob of "Ang Paglilitis Ni Andres Bonifacio?" I cannot speak for what's on the jury's mind. But I can now talk about the movie, now that I've finally seen it.

For one thing it is indeed bold and innovative in the sense that three reference materials were loyally extracted word for word in one creation.

The verses of Ibong Adarna, plus the lines from Gregoria De Jesus' bittersweet ode for the love of her life, Andres, and the word-for-word application of the actual transcriptions from the Trial of Andres Bonifacio, create a fully adapted dialogue or monologue, garnished with an original point of view for the narrator, Angelina Kanapi.

It's a daring move.

Now comes the interpretation of all these direct-from-references script as the three material sources interplay into one film, that defines Mario O'Hara, as a director of Bonifacio, and not as a play director, per se.

It's 100% true. It's the actual transcription.

It's a mix of narrative, as we chronologically see the staged re-enactment of the case's verbatims, interspersed with Ibong Adarna, to provide a sought-after dream, and perhaps power, if one survives the danger of getting to the mythical bird, which provides the rhetoric of what Bonifacio's trial implies.

Then we empathize, and finally see the emotional context of Gregoria de Jesus' elegy, to absorb the immediate dramatic effect of Bonifacio's foray into death row.

It's a film in the key of Theater. By key, I mean the attack, the tonality, the staging, the acting, It may be Mario O'Hara's cinematic license to exalt another medium he loves and has mastery, the Play.

Theater as execution for a film all the more laments the "staged trial" where we all know, the ending will be a lopsided decision against the hero in question. It's a military tribunal, everything is undemocratically "staged" to eliminate Aguinaldo's chief political rival.

It's also a theater comedy, for in the actual transcriptions, if one reads it, there's a sense of comic absurdity, by the foolishness of the trial's proceedings alone.

Absurdity in the Key of Theater. There seems to be a commentary too, on how historical moments are shown, as if, it's a manufactured, postcard pretty diorama in action. It banks on what we expect a historic moment will be, in Filipino coffee table photo-perfect frame. It hypes the type to provide the archetype or counter claim to history and Filipiniana, as a hardbound photo book.

"Paglilitis" mocks the National Hero mentality, by unearthing the trial that makes a hero turn into a national threat, and a criminal of treason.

It mocks typecast historic look, by indulging in it.

It mocks the elusive Ibong Adarna dream, by making the hard-to-catch elixir as ghastly and ghostly white, with a candor that switches from classic theater performance, to a candor that's offbeat to the general referents in its most classic, purest form, like the poetry of Gregoria, and the verses of Adarna.

It mocks the audience, by seating them in movie theater seats, for a playhouse theater seat instead, by the movie's theatricality.

Good, because this way, the audience is detached enough, even if enveloped by the bigness of the movie screen, to see the film's statement on history, rather than emoting with the martyrdom of Bonifacio.

Like the questions during the trial, it has become so repetitive. It jades and tires the viewer. It's the same way the Filipino is tired of a history of political power grabs, and undemocratic process, repeating again and again, in our post colonial world.

And yes, our socio-political issues is not like a carnival, but, like Mario O' Hara's film, a dance, a moro moro, a komedya, whose leaders "perform" for theater's sake.

It's politics and power play, done like a play, on film.

But it's definitely not a filmed play.

The execution justifies the whole picture, a damn good Mario O'Hara picture.

If Cinemalaya 2010 Films Go To SM Cinemas

2010-07-25T10:16:00.007+08:00

If the Cinemalaya films were promoted to SM Cinema moviegoers, these are the possible come-ons to attract a bigger crowd.

1. SAMPAGUITA. "National Film"

(Free Sachet of RDL Laboratories Shampoo with The Essence of Sampaguita)

2. HALAW. "Talagang Trip Kita."

(Pwedeng magsindi ng lighter. Pwedeng tumayo kung ayaw mo ang pelikula.
Pwedeng mag-ingay kung ma-bore ka. Pwedeng yumuko kung may hada ka sa loob.)

3. THE LEAVING. "Walang Iwanan." Or, alamin kung sa panonood... "tatagal ka ba?"

(Libreng Champoy sa bawat ticket purchase.)

4. SI TECHIE, SI TEKNOBOY, AT SI JUANA B. "Promise, May Frontal Nudity"

(Free Internet prepaid cards)

5. MAYOHAN. "Love Ko Si Lovi Poe."

(Libreng single ni Aiza Seguerra sa bawat manonood na kaduda duda ang kasarian>)

6. REKRUT. "Bang of Brothers."

(Raffle draw for the Next Cosmpolitan Bachelor Bash Party)

7. VOX POPULI. "Walang Dagdag. Walang Bawas."

(Free tour to the Municipal Hall, plus picture taking with the Mayor)

8. LIMBUNAN. "Wow Na Wow, Maguindanao!" (Free Trips To Maguindanao, First 100 Viewers)

(Protection from The Ampatuans guaranteed per view)

9. MAGKAKAPATID. "Sino Ang Tunay Na Baliw?"

(Discounted Wedding Packages and Memorial Lots for ticket buyers)

For the Directors' Showcase

1. ANG PAGLILITIS NI ANDRES BONIFACIO "Required By DECS. No Ticket, No Passing Grade"

(Exempted sa Philippine History Third Quarter Exam)

2. SIGWA "In Fairness, Joel Lamangan's Best Daw."

(Free Zsa Zsa Padilla CD's for every 100th viewer)

3. DONOR "Ang Pinamakamahusay Na Laman Loob Sa Balat Ng Lupa"

(May libreng pa-dinuguan at puto si Direk Mark Meily sa Opening Day)

4. TWO FUNERALS "Thou Shalt Not Steal Stories" (Hindi naman talaga, alleged lang.)

(Inclusive of Scriptwriting Contest for Gil Portes' Next Movie)

5. PINK HALO HALO "Sa Ngalan Ng ama, panoorin niyo, please."

(Free Iceberg and Razon's Halo Halo coupons)

For the other films screened at Cinemalaya:

1. SHEIKA "Gusto Niyong Makakita Ng Suso?"

(Free head shaving, for that perfect skinhead look)

2. GANAP NA BABAE "Open Din Ito sa Mga Ganap Na Binabae"

(May Women's Discount bukod sa Senior Citizen's discount. Kung senior woman ka, libre na)

3. MULI "Promise, Finished Version Na Ito."

(We encourage man-to-man kissing inside the theater for a truly interactive movie experience)

***Hanggang sa susunod na Cinemalaya! Kita-kits!

The Other Winners of Cinemalaya 2010

2010-07-22T11:49:00.004+08:00

THE O'HARA MAGIC

Mario O'Hara proves that he's a visionary and worthy of iconic status. Theater meets cinema, and actual transcriptions meet screenplay. "Ang Paglilitis Ni Andres Bonifacio" will go down in history as perhaps the best historical film in recent years. Only the O'Hara touch can pull this off and leave us in awe.

DISQUALIFIED, THEN A VICTOR

"Sheika." It was declared OUT of New Breed Competition, then IN for NETPAC Competition, and it won! Fe Ginging Hyde is one of the most mysteriously cinematic faces I've seen in local films. Her image will haunt you and leave a mark in your senses and sensibilities.

MESMERIZING MAGUINDANAO

Quietly revolting, and therapeutically courageous, "Limbunan" will surely fly, to foreign film festivals, deservingly.

THE WIFE, NOT THE MISTRESS

No I am not referring to "The Leaving" and the confusion surrounding the description of the Best Supporting Actress winner in the New Breed Category. I am referring to Angeli Bayani of "Pink Halo Halo." Her performance as the wife of Allen Dizon, and as a mother is praiseworthy.

DISCOVERY OF THE YEAR

Arnalyn Ismael, the Tausug kid from "Halaw." I am not biased because I am involved in this film. Watch it. Satisfaction guaranteed. Jinky Laurel (Last Supper No.3) fell in love with her and calls her the Nora Aunor of the next generation. Of course, that's Jinky for you, when she's excited and likes a performance.

ICONIC ACTING

Overlooked last year for his performance in "Colorum" as the corrupt, small town evangelical leader, and now as a small town "godfather" in "Vox Populi," Jose Mari Avellana rules, and rocks!

HE RULES THE LENS

Neil Daza's cinematography in "Sampaguita," shows us that real time movies can also be well-shot, and can be handled with intelligent control and discipline, even if the camera is handheld.

NEW LOCATIONS

The milieus of "Halaw" (Zamboanga), "Pink Halo Halo" (Masbate), "Mayohan" (Infanta, Quezon) and "Limbunan" (Maguindanao/ Davao) prove to us that there are more frontiers and landscapes to cover, than Baguio, Boracay, and Tagaytay.

BEST WAY TO START A FILM

Don't tell me you didn't stand up at the beginning of "Sampaguita?"

BEST WAY TO END AND PUNCTUATE A FILM

Hands down, it's "Limbunan."

MOST APPETIZING MOVIE

How can one forget those pancakes in the short film, "Breakfast with Lolo?"

BEST MAKE-UP

The brains and blood of Baron Geisler.

Runner-Up: The return of the alien named "Powder," painted white face, and bald, Mailes Kanapi of "Ang Paglilitis ni Andres Bonifacio."

MOST MEMORABLE LINE

"Tulungan niyo ako." Thanks or should it be no thanks to the ghost of "The Leaving."

Runner-Up, "Pondo po para sa Mayohan."

BEST AWARD ACCEPTANCE SPEECH

Pam Miras, winner of best short film, "Wag Kang Titingin."

Runner-Up: Meryl Soriano's How To Accept An Award Act, Best Actress, "Donor."

Note: I declined to give an award for best bit role and best song. I will definitely be biased.
;-P ( OK, may I say, Dr. Perez of "Donor", and "Bathala ng Karagatan"?) Oops, I did it again.

The Grand Cinemalaya Finale (From A "Doctor" and A Producer's Point of View)

2010-07-22T06:55:00.006+08:00

"Where do we go from here? This isn't where we intend it to be."

Like an unexpected storm, suddenly, we didn't know we'll be blessed with such a triumph as the phenomenon that is called "Halaw" (Ways of the Sea). I suddenly realized how tough it is to be a producer. It was more intense than managing a creative team in an ad agency. I felt like I managed the whole Ad Congress! And I got involved only in its post production stage! I have heard how these Zamboanga boys challenged themselves and survived shooting the film. Zamboanenos rock! All of "Halaw's" trials have been said, and I am sure you have heard a lot of tales surrounding its making.

I didn't cry when they announced "Best Director, Sheron Dayoc." I heaved a sigh of relief and immediately, I managed to say a quick prayer of thanksgiving while Sheron was crying on stage. I heaved a sigh of relief because this man has gone through a lot, and God showed him the rewards of suffering. I felt the hands of Fate and Divine Plan, and it soothed me. So this is what it was all about. God can be secretive, and tough, to a man's point of view, only to unveil His plan in a big gift package.

I almost cried when they mentioned "Best Picture, Halaw." I immediately thought of the people involved in the making of the film, and finishing it. I felt a group hug even if I was situated too far from the "Halaw" group. My immediate concern now is to make sure I capture it on photo with my heavy camera. That at least, put me back to presence of mind.

Sheron was the quintessential Cinemalaya entrant. He's a new director, he's exploring his style, and he doesn't have enough funds. It was his workshop, Life's Workshop. He tried to remain calm, like a sea before a storm. He never shouted, nor did he self-destruct. But deep inside, he was crying, too, unsure if the film will be finished well, or if it will be finished at all.

His monumental moment, of speechlessness and weeping, before gaining back his composure captured what a New Breed film maker goes through. It was a powerful moment that captured the Cinemalaya Independent spirit. Everyone related to what he has gone through. And it seemed the whole Main Theater audience wanted to go up on stage, too, and soothe Sheron, and embrace him.

A good man's heart, and intent, shines in the eyes of men, and pleases our true Creator. It was all for the glory of Bathala, for the glory of God.

And this is just one of the highlights. Let's discuss the other triumph.

Like a sweet bonus, a short afternoon's work, by simply arriving on the set, and memorizing my lines, until the cameras rolled, I landed on my longest, speaking cameo role, as a doctor, to support a friend, Mark Meily, who emerged triumphant as well, winning the Directors Showcase top plum for "Donor." I squirmed on my seat seeing my face blown up to Main Theater screen proportions. But I was so happy seeing how simple lines can make people laugh. Thanks, Mark, for allowing me not to be "speechless" in your film, finally, after "Crying Ladies" and "La Visa Loca."

For me, it is Mark Meily's finest film. I told him that right after the screening of his movie. I even joked about it, saying, "Mark, I didn't know you can behave like a New Breed film, too." That is a compliment.

It is also Mark's idea all the way, freed from producers who can be messianic, or make the film messy. This is the Liberation of Mark Meily.

And then "Donor" was honored as well. It's but fitting to one of the friendliest, warmest production houses I've encountered called Spark. It may be a small firm, but the collective passion and love of this group is larger than life.

Oh my sweet Lord, my my my sweet Lord.

The last time I felt like this was for Cinemalaya, too. It was when our ads won the local Grand Prix equivalent in 2007's Ad Congress. Seeing our small Blackpencil team honored against the big creative powerhouses, I felt, my mission for the firm is done. I have made my fellow Blackpencil pushers so happy.

"Donor" and "Halaw" seemed like I was a lucky charm. Actually, I felt so lucky being part of both films. Thanks to Mark and Sheron for making me a part of their brilliant creations. Both movies were a triumph actually of good heart, good talent, and yes, love for films. They simply wanted to make the film that they desired and believed in.

Get ready Sheron and Mark, I am sure "the world will be watching" your movies.

Now I wonder, where does this lead me to?

Why did I accidentally end up being part of "Halaw?" I didn't even know Sheron from Adam.

I shouldn't ask anymore, my sweet Lord. But I sense these signals and I pray for discernment. All I know is that my first love belongs to the movies.

Lead me Lord. I know you have plans for me. And I know, I like what I sense. You've always led me to paths I never planned, ever since I became a confused college boy who took up Chemistry, and ended up writing.

Sheron and Mark, bear hug to both of you. Your works and making me a part of them make me feel we're called to something else, in the near future. Like the boat ride of "Halaw," I will let God's waves carry me to the next shore.

And Sheron, whatever's next, will be a product of friendship, that will truly come from the bottom of your friends' and genuine supporters' hearts. Now you know who your real friends are.

Coming soon. So help us God, as always, He does.

Get ready, Treehouse Sunday family! I know we all met, and shared moments, and passions, for a reason. Let's continue pursuing the Dream, collectively, as one.

Mr. Meily and Mr. Dayoc, cheers!

Cinemalaya 2010's Private Screenings

2010-07-18T12:22:00.004+08:00

Here's what I was watching, in private, for the past ten days at Cinemalaya.

Everytime I see Mario O'Hara or Clodualdo del Mundo, they somehow manage to make me silent. They are living icons. It reminds all of us we're all but dust in the wind in their presence. I am always dumfounded every time they pass me by. It's the aura of greatness.

If I had more hair when I hit my 50's, I want it as salt-n-pepa as the Asiatica Festival Programmer from Rome, Mr. Italo. I didn't know he was a judge. But I was seated beside him in one of the screenings, and there was one movie that made him fall into a deep sleep. And, no, it's not the wonderful film, "Limbunan." I won't tell you which movie that was, as long as I am sober.

If I had no hair, I will do an Axel Estein, one of the NETPAC judges. Or I'd paint my head white, and do a Mailes Kanapi statement, the way she was in "Ang Paglilitis Ni Andres Bonifacio." I will make sure no gunshot wound lands on my head, so I won't be a "Sheika," one of the entries for the NETPAC Competition. This year, the roll-on deodorant heads ruled.

I observed how suave Nes jardin carries his coat ensemble in every gala screening. He's a good dresser. It's not what he wears, but how he wears it.

I was waiting for the Sampaguita "kids" to come back everyday at the CCP after the movie's gala premiere. If they were back, I'll buy all their sampaguitas to cleanse me of the middle-class guilt I felt after the movie.

If I will be in Baguio, I will do the Art Katipunan look (director of "Si Techie, Teknoboy...").

I was awed by Mr. Raul Sunico's fantastic impromptu piano performance during the Dinner with the Chairman. Never underestimate the power of the fingers.

It was also the first time I heard Ana Feleo sing. I wanted to join her as she sang, "Ikaw Ang Mahal Ko." It's the song which has my favorite phonetic words, "sa puso ko'ng tapat sa pagsintang di mo alam." Say it thrice, "tapat sa pagsintang." It's fun to say it over and over again.

I wish I was like Ian Lorenos (director, "The Leaving.") He's so chinky-eyed, ah those Chinese eyes. At least with those eyes, no one will notice him if he's really watching the movies, or whether he has fallen asleep.

Next time, I will avoid students who invoke their rights to complete an assignment as a reason to enter the theater. They should've bought their tickets earlier, than insist to get in, when the tickets were sold out. I felt like one of the Malacanang policemen, blocking an approaching activist Mendiola mob.

How many times have I advised my friends not to wear red, if the screening is at the Main Theater? If you do, they might sit on you. They can't tell where the red seat cover ends, and where the real human in red begins.

I noticed a marked improvement, face value, of this year's ushers and usherettes. They're looking better. I wish I could say the same thing with some of the films that frustrated me.

The good thing about the storm, which stopped one day of Cinemalaya, is the chance to watch the entertaining "Cinco," at Power Plant. "Cinco" showed us what "Shake, Rattle and Roll" has lost, its creativity and magic. It's a good break after seeing a lot of social issues portrayed in this year's films.

Secretly, I was having a good time, more as a bit role player in "Donor." When people suddenly send me a text message, saying "aha! So you're a doctor!" I am thrilled, knowing they saw my short moment on film. I admit, the thrill is different.

I have codified a way to do a walk-out without making it appear like a walk-out. Cough unstoppably, of course, they know you should go to the toilet. And they will welcome if you do, because you disrupt the silence that should be observed inside the movie house. They will only know if it's a walk-out if 30 minutes have passed and you're still not back in your seat.

Now you know what I was watching in The 6th edition of Cinemalaya. See you next year!

Ten Days of Fame

2010-07-18T02:59:00.005+08:00

As the excitement builds towards the Grand Finale, the Awards Night of the 6th Cinemalaya Independent Film Festival, this is the right day to breathe, and savor the week that was. Or compare the past Cinemalaya years, and the current toast of the town, the present batch.

There are few things that remain constant, every Cinemalaya year that I have witnessed.

The new directors face the world, whether fair on unfair, every viewer has the right to comment on their films.

It's the crucible, taken in by the eager new film maker. The second wave of learnings, right after everyone's tough production process, is the public's scrutiny.

There is also the thrill of seeing other filmmaker's works, finally. To some, it is humbling, specially if he or she sees another work that amazes him, and if he or she is non-competitive. To others, that non-competitive stance may be, as healthy and wise as, "finally, I've made a film."

As to where one's film goes, after Cinemalaya, it's all up to every film maker. Of course, there's the hope that the more festivals your film is submitted in, the more chances of maybe, making it to other countries.

There's also the noble act of going around schools. For the more location-specific movies, perhaps, showing it to the people where it matters most, where you shot your film or if they were non-actors, have a special screening for them. They will be your most special viewers, closest to the film and to your heart. Or show it to your technical crew, and production crew.

Cinemalaya is tough for the virgin, unadulterated, untouched film maker. From submitting an entry, to production, all the way to the awards night, it's the kind of life's lessons crammed in a few months. It's too much for one life experience.

Now, listen to the past Cinemalaya batch of film makers. It's like American Idol. Your fame is temporary, until the next batch comes in. Unless, you are brave again enough to make it to another Cinemalaya year, and have a second film. That is ACT III after the climax, it's the realization part, whether your film has merit or not.

The bottom line is, not everyone is given the chance to make a film. And not everyone will have it the Cinemalaya way, tough as it may be, it's still the most prestigious local independent film festival we have.

If not, submit to the higher-costing Metro Film Festival every December, and let's see if you'll have your film the way you want it to be, or if you'll even make it to the selection at all.

Mabuhay ang Pelikulang Malaya!

Labor Pains

2010-07-02T08:16:00.003+08:00

The contractions are more severe, and in shorter gaps. Delivery of the "baby" is nearing its due date.

Adopting this baby, an independent film, turns out to be maddening, in a positive way.

Lacking resources for post production, I generously pitched in to help a Cinemalaya film entrant see the light of day.

With goodwill built from years of my professional life as the only resource I can offer, and the potential of a film to be good as a selling tool, friends from sound and video post production companies more than willingly said "yes," to bring Sheron Dayoc's maiden feature film voyage, "Halaw", on Cinemalaya competition screening shores.

Honestly, it was not difficult to "sell" a film for technical sponsorship with a very relevant issue, and a highly explosive theme.

Human trafficking is a universal problem, and so is unwanted immigration. The "sea to Sabah" can be very treacherous, and at the same time, it's a representative of the Filipino's Dream to find better opportunities overseas, or maybe, it may turn out to be the worse unknown future.

Now that I am into it, aside from helping the movie find its post production patrons, I sort of became the "post producer" making sure the film is finished on time, and whatever obstacles happened before and after its filming, its post shooting technical construction will be ironed out, wishfully, in the best craftsmanship manner possible, given the very short time left.

It may be an unwanted stress on my part, as if my Day Job isn't stressful enough, but it is always a good feeling to help, especially if one believes in a film's potential goodness and fighting chance.

It's an underdog searching for its masters. Sheron Dayoc presented a film concept strong enough to be given the go-signal for a Cinemalaya grant. Anything that happened from becoming a finalist to its production setbacks is all water under the bridge now. There was a moment it seemed this film, lacking of financial co-funding back-up might back out from the competition.

"Halaw" is currently sailing, from the seas of Mindanao, to, hopefully, right on time, at Manila Bay, where the Cultural Center of the Philippines proudly stands, to unveil this year's Cinemalaya Independent Film entries. And, yes, I have a feeling this movie has a chance to make waves, if not locally, abroad, where the film's characters feel a better life awaits them.

Please make sure "Halaw" is one of your viewing options among the 13 other films having their world premieres from July 10-18, 2010.

For your unselfish artistry and unconditional generosity, thanks to Raul Blay's Soundesign, Robbie Tan for bringing in Danny Anonuevo's Edit Cube, and Aids Tecson's Underground Logic for adopting "Halaw" as your own baby.

Legally Asian

2010-06-27T10:31:00.003+08:00

For the most Caucasian telltale identifying mark is being blonde, it might be awkward to see an Asian staging of Legally Blonde.

But the most Filipino telltale mark is being a good singer, then the awkward effect of seeing Asians in blonde wig, and Valley Girl accent can be forgotten and forgiven.

The Reese Witherspoon blockbuster turned musical gets its local spotlight at the Meralco Theater with Nikki Gil impressively dancing and acting and singing her way from Malibu to Harvard.

The "Whip It" scene performed by the character who had to face court and give Elle Woods (Nikki Gil) her defining triumph to prove she's not just a blonde, but she has brains is the most memorable in my mind.

To dance with ropes, and display Geneva Cruz's perfect abs at the same time, while roaring like a tiger tamer, is a feat in itself and succeeds as a musical segment. Boy, can she roar, and growl, and claw you into oblivion, with her strong musical presence and "in-character" consistency.

Nikki Gil is a great stage musical performer. But we miss the shallowness and naivete of Reese Witherspoon, to the point of really behaving like the iconic Dumb Blonde. Nikki's Elle Woods seemed more womanly, and has a dimension of smartness, Nikki definitely has that touch of Star Quality. She's not dumb at all, and it shows, unfortunately, when dumbness becomes an asset for this musical.

But boy, is she a great dancer, with a model-like figure, and crisp singing voice, but not Valley Girl frou-frou, bubblegum, lollipop enough. And yes, she can act, you can feel her dilemma, triumph, and pain, but it's not Elle Woods-Witherspoon enough.

Nyoy Violante's kindness shines through, and his sincerity is felt, being the least "showboy" in attitude, but a truly sweet suitor, even if Elle has another man in mind. Yes, we believed him, he was true. Problem is, physically, he's not a visual match to Nikki Gil. So we were left wanting in that love team chemistry angle. Spark is necessary for us to swoon over a love tandem.

William, the man target of Elle, is yes, cute, in a very Asian way. He reminds me of a better-looking version of DJ Durano, and a more refined Diether Ocampo. He delivered in a more efficient manner, as demanded by the role, but lacked the oomph that spells the difference between star with a small S, and STAR ALL CAPS.

Now, if you want a real musical star, who, in spite of a supporting role, outshone them all, think Jett Pangan. His mean role as a professor, who "goes for the kill" and teaches kid to get "blood out of water," is a one-man show in itself. His moves, and twitch of an eye, or gestures of the hands, coupled with a fantastic powerful voice, that not only sings, but melodiously acts in character as well is truly a bravura of a performance.

Very Legally Blonde, the musical is an eye candy, like a bubblegum dispenser, legally bright and colorful. Nice touch of seats made from books, and stage backdrop made of bigger books.

It was good, overall. But I wonder why it wasn't great enough to merit an ecstatic audience reaction to make them stand up from their seats for a rousing ovation.

There's a spark that's missing, that great musicals are made of. I don't fault the staging. If you ask me, its the material/ libretto itself which tells me, this won't be as magically captivating as Avenue Q or Spring Awakening or Rent, or Billy Elliot (a movie that made a successful transition to the musical stage.)

Actually, Atlantis Productions did their best, but I guess the originators and true authors of the musical play's best wasn't good enough.

Now that is another matter, the material itself, that would require another note, to discuss.

Now, to answer Joee Manalo, who asked me before I watched the show, if this musical is pink enough for her visual color quota. Yes, pink enough, but it's not "tweetums frou-frou campy blonde enough."

Main Movie Theater, Little Movie Theater (The Two Sides Of Cinemalaya 2010)

2010-06-19T10:49:00.006+08:00

Let's see how the new breed will keep up with the first-time ever inclusion of the master directors in the Cinemalaya competition.

The famous Joel Lamangan and Mario O' Hara are showcasing their films together with the unknowns like Dayoc, Katipunan, et al.

Judging from the press conference, obviously, the media gravitated towards the Directors' Showcase film makers and artists.

The New Breed directors content themselves with the thrill of finally reaching the CCP, and formally being declared as Cinemalaya entrants.

All things being equal, it's what a film is trying to say that matters. How it is said, is where the difference will lie.

Like different kids, they have different personalities as directors, all under Motherhood Cinemalaya as an outlet to showcase their works.

Like same kids, they will never see the light of day if these projects were peddled to the Big Studios like Star Cinema, Regal Films, or GMA Films.

Star power doesn't necessarily mean better acted films, But the veterans know, that it will help create an advanced buzz way before the film is shown.

As the press flocked towards Dawn Zulueta, who stars in Joel Lamangan's entry, "Sigwa," the little boys of "Rekrut" seemed like students on a field trip having the time of their lives taking pictures, and being reunited with their movie clique mates.

Being one of the screeners, script stage itself, there were already trends on how the narrative story is presented.

The major directors had bigger social issues, and scope. The fresh ones had relevant issues too, but smaller in scope.

The veterans' handles were drama, and character-driven. The young ones' screenplays were more "expository" in nature.

Judging from the trailers, the veterans' movie trailers were like Big Studio offerings, while the New Breed's trailers behaved like a Short Film contest than a full-length movie competition.

The difference in trailers alone tell you who's more experienced in promoting a film, and who's more indifferent and "artsy."

It's interesting to see then how these styles and formats fare. Cinemalaya this year is a celebration of both the experienced and the fresh ones. It's like capturing in 10 days how far Philippine Cinema has gone, and how far it will go with the masters' and amateurs' recipes mixed in one pot.

For now, the press, and maybe the audience's excitement lean towards the famous, and familiar faces and names.

In the end, whether done by an old or new film maker, we just hope most of the 14 competing films will travel and bring honors to our country in the more major theater, The Global Theater.

Happy independent viewing!

(*Cinemalaya Philippine Independent Cinema Festival runs from July 9 to 18 at the Cultural Center of the Philippines.)

The Battle of TV News Gizmos

2010-05-14T08:47:00.004+08:00

As elections became automated, the TV news coverage geared up with technical screen gimmicks attempting to go the CNN Jon King route a la Minority Report with touch screen gizmos.

ABS-CBN boasted of a map, and a big screen behind it where the anchorman can even walk behind it. There was even a hologram attempt, a copycat of the Wolf Blitzer CNN visual transporter while talking to a correspondent. It even had the Philippine map as centerpiece, in 3D, lying on the newsroom floor.

TV 5 had cool results graphics featuring the candidates' ranking.

GMA 7 tried, as well. It was awkard though seeing Mel Tiangco doing that touch screen act while the content video playback lagged a bit.

This wave of technical upgrades snowballed overnight.

The art direction of TV5 is the winner. In spite of all the visual gizmos, there still remains the human taste of art directing the graphics. The choice of font, colors, and shapes remain a non-computerized decision.

Seeing it, it seems ABS CBN poured in the most money, with the most visual tricks.

However, the multiple screen and touches depend on what content it was playing. Little precinct count, and reading the candidates one by one for a miniscule number of votes were a waste of time. The reporters should've just stated what was happening than what was the small precinct count. These little counts served as fillers should there be no "immediate live coverage" worth covering.

They should've just prepared little news documentaries, like electoral history, or featurettes like surveys and how it is done, and perhaps even a backgrounder on Lanao, and now, Abra, as perennial trouble spots for elections. This will help viewers appreciate the news, rather than forcing coverage to fill time for news sake, that were non-news anyway.

The capability to analyze and comment on the events happening simultaneously, and what questions were to be asked for the people interviewed also remains a human component than a computer.

Credit has to be given to the networks, who not only gave updates on national counts, but local races as well.

The ANC Non-Stop Coverage ended with trivial interviews whether Jamby Madrigal conceded or not, forcing Twink Macaraig to stop Ricky Carandang questioning a Liberal Party member, not even Noynoy himself, for such a non-newsworthy issue. The point is, who cares?

There's a difference between online jokes and making it news. The Jamby concession was simply a Twitter joke. Sleeplessness may have ended the 24-hour news network's electoral coverage on a trivial note.

The tonality of Cosim and Bediones on TV 5 was refreshing, than the usual tabloid journalism barker tones made fashionable by the days of "Hoy!Gising's" Failon and SAKSI's Mike Enriquez.

When news surely become top-raters, it's the network's opportunity to showcase their wares. But let's not forget it also highlights the mental capacity of their newsmen and women.

Hands down, old reliables like Mel Tiangco and Tina Monzon-Palma fielded the best questions and follow-throughs, not behaving like aggressors, but speaking like an ordinary viewer needing enlightenment.

Ricky Carandang needs more maturity and wisdom rather than spontaneously coming up with a question that seemed more like a position he wants to imply rather than objective questioning.

Karen Davila, Julius Babao and Ces Drilon were at their reliable best. But nothing can beat Tina Monzon Palma or Mel Tiangco's length of news service and depth of experience.

Paolo Bediones is a discovery from hosting "Survivor" to carrying a news program.

Delivering the news on TV doesn't have to sound like AM radio. Visuals are there to see the expressions, tone of voice need not shout. No wonder having more women as news anchors equalized the barker noise.

And yes, whatever gizmos and technical wizardry may come our way, it's the content and how to handle the content that spell the difference between news for news' sake, or no-nonsense news.

What we were spared of is waiting for the results, which became quicker, sparing us of sour graping guests, over-analyzing panelists, and yes, non-news moments to fill the airwaves while a slow count back then was awaited.

As always, cheers to the field correspondents, specially those assigned in trouble spots. They wait on cue, for the anchorman to allow them to say their piece on TV, and you can see them sweating in poll venues, in the height of summer, and its humidity.

And thanks to EDSA 1, freedom of news and points of views are here to stay. I dread the days when Marcos controlled the networks and there was even a Minister of Information to make sure news doesn't go anti-Establishment. We don't have to rely on underground June Keithley radio stations anymore to know what's really happening out there.

Like political ads, the peak news season is over, unless something major happens again, like another "Ondoy" or a "coup attempt," of course, we wouldn't want that.

How To Deal With Post-Election Fever

2010-05-12T10:39:00.003+08:00

1. THINK BRITAIN, COSTA RICA, OR THAILAND, IF YOU HAVEN'T HAD TOO MUCH OF POLITICS

It's a historic change after the Labour Party has ruled the U.K. for years. Research on the new Prime Minister, Cameron. And yes, get to know more about the Lib Dems aside from Conservatives and Labour Party.

Or celebrate Costa Rica's first ever woman head of state. We've had two women presidents, so we've been way ahead on gender power.

Or be thankful we're not under a political stalemate crisis like Thailand.

2. COLLECT COUNCILORS' FLYERS AND POSTERS.

They're so anonymous they'll make good mementos. Like Happy Meal toys, collect them all! At least it's a unique set you're saving for posterity's sake.

3. WEAR A JAMBY T-SHIRT.

She's the Sarah Palin of our elections, except she's not as bombshell as Sarah is. Have a good laugh. Make sure Judy Ann Santos picture is at the back of the t-shirt, to remind Jamby who backed her up that's why she became a Senator.

4. OR MAKE ANOTHER ONE, WEAR AN "I VOTED FOR ACOSTA T-SHIRT."

It's still a mystery why he still got votes, was it a boycott vote, a no-choice vote, or a mischief vote, or simply an error of those who intended to shade Aquino's oval, but the pen landed on Acosta? He's the disqualified candidate who got more votes than Jamby.

5. IF YOU VOTED FOR VILLAR, RIDE ON A ROLLER COASTER.

This is to sympathize with his sudden rise and his sudden downhill ride. At least you know how it feels to go from fantastic rise to sudden downfall. Sigh.I didn't vote for him, but I feel for him.

6. BE APOLITICAL IF YOU VOTED FOR GIBO.

He says he'll be a private citizen after conceding. So avoid any political talk or news.

7. IGNORE THE SWS OR PULSE ASIA SURVEY FIELD RESEARCHER IF YOU VOTED FOR GORDON.

He threatened to sue SWS and Pulse Asia. So if it happens that you were randomly selected as a respondent to a survey, tell the interviewer, "Sorry, I voted for Gordon."

7. JOIN THE FIRST POST-GLORIA PROTEST MOVEMENT: OUST WILLIE AND WOWOWEE.

There's a Facebook page for this.

8. VOTE FOR STAR OF THE NIGHT IN THE CONGRESS' OPENING SESSION.

There'll be a Jinky Pacquiao to support Manny the Congressman, a Lucy Torres, an Imelda Marcos, a Lani Mercado. Who will wear the best Philippine terno dress?

9. BUY A PCOS MACHINE.

It's worth it, the first-ever automated elections in Philippine history. This is the ultimate souvenir.

10. ACCEPT THE RESULTS.

At least, Noynoy's run prevented Erap from regaining the Presidency. Let's be one nation again, and wish him luck, and offer him our prayers.

As the Monty Python SPAMALOT song goes, "always look at the bright side of life." (whistle whistle whistle).

So What Happened Now, So What Happens Next?

2010-05-11T22:31:00.002+08:00

The Marcoses are back. Fr. Ed Panlilio of Pampanga is out. Binays and Belmontes continue the political dynasty syndrome. Joey Marquez doesn't regain Paranaque. Asistio never reclaimed Caloocan City. At least Pasay City's leadership keeps on changing, it seems. From Cuneta, to Trinidad, to perhaps Calixto. But these are still names always figuring out in Pasay.

The permanence of Binays in Makati, , Aguilars in Las Pinas, Estradas and Ejercitos of San Juan (including the mistress who wins as mayor), Abaloses of Mandaluyong, and soon the Echiverris of Caloocan, have created metropolitan "kingdoms", by simply fielding a relative, if you have used up your 3-time consecutive terms. All you have to do is to stop, pass up one term, and come back again after three years.

In the provinces, this permanence can also be observed, with the Dutertes, Arroyos, De Venecias and other prominent names. Santos-Rectos have also shown Batangas ownership in the making.

Upsets like Panlilios and Padacas breaking dynasties seem to dim. Gloria's pet, Pineda, has reclaimed Pampanga.

With Gloria Macapagal Arroyo's assured congressional seat in the Lower House, and her political rival Noynoy Aquino claiming the Presidency, will impeachment be hovering over our heads? But with the change in political leadership, there might be a good chance that Gloria will not bag the House Speaker position.

Estrada proves he's still a political force to contend with. Binay, his running mate earned votes way beyond the radar of poll surveys. Although in the last pre-election survey, Binay's rise was noted. And Estrada himself overtook Villar for 2nd position in the presidential race.

Revilla leads the Senatorial race. Oh-kay. Oh-well.

We're still into political name familiarity, dynasties, celebrities, rather than voting by merit.

The rise of Noynoy is more of blood kinship and the emotional nostalgia of the Yellow Revolution when our countrymen were proud to be Filipinos. People don't mind if he's capable or not. Is the fight against corruption enough to finally make our country globally competitive?

We do hope, at the very least, he's maverick enough to find ways and means to finally curb corruption from top to bottom, to the bottom person involved in government agencies and services. If the Filipinos think corruption is the number one problem, partly the reason why Noynoy is leading, then he should make more solid acts against it.

I hope he has a physical makeover and someone has to teach him to walk properly. Think APEC and ASEAN summit presence. He should be rehashed to look presentable and dignified. and presidential.

Let's give him that 100-day honeymoon, and since he's voted President, might as well support him.

It doesn't help Villar at all, tainted with corruption issues, to get his money's worth to win the Presidency, after spending so much.

And the funny thing is, Estrada's second place position, in spite of being convicted for corruption, and quickly pardoned by a leader with corruption and vote-rigging issues, too.

To actually read what the people want, is schizophrenia. We have two ways of accepting and rejecting graft and corruption, as evidenced by the top two candidates for President.

And yes, that includes having Marcoses in national and local positions once again.

The quicker count has made it easier to see national and local trends, which is nothing new, same same. Our voting preferences are based on personalities, rather than competence and credentials.

The dynasties continue, in spite of the EDSA Constitution providing a provision against its proliferation.

And one thing this election can start for the next, is bigger ad spend. Campaigns have begun way before the campaign period.

It will continue to be the rich man's game, or the popular name's game, so if you are really unknown, middle class, or poor, forget about running for national position.

Media becomes the major token for achieving national familiarity. So if you don't have the machinery and financial resources, do something to be caught in national news and headlines. That is, if you cannot spend on advertising and PR.

Or if not, be married to a Binays, Cayetanos, or any other "permanently politically popular" name, then you might make it to the top or be a part of the Estrada harem.

Choose the surname well, the Mitras or Oples, for example, are not surebets to be a Senator.

On the positive side, the ban of posting election materials on major roads, made this elections look "cleaner."

I have declared not to depend on government leadership anymore to expect fundamental and social changes in our country.

The rich will continue to hold power. All we can do on the ground is to work hard, and hopefully, by the merit of our hardships, improve our lot.

And yes, we continue to vote, so see you in three years' time, with an upgraded PCOS machine, hopefully. And yes, see you again with the same familiar names lording it over us, the anonymous ones.

That Thick Black Pen and The Choosy Paper Eater

2010-05-10T17:06:00.002+08:00

I should say automated voting is thrilling, since it is all new to me. The only trouble I had was bearing the heat of a gymnasium where I voted.

Clustering precincts resulted to longer lines than the last time I exercised the right of suffrage. Good thing, I checked my precinct number online, only to find out there's a new number to look for, the grouping, the cluster where my precinct belongs to.

Where I vote, is a mixture of home owners and the urban poor. Seeing their ballots as they fill it up, the eavesdropper in me, I noticed those who were dressed decently voted for Teodoro.

The less privileged ones were voting for either Noynoy Aquino or Joseph Estrada. Nowhere in my periphery did I see someone shade the oval beside Manny Villar's name. And yes, there were more Binay voters than Roxas voters in our table.

After an hour of waiting in line to get my paper ballot, I looked for a pen and a vacant seat. Ours was a common table. Surprisingly, the pens were still there even if they're not tied to the table, unlike banks' pens. There's the power of concern, they leave the pen for the next voter.

I must say, the pen's point is too thick. I think I didn't fit in the shade exactly for the oval, but it went a little bit beyond the space because of the thickness of the pen.

I never knew the councilors, who they were, so I simply chose them by random, mostly so if they were independent rather than if they were associated with a political party.

My mayoralty and vice mayoralty choices were not actors or celebrities.

Congressional choice, as always, in my city, there's only one, uncontested. There was another name but I don't know the congressional challenger by name.

I completed the senatorial list, chose a few popular ones, most were new faces with promising credentials.

Now comes the thrilling part, approaching that PCOS machine which looked like a photocopying machine.

It's hard to align the paper to its place so the machine devours it smoothly. The old lady, part of the Parish Pastoral Citizen watchdog, has mastered how to feed the paper.

Everyone who voted from my precinct try to do it themselves, but this lady was the only one who can do the paper feeding right. Mine took twice to feed. The first time around, the paper went out again.

I was asked to wait until the screen said, "Congratulations. Your vote has been registered."

I hope when I vote in three years' time, for the midterm election, there will be one machine per precinct.

My siblings' names, upon signing on the master voters' list, were still there, even if they have moved and registered in another city. If they can manage to clean that indelible ink successfully, they can actually vote again in my precinct, I figured.

After they poured indelible ink on my finger, I quickly brought out my tissue paper and wiped it away. I hate its stain so stubbornly seeping through the side crevices of my nail. Wiping it immediately helped to lessen the unsightly purple mark.

I am happy, for never have I been congratulated by a machine, until now.

I hope the PCOS machine congratulated me because I have done my right to vote, and my duty to choose wisely.

God bless the Philippines and its next President.

Soon, We Will See Them Less Often

2010-05-09T10:59:00.003+08:00

The COMELEC SPOKESPERSONS. Explaining delays, assuring the safety of computerized voting, and reassuring people that everything will go on as scheduled, poor man has to present himself to the public. He takes on the burden of presenting a first-time automated voting process, as mandated by law. Later on, another spokesperson, a technical or is it information technology spokesperson came to the fore. At least he wasn't left alone to do all the explanations.

The PPCRV CHAIRMAN. She looks like a Sampaguita Pictures 1950's actress, together with the Comelec Spokesperson, they become regular guests at the ANC News Channel. By the power vested upon her by the Church, and the only accredited citizen's watchdog, she reports possible sources of glitches. She joins provincial tours areas where the machines are tested, and her composure and grammatically correct English make her an authority in guarding the ballot. She's the younger Rosa Rosal. Maybe after the elections, she can revive "Damayan" and take on the mantle for blood donation crusade.

The SMARTMATIC PRESIDENT. His name sounds Spanish, he looks Middle Eastern, and has a distinct accent. He became more visible when the urgency to make automation work seem troubled, close to Election Day. He must be realizing getting the business may have cost him his peaceful life, and I am sure he had many sleepless nights, and might have made his technicians work endlessly as well.

These three people mentioned above will still be there until the counting is finished. They'll still appear on TV to explain, defend, or refute post-election issues.

WILLIE REVILLAME. I hope he sails to the sunset. He even threatens to resign if an ABS-CBN entertainment news reporter isn't fired. He's become so rich, and so bratty. I doubt if his Presidential candidate will win. It might make him less powerful. But how can we see him less, if Wowowee still exists everyday?

JAMBY MADRIGAL. She is the nuisance candidate, doing it alone, and making Villar's life difficult. Her proposals for running a country seem like "new age," a kinder term for far out. She betrayed Judy Ann Santos, the only reason she might have become a Senator in the first place, just to take a potshot at Villar. She is one good riddance after this election season. But then again, she is still a Senator with three more years to perform her duties.

EDU MANZANO. Sadly, he says he's quitting show business after this elections. I miss his game show. He might concentrate on private businesses and I do hope he reconciles with Pinky Webb. And I do wish he comes back again with a late night talk show.

I wish we see GLORIA MACAPAGAL ARROYO less often after her term, but sadly, she is running for Congress. Same applies to her son MIKEY ARROYO, grilled by Winnie Monsod in her morning show, but sadly, he is also running under the Party List system as representative of the security guards. Why didn't Winnie Monsod win in her bid for the Senate the last time? She is the perfect interrogator for Senate hearings.

And of course, let's say goodbye to those numerous POLITICAL ADS on TV, newspapers, and radio, which have stopped today as the campaign period ends. What a relief!

.

And My 2010 Vote Goes To...

2010-05-08T12:34:00.003+08:00

The power of one vote, is too romantic a proposal to have a say in how this country should be governed. When the choices for a very critical position range from unproven leadership to resurrected criminals, or simply, by popularity, this voting power diminishes, by the undeserving candidates seeking office.

To choose the lesser evil means compromising our standards for what makes a good President. Then for six years, we bear the brunt of a "no choice" choice, and 6 years of mismanagement and corruption rule once again.

There was a Facebook page saying this should've been a contest between Gordon and Teodoro. I totally agree. It's by intelligence, performance and management credentials that we could've made our choice.

The frontrunners, in a twist of survey fate, is between a self-proclaimed hero of the masses and a scion of the heroes of our times.

Does it mean by genes, a hero is born? Worse, does it mean the action hero persona a la Robin Hood will indeed fight for the masses without script and motion picture cameras?

The tendency to vote for the frontrunners, to make sure your vote can spell who wins, is a lame excuse.

Vote by the capabilities of a person. I won't perpetuate the habit of voting for a sure winner. I am not confident with the top three candidates at all.

This applies to the Senate race as well. If you vote for the frontrunners, most of them are traditional politicians or celebrities anyway, then you miss out on the chance of getting new minds in the Upper Chamber. There are more worthy Senators-in-the-making running who are not among the familiar ones in the top 12.

I am still undecided, but definitely, I have eliminated the top 3 presidential candidates in my list.

To vote by credentials, I will show to the world that my choice remain between Gordon and Teodoro. At least, I subtract a vote from the simply popular ones. I will be counted as the third force wanting a better candidate.

If my choice doesn't make it, at least I am sure 15% of the voters, like me, will be counted as wanting a better election by the quality of the candidate to become President.

I won't be swayed by surveys. I won't be ruled by familiar names. I won't let this election trend to continue as I live.

I want better officials. Nationally, or locally, it's about time this 1986 democracy mature into better choices. Two decades are more than enough to move on to a more challenging and worthy elections.

I will still vote. I would have rather not, with the spectrum of quality candidates at an all-time low, the more popular ones, that is. It gets worse when you get to your choices for local officials.

At least, my consolation is I am sure the Vice President I am voting for is more qualified than his running mate. Whew!

And Loren Legarda, accept the fact that you can't progress beyond Senator. You're wasting your time and money. The people doesn't trust you.

And next time, let's have primaries if there are many candidates running for President. Trim down the list and remove the unqualified or simply popular ones by an initial run-off.

And yes, I discovered debates work. Here we get to see what's on their brains, if they have any, or they are simply wealthy to run a national campaign, or lucky enough to have a politically established family name.

I hope the silent minority becomes the majority when the results are out. We are tired of choosing between the lesser evil. I will choose the less popular instead.

I love this country so much, I implore you to make the worthy choice, than the likely-to- win choice.

We may not win, but at least, it's a still a position and a voice that will be counted. Combine the votes of Teodoro and Gordon, then we can gauge how many voters want an alternative to a lackluster menu of Presidents to choose from.

Raymond Red's Well-Made Powder Keg

2010-04-25T09:15:00.001+08:00

The extent of poverty afflicting the nation, which remains ignored, can be a source of flash point. "Himpapawid" by Raymond Red essays the plight of those without power and money, leading to extreme course of action.

This "silent anger" was violently explored in "Sa Aking Pagkakagising Mula Sa Kamulatan" where the most marginalized areas in the city bathe in gore, drugs, and vengeance as a way of life and an expression.

"Himpapawid", inspired by a true-to-life event that made headlines years back, exposes why a man will hijack a domestic flight, in a series of misfortunes and events that led him to such a terroristic act.

It's about getting even, putting one's destiny in one's own hands, rather than wait for a job, or hope for the future.

While most films show ladies in the same predicament resorting to prostitution, men gets attracted to criminal acts. Raul, the film's protagonist shows this hesitation to join the dark side. Even during the robbery act itself, he refuses to do his part as a lookout. He even falls asleep, only to wake up to such tragic events where all of his co-planners died due to a badly planned theft.

What is distinct about this film is its all-out commentary on the hopelessness, and how to get out of it, by GETTING EVEN at the "economic oppressors."

This was a well-written, well-staged, and well-acted scene when the thieves-to-be gathered in a drinking session, as they assess their state under the influence of alcohol.

And it was an in-your-face summary of the state of the nation's underbelly in a bravura "speech" by John Arcilla, that can really move rallyists in Liwasang Bonifacio to storm the barricades of Malacanang and financially wealthy Makati, if John wasn't drinking with his neighbors, and he was leading a protest movement instead. This is what a privilege speech in the Senate might sound like if the speaker really knows what it is to be poor.

If, in the other world, fundamentalist faith leads one to terrorism, from this side of the planet, extreme poverty can actually spark extra-legal acts to survive, and yes, it may even lead to civil war or revolution.

Raymond Red uses his fine crafting skills to present this man's route to salvation. He avoids the usual documentary treatment often seen in current indie films, where "dogme" is actually an artistic license to mask low-budget as the true reason.

It is refreshing to see a filmmaker treat independent cinema as a canvas to paint on, in well-blocked scenes, and intriguingly, well-shot and finely color-graded manner.

The squalor of the slums are featured as a photographer's masterpiece, showing crowded streets, with lamp posts as source of light, against the booming Manila skyscrapers. It further emphasizes "us from here on the ground" against "you, in swanky offices and condominiums" as a screen capture of The Great Divide.

Then the camera closes in into one of the streets, and presents the characters mired in the mud of despair, and into the progression of Raul's extreme course of action.

The lowly ones wish to rise, in this case, Raul wished to fly. With a gun on his hand, and a grenade on the other, he controls his destiny, and his exit from the world of financial despair. And as all sudden flights of fancy go, he hits the ground where he came from. Interestingly, his homemade parachute was made of "protest cloth" from factory strikes.

He didn't originally intend to die, he just wishes to go back to his province, when all this urban squalor wasn't a part of his journey, in the hope that his life turns for the better.

If you wish for an answer why EDSA 3 marchers who stormed Malacanang behaved in such manner, and why, after the Marcoses fled, Malacanang became a pent up stress ball, where looting and vandalism happened, think of Raul. He's the poor every politician promises to save in every election, and in the brink of violent action.

"Himpapawid" is a timely, and well-made movie about a decades-old powder keg that is waiting to explode.

Sexy Soap In Bright Primary Colors

2010-04-11T23:49:00.002+08:00

"Almododrama" takes on a series of twists and turns, in luscious primary colored hues. That's Pedro Almodovar for you. And "Broken Embraces" continues that kind of melodrama with distinct Spanish deviation and madness.

This time around, there's an actress again in distress, played by one of his favorites, Penelope Cruz. Here, she's a mistress of an old businessman, who has a tryst with her director.

Almodovar's obvious love for cinema, is mixed with sex, deception, pain in comedy, and a battle of the genders.

Obsession becomes the key, for the quadrangle of lovers, where only the director and the actress seem to meet, while the businessman and the production assistant's objects of affection remain unrequited.

Lengthily running over two hours, this is a tale of a film within a film, as the story unfolds while a movie is being made. It's French Film Noir mixing with staged Spanish Fiesta.

Like soap, the never-ending, (or so it seems) story intertwines its leads with consciously production-designed treatment, the way all Almodovar movies are.

And Almodovar's treatment of sex can be very refreshing. The all-white sheets cover the frolicking. The stolen moments in a dressing room, and almost kissing in between one's thighs after an almost fracturing accident are staged surprises. Therefore, love making is never the same in all his films, or as creatively conceived as Almodovar does it, unlike other films.

It's Almodovar, the same guy who took us inside a vagina in "Talk To Her," anyway.

And his characters are always unique, suis generis, a fragment of fiction, or perhaps, a fantasy.

In spite of the tragedy, Almodovar captures his leading actress like a screen goddess. He knows when beauty should be caressed, or put on the spotlight, in spite of the larger-than-life drama happening all around his characters. You can't blame him, Penelope Cruz IS very beautiful, indeed. She is treated like an icon.

But in spite of all the chutzpah, thematically, there's really not much in his film. Almodovar worships a film genre and interprets it with his own trademark. But like film noir, nothing much is to be expected as a message, or a lingering thought or two.

Like porn, Almodovar films behave like you've seen one, you've seen them all. But also like porn, you just keep on watching it, and expecting a different ecstasy.

"Broken Embraces" can keep you hooked, but only while it lasts. It's like sex for lust's sake, it's over, when it's over.

It's a well planned, excellently staged kaleidoscope of colors and characters. But it doesn't make one gush over love, like chick flicks do. Nor does it challenge the brain, like art films do. It's neither. It's simply Almodovar, take it, or leave it.

Almodovar is a hard habit to break, just like Woody Allen, without the societal or psychiatric sarcasm.

You just can't put these good men down. And you look forward to their next films, as though they're new cinematic experiences, when actually, they're not. One thing is for sure though, they're magnificently consistent and addictive.

Meet the British "Juno"

2010-04-11T15:25:00.002+08:00

Teen sexuality can make one feel queasy when the affair involves an older man. "Juno" gave us a charming view of pregnancy at an early age, without feeling it's an issue at all. Well, that's according to the teen "victim's" perspective.

In fact, when it comes to morality, perhaps we are more protective with our kids, when they can actually survive, and manage, and can decide for themselves.

In "An Education," Carey Mulligan, here at sweet sixteen, has an affair with a guy in his 30's, knowing the implications in a less emotional British world.

Wrapped in English literature and classical music, the charade begins, as though nothing is wrong, and statutory rape never existed. It doesn't behave too artsy or too cultural though, to alienate us, the barbarians.

The nostalgia of the 60's before Beatlemania exploded makes what at the onset, we may judge as pedophilia become a sweet love story of another girl meets a boy, er, a man.

As if Audrey Hepburn is alive, the couple even have a Parisian rendezvous every little girl would dream of.

The suburban innocent girl succumbs to the civilized gentleman who appreciates art as well, and even wins an auction of a pre-Raphaelite painting to add to the suitor's game.

Who wouldn't fall for such magic then? Even Carey's parents are permissive and caught by the debonair man's charm.

But what the film actually tries to pit against each other is the boredom of academic education versus the education outside a school's walls, which brings to life all the novels and poems Carey nourishes in her studies.

After her first sexual engagement, i.e., losing her virginity, she actually realizes so that's what it is. After all those poems made about desire and fornication, it's just that. Perhaps literature didn't live up to the real thing.

Between landing in Oxford for college, and a marriage proposal, Carey fights for the latter. And her parents are thrilled that she will give up her education for a secure future with this older man.

But we all know there should be doom in this kind of set-up. It can't be that easy. The man didn't turn out to be as true and free as she thought she would be.

Therefore, the education she chose, and the one she left behind had to have a happy resolution.

The drama is all controlled, in spite of the explosive nature of what this issue could have been. Call it dry British drama, if there's such a match to dry British humour.

The film engages, in spite of its control. But then again, expect Nick Hornby, the writer, to somehow take us out of the rut, and exit the theater with a lighter feeling.

Our kids grow up, make mistakes, go for older men, and learn their lessons after, without the intensity of pain that makes a film dramatic. It even lacks real confrontation, sort of.

Because this is a British film, in case we all forget.

At its best, "An Education" is very educated. At its worst, its academic and societal repercussions became a non-issue, with no position about them at all. This is still an affair between a 16-year old girl and a 30-year old man.

Except, for that happy ending, where the film still encourages formal education, Not too Hollywood happy and grand, but Hornby happy enough. Again, because it's British.

A Place To Hide Away

2010-04-08T10:48:00.001+08:00

My Location: Plateau.

"I've got to find a place to hide away. Far from the shadows of my mind."

Its causes may be staying too long in the city, I haven't traveled for quite some time. Or, it may be the usual demands of work. Or perhaps, they're those predictably induced magical moments just to add color to this black and white world of drudgery.

It can be tiring to amuse one's self and others, just to keep the ball rolling.

Like a writer's block, it's a seasonal block, a personal one.

Too much of an unelectrifying thing can be maddening and unproductive.

Or have I given too much? Or given too less?

Maybe I'm tired of leading, maybe I want to be lead, for a change.

Or I am exhausted making people feel good, I want others to make me feel good, and I'll be the quiet one, tickle me, please me, tie me up (nah, not this kind, joke).

Or perhaps it's the unbearable scorching heat?

No wonder I've been having an unexplained rash attack. I've never had this before.

"I guess I wanted something new in my life, a new key, to fit a new door."

Or maybe the problem is, everything seems to be just right, controllable, addressable, except for some few glitches.

Perhaps I need to stand on a cliff's edge for that much needed thrill and danger.

It's like walking alone, abroad, not familiar with the geography, and knowing no one. But my, how good it feels!

Perhaps the freedom of freelancing and the idleness that goes with it, and the uncertainty is what I miss.

It's the liberation of not being owned and not owing anyone my time, or my services, or my smiles.

An unexpected downpour in an otherwise El Nino dried up land may be the moment I am seeking for.

Even my body has hit its sculptural plateau. Even if I increase the intensity and frequency of my workout, I still look the same. Gone are the times I can see in the mirror new, muscular definition forming.

It's not midlife crisis, I still plan to continue what I'm doing. It's not about am I in the right place or job?

I just feel brain-dead, or brain-frozen. Or unexcited, even lazy. Too bad, I've got a lot of deadlines on my hands.

An electric jolt, a gorgeous stranger who suddenly says "hi," a new friend, an unexpected return of an old friend, or an old flame, or yes, maybe even a tragedy (hope not), or suddenly having a million pesos in my ATM account, or anything extreme or different is what I need. Eight cups of coffee in a day is not the booster I am looking for.

This is not the kind of nothingness that can be cured with a decadent chocolate cake or a shopping splurge.

I am simply looking for a different kind of magic.

Oh, how I oh so want to disappear.

How To Check If You're Still In The Voters' List

2010-04-07T08:36:00.002+08:00

Since I didn't register, because I voted in the last national elections, I had to check if I am still in the voters' list. If you want to know if you are still in the list, and know your precinct number, and where to vote, just go to :

http://www.comelec.gov.ph/precinctfinder/precinctfinder.aspx

Here are my voting details:

Province:
NCR - FOURTH DISTRICT

City/Municipality:
CITY OF PARAÑAQUE

Barangay:
MARCELO GREEN VILLAGE

Precinct:
0835A

Registration Date:
June 15, 1997

Polling Place:
MULTI-PURPOSE GYM, MARCELO AVENUE

Registration Status: Active

Jingles All The Way

2010-04-06T10:14:00.003+08:00

The use of music and words to promote a person or a product, the commercial jingle, is a make-or-break experiment. A lot of ads use them, but only a few catches on.

Baby James, of the Aquino clan, shouting "Villar" in a campaign sortie, is proof of the power of jingles. Kids sing to that Villar campaign jingle the way they sang Knorr's "Sarap Ng Sinabawang Gulay" a couple of years back.

Political jingles, "Sha-sha-sha, si Letty Ramos Sha," made a senator whose only recall is her relationship to former President Ramos. ( Well of course she had foreign service credentials, but I doubt if people knew that when they were choosing the senators to vote for. )

And as we protest against the 2-decade Marcos regime, "Mambo, Mambo, Magsaysay, our democracy will die, kung wala si Magsaysay" made us dance in spite of the threats and dangers of overthrowing a tyrant. Its nostalgic flavor made us yearn for the good old days, but we weren't even fighting for 1950's Magsaysay in the latter half of the 1980's. We didn't even understand what the song meant. It simply added fun to a massive protest.

As an advertising practitioner, its necessary to know jingle trivia, like "Seiko Wallet, ang wallet na maswerti," and "Sunny Orange I Love You." It's like practicing fine arts but you have to know its classic past.

I am not a fan of commercial jingles. I believe in the power of an idea and the human insight behind it, and the use of music and words, is an executional option.

The musicality of the Philippines may make jingles, for political campaign use a powerful tool, to add to the fiesta, as if elections aren't carnival enough.

These political anthems may not be as stirring, relevant, meaningful, and goose bump-inducing as "Bayan Ko," which made EDSA Revolution at least anchored on the love of a nation, but they're here to stay, in the name of name recall.

It may not make sense, borrow a folksy, happy, or popular song, and wish the lines, and meter are fitting to the name of the candidate.

I remember trying to do a jingle for Connie Dy, who was then running for Congress, and used the song "Horny". Transforming, "I'm Horny, Horny Horny Horny", to "Kay Connie, Connie, Connie, Connie." I was jumping with joy landing on the perfect word, music meter, and name match for a catchy popular tune. Of course, it never saw the light of day. All the candidate can say was, "isn't that too sleazy?" But she won, without using that jingle.

Villar's jingle, combined with heavy exposure and frequency on television and radio, is more than enough to catch on. With kid vocals in that ditty, it's no surprise even Villar's electoral rival, by kinship, Baby James Aquino Yap, has innocently rooted for him.

The Baby James Act is not only naive, naughty, and innocently a welcome break. It's made funnier because Kris Aquino was there, and she was caught unguarded. Hooray for Baby James!

Never use a kid to beg, as we see in the streets, and never use them in a political campaign.

Not only are they unpredictable, but why exploit the cuteness of a kid to win votes, anyway?

"Bless the beasts, and the children, for in this world they have no voice, they have no choice."

Wishful Resurrections

2010-04-04T12:05:00.003+08:00

Now that Jesus has risen from the dead, here are some people and things I want to see skyrocketing to earthly glory.

1. DR. MARTIN BAUTISTA

He's a doctor who came back to the Philippines out of his frustration to what's been always ailing our country, our perspective of how we are. He's running for Senator. It's a farfetched notion that he can win. He is not on a campaign, he is on a crusade. But nevertheless, he's getting my vote.

2. ATE GUY

I am no Noranian, but this actress deserves another material which will revive her legacy. And I hope someone can change her acting habits, too, so that she may surprise us once more with a breakthrough film. She deserves a good, new director, and yes, a different kind of screenplay.

3. THE PEOPLE BEHIND TV5

The only way TV programming and mainstream cinema can change is to have the two leading networks face a formidable challenge. I just wish TV5 does become an alternative to the trash we've been exposed to.

4. JERROLD TAROG

He's the director of "Confessional." I believe in his talent. He's a good director, and an all-around movie craftsman. He needs solid screenplays, a refreshing tonality the way he wrote "Confessional." Cinema always needs fresh perspectives. There's no use patronizing some old school cinema folks who never evolved, and are way out of reality and styles of the times. Sorry for the pressure, Mr.Tarog.

5. BONIFACIO GLOBAL CITY

It's a mini-Singapore in the making. I just wish they plant more trees. Now it's too wide open a space, the heat is unbearable. And please, provide more parks, just like Singapore.

6. MRT INSTEAD OF SKYWAY ALONG THE SOUTH LUZON EXPRESSWAY

It's the perfect train route, because there are really designated exits along this toll road. This will lessen the buses plying this route, instead on an elevated road where only a few, the car owners are reaping the benefits of a costly construction.

7. CAMIGUIN

We've congested Boracay. This is a more interesting, safer destination, with a white sandbar, natural springs, volcanoes, and sunken cemeteries, and a whole lot more. And it's less expensive than El Nido, Palawan.

8. ARANETA CENTER

In spite of Gateway, and Cubao Ex, this commercial area lost its 70's glory. The shopping district needs to modernize. And yes, more youthful acts at the Big Dome please, rather than artists who are too old to dance, rock, and perform.

9. PASAY ROAD (ARNAIZ AVENUE)

It's too close to the modernity of Greenbelt and Ayala Center, yet, it's too unfocused and dated. But its datedness is not old glory nor stylish like Malate. Here lies cheap pension inns, Japanese restaurants, and old office buildings. It's a long strip. They should make it like a long Cubao Ex, with interesting bistros, and a walking shopping district. And yes, more boutique hotels please.

Ayala Center seems to be getting smaller everyday! I can only see Pasay Road as the possible annex. Or maybe, the Pasong Tamo strip the way they had ABG's, Lava Lounge and Sambo's before?

10. NATIONAL IDENTIFICATION CARD

Most countries have it, it's more efficient than having a separate voter ID, driver's license, social security card, and even the cedula. It will simplify all dealings we have with the government agencies, and yes, it's easier for banking identification, and other needs for an official I.D. than a corporate I.D. which anyone can invent or print from the computer anyway.

The intent was good, we just didn't trust its proponents.

Let's go for our own resurrections and conquer stagnation with innovative visions. Happy Easter everyone!

Are You Ready To Know What They Did Last Summer?

2010-04-03T10:48:00.003+08:00

The rising temperatures of summer transform people as they are caught in unbearable discomfort.

In Ulrich Seidl's "Dog Days," sex is done with wild abandon and graphic freedom, but eerie in its coldness. It's a very disturbing solstice with a different take on contemporary suburban relationships.

It's "I Know What You Did Last Summer," for the cerebral viewer. This is where human heat, bodily, psychologically, and mentally, make people do acts civilized men shouldn't be doing.

And the sexual and violent "orgies" assault us in deadpan fashion, and in a non-slasher film, non-Tarantino bloodbath manner.

A series of characters parade the screen, in different degrees of emotional and physical abuse.

The overly jealous boyfriend of a young woman screams and shouts at her, and dumps her, after as series of copulations in his car. This is in contrast to an estranged couple still living in one house, without speaking to each other.

An old man, who misses his wife, makes his housemaid pretend to be like her so he can celebrate what could have been their 50th wedding anniversary. It's the only sweet note in the film, but is violently followed by another couple's sick ways.The old man, however, ends on a dark note, suffering from the loss of his dog, possibly poisoned by an unidentified neighbor.

A long-haired middle aged man forces his woman to sing "La Cucaracha" in front of his drinking mate, pours wine over her hair, and washes it off as she pushes her head in the toilet bowl while he flushes it. She ends up bruised and beaten, and the drinking buddy comes back, apologizes, instantly professes her love for the victim, and even offers his assassin service to kill the woman's lover.

In between this successive tableau of tandems, a persistent character appears, always hitchhiking, annoying her host drivers, with her top 10 trivia on anything, as she makes fun of their appearances, and keeps on playing a song on her tape.

At first, you think the hitch hiker is the only woman in this film that is not the abused, but the one who abuses the kindness of others. But the abused ones will be given their final turn to get even with her.

The propensity to do dastardly acts during summer's hottest peak make "Dog Days" present the modern world inherently keeping the Dark Ages' barbaric ways, in uncomfortably loveless characterizations, and coldly visual presentation.

For high noons and intense sunlight, as a photographer, amateur or professional, will know, is not the ideal color palette for a good image. The movie does the same cinematography, adding heat to an already hot material. And yes, it enhances ugliness, and a degree of flatness, to an already ugly society.

The possibility of suburban violence, not as gangs in ghettos, but as summer sun-worshipping couples who aren't marginalized at all, privileged to own homes, but have strange perspectives on how to own or keep humans under their watch. It's the resulting decadence of modernity and progress, and eerily, quashing notions of the whatever warmth might be left inside human hearts.

Alas, it rains, towards the end of the film. Comeuppances have happened between the abused and the one who abuses. Others remain in their maltreated state, and accept their fates even if the coming of rains may end this hotter than hell season.

"Dog Days" (2001), is a summer orgy in North Polarizing frozen style with a frostbite-like numbing effect.

It's Austria's "Un-Pleasantville" without the striking welcome color that gives life to an otherwise lifeless community. And it's definitely, very strictly for very mature audiences only.