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Sinag Maynila 2016   Leave a comment

Sinag

So yesterday I did a marathon of all Sinag Maynila entries. Sinag Maynila is a project close to me since I worked on it in its initial year up until the announcement/selection for this batch (before I left my previous work). I was really interested with the movies this year particularly because I already have a clue with these entries, so to see them translated in the big screen is what made me excited. Anyway, here are short thoughts on the 2016 batch.

  1. TPO (Joselito Altarejos)
    Probably the best in this bunch, Altarejos managed to capture in less than 80 minutes the pain, the process, the aftermath of domestic violence and how this goes beyond the victim and the abuser. Characters weren’t one-dimensional and the use of long shots made the situation linger. If anything, TPO shows how people cope up with this illness and how it’s reflective of our society.

    4/5

  2. Expressway (Ato Bautista)
    Everything in Expressway is flamboyant from its full opening credits to its choreographer stunts. One can make a case that it has a tendency to go style over substance for a paper thin story that’s predictable and excessive, but it was a joyride to see Alvin Anson and Aljur Abrenica navigate through it – the former to get a leading role like this, the latter to totally embrace the batshit character he’s portraying (even if in some scenes, he went full retard). Oh, and for some reason, setting the film during Christmas season somehow added to its appeal.

    3/5

  1. MRS. (Adolf Alix)
    MRS. is a character study for its lead Virignia (what a comeback for the always dependable Elizabeth Oropesa) as she deals with everything happening around her – her older sister wanting to sell the lot of her house, her loyal house helper who’s getting married, her daughter who has joined a cult, her missing child. She’s living in a house situated on a fault line thus her house has cracks and looks old which probably signifies where she is in her life right now. The film contains really powerful moments, and I acknowledge the intent more than I appreciate it. That said, Alix continues to bring out the best in his actors.

    2.5/5

  2. Dyamper (Mes de Guzman)
    What’s exciting about Dyamper is director Mes de Guzman’s humor obviously present in it. When following about the lives of these so-called “dyampers”, the movie is at its peak. The back story of Alchris Galura’s character however, while not cringe-worthy and him totally selling it, felt a bit disjointed than the “dyamper” storyline. It’s not actually bad, but I think there’s a lack of smooth transition between these two parts that’s a tad jarring.

    2.5/5

  3. Lila (Gino M. Santos)
    Philbert Dy summed it best when he said that “Lila feels like a script that Regal rejected.” For what it’s worth, the film was stylishly done and everyone involved seemed so committed with it. That said, not only is the lead character one of the more clueless leads in recent horror film memory, but probably one of the slowest readers… ever? Like if I discovered someone’s thin diary, you bet on it I’m done with it by the second hour, notes and all. Heh.

    1/5

Since the Gabi ng Parangal happens tonight, I’ll offer my personal choices on this batch’s winners. Picture and Directing obviously goes to TPO and Joselito Altarejos. Actor I give to Aljur Abrenica (give or take his really over the top scenes, but playing that annoying young character seems right up his alley). Actress is obviously Elizabeth Oropesa (no contest!). Screenplay and Editing go to TPO, Cinematography is Dyamper, Production Design is MRS, and Score goes to Expressway. Lila probably gets best outfits for Enchong Dee.

Sinag

While we’re at it, I still invite you to watch all five films from this year’s Sinag Maynila. And (heh), avail the Sinag Maynila ePLUS Festival Kit Card because trust me, it’ll save you a lot of money (I think a movie is at Php280 each if I’m not mistaken). Until next year! #SinagMaynila2016

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10th Cinemalaya Film Festival Review: Part 3   5 comments

It’s only Wednesday, but I still haven’t caught much sleep from the continuous back and forth travels to CCP since Saturday for the 10th Cinemalaya Indepedent Film Festival. After sharing to you my thoughts on Real Florido’s “1st Ko si 3rd“, Giancarlo Abrahan’s “Dagitab“, and Milo Sogueco’s “Mariquina” which you can see here and the one covering Francis Pasion’s “Bwaya“, Gino M. Santos’ “#Y“, and GB Sampedro’s “S6parados” which you can read here, it’s time to add three more films on the list: one New Breed and two Directors Showcase entries.

K'Na

K’NA THE DREAMWEAVER
Director: Ida Anita del Mundo
Cast: Mara Lopez, RK Bagatsing, Alex Medina, Erlinda Villalobos, Bembol Roco, Nonie Buencamino
Competition: New Breed

Young T’boli woman K’Na (Mara Lopez) was poised to be the answer to the warring clans of her village by being anointed to “weave” the patches between the two camps. In the process, she must sacrifice her true love to be the heroine of her people.

I guess it is best to begin my thoughts by praising how the entire cast learned T’boli language and how the whole film used such. It is very refreshing to the ears to hear a whole complete film spoken in T’boli which further exemplifies the rich culture that our country has. The movie’s also really pretty to look at giving this epic scope like feels even if there were a few goofs in it (most notably, there’s a scene where they’re supposed to be rowing in the middle of the waters and the two boaters keep on paddling but it’s obvious that they’re just on the same place). Upon thinking, the “dreamweaver” tag connected to K’na is both literal and figurative. Weaving is a part of the T’boli culture, but then the weaving can also mean of the ending of the village clan wars. If anything, I wish they’d focused more on the T’boli culture rather than the romance. There’s nothing wrong per se about the tale of romance featured in the movie, but it would have ended up with a different effect had it tried to do other instead. I really commend how Mara Lopez continues to choose projects that fits her like a glove. She certainly has this innocent yet mysterious presence that is arresting, and that suits her strengths. I guess  K’Na sits right in the middle of the fest for me. It’s definitely not a clunker nor it’s one of the real breakouts of this season. That said, I’m eager to see what Ida Anita del Mundo does after this.

2.5/5

Kasal

KASAL
Director: Joselito Altarejos
Cast: Arnold Reyes, Oliver Aquino, Rita Avila, Ruby Ruiz, Maureen Mauricio
Competition: Directors Showcase

Director Paolo (Oliver Aquino) and lawyer Sherwin (Arnold Cruz) play a gay couple whose already cracked relationship was put to the test once again when they attended Sherwin’s sister’s wedding in Batangas. In here, they were reminded of the reality of where gay people place in our ever so conservative society.

When you think about it, Kasal‘s premise lives in the harsher reality that a wedding, of all possible events, will further test the relationship of a gay couple when they’re deprived of such in their own country. Where the film completely succeeds is its sincerity in depicting such. I could have lived without the unnecessary additional statements (that of indies and commercial filmmaking as for starters), but when the film shifts back its focus to its main message, it delivers. I’ve noticed that director Joselito Altarejos tends to prolong most of his scenes , and while most parts of it worked and lingered (the initial romance scene, the whole wedding preparations), there were others that didn’t (the initial scene, the stopover fight). A material like this one needs actors who are willing to show off themselves, and I’m not solely referring to the physical demands of the roles. Arnold Reyes is a topnotch here. His role as the closeted of the two as he was put into a really uncomfortable position during their whole visit to his family is just remarkable. I’m quite bothered by Oliver Aquino’s line delivery since it seems like he struggles with this long take approach and couldn’t keep his momentum during their confrontations, but I’d give him props since they share some real passionate chemistry and you could at least see him trying. While Kasal is far from perfect, there is a level of honesty it earns with its attempt, and that’s enough to recognize the overall effort.

3/5

Asintado

ASINTADO
Director: Luisito Ignacio
Cast: Aiko Melendez, Jake Vargas, Miggs Cuaderno, Gabby Eigenmann, Rochelle Pangilinan
Competition: Directors Showcase

In the middle of the preparation for the annual Taong Putik Festival, young lad Tonio (Jake Vargas), considered as literally the brightest kid in their place, was offered to be an unintentional drug courier of the village chairman Carias (Gabby Eigenmann). When one of his deliveries went awry, his mother Julia (Aiko Melendez) steps up to fix things right.

Remember when I told you about Mariquina being a rare case of a good melodrama? Now I guess it’s time to show you what a bad melodrama is. In Louie Ignacio’s first film since 2005’s Lovestruck, his foray into the indie film making is really spotty to say the least. Asintado seems like a late entry from Ignacio to join the poverty porn bordering on social commentary bandwagon that has already gotten old many years ago. Much of it feels contrived and tries way too hard to be taken seriously whether it’s the darker complexion of the characters, their appear one time slash disappear another accents, the situations of the characters up to the pivotal resolution part. There’s also a disconnect between the intended reaction of the people involved from the actual reaction of the people watching. Punchlines fell flat and those obvious attempts at comedic effect failed while serious breakdown moments elicited loud laughter from the crowd. Maybe it’s because of the film’s sudden tonal shifts that really doesn’t sync. It’s really hard to sympathize with Tonio too since he’s one disaster after the other. Is the character even worth redeeming for? I don’t think so. The only good thing worth mentioning here is that Miggs Cuaderno continues to deliver fine work regardless of the material. Last year, he was in two of the better films of the festival (Purok 7 and Quick Change). This year, the first I’ve seen of his works is a bad one, but he manages to rise out of it (I mean he’s better than the whole cast of s6parados combined). Asintado just feels outdated and the problem is I can’t even pinpoint a “time” when this stuff actually fits.

1.5/5

Nine down, six more to go. I understand that it’s taking me quite some time to finish this because I’ve also been watching a lot from the Retrospective showings and most of those are one time screenings. But the next batch will have four films in it on Friday morning. 🙂

You can follow me on Twitter: @nikowl

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

9th Cinemalaya Film Festival Review: Part 2   9 comments

Hi everyone! The 9th Cinemalaya Film Festival is still on going so in case you still want to watch this year’s entries, you can do yourself a favor by going to CCP, Greenbelt 3, Trinoma, or Alabang Town Center. So far, there’s some really good stuff from what I have seen. Anyway, I will now share with you the second batch of my reviews. Yesterday, I already tackled Gil Portes’ Liars, Mikhail Red’s Rekorder, Carlo Obispo’s Purok 7, and Jeffrey Jeturian’s Ekstra which you can access here. Now I’ll add three more reviews in the list:

PORNO
Director:Adolf Alix
Cast: Angel Aquino, Carlo Aquino, Yul Servo, Rosanna Roces
Competition: Director’s Showcase

An assassin, a porn dubber, and a transgender. Three souls, on explicit illusion: to find the ultimate joy in their lives. A safe haven, where passion and love means enlightenment and the soul is the ultimate arbiter of the truth.

Coming off from Kalayaan from last year’s Cinemalaya, it’s somewhat of a hard task to see what Porno will bring to the table. The trailer doesn’t give a clue on what this is about, though the title does give one. There’s actually a lot to like about Porno. For one, Alix’s style has continues to evolve over the years, and this one is yet a new addition on the list. Then you also have the riveting performances of the cast with everyone delivering an array of performances from Angel Aquino’s physically transformed role, up to Carlo Aquino’s bold one and the sensual chemistry of Yul Servo and Rosanna Roces. Alix’s production design is also a stand out here, particularly the one in the earlier motel scenes. The heart shaped mirror with the shining curtains and the blue lights set the mood in the beginning of the film. I like how it’s contemplative that the porn in the film goes far deeper than the erotica of the human body, especially in Angel Aquino’s storyline, but this is probably a case of me acknowledging the film’s merits than loving it.

Rating: 3.5/5

INSTANT MOMMY
Director: Leo Abaya
Cast: Eugene Domingo, Yuki Matsuzaki, Luis Alandy, Rico J. Puno
Competition: New Breed

In order to solve a personal predicament, Bechayda (Eugene Domingo), a wardrobe assistant in TV commercials pretends to be pregnant.

Instant Mommy has a really good story in it. Bechayda’s predicament when she pretended to be pregnant was a highlight in this film. However, in order to get to the good story, you’d have to go through weaker ones first. That’s what pulls the film from achieving what it actually intends to do. It suffers from a lot of tonal inconsistencies and you’d get confused with where they want to bring the story. While there are certainly humorous scenes in the film (with the birth giving scene a top highlight), the uneven writing makes it difficult to identify where the film wants to stick. At times, it’s a glimpse of what happens in advertising agency, then it shifts to Bechay’s problem, then it shifts to loyalty issues between her and her Japanese boyfriend. I’m also probably nitpicking here, but there are very visible goofs within the film (with the taxi direction standing out a lot). If anything, watch out for Eugene Domingo who gives a very humanizing performance here that perfectly balances comedy and drama, but even she can’t save this one.

Rating: 2/5

DEBOSYON
Director: Alvin Yapan
Cast: Paulo Avelino, Mara Lopez, Ramona Raneses, Roy Dominguiano
Competition: New Breed

Mando (Paulo Avelino), a Bikolano devotee of Ina, Virgie ng Penafrancia, injures himself in the middle of the forest. A mysterious woman, Saleng (Mara Lopez), found and nursed him back to death. They soon fell in love. But when Mando invites her to come with her to the plains, Saleng refuses. She holds a secret that will devastate Mando’s love for her.

If there’s one word that I’d describe the film, it’s hypnotizing. I like how straight forward the film is: we just follow the film and watch Mando at the beginning with what he’s doing, until he meets Saleng and how he was smitten by her, and what the implications of this to both him and her were. The movie rests solely on the shoulders of Paulo Avelino and Mara Lopez, but they sure did one hell of a job in doing so. So far, Avelino is 2/2 when it comes to his performances from Yapan’s direction, and I’m looking forward to more collaborations. Mara Lopez is an inspired casting choice as she was perfectly suited for Saleng’s character. The movie also boasts of really impressive technical achievements with the captivating cinematography and visual effects. I always have a penchant for directors who include big crowd scenes (such as the Nazareno feast in Brillante Mendoza’s Tirador), and Alvin Yapan does the same feat here in the near end with the Ina, Virgie ng Penafrancia. Supported by the haunting musical score of Teresa Barrozo, the juxtaposition of the feast and the final scene is one that speaks volumes about the faith and acceptance we have of a certain thing – may it be love or commitment or just one’s mere existence. It’s definitely one of the best so far from this year’s batch.

Rating: 4.5/5

There you have it! I am to release the third batch on Friday. And as always, you can follow me on Twitter: @nikowl

2012: The Year in Lead Actresses   7 comments

2012 lead actresses

Hey there everyone! And Happy New Year once again from Tit for Tat! 😀

There’s no better way to kick off 2013 with a blog post that covers a topic awards prognosticators love the most: BEST ACTRESS. The past few days, I have been covering acting performances in local cinema, and we’ve already tackled supporting actressessupporting actors and lead actors. To complete the list, here’s my coverage of lead actress.

LEADERS OF THE PACK

There’s no better person more fitting to begin this coverage with the one and only Superstar herself Nora Aunor. After years of absence in local filmmaking scene, she is back with Brillante Mendoza’s Thy Womb as midwife Shaleha who wants to grant her husband’s wish of having a child. Aside from La Aunor, Gina Alajar‘s role as the matriarch in Adolf Alix’s Mater Dolorosa gives her a huge possibility to have an awards comeback as well. A pair of Kapamilya actresses can find themselves contending at different award giving bodies: Angel Locsin will definitely be nominated either for her role as the sultry Princess in Unofficially Yours though my bet is she’ll get nods  for her role as a mother who will do anything for her son in the MMFF entry One More Try. Bea Alonzo‘s most mature performance to date as the title role in Olivia Lamasan’s The Mistress can reap some nods as well. As for the fifth spot, a consecutive visit at award giving bodies is plausible for veteran actress Shamaine Buencamino, this time, for her comedic turn in Loy Arcenas’s Requieme.

MIDDLE TIER

Aside from the five names above, other noteworthy lead actress performances the past year were from Jodi Sta. Maria as the newest member of Adoracion Convent in Aparisyon, Pokwang as another mother who sacrificied as an OFW in the US in A Mother’s Story, and French actress Isabelle Huppert having the most vital role in Brillante Mendoza’s Berlin entry Captive. Vilma Santos can get in based on name status alone for her movie last year, The Healing, while Lauren Young as the psycho best friend of Maxene Magalona in Catnip can break through the awards circuit too. Other performances that gained buzz this year were Cinemalaya Best Actress winner Ama Quiambao in Diablo, Erich Gonzales who is in search of her sister in Manila in Mariposa sa Hawla ng Gabi, Veronica Santiago who plays the charming  title role in Pascalina, LJ Reyes who resorted to being the town prostitute in Intoy Syokoy ng Kalye Marino, and Judy Ann Santos as the owner of the diary in Mga Mumunting Lihim.

THE REST OF THE RACE

As for the rest of the race, there’s also Anne Curtis, not as the other woman, in A Secret Affair, the pair of Fe GingGing Hyde and Glorypearl Dy trying to escape in Ang Paglalakbay ng Mga Bituin ng Gabing Madilim, Mylene Dizon as the other nun in Aparisyon, and Cinema One Originals Best Actress Mara Lopez in Palitan. There’s also the performances of Erich Gonzales as the unang aswang in Corazon: Ang Unang Aswang, Angelica Panganiban as the naive Majoy in Every Breath U Take,  and real life sisters Assunta and Alessandra de Rossi in Baybayin. Lastly, Angel Aquino can also see herself nominated either for her performance as the torn mother in Amorosa: The Revenge or as the reporter who everybody thought was dead in Biktima.

That’s it. Who are your bets this year? Are you excited for the coming award giving bodies? I sure am! 🙂

As always, you can follow me on Twitter: @nikowl

Cinema One Originals Film Festival 2012 Review: Part 3   3 comments

Hey everyone! Cinema One Originals 2012 officially ended yesterday, so this is pretty much a late post, but what the heck. Sadly, I wasn’t able to watch all movies in competition (I missed Aberya, Anak Araw, and Baybayin and not because I watched films in alphabetical order), but ten out of thirteen is still a good record I guess. Anyway, in case you haven’t seen, here’s Part 1 that includes reviews of Mamay Umeng, Mater Dolorosa, Slumber Party, and EDSA XXX. And here is Part 2 which covers Ang Paglalakbay ng Mga Bituin sa Gabing Madilim, Pascalina, and Catnip. 

Here’s the third and last part:

Melodrama Negra

MELODRAMA NEGRA
Director: Maribel Legarda
Starring: Gee Canlas, Bong Cabrera, Jerald Napoles
Competition: Cinema One Currents

The film has multiple story lines going on. There’s these three recently dead people whose souls are wandering around Manila. Then there’s also a group of three friends, a pair of sisters and a shy man, and a congressman, his conniving son, and his driver. All of them waiting for something before they can move on with their lives.

If anything, the film is loyal to its title. It really tends to go melodramatic every now and then especially during the stories that involved the three wandering souls. But what’s captivating about it is that I bought every minute of it. The movie was over the top, but it was the intention all along, so it definitely served its purpose. Usually, when you hear the comment “iiyak ka, then matatawa ka then maiiyak ka“, it’s easy to dismiss that film since that means it is uneven at best, but not here. It works in the context of the movie.

In true Layeta Bucoy writing fashion, there’s a lot of tagos worthy lines here. I also like the way she made the characters interact with each other. Gee Canlas started pretty annoying at first, but she totally had me with her Sharon Cuneta references. The whole ensemble was serviceable, though my favorite was the whole segment of Arnel Ignacio scene-stealing turn. It was short, but it was really effective. I totally did get why this got the Audience Choice, and I don’t think I’d argue with that decision.

Grade: 3.5/5

Palitan

PALITAN
Director: Ato Bautista
Starring: Alex Medina, Mara Lopez, Mon Confiado
Competition: Cinema One Currents

A young couple (Alex Medina, Mara Lopez) settles in the poverty stricken Quiapo, but with the husband deep in debts to his employer (Mon Confiado), he gave him a life changing offer.

Known primarily as a homage to the original erotic classic Scorpio Nights, this movie has pretty much big shoes to fill, but to no avail, wasn’t able to give it a proper tribute. There’s too much sex going on, however; too less emotions that the viewers are feeling for the characters. There were also a lot of contrived scenes just to give it a more sexual approach, and the ending was predictable. It is also worthy to mention that the first sex scene between Mara Lopez and Mon Confiado took forever to be over one has to wonder if the target audience was men suffering from erectile dysfunction. The casting was good though; Mon Confiado really gives this creepy boss vibe well, Alex Medina has this raw enthusiasm that is transparent in all of his scenes, and Mara Lopez passes the innocent woman from the province role she had. All in all, it was too inconsistent to effectively work, though there there were some bright spots in it.

Grade: 2.5/5

Mariposa

MARIPOSA SA HAWLA NG GABI
Director: Richard Somes
Starring: Erich Gonzales, Alfred Vargas, Mark Gil, Joel Torre
Competition: Cinema One Plus

Innocent young lady Maya (Erich Gonzales) travels to Manila in order to find her long seen sister. The moment she sets her foot there, her long journey will lead her to endless horrifying discoveries.

The good things: The production design was top notch, probably my favorite of the year. It was lively, colorful, and sets the mood of this world that Maya entered. Mark Gil and to an extent, Joel Torre, were the clear standouts. Mark was flamboyant and over the top, and he was so into it that such commitment is fun to watch on screen. Torre was also committed, though not given the same chance as Gil.

The bad ones: Given that this runs a two hour mark, I won’t be surprised if people lost interest halfway. There’s nothing solid to hold on to in terms of the characters. Yes it was packed, but I would have been fine with more minutes if it can open the characters a lot more to its viewers. Nevertheless, it was visually stunning, but there’s more than meets the eye.

Grade: 2.5/5