| Start: | Nov 21, '06 7:00p |
| Location: | Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman |
Saturday, November 18, 2006
HAMLET REDUX (Filipino Preview)
PINIKPIKAN
| Start: | Nov 25, '06 9:30p |
| Location: | 70s Bistro Anonas Street, Project 3 Quezon City |
Sunday, November 12, 2006
twas the night before... (leaflens.blog-city.com)
http://leaflens.blog-city.com/twas_the_night_before.htm
here's the womyn's night sa 70s bistro last october.
usaping puki ni angeli
ccp's tanghalang pilipino's angeli bayani did her own hilarious rendition of a combination of the VAGINA MONOLOGUES pieces translation in filipino. if i'm not mistaken, i think one was about the woman's monologue of discovering how her vagina looks like (and truly admiring it), and definitely the other one was an excerpt from my favorite piece, the C.U.N.T. monologue (of which i can never forget a great rendition by monique wilson) spoken in filipino. she was just so darn funny!
here's the womyn's night sa 70s bistro last october.
usaping puki ni angeli
ccp's tanghalang pilipino's angeli bayani did her own hilarious rendition of a combination of the VAGINA MONOLOGUES pieces translation in filipino. if i'm not mistaken, i think one was about the woman's monologue of discovering how her vagina looks like (and truly admiring it), and definitely the other one was an excerpt from my favorite piece, the C.U.N.T. monologue (of which i can never forget a great rendition by monique wilson) spoken in filipino. she was just so darn funny!
p. manalo was here - The Last Day of Cinemalaya
http://paolomanalo.livejournal.com/225250.html
Today is the last day of the 2006 Cinemalaya Philippine Independent Film Festival and tonight is the awarding ceremonies. I've seen most of the full length entries in competition and all of the short film entries.
I'm biased because I watch a lot of plays from Tanghalang Pilipino. So Nick Joseph Olanka's Ang Huling Araw ng Linggo, seven characters with their interconnected stories forming a one-week narrative, is my favorite. I'm happy to see Angeli Bayani (Noli the Musical's Maria Clara and R'meo Luvs Dew-lhiett's Mrs. Capuleto), Arnold Reyes (Noli the Musical's Crisostomo Ibarra and Zsazsa Zatrunnah's Dodong, Payb-Siks' Dax), Rolando Inocencio (R'meo Luvs Dew-lhiett's Mr. Capuleto) and Chunchie Cabasaan (R'meo Luvs Dew-lhiett's scene-stealing extra) on the big screen. Don't even ask me for a critical review. I'll leave that to Gibbs Cadiz.
Sure interconnection's been done before, and done poorly. But in Huling Araw I like the reason for the interconnection and how the week resolves itself with such poignant and earned didacticism that doesn't work in the other films. I like how the days and characters run through all these human weaknesses but in the end it says that there is something in the Filipino that persists even in times of personal or national crisis. He (or she) may be troubled but he'll never be alone.
Today is the last day of the 2006 Cinemalaya Philippine Independent Film Festival and tonight is the awarding ceremonies. I've seen most of the full length entries in competition and all of the short film entries.
I'm biased because I watch a lot of plays from Tanghalang Pilipino. So Nick Joseph Olanka's Ang Huling Araw ng Linggo, seven characters with their interconnected stories forming a one-week narrative, is my favorite. I'm happy to see Angeli Bayani (Noli the Musical's Maria Clara and R'meo Luvs Dew-lhiett's Mrs. Capuleto), Arnold Reyes (Noli the Musical's Crisostomo Ibarra and Zsazsa Zatrunnah's Dodong, Payb-Siks' Dax), Rolando Inocencio (R'meo Luvs Dew-lhiett's Mr. Capuleto) and Chunchie Cabasaan (R'meo Luvs Dew-lhiett's scene-stealing extra) on the big screen. Don't even ask me for a critical review. I'll leave that to Gibbs Cadiz.
Sure interconnection's been done before, and done poorly. But in Huling Araw I like the reason for the interconnection and how the week resolves itself with such poignant and earned didacticism that doesn't work in the other films. I like how the days and characters run through all these human weaknesses but in the end it says that there is something in the Filipino that persists even in times of personal or national crisis. He (or she) may be troubled but he'll never be alone.
Readers react - INQ7.net
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=16329
VIEWFINDER
Readers react
By Nestor Torre
Inquirer
Last updated 00:01am (Mla time) 08/21/2006
Published on page E5 of the August 21, 2006 issue of the Philippine Daily Inquirer
LET’S GIVE WAY TO SOME reactions from readers: From a broadcast colleague: “I liked your review of ‘Square Off.’ I agree that the debate format makes Mike Defensor and Chiz Escudero too square.
“I also agree that texters shouldn’t rate them as if ... after a class recitation.”
(NUT: We hope that, the next time we catch “Square Off,” its rigorous format shall have been relaxed and opened up to more dynamic possibilities, to make better use of Defensor and Escudero’s plus points.)
From film buff Chito R. Garrido of Makati City: “The success of Cinemalaya festival is worthy of praise, because it has led to the revival of Filipino movies. But I think that the entries’ use of established movie stars runs counter to the festival’s goal of providing a showcase for new talents. I think this should include actors, too.”
(NUT: Yes, new actors should also be given a break by playing important roles in Cinemalaya entries. And, indeed, this was the case in some Cinemalaya entries—Andy Bais in “Saan Nagtatago si Happiness?” Angeli Bayani in “Huling Araw ng Linggo,” etc.
On the other hand, some star value is needed to attract viewers especially in these star-oriented parts. So, it’s a juggling act.
Also, some new directors may need more experienced film actors to help galvanize their productions, or give them badly needed “texture.” If everybody involved in a production is a new talent, the risk of not achieving artistic success could be increased.
But you’re right: New filmmakers should exert greater effort to develop and showcase fresh talents. Perhaps the best strategy would be to reserve lead roles for relative newcomers, but to give stars important roles to play, so they can provide stellar support for the new talents.)
Finally, a prospective festival entrant asks: “When is the deadline for the submission of stories to the 2007 Cinemalaya film festival? I want to join and don’t want to miss the deadline.”
(NUT: We’ve gotten in touch with Cinemalaya chair Laurice Guillen, and she informs us that the deadline is on Sept. 7.
Three-page synopses should be submitted to the Film Division of the Cultural Center of the Philippines. For details, call 833-1125, and ask for the Film Division.
VIEWFINDER
Readers react
By Nestor Torre
Inquirer
Last updated 00:01am (Mla time) 08/21/2006
Published on page E5 of the August 21, 2006 issue of the Philippine Daily Inquirer
LET’S GIVE WAY TO SOME reactions from readers: From a broadcast colleague: “I liked your review of ‘Square Off.’ I agree that the debate format makes Mike Defensor and Chiz Escudero too square.
“I also agree that texters shouldn’t rate them as if ... after a class recitation.”
(NUT: We hope that, the next time we catch “Square Off,” its rigorous format shall have been relaxed and opened up to more dynamic possibilities, to make better use of Defensor and Escudero’s plus points.)
From film buff Chito R. Garrido of Makati City: “The success of Cinemalaya festival is worthy of praise, because it has led to the revival of Filipino movies. But I think that the entries’ use of established movie stars runs counter to the festival’s goal of providing a showcase for new talents. I think this should include actors, too.”
(NUT: Yes, new actors should also be given a break by playing important roles in Cinemalaya entries. And, indeed, this was the case in some Cinemalaya entries—Andy Bais in “Saan Nagtatago si Happiness?” Angeli Bayani in “Huling Araw ng Linggo,” etc.
On the other hand, some star value is needed to attract viewers especially in these star-oriented parts. So, it’s a juggling act.
Also, some new directors may need more experienced film actors to help galvanize their productions, or give them badly needed “texture.” If everybody involved in a production is a new talent, the risk of not achieving artistic success could be increased.
But you’re right: New filmmakers should exert greater effort to develop and showcase fresh talents. Perhaps the best strategy would be to reserve lead roles for relative newcomers, but to give stars important roles to play, so they can provide stellar support for the new talents.)
Finally, a prospective festival entrant asks: “When is the deadline for the submission of stories to the 2007 Cinemalaya film festival? I want to join and don’t want to miss the deadline.”
(NUT: We’ve gotten in touch with Cinemalaya chair Laurice Guillen, and she informs us that the deadline is on Sept. 7.
Three-page synopses should be submitted to the Film Division of the Cultural Center of the Philippines. For details, call 833-1125, and ask for the Film Division.
Cinemalaya 2006 surpasses last yearç—´ film fest - INQ7.net
http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=12336
Cinemalaya 2006 surpasses last year’s film fest
By Nestor Torre
Inquirer
Last updated 01:00am (Mla time) 07/29/2006
Published on page A3-1 of the July 29, 2006 issue of the Philippine Daily Inquirer
WE MADE it a point to watch all of the eight 2006 Cinemalaya feature-length films, the better to answer the key questions: Was it a good festival -- and was it as successful or even better than its first edition last year, which had set a high standard in terms of quality?
The answer to the first question is a hearty yes, with some six of the eight entries coming off as significant and well-made productions.
As a result, we can say that the 2006 filmfest is as good as or even better than last year’s -- which is saying a lot, since the 2005 festival exceeded expectations, and came up with such worthy films as “Ang Pagdadalaga ni Maximo Oliveros,” “Pepot Artsita,” and “Big Time.”
Most exceptional
This year, the most exceptional productions are “Tulad ng Dati,” “Batad, Sa Paang Palay,” “Rotonda” and “Donsol.” If you didn’t catch them at the CCP, you have another chance to view them when they move over to the UP Film Center from Aug. 7 to 10.
The 2006 Cinemalaya festival boosted local filmmaking because it enabled viewers to experience situations, characters and themes generally ignored by formula-oriented mainstream cinema.
For a long time now, we’ve been plugging for the production of a Filipino movie about a band, since bands are very popular here, So, we were gratified when “Tulad ng Dati,” a psychological docu-drama about The Dawn, was shown.
Other Cinemalaya entries introduced us to youths in the Mountain Province (“Batad”), whale sharks and a cancer victim (“Donsol”), denizens continually living at the edge of risk and violence (“Rotonda”), and other characters we don’t usually get to meet on the big screen.
We also appreciate Cinemalaya 2006 for showcasing new directors like Ron Bryant (“Rotonda”), Mike Sandejas (“Tulad ng Dati”), Benji Garcia (“Batad”) and Adolf Alix Jr. (“Donsol”) -- gifted and committed filmmakers, one and all.
When we watched the Cinemalaya films, we concluded that Bryant did best of all -- and we’re glad to see that he won the filmfest’s directing award.
We trust that mainstream producers were impressed with the new directors’ polished tyro efforts, and will tap them to direct other movies in seasons to come.
Outstanding
We’re happy, too, that this year’s Cinemalaya festival entries came up with many outstanding lead performances -- Alcris Galura in “Batad,” Mark Gil, Meryl Soriano and Celso Ad Castillo in “Rotonda,” Sid Lucero and Angel Aquino in “Donsol,” Rio Locsin in “Mudraks,” etc.
It’s great that alternative movies are “discovering” new standouts like Galura and Lucero, and “rediscovering” under-utilized veteran talents like Gil and Locsin. We trust that their performances will motivate mainstream producers to cast them in their own productions.
Standouts
Even among the supporting actors and “unknown” talents, there were some standouts -- the vibrantly pretty girl Galura has a crush on in “Batad,” the obsessive girl in the laundry in “Ang Huling Araw ng Linggo” (Angeli Bayani), etc.
We also noted that, on point of technique and technology, this year’s entries are generally better than the 2005 Cinemalaya films. This is heartening, because alternative movies need to look more “professional” if they want to attract and sustain the attention of mainstream moviegoers.
This is the ultimate objective of the festival: To showcase new talents and innovative themes and techniques, so that they can eventually redound to the good of the larger local film audience.
Cinemalaya 2006 was a hit, but the thousands of people who enjoyed its offerings are only a small percentage of the hundreds of thousands who patronize mainstream movies. It is this much larger audience that should ultimately benefit form the gains notched by Cinemalaya.
After another successful edition of the pioneering festival and competition, the challenge now is to figure out precisely how to better achieve that more important goal.
Copyright 2006 Inquirer. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Cinemalaya 2006 surpasses last year’s film fest
By Nestor Torre
Inquirer
Last updated 01:00am (Mla time) 07/29/2006
Published on page A3-1 of the July 29, 2006 issue of the Philippine Daily Inquirer
WE MADE it a point to watch all of the eight 2006 Cinemalaya feature-length films, the better to answer the key questions: Was it a good festival -- and was it as successful or even better than its first edition last year, which had set a high standard in terms of quality?
The answer to the first question is a hearty yes, with some six of the eight entries coming off as significant and well-made productions.
As a result, we can say that the 2006 filmfest is as good as or even better than last year’s -- which is saying a lot, since the 2005 festival exceeded expectations, and came up with such worthy films as “Ang Pagdadalaga ni Maximo Oliveros,” “Pepot Artsita,” and “Big Time.”
Most exceptional
This year, the most exceptional productions are “Tulad ng Dati,” “Batad, Sa Paang Palay,” “Rotonda” and “Donsol.” If you didn’t catch them at the CCP, you have another chance to view them when they move over to the UP Film Center from Aug. 7 to 10.
The 2006 Cinemalaya festival boosted local filmmaking because it enabled viewers to experience situations, characters and themes generally ignored by formula-oriented mainstream cinema.
For a long time now, we’ve been plugging for the production of a Filipino movie about a band, since bands are very popular here, So, we were gratified when “Tulad ng Dati,” a psychological docu-drama about The Dawn, was shown.
Other Cinemalaya entries introduced us to youths in the Mountain Province (“Batad”), whale sharks and a cancer victim (“Donsol”), denizens continually living at the edge of risk and violence (“Rotonda”), and other characters we don’t usually get to meet on the big screen.
We also appreciate Cinemalaya 2006 for showcasing new directors like Ron Bryant (“Rotonda”), Mike Sandejas (“Tulad ng Dati”), Benji Garcia (“Batad”) and Adolf Alix Jr. (“Donsol”) -- gifted and committed filmmakers, one and all.
When we watched the Cinemalaya films, we concluded that Bryant did best of all -- and we’re glad to see that he won the filmfest’s directing award.
We trust that mainstream producers were impressed with the new directors’ polished tyro efforts, and will tap them to direct other movies in seasons to come.
Outstanding
We’re happy, too, that this year’s Cinemalaya festival entries came up with many outstanding lead performances -- Alcris Galura in “Batad,” Mark Gil, Meryl Soriano and Celso Ad Castillo in “Rotonda,” Sid Lucero and Angel Aquino in “Donsol,” Rio Locsin in “Mudraks,” etc.
It’s great that alternative movies are “discovering” new standouts like Galura and Lucero, and “rediscovering” under-utilized veteran talents like Gil and Locsin. We trust that their performances will motivate mainstream producers to cast them in their own productions.
Standouts
Even among the supporting actors and “unknown” talents, there were some standouts -- the vibrantly pretty girl Galura has a crush on in “Batad,” the obsessive girl in the laundry in “Ang Huling Araw ng Linggo” (Angeli Bayani), etc.
We also noted that, on point of technique and technology, this year’s entries are generally better than the 2005 Cinemalaya films. This is heartening, because alternative movies need to look more “professional” if they want to attract and sustain the attention of mainstream moviegoers.
This is the ultimate objective of the festival: To showcase new talents and innovative themes and techniques, so that they can eventually redound to the good of the larger local film audience.
Cinemalaya 2006 was a hit, but the thousands of people who enjoyed its offerings are only a small percentage of the hundreds of thousands who patronize mainstream movies. It is this much larger audience that should ultimately benefit form the gains notched by Cinemalaya.
After another successful edition of the pioneering festival and competition, the challenge now is to figure out precisely how to better achieve that more important goal.
Copyright 2006 Inquirer. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
anti-rust punditry, cinematically
http://blogs.scriptologist.com/arparp/
(a review)
KWARTO
pitch: ordinary guy hangs out with ordinary guy friend who brings along two ordinary girl friends and they pair up heterosexually in ordinary guy's mess of a room where they hold an impromptu drinking session until girls get fed up with the macho advances and the two ordinary guys turn on each other to hopefully release their horny ambitions
catch: i like angeli bayani wherever she appears so that makes this watchable
yea but other than that catch, this umpire says "strike one you're out!" first, i don't see the point of this film. i think it was such a fruitless exercise. after each film, you ask yourself, especially if it's a narrative, "what's the point of all this?" and if the answer is as vague as a mudsplatter on your windshield, forget it. it probably did not have any point to begin with. but this is a very good example of how digital filmmaking is now within the reach of every tom, dick and harry who can afford to buy/rent a camera and editing equipment. so this film was made by either a tom, a dick or a harry. c'est tout. i hope one of them enrolls in a scriptwriting seminar soon to learn the nuances of proper film storytelling.
(a review)
KWARTO
pitch: ordinary guy hangs out with ordinary guy friend who brings along two ordinary girl friends and they pair up heterosexually in ordinary guy's mess of a room where they hold an impromptu drinking session until girls get fed up with the macho advances and the two ordinary guys turn on each other to hopefully release their horny ambitions
catch: i like angeli bayani wherever she appears so that makes this watchable
yea but other than that catch, this umpire says "strike one you're out!" first, i don't see the point of this film. i think it was such a fruitless exercise. after each film, you ask yourself, especially if it's a narrative, "what's the point of all this?" and if the answer is as vague as a mudsplatter on your windshield, forget it. it probably did not have any point to begin with. but this is a very good example of how digital filmmaking is now within the reach of every tom, dick and harry who can afford to buy/rent a camera and editing equipment. so this film was made by either a tom, a dick or a harry. c'est tout. i hope one of them enrolls in a scriptwriting seminar soon to learn the nuances of proper film storytelling.
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