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Tit For Tat Local Film Awards 2013   6 comments

May used to be the awards season here in the Philippines, but that tradition has been long since gone. But not for me. This is when I reveal my top picks for the best in Philippine cinema. 2013 is a very difficult one, not because there are only few films to choose from, but because of the many selections the year gave us. Granted I still missed some few films here and there, I’ll share to you my picks in 20 different categories (including my three top choices per film component.) And without further ado, here’s my 2013 Tit for Tat Local Film Awards:

first feature

GOLD: BLUE BUSTAMANTE (Miko Livelo)
SILVER: TRANSIT (Hannah Espia)
BRONZE: PUROK 7 (Carlo Obispo)

ensemble

GOLD: the cast of Iskalawags
SILVER: the cast of Norte
BRONZE: the cast of Transit

visual effects

GOLD: KUNG FU DIVAS
SILVER: DEBOSYON
BRONZE: PAGPAG

sound

GOLD: RIDDLES OF MY HOMECOMING (Arnel Barbarona)
SILVER: ON THE JOB (Corrine de San Jose, Mikko Quizon)
BRONZE: NORTE (Corrine de San Jose)

song

GOLD: INDAK (Sana Dati)
SILVER: SCARED TO DEATH (Tuhog)
BRONZE: SEA OF TREES (Shift)

score

GOLD: DEBOSYON (Teresa Barrozo)
SILVER: SANA DATI (Jerrold Tarog)
BRONZE: RIDDLES OF MY HOMECOMING (Gauss Obenza)

hair and make up

GOLD: Quick Change
SILVER: Kung Fu Divas
BRONZE: Boy Golden

editing

GOLD: ON THE JOB (Jay Halili)
SILVER: BADIL (Carlo Francisco Manatad)
BRONZE: TRANSIT (Hannah Espia, Benjamin Tolentino)

costume design

GOLD: Boy Golden
SILVER: Kung Fu Divas
BRONZE: Ekstra

cinematography

GOLD: NORTE (Lauro Rene Manda)
SILVER: ON THE JOB (Ricardo Buhay III)
BRONZE: DEBOSYON (Dexter dela Pena)

art direction

GOLD: ON THE JOB (Richard Somes)
SILVER: BLUE BUSTAMANTE (Marielle Hizon)
BRONZE: PAGPAG (Luis Custodio IV)

breakthrough actor

GOLD: MIMI JUAREZA, Quick Change
SILVER: JUNJUN QUINTANA, Philippino Story
BRONZE: VINCE TANADA, Otso

breakthrough actress

GOLD: KRYSTLE VALENTINO, Purok 7
SILVER: JASMINE CURTIS, Transit
BRONZE: YENG CONSTANTINO, Shift

screenplay

GOLD: NORTE (Lav Diaz, Rody Vera)
SILVER: SANA DATI (Jerrold Tarog)
BRONZE: BABAGWA (Jason Paul Laxamana)

supporting actress

GOLD: ANGELI BAYANI, Norte
SILVER: BING PIMENTEL, Kabisera
BRONZE: IRMA ADLAWAN, Transit

supporting actor

GOLD: DICK ISRAEL, Badil
SILVER: JOEY MARQUEZ, On the Job
BRONZE: JOEY PARAS, Babagwa

lead actress

GOLD: KRYSTLE VALENTINO, Purok 7
SILVER: LOVI POE, Sana Dati
BRONZE: VILMA SANTOS, Ekstra

lead actor

GOLD: SID LUCERO, Norte
SILVER: JHONG HILARIO, Badil
BRONZE: JOEL TORRE, Kabisera

directing

GOLD: LAV DIAZ, Norte
SILVER: CHITO RONO, Badil
BRONZE: ERIK MATTI, On the Job

picture

GOLD: Norte, Hangganan ng Kasaysayan
SILVER: Badil
BRONZE: Sana Dati

Whew, there you have it! 🙂 As a recap, here’s the complete list of my 2013 winners:

BEST PICTURE: Norte, Hangganan ng Kasaysayan
BEST DIRECTOR: Lav Diaz, Norte Hangganan ng Kasaysayan
BEST ACTOR: Sid Lucero, Norte Hangganan ng Kasaysayan
BEST ACTRESS: Krystle Valentino, Purok 7
BEST SUPPORTING ACTOR: Dick Israel, Badil
BEST SUPPORTING ACTRESS: Angeli Bayani, Norte Hangganan ng Kasaysayan
BEST SCREENPLAY: Lav Diaz, Rody Vera, Norte Hangganan ng Kasaysayan
BEST BREAKTHROUGH ACTOR: Mimi Juareza, Quick Change
BEST BREAKTHROUGH ACTRESS: Krystle Valentino, Purok 7
BEST ART DIRECTION: Richard Somes, On the Job
BEST CINEMATOGRAPHY: Lauro Rene Manda, Norte, Hangganan ng Kasaysayan
BEST COSTUME DESIGN: Boy Golden
BEST EDITING: Jay Halili, On the Job
BEST HAIR AND MAKE UP: Quick Change
BEST ORIGINAL SCORE: Teresa Barrozo, Debosyon
BEST SONG: “Indak” from Sana Dati
BEST SOUND: Arnel Barbarona, Riddles of my Homecoming
BEST VISUAL EFFECTS: Kung Fu Divas
BEST ENSEMBLE: the cast of Iskalawags
BEST FIRST FEATURE:Blue Bustamante” by Miko Livelo

Until next year! 🙂

Also, you can follow me on Twitter: @nikowl

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Top Local Movies of 2013   3 comments

Last year, I opened my list by saying that 2012 was an enjoyable year in local cinema. Turns out, I was speaking way too soon because 2013 turned out to be an even better one. To say it is great is probably a hyperbole, but at the same time, I say it with much conviction (and even an understatement). The medium of cinema has never been more exciting and adventurous in the past few years than what the 2013 batch has offered. That goes without saying that it didn’t have its share of misfires and mess, but then again, this year is too strong to focus on that. Three titles you wouldn’t see on the list, however, are Lav Diaz’ Norte, Hangganan ng Kasaysayan, Alvin Yapan’s Mga Anino ng Kahapon, and Sigrid Andrea Bernardo’s Ang Huling Chacha ni Anita, because I was foolish enough to miss them during their run. With that said, here are my 15 picks for the best in 2013 local cinema:

15. Tuhog

15. TUHOG (Veronica Velasco)

Maindie is one of those terms that sounded so forced you don’t want to hear it ever again, but this Veronica Velasco film of three intertwined stories connected by an unfortunate incident gives it a free pass to be used just this time. Each of the three sub-stories provided interesting characters and back stories that any of them could have been further fleshed out to a whole film. But then again, maybe that’s one of the film’s asset? The movie also boasts of a fitting soundtrack to its story, and the end result is one of 2013’s most fresh mainstream or in this case, maindie, offerings.

14 Otso

14. OTSO (Elwood Perez)

Otso is director Elwood Perez’ first film in ten years, and in this case, it is really worth the wait. I think that doesn’t apply on waiting for Elwood’s comeback only, but for the film as well. Otso started in scenes that were still in multicolor, but it just sets up for an even better film once it turns black and white. I don’t think I’ve necessarily picked up everything that the film wants to show, but it’s part of its appeal. It lures you to its world where the crazy and the wicked happens, and you’re simply hooked.

13. Babagwa

13. BABAGWA (Jason Paul Laxamana)

One of the two Audience choice winners at last year’s Cinemalaya, it’s easy to see why a lot fell in love with this film. Its humor is one that appeals to everyone. But digging deeper, I think it speaks a lot to the curious and inquisitive nature of ourselves. In here, we see two people fleshing out two different personas of each, and we, as the audience, are the witness to all of it. It’s such an engaging scenario that by the time the slow reveal at the end happens, you probably have an idea of what’s about to happen yet you still want to see it happen. It also boasts of an inspired screenplay and one that speaks of the current times.

12. Boy Golden

12. BOY GOLDEN SHOOT TO KILL: The Arturo Porcuna Story (Chito Rono)

I’ve been quite dismissive of this MMFF entry just because it’s Jorge Estregan with a leading lady almost half his age yet again, but I guess surprises do come when you least expect it. Not only does this film serve as a perfect throwback to the yesteryears of enjoyable action flicks, we’re also served with its topnotch technical achievements. The twists and turns of thew characters here, plus that out of nowhere scenes that provided the camp makes it a good reminder that every now and then, never judge a movie by its horribly made poster.

11. Kabisera

11. KABISERA (Alfonso Torre III)

Yes I’m not here for that Breaking Bad comparisons simply because they are two different films that happened to have some similarities. it happens, but I don’t see any “copying” between these two. In Borgy Torre’s directorial debut, Kabisera shows us how one family man’s dreams happen and its good and bad repercussions not only to him but to the people around him. Anchored with a commanding performance by Joel Torre (one of his two this year) and a really great supporting ensemble, Kabisera is really thrilling as it can get.

10. Quick Change

10. QUICK CHANGE (Eduardo Roy Jr.)

Eduardo Roy Jr.’s follow up has a dark humorous tone in it that is simply irresistible. Just like how the characters in the film get totally pumped over having those “shots” that lead character Dorina provides to them, we are really drawn and addicted to what happens. It gives us a peak into this world which not many of us are particularly adept about, and it does a great job in doing so. That of course, and lead actor Mimi Juareza’s haunting turn in it.

09. Bukas Na Lang Sapagkat Gabi Na

09. BUKAS NA LANG SAPAGKAT GABI NA (Jet Leyco)

One of the common themes I noticed among the Cinema One Originals entries this year is that the films are more experimental in nature. Jet Leyco’s Bukas Na Lang Sapagkat Gabi Na provides a mysterious atmosphere that makes you more interested as the film goes on. It is weird and eerie and that’s what make it work. The film, in its own nature, has a great grasp of what it wants to show in a really inspired manner (the handheld camera effect, black and white parts, gunshot sounds), and it  makes the whole viewing more enjoyable. It’s one film I think I’ll enjoy more in repeat viewings.

08. Purok 7

08. PUROK 7 (Carlo Obispo)

A portrait of an optimistic girl living in small rural town was vividly depicted in Carlo Obispo’s debut feature Purok 7. As we follow the story of 14 year old Diana and her younger brother, we were given an escape, thanks to the eye catching scenery of the country side. But more than that, we witnessed and felt the agony of two kids who have long wanted to be a part of something and be a part of a family. The simplicity of it all is what makes this whole thing fresh, endearing, and leaves a lasting impression.

07. Transit

07. TRANSIT (Hannah Espia)

As the overall winner of last year’s Cinemalaya New Breed category, Hannah Espia’s debut effort Transit is an achievement on so many levels. Not only does its display of technical achievements noteworthy, but its storytelling was also seamlessly interwoven. It’s not everyday that we see this kind of potential on a first time full feature, but for this particular effort, Espia manages to hit the right buttons. And as a bonus, it even ended up as the country’s Oscar Foreign Language Film submission.

06. Blue Bustamante

06. BLUE BUSTAMANTE  (Miko Lovelo)

OFW movies have been done to death already during the past decade, but first time director Miko Livelo puts a new spin on it in his Cinema One Originals entry Blue Bustamante. The expected dramatic scenes were instead replaced with an earned sentimentality that just wins you over. As main protagonist George, Joem Bascon was such a delight to watch as he finds a replacement work in Japan that will not only bring in the money but an even closer bond to his son and family who are miles apart. It’s definitely one of the most fun times I had at the movies for 2013.

05. Debosyon

05. DEBOSYON (Alvin Yapan)

Hypnotizing right from the start, this tale of one’s faith and acceptance  – may it be because of love or commitment or just one’s mere existence – is one that lingers even after the credits roll.  The film, which also is aided by minimal dialogues but really magnificent visuals, takes its viewers to some breathless imagery. The movie rested solely on its two lead’s but they did more than what they were asked for. Plus, the last 20 minutes of this film is still one of the bests I’ve see for this year.

04. Iskalawags

04. ISKALAWAGS (Keith Deligero)

Like OFW films, coming of age films have been done to death now, but Keith Deligero’s refreshing approach in the Cinema One entry Iskalwags puts a more inspired approach to it. It’s not hard to fall for the film as it certainly evokes an environment that is light and not totally sentimental. It sparks a certain touch of youth and playfulness that is rarely captured this well on screen. The voice over also adds a more interesting spin, and it features an ensemble whose innocence translates in a totally natural manner.

03. On the Job

03. ON THE JOB (Erik Matti)

Probably one of the most buzzed films of the year, this picture depicts a setting of a dirty and very complex government; one which needed more than just a person who has an optimistic view to eradicate it and start anew.  It is through this core notion where these characters live and breathe, as Erik Matti gives us a more than satisfying crime action thriller that is gripping and at at the same time, really, really timely. It’s one of the rare movie experiences that makes you even sadder as you come out of the theaters because of how easy one can reflect and connect it to what’s really going on.

02. Sana Dati

02. SANA DATI (Jerrold Tarog)

The cinema has given us lots of love stories. Most of them with happy endings, while some were flat out tragedies.  In Jerrold Tarog’s closing effort to his camera trilogy, he uses the notion of whether to stay stagnant or to let go as a path to understand how love really works. In the case of Lovi Poe’s Andrea, it’s a hard task, especially when you’re ready to move on yet a reminder of the past shows up hours before you’re ready to take the jump. Sana Dati is one of the best stories about love I’ve seen in a long time. And there’s no other way to end the film that with Up Dharma Down’s Indak.

01. Badil

01. BADIL (Chito Rono)

At one point, it doesn’t even seem that this would make it at the Sineng Pambansa festival last August. But thankfully, it did. Chito Rono’s entry which focuses in a small Samar town on the eve of election day is as arresting as one can get. Like On the Job, it’s a depiction of what’s wrong in a society, but this one is less technically polished but of the same, if not even more, intensity. It’s a film that has a lot of long continuous shots, probably making the whole experience more captivating. It also has a good ensemble with a very intense Jhong Hilario leading the ship.  Badil was an entry in the All Master’s Edition of the Sineng Pambansa, and with his controlled and almost restrained direction, Rono definitely lives up to the challenge.

You can also follow me on Twitter: @nikowl

Philippines’ 86th Oscar Submission: Transit   11 comments

1001587_708370515842957_1956497868_n  Just yesterday, the Philippines announced their official pick as to what the country will submit for the Best  Foreign Language film category at the 86th Academy Awards. First time feature director Hannah Espia’s Transit, a drama about an OFW family in Israel having to deal with the current policy of deporting non-Israelian kids from the country. It is a late inclusion from an original field of nine shortlist which you can find here.

Transit is definitely one of the year’s best films, there’s no doubt about that. It is a great film and I even personally have that as one of the five best films of the year (by far). It managed to sweep last month’s Cinemalaya Film Festival ending up with ten trophies. It has great technical achievements and is an exceptional debut feature from young director Hannah Espia. I’m also glad that the FAP is responding more to female directors, as she becomes the third female director (after Marilou Diaz Abaya and Rory B. Quintos) to have a film being submitted for this. In short, it’s a great film. Period.

But quality can only take you so far.

We all know it’s just not about the quality. Arguably, one can even say that it’s more on the campaigning of the film. With 70+ contenders from films all over the world contending. an all out big campaign must be launched. After all, Transit, hasn’t been a part of the big three festivals (Cannes, Venice, Berlin) nor a participant of the other smaller festivals like Toronto, Tribeca, Sundance, or Telluride. When it comes to Oscar, those are all the only festivals that matter. And an exposure to any of that (and a film’s performance in that said participation) is the kickstarter for its buzz.

This is the type of film that benefits only in the voting process of the actual winner already, since there’s no doubt that it has a huge appeal to the demographics of Oscar voters. But before reaching that stage, it needs an aggressive campaign that will lead it to the said position, which I’m skeptical of it achieving. That is the film’s biggest hurdle. How can they handle to make everyone consider to see it and prioritize it among the dozens and dozens of films in contention.

Now last year I wrote it here, that if I will sum up Bwakaw‘s chances, I’d say its biggest and farthest road that it can travel is the top nine shortlist. After all, same time last year, it already had a Toronto screening, thus the Oscar prognosticating sites (particularly Nathaniel Rogers’ The Film Experience raving about it) keep its small buzz alive. So unless they have some tricks left up in their sleeves, then yes, I guess it’s possible. If I have to make a prediction this year, a top nine is a long shot and it will take a huge miracle of some sorts if it managed to do that.

All in all, while there’s no doubt that we submitted a great film, if we’re really in it to finally get the country a nod, then we should consider more how this policy really works. This is no beauty pageant, we don’t need a film that shows the good side of the country to represent us. If we really want to nab an Oscar nod, then they must start to learn how the tricks of the trade work. This is not a year that we must just get contented that we submitted a great film. We already did that last year with Bwakaw. This year, we have something in contention that could have done much better. Oh well, off to next year I guess.

9th Cinemalaya Film Festival Review: Part 4   4 comments

As the 9th Cinemalaya closes tonight with the awards night ceremonies, I now post the last batch of reviews for this year’s filmfest. If you have been following this blog, you’ll know that I have posted eleven reviews already. Part 1  has Gil Portes’ Liars, Mikhail Red’s Rekorder,  Carlo Obispo’s Purok 7, and Jeffrey Jeturian’s Ekstra, Part 2 has Adolf Alix’s Porno, Alvin Yapan’s Debosyon, and Leo Abaya’s Instant Mommy, while Part 3 consists of Jerrold Tarog’s Sana Dati, Christopher Ad Castillo’s The Diplomat Hotel, Joseph Israel Laban’s Nuwebe and Eduardo Roy Jr.’s Quick Change. Now I present the final piece of the puzzle with the last four movies of this year’s Cinemalaya entries:

BABAGWA
Director: Jason Paul Laxamana
Cast: Alex Medina, Alma Concepcion, Joey Paras, Kiko Matos
Competition: New Breed

An internet scammer falls in love with a wealthy old maid while trying to swindle her using a fake Facebook profile.

The whole concept of Babagwa is probably one of the more relatable ones in this year’s batch. While one does not need to do fake profiles in order to relate to the film, it tackles the unveiling of one’s identity in this time of social media obsession. Laxamana’s screenplay is one that’s fresh and inspired. During the first two parts of the story, we were introduced on how this whole bogus scam works – we see the step by step process of how they pull off this shenanigan and how they successfully pulls off money from their targets. The last act is the weakest one though; by the time it started, everyone already has a hunch of what will happen and how it will end up. But two things make up for it: first, everyone still waits for the reveal despite knowing how it will end up. Second, Laxamana’s effective build up and depiction as Paras’ narrates while it shifts back and forth to Greg (Alex Medina) to support the narration. It’s a build up that can easily hit or miss, but in this case, it definitely worked. I’ve learned that this won the Audience Choice in the New Breed category, and I’m actually not surprised at all. The way the director held up the audience at the edge of their seats without going backwards is a feat of itself. We’re also treated to mighty fine performances of Alex Medina and Joey Paras, as they are probably frontrunners for awards on Sunday night.

Rating: 3.5/5

TRANSIT
Director: Hannah Espia
Cast: Irma Adlawan, Ping Medina, Jasmine Curtis Smith, Mercedes Cabral, Marc Justine Alavarez
Competition: New Breed

The film begins and ends in an airport during a father and son’s transit flight from Tel Aviv to Manila.

One of the best things about Transit is how it connects its characters and stories seamlessly. I like the approach director Hannah Espia used in order to present to us the five characters in the movie. She clearly knows how to intricately weave all these similar and shared events from different points of view and how each and every one of them is affected by it. That same approach works perfectly well in the context of her storytelling, and it’s one that I will appreciate the most here. With that said, the movie also boasts of technical and acting achievements. The cinematography here is gorgeous, and even in small scenes like the one of Yael in the playground is very much inspired. The ensemble is also really commendable. All characters feel very natural from their speaking manners up to their interactions with each other. Irma Adlawan portrayal of a mother is one that can make you see your own mother too. Jasmine Curtis’ has these raw acting chops that were well showcased here. It’s one that surprised you with her depth. But the heart of the movie probably lies with the four year old kid, Joshua. And he exudes this innocence that will certainly leave an impression on you. By effectively combining both the emotional tug and effective presentation of the story, there’s no doubt that Hannah Espia’s debut feature is one of the year’s best films.

Rating: 4.5/5

DAVID F
Director: Emmanuel Palo
Cast: Eula Valdez, Rocky Salumbides, Daxx Martin, Shamaine Buencamino
Competition: New Breed

David F weaves three stories that look into the lineage of African-Americans in the Philippines –from American soldiers in the Fil-Am war to the “Amboys” in the former Clark Airfield.

The premise of David F somewhat reminds me of Stephen Daldry’s The Hours. While that may really be arguable, the Af-Am connection is probably the Mrs. Dalloway counterpart. On the first part, we travel back to see a David Fagel being captured by two Filipinos and is on his way to become beheaded when his Filipino partner suddenly appears to free him. The next part is during the Japanese occupation when a deaf woman carries the child of a Filipino soldier. The last one is during the present time when a comedy act performer wants to find his father who is named David Fagel and is being helped by a volunteer to trace the steps in doing so. The thing with David F. is that it seemed that the three stories are somewhat disjointed and tends up to either overwhelm or underwhelm the audience, depending on how you enjoy each segment. While there are some strong aspects in each of the three stories, the whole is not the sum of its parts here. You can see some good storytelling in each part but it wasn’t totally fleshed out to leave a mark to its viewers. With that said, the director’s attempt is appreciated and the film has believable production design especially during the two earlier parts. I was actually invested the most in the third one, but it did not leave enough room for me to cling on to the story and the whole movie just felt half baked.

Rating: 2.5/5

AMOR Y MUERTE
Director: Cesar Evangelista
Cast: Althea Vega, Markki Stroem, Ama Quiambao, Adrian Sebastian
Competition: Director’s Showcase

An erotic 16th Century period drama, the film examines the initial encounter between the indios and their colonizers and their conflicting views on love, passion, religion, and sexuality.

The trailer of the film suggests that it will be some sort of a no holds barred level of eroticism in the context of the 16th Century. On one hand, they actually did portray that, as it showed the different views of the characters in the film, and how they conflicted with thoughts on the said aspects. But the approach it did will make the viewers feel like “That’s it?” once the credits roll. Probably because it left viewers conflicting whether it’s a tongue in cheek or a serious approach. That’s how I see it. Others expecting it’s a serious film will probably remember the tongue in cheek ones while those who find it light will look for the depth of what the movie wants to offer. However, the redeeming factor of the film is its technical achievements. The music adds more interest, and some shots were memorable, albeit way too overdone. Althea Vega is really good here, capturing the conflicting character of her natural feelings with the adjustments that she has to undergo now. It is a very physical role and she showed no signs of inhibition at all. All in all, I’d say that Amor Y Muerte’s strength lies in Vega’s performance and its technical achievements than what it wants to say in its story.

Rating: 2.5/5

There you have it. Whew, finally it’s over! The awards night will happen tonight over at the CCP as they hand out the best of the best (really? LOL) from this year’s batch of films. Good luck to everybody!

You can follow me on Twitter: @nikowl

8th Cinemalaya Film Festival Review: Part 3   8 comments

Hi everyone! How’s your weekend? In case you have no idea how to spend today and tomorrow, I’ll suggest you head over at the CCP (or even Glorietta and Trinoma) to catch the movies of Cinemalaya 2012 for this year. They’re worth the admission price that you”ll pay. In line with that, this part will cover the next four movie reviews of films from this year’s edition.

As a guide, here is the first part of my review covering Mga Mumunting Lihim, Kamera Obskura, Intoy Syokoy ng Kalye Marino, and Kalayaan. The second part is this one and covers The Animals, Bwakaw, Mga Dayo, and Ang Nawawala.

OROS
Director: Paul Sta. Ana
Starring: Kristoffer King, Kristoffer Martin, Tanya Gomez
Competition: New Breed

This one gives viewers a look on the business of buying claimed bodies and holding wakes in order to gain more money via different means of gambling specifically sakla and tongits.

Oros gives a pretty accurate and specific portrayal of the topic that it covered, though I can’t help but notice that it tends to go overboard with its poverty porn treatment. For what its worth though, there’s a lot of discovery that one learns while watching the film. Ending is pretty much a give away though; thus, it lessened the actual impact that it was hoping to achieve. Kristoffer King gave a very competent leading performance, while Kristoffer Martin was a surprise as King’s younger brother. I’m not a fan of the shaky camera, but the movie is still serviceable with some commendable highlights in it.

Rating: 3 / 5

REquieme!
Director: Loy Arcenas
Starring: Shamaine Centenera Buencamino, Rez Cortez, Anthony Falcon
Competition: New Breed

REquieme tells somewhat related stories involving a funeral: the first one deals with a barangay captain (Centenera) who wants to bring home the body of a claimed distant relative who is a suspect in the killing of a famous world designer. The second one is about Joanna (Tolentino) who gives a neighbor, who served as his father figure, a deserving funeral. In between this, there’s also a story of a body that can’t seem to find its way home.

This one comes off as a surprise for me, as I certainly loved every minute of it. While the hilarious moments are indeed tummy aching, I find it more as an inspired avenue to tackle, highlight and realize Filipino characteristics especially those that involves connecting one’s name to fame. Anchored by the great Shamaine Centenera Buencamino (who’s 2 for 2 now in terms of giving memorable Cinemalaya performances after last year’s Nino), and a breakout performance by Anthony Falcon (who steals every scene he’s in), REquieme is one of those movies in this batch that definitely stood out.

Rating: 4.5 /5

SANTA NIÑA
Director: Emmanuel Palo
Starring: Coco Martin, Alessandra de Rossi, Anita Linda, Irma Adlawan
Competition: New Breed

When Paulino (Martin) discovered that the remains of his two year old daughter Marikit did not even decay a bit, this led to the questions of one’s faith and unraveling of secrets that were kept too long already.

It is difficult to tackle themes of faith in Filipino movies especially since there’s this one movie called Himala that set the bar too high for others to follow suit. However, Santa Nina does a good job in covering the said theme while adding layers of family drama and secrets of the past in the mix. The shots and technical aspects were very commendable; I specifically like the palette that they used in the movie. Coco Martin was serviceable in his job, though signs of too much television drama appear every now and then. His chemistry with Alessandra de Rossi is very natural though. Anita Linda and Irma Adlawan both have vital roles that managed to stand on their own during some parts of the movie.I felt that the movie was some minutes longer, and it could have ended on a different manner, but this one possesses good merits in it for me not to appreciate the film as a whole.

Rating: 4/ 5

POSAS
Director: Lawrence Fajardo
Starring: Nico Antonio, Art Acuña, Bangs Garcia, Jake Macapagal
Competition: New Breed

A day in the life of a thief as we get to see a blow by blow account of what happens once he gets under the fingers of police authority.

I feel this one has a been-there-done-that feeling, as the first film that comes to mind was Brillante Mendoza’s Kinatay. Both movies follow one momentous day in the life of the main character when he gets under a circumstance that he doesn’t want to be into, and he faces the consequences of the said situation. Having said that, this one (like Oros) gives a specific and detailed portrayal of the topic that it wants to cover. The saving grace of the film was Acuña’s terrific acting as the head police officer, and John Lapuz’s storyline as another victim, but it lacks the impact that will make the movie memorable enough once the credits roll.

Rating: 2.5 / 5

12 down, 3 more left. Last batch contains the last three movies left in the festival (Aparisyon, Diablo, and Ang Katiwala). Also, don’t forget to follow me on Twitter: @nikowl