Taga-Ilog Special Presents

Philography File # 022: Mario O'Hara and Nora Aunor

2012-01-26T05:09:00.003-05:00

This is probably the highlight of the series for 2011. I just saved the best for last, the auteur and his muse. I got Nora's autograph first and when it was Mario's turn, he quipped, "Ang ganda talaga ng handwriting ni Nora."

Philography File # 021: Charee Pineda

2012-01-26T05:05:00.001-05:00

I got invited to an anniversary gathering organized by the fans of JM de Guzman and Charee Pineda called Juamee. That was mid-October if I remember it right and it’s held in a club house somewhere along Timog Avenue. I introduced my self to Charee and reminded her how much I annoyingly like her in Ron Bryant’s “Alon” where she won Best Actress for Cinema One Orginals 2008.

Philography File # 020: Tony Perez

2012-01-25T20:33:00.002-05:00

I got his autograph (finally) during the run for a retrospective of his plays called “Tatlong Tabing” for Tanghalang Pilipino last October. A friend told me that I should see his distinct writing set but I can’t complain with the orangy ink. His astonishing penmanship pretty much represents his body of work, from the Cubao series and Palanca-winning plays down to his screenplay for a “Shake, Rattle and Roll” episode. I’m a fan.

Ang Trip Na Trip

2012-01-25T05:18:00.001-05:00

Buenas Noches, España
Direksyon/Iskrip: Raya Martin
Mga Nagsiganap: Pilar López de Ayala at Andrés Getrúdix

May ilang biyaheng suwabe. At sa puntong ito ay kailangan kong maglitanya. Pasintabi.

‘Yung trip namin, halimbawa, sa Peru ay walang lugar para sa flight delay o kung ano pa man na kamalasan. Kailangang umalis ng ganitong oras at kailangang dumating ng ganitong oras. Kailangang makarating sa ganitong lugar dahil kailangan mong puntahan sa susunod ang isang pang lugar. Isang palpak lang at sabog na ang buong plano.

Gan’un din ‘yung sa Dubai dati. Nanggagalaiti pa nga n’un ang isang bulkan sa Chile at nanganganib na hindi ako makarating sa Sao Paulo nang sakto sa plano. Kung hindi, mapipingas nang munti ang araw na ilalagi at malaki ang tyansa na bumukol sa hindi paghabol sa opening night ng Cinemalaya.

May flight din dati sa Athens na muntik na naming hindi maabutan dahil 30 minuto pala ang interval ng mga train na naghahatid sa airport. Sa kabutihang palad, delayed din ang flight kaya’t umabot kami. Isa sana itong padamdam sa isang bakasyon na halos perpekto ang sayad at liyad.

Madugo sa senses ang trip ng “Buenas Noches, España” ni Raya Martin. Wala itong kanto o eksaktong hugis kamukha ng isang suwabeng biyahe. Dalawang magkasintahan ang bumabaybay sa hilagang bahagi ng Spain na halos kaututang-dila na ng France, sa Bilbao, lulan ng isang kotse. Bagama’t ang mga paulit-ulit na imahe (isang playlist na naka-loop) ay larawan ng romansa, ang tunog at ilang splash ng psychedelic color ay tila hinorno mula sa isang mabangong bangungot.

May kakaibang kiliti nang makita ko ang isang paghimpil sa isang musuem doon ng magkasintahan. Una, trip ko ang museum. Hindi ako masyadong bumababad pero parating nasa listahan ko ito. Maganda rin kasing introduction ito minsan ng siyudad, ng mga local at amoy ng paligid. Ikalawa, may ilang painting si Juan Luna roon. Dito pa lang ay na-plant na ang magaganap na time travel sa dulo. At ikatlo, ang pagiging playful ng dalawang lead sa loob ng museum ay may pagka-Godard.

Sa totoo lang, ‘yung museum lang siguro sa Bilbao ang pinaka-travelogue sa road film na ito. Ibig sabihin, kung nakarating ka sa sinehan na merong expectation na makita ang Spain na parang isang postcard, ang pagbisita lang sa museum ang pinaka-appealing. Sa labas nito ay may ibang trip. Nakakairita ang tunog, nakakabagot ang paulit-ulit na eksena at ang ilang location ay hindi naman interesante (at least para sa akin). Nangyayari rin ito sa totoong buhay. Pasintabi ulit sa paglilitanya.

Bago umakyat sa Wayna Picchu, wala akong masyadong inihanda physically. Ang buong pag-akyat matapos ang unang oras ay isang struggle para sa akin. Wala ring almusal na matino, walang laman masyado ang tiyan. Nakakairita na hindi ko ito masyadong napaghandaan pero kung hindi ko ito pinilit tapusin, hindi ko makikita kung gaano kaganda ang view mula sa itaas.

Summer naman n’ung nakita ko ang Dubai. Nakakabagot, kung hindi man nakakapanghina, ang tirik at init ng araw noon. Pero kailangang indahin. Kung hindi, hindi ko sana na-experience nang todo ‘yung desert safari at ang idea na makapagmando ng isang camel.

Maliban sa ruins, may ilang lugar sa Athens na hindi rin naman interesante. Sa katunayan, nagawa namin sa loob ng isang araw ang mahahalaga at paboritong pasyalan ng mga turista. Hindi na kailangang idagdag na ang taxi driver na aming napara noon na maghahatid sa hotel ay nandadaya sa metro.

Bagama’t lumabas ako sa sinehan (para sa taunang Spanish Film Festival sa Greenbelt 3) na nagpaalala sa akin ng ilang masasayang sandali sa ilang tsamba na pleasure trip sa ibang bansa, may ilan pa akong excess baggage mula sa pelikula. Pakiramdam ko, maling audience pa rin ako sa “Buenas Noches, España”. Sa kabilang dako, nakita ko naman ‘yung pagiging conquistador ni Raya Martin dito. Hindi ko naramdaman na na-colonize tayo at some point ng Spain habang nanonood. Tingin ko, ang direktor ang Magellan dito at ang Pilipinas ay ang Spain. Hawak ng kanyang camera ang kalayaan ng mga imahe, ng mga artistang Espanyol at ng mga lugar na kanilang pinasadahan. Isa itong antidote, kung hindi man isang malamig na sago’t gulaman sa mga naglipanang pelikula tungkol sa korupsyon at opresyon. Kahit sa loob ng isang oras at kalahati, narating ko ang ilang terminal at nabisita ko ang ilang sensasyong mapaglaro, mayaman at malaya.

Notes from Taiwan Film Fest 2011

2012-01-24T20:10:00.006-05:00

I’m not sure if I’ve been to a Taiwan film festival before. They were probably having their first attempt last October of 2011 when I saw three feature lengths and two shorts from their list. It’s free and it’s at the Shang so I took note of all the precautions that I could think of: choose only one film a day or two out of three, just skip the one in the middle, the box office staff wouldn’t care less and no food bought from somewhere else is allowed.

Compared to other free screenings, the festival was relatively well attended considering that they only have a total of eight films (five feature lengths, two shorts and one documentary) in a span of six days with three time slots a day. It wasn’t crowded which worked for me. I can actually dismiss my first Shangri-la Cineplex rule to avoid doing a marathon.

Here’s the rundown of the three feature lengths I caught:

Gangster Rock (Chie Jen-Hao) This bubble gum pop combines the action genre with a dash of musicality. A gangster becomes an angel to a rock band who’s making some ends meet through bar gigs and busking. Very Star Cinematic and at times laughable, the film makes a very little impact in either genre. The silly gangster boss is a joy to watch, as well as the rainy fight scene in the end.

Three Times (Hsiao-Hsien Hou) It’s a good film for me, oftentimes a show-off of filmmaking styles from the director. There are three episodes in the film, each with diverse storytelling technique, and they are not connected to each other. The only thing that binds them is the pair of leads and perhaps the theme. First episode is about a couple during the 60’s and how love blossoms even with the lone presence of snail mails and telegrams. Most sequences involve long cuts which could drag a bit but nonetheless charming and romantic. The second episode is also about a couple at the turn of the century. This is talkier and the sets are limited giving a stagey feel. The last episode is contemporary and relies mostly on the angst as visualized through the same pair of actors. It’s a thrill to see different strokes in one sitting, as if you’re given with a sampler from the director on how vast and versatile he could get.

Zoom Hunting (Li Cho) This glossy film is as mainstream as the Gangster Rock though with a different genre. Its plot about accidentally witnessing a possible crime through a DSLR camera from another window has all the Hitchcock promises. Most of the time, it gets redundant with the twists like I think it’s almost over but it keeps on moving. I just hope the resolution is more satisfying because the intro and the middle part are very engaging.

And shorts (too bad I can’t find credits for them):

The Magical Washing Machine As the title suggests, it’s magical. It tells, in a modest span, a moving-on phase of a young woman who frequents a laundromat. At first, I was clueless with the dream sequences coming out of nowhere but it made its point clear when the protagonist finally made her first step to overcome her past. It got me.

Small Station Unlike the other short films that I’ve seen, this one has all the luxury to tell a simple story given with a limited time. It doesn’t even involve twists or a couple of events to perk up its narrative. It’s about a mother who brings her mentally ill son to a not so busy train station outside the city, a relaxing respite from all the hustle and bustle. The mother pictured here is caring, patient and has all the time for her son with special needs. It could be an awareness campaign on its own. I’m guessing that after they went back to the city, they’ll probably plan a new invigorating trip together.

Movie Digest # 082

2012-01-21T09:06:00.008-05:00

RISE OF THE PLANET OF THE APES
Cine Hoyts – Punta Carretas Shopping, Sala 2, September 24, 5:50pm

Great CGI, so great that you’ll be reminded how gifted Andy Serkis is. Hope against hope that he’ll be honored by the Academy at the very least. There’s nothing much outside the special FX though. Story is thinly layered and the acting department is a bit dull.

Friends who might appreciate it: It bears mentioning again, peeps who appreciate any work by Andy Serkis.

WARRIOR
SM Mall of Asia, Cinema 2, October 4, 6:40pm

It’s been a while since I last saw a satisfying action drama. There’s a balance of the two genres. The drama part involves a dad (movingly played by Nick Nolte) trying to patch his family issues up. Then there’s the cold distance between two brothers (Tom Hardy and Joel Edgerton) who are forced to get into the boxing ring and face their past. As for the action part, it’s Mixed Martial Arts (MMA) 101. At least I know now the bearing of the shirts printed with “Tap Out”.

Friends who might appreciate it: Too given, MMA fans.

CONTAGION
SM Mall of Asia, SM IMAX Cinema, October 4, 9:30pm

I may be biased because I dig Steven Soderbergh’s body of work, from the low budgeted indies like “Bubble” down to this IMAX-ready spectacle. Fans of Hollywood epidemic movies might be disappointed as the approach on the storytelling is pretty much in unison with the director’s other films: realistic, intelligent and informative. It also boasts of a star-studded ensemble headed by Gwyneth Paltrow (whom I haven’t seen this convincing in a long while), Matt Damon, Laurence Fishburne, Jude Law, Kate Winslet and Marion Cotillard, which I think is more of an advantage than a drawback. The absence of the usual popcorn cheap thrills is also very much appreciated. Everything boils down to how humanity responds to a global health issue and nothing less.

Friends who might appreciate it: Nothing specific. Health is universal.

NO OTHER WOMAN
Power Plant Mall, Cinema 3, October 13, 8:05pm

My initial fascination for the film is loosely based not on its cinematic merits but more on how it made money at the tills. This Viva Films and Star Cinema co-production is now considered as one of the country’s highest grossing films. Prime suspect is perhaps the very familiar plot involving a sexy wife, an equally sexy mistress and the man in between. On top of that, there’s camp. Though not that extensive, it has its occasional flair of Gosienfiao-esque lines and a bit of a catfight. At least it made its point clear when it shows the humane side of the mistress.

Friends who might appreciate it: Snatchers in Quiapo.

THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL
Power Plant Mall, Cinema 5, October 17, 8:10pm

What I liked best in this documented staging of the Andrew Lloyd-Webber musical is the immersion feel. It puts you exactly in one of the seats at the Royal Albert Hall. The experience includes waiting for the show to start, the actual musical and the intermission (as in you’re just staring at people heading to the toilet, etc. for around 10 minutes). When I saw the play in West End in 2005, they’re even selling ice cream cups and that’s the only thing missing in the cinema. It’s a bit long for a full length feature but it’s always a joy to listen to those familiar hits like “Think of Me”, “Masquerade” and “All I Ask of You” being performed to you “up close”. Camera angles sometimes suggest that the performance venue is the actual opera house in the play and that’s a nice touch.

Friends who might appreciate it: Easy. Webber fans, nothing less.

THE THREE MUSKETEERS
Greenbelt 3, Cinema 4, October 20, 6:20pm

As expected, it’s very basic. Good fight scenes though. And I even recognize one of the locations used in the film (a museum in Munich which I forgot the name). Fun, too, to see Versailles and other parts of Paris being recreated digitally.

Friends who might appreciate it: Easy. Uruguayan apartment buddy Mike (he digs Resident Evil a lot).

PARANORMAL ACTIVITY 3
Trinoma Mall, Cinema 5, October 23, 8:00pm

I got the same experience as watching the first two installments. What elevates this sequel is that it has a clearer storytelling arch. "Filming" everything using vintage camera and video player is an added charm.

Friends who might appreciate it: Friends with ready screams.

Philography File # 019: Carlo Aquino

2012-01-21T08:58:00.002-05:00

Also accomplished on the same night where I got Alwyn’s. Carlo Aquino paid a visit to the set with some friends. I remember him asking me “Bakit ka nandito?” which made me think why I was really there in the first place. Maybe he mistook me for somebody else. Nevertheless, we all remember him as one of Vilma Santos’ kids in “Bata, Bata, Paano Ka Ginawa?” but for me, his best contribution to Philippine cinema is his participation in the Ato Bautista film “Sa Aking Pagkakagising Mula sa Kamulatan”. That time, indie filmmaking was not in full bloom yet and it was brave enough for a mainstream actor to risk on that.

Philography File # 018: Alwyn Uytingco

2012-01-21T08:53:00.002-05:00

Accomplished last October 5 during the taping for TV5’s “Sa Ngalan Ng Ina”. Alwyn, for me, is one of the country’s finest young actors. That’s probably attributed to his training as a child actor who did support roles for the likes of Vic Sotto, Jestoni Alarcon and Redford White to name a few. I started revisiting his early works after watching his career turning indie film “The Leaving”. I do keep a regular email exchange with this dude and from what I can conclude from there, he’s the most appreciative actor I know.

The SNNI Adventures (O Kung Paano Ko Natagpuan ang Mahiwagang Nunal ni Nora)

2012-01-15T13:42:00.009-05:00

As of this writing, matagal wala na sa ere ang “Sa Ngalan ng Ina” ng TV5, isa sa kino-consider na pinakamatinong soap opera of late. Kung hindi ako nagkakamali ay limang linggo lang talaga ang naka-allot na airing nito na nag-umpisa n’ung Oktubre n’ung nakaraang taon. Ang proyektong ito ng tambalang direktor-aktres nina Mario O’Hara at Nora Aunor, bagama’t hindi masyadong umarangkada sa ratings at madalas na hinihila pababa ng time slot ng Wil Time Bigtime, ay sinubaybayan ko. Sa katunayan, may utang pa akong ilang episode na tinitingi-tingi ko sa ilang website na nagko-compile ng mga Pinoy TV show.

Inabangan ko rin at naging groupie ako sa ilang pagkakataon n’ung sino-shoot pa ito. Nagkataon na nabiyayaan ako ng isang mole (pun intended) mula sa istasyon na ayaw magpakilala. S’ya ang taga-text ng location at schedule at taga-bigay na rin ng access kahit wala s’ya mismo sa set. Gusto ko kasing makita si Nora Aunor in person. Well, gusto kong makita s’ya ulit (ang unang pagkakataon ay sa isang event ng “Pelikula at Lipunan” ni Nick Deocampo n’ung late 90’s) at makapagpa-picture at autograph na rin. Hindi ako Noranian. Wala akong masyadong alam sa kanyang personal na buhay pero si Nora Aunor s’ya eh. Walang bisa ang husay ng mga aktres ngayon kung wala ang katulad n’yang “point of reference”. Gusto ko ring makita si Vilma Santos pero tsaka na lang s’ya. Ang isa pang dahilan ay napasubo ako r’un sa ilang tanong ni Noel Vera sa FB group na Cinephiles para kay direk Mario. Gusto ko ring mapanood in action si direk kasabay ng hiling na sana ay ‘sandamakmak na film project pa ang ilatag sa kanya. Bonus na lang ang isang kagustuhan na maka-chill out ang mga artista sa set. Gusto kong mapanood kung paano sila magtrabaho.

DAY 1. Ang alam ko, weekday ito. Meron pa ngang nag-last day sa office n’un at sobrang busog pa ako sa pancit na handa. Nasa may bukana raw ng Rizal ang location, sa isang bahay roon sa isang subdivision. Kumontak ako ng taxi mula sa 24/7 at nagpasundo sa opisina ng mga 7pm yata. Tutal, paumagahan naman madalas ang mga film shoot kaya hindi ako masyadong nagmadali. Wala raw si ate Guy dahil masama ang pakiramdam pero si direk Mario raw ang direktor n’un (dalawa kasi ang direktor, si Jon Red ‘yung isa). Ibinilin na lang ako ng mole sa young actor na si Alwyn Uytingco na nagsimula kong seryosohin bilang aktor n’ung ginawa n’ya ang Cinemalaya film na “The Leaving”. Tinext ng mole ko si Alwyn at sinabing may isang “film critic” na paparating (what the hell!). Nahiya naman ako at sumaglit sa Distillery upang umiskor ng deboteng regalo.

Malayo-layo ang byahe. Nakatulog nga ako n’un. Pupungat-pungat kong pinanood muna mula sa malayo ang crew bago ko inipon ang kapal ng apog. Nahihiya ako sa mga ganoong maraming tao lalo na’t abala. May isa pang show ng TV5 ang ginagawa roon.

Nasa dressing room daw ng mga lalake si Alwyn. Pinatawag ko na lang at lumabas naman agad. Nakilala ako. Kinabahan daw s’ya r’un sa “film critic” thingy. Sabi ko na lang, I wish na film critic talaga ako. Alam ko namang hindi s’ya matutuwa na meron akong bitbit na whiskey pero iniabot ko pa rin. Kumustahan. Tinanong ko kung babalik pa s’ya sa Dos. Sure daw na hindi sa loob ng tatlong taon. Laki raw talaga ng package ng TV5, something na hindi n’ya nakuha sa kabila (‘yan ang eksakto n’yang sinabi). Pero wala akong nakikitang pait sa kanyang pagkakasabi. Mukhang na-overshadow ito ng pagka-busy n’ya sa bagong tahanan. Kinumusta ko kung anong pinagkakaabalahan. May cameo raw s’ya sa pelikula ni Lilia Cuntapay. Sabi ko, “Ah, ‘yung parang “Six Degrees of Separation” na film ni Will Smith.” May gan’un daw pala. Hahanapin daw n’ya para-download. Ginagawa rin daw n’ya ‘yung “Enteng ng Ina Mo” kaya papalit-palit s’ya sa baddy at bading role.

Pinanood lang namin nang konti n’ung ginawa ni Osang ‘yung challenge para r’un sa isa pang TV show na nagte-taping sa hindi kalayuan tapos nagyaya na s’ya r’un sa tolda. Nasa loob din si Edgar Allan Guzman na napakakulit pala in person. Ang lakas nilang mag-asaran ni Pong na PA ni Alwyn. Medyo busy nang konti sa hindi kalakihang tolda na ‘yun kaya nakatameme lang ako r’un sa Monobloc. Para akong phantom, nakikiobserba. Merong papasok para silipin ang mga isusuot, merong nagpaplantsa at merong nagde-deliver ng in-update na script. Kumain si Alwyn n’ung food na naka-styro. Nag-alok pero busog pa nga ako. Si Edgar, abala sa kanyang iPad at panaka-nakang nagpapatugtog ng Dougie dance. Minsan ay ibibida ang kanyang Vans na nabili raw n’ya on sale at minsan ay magbabasa ng script.

Pagkatapos ng dinner, tinanong ako ni Alwyn kung gusto ko ng hot chocolate. Umoo na ako rito. Kumuha s’ya ng styro cup at inilabas ang isang sachet ng Swiss Miss mula sa kanyang backpack. Umayuda si Pong, lumabas at bumalik na may laman nang mainit na tubig ang baso.

Ilang sandali pa ay pinaakyat na sa itaas ng bahay sina Alwyn at Edgar. Naka-Francis M shirt si Alwyn at nakapang-pulis naman si Edgar. Medyo mainit d’un sa area sa itaas dahil sa mga ilaw. Pansamantalang kinansela dahil umeera na ang “Sa Ngalan ng Ina” sa TV. Lahat sila pumasok sa master bedroom at sabay-sabay na tumutok habang ang may-ari ay nakahilata sa kanyang kama at nakinood. Sumunod na rin ako.

Wala pala si direk Mario. Unit daw ni direk Jon Red ang kumukuha ng eksena. Pinanood ko na rin. Tinanong ko dati si Alwyn kung anong distinct na pagkakaiba ng dalawang direktor. Si direk Mario raw ay basta realistic, good na. Bahala na ka minsan sa take mo. Pinapabago rin daw ang script primarily upang maging mas realistic. Si direk Jon naman ay mas detalyado raw ang instructions, mula sa kung kelan itataas ang boses at kung kelan mababa.

Madali lang naman ‘yung eksena nina Alwyn at Edgar. Ito ‘yung parte na into hiding ang karakter ni Alwyn at bumisita ang kapatid na karakter ni Edgar. Sinundan ito ng isang mas matinding eksena para kay Alwyn kung saan kinakailangang mag-breakdown para sa pagkawala ng kanyang Tiya Pacita (Eugene Domingo). Nagpalaam na n’yan si Edgar. Kumamay naman bago umalis. Nand’un din si Regine Angeles na gumanap bilang girlfriend ng karakter ni Alwyn. Sa pagitan n’ung mga take, pinapirmahan ko pala ‘yung Rekrut shirt ko kay Alwyn. Bumisita rin sa set si Carlo Aquino kasama ang ilang barkada. Usapang laptop, kung hindi ako nagkakamali.Matapos kunan ang sigawan, nagpa-picture na lang ako at umalis na rin. May ilang ebidensya rito.

DAY 2. Medyo biglaan ang pagpunta ko sa shoot. Last minute na kasi ako nakabalita sa aking mole at may lakad sana yata ako n’un na hindi natuloy. Mabibigat daw ang mga eksena dahil n’ung time na ‘yan, ‘yung panghuling linggo na ng airing ang sinu-shoot. Nand’un daw sina Nora at unit daw ito ni direk Mario. Excited ako kahit mga 10pm na ako nakaalis mula sa Makati at ang drawback eh sa Victoneta Avenue sa Caloocan pa ang location.

Pasado hatinggabi na yata ako n’ung nakarating sa isang simbahan ng isang subdivision. Nagpahintay na lang ako sa taxi dahil tingin ko, hindi naman magtatagal at mukhang hassle mag-abang ng masasakyan mula roon. Pinakiusap naman ako ng aking mole sa isang staff ng art department. Nakaalis na raw si Nora. Sayang nga raw kung napaaga ako dahil kinunan na ‘yung eksena na iminudmod ni Osang si Nora sa putik. May kadobol daw naman kahit na payag naman si Nora na wala. Isang eksena na lang ang natitira. Medyo tight shot at nasa loob ng sasakyan si Christopher de Leon na may kausap sa phone. Si direk Mario ang nag-motivate pero walang masyadong instructions. Mas inayos lang n’ya ang blocking and that’s it. Pinanood ko pa rin. Nakadalawang take at idineklara na uwian na. Buhay na buhay pa ang dugo ni direk Mario at nagtatawanan sila nang nagpaalam si Boyet. Umalis na rin ako agad. Meron pa raw shoot kinabukasan sa Correctional sabi ng bago kong kakilala na taga-art department.

DAY 3. Fail. Kinansela pala ‘yung shoot pero hindi ako nasabihan. Pero ayos na rin. At least, napasok ko na ang Correctional. Meron pala s’yang mahabang daan at bago makarating dito ay meron munang inspection. Mainit n’yan dahil tanghaling tapat. Hindi ko man napasok ang mismong gusali, nakita ko naman mula sa malapit.

DAY 4. Ito na talaga. Mga tanghali rin ako pumunta. Ang location naman ay sa isang bahay sa New Manila. Medyo malapit lang s’ya sa E. Rodriguez kaya medaling hagilapin ang bahay. Nakakahiya pa ring pumasok agad at lampasan ang mga maliliit na van at ilang crew roon na naghihintay ng tawag. Nakita ko si Thirdy na una kong nakita sa Day 1 na labas-pasok at nakikipag-asaran kina Alwyn at Edgar. Malamang ay hindi na n’ya ako namukhaan pero kahit papaano, nakakatanggal ng hiya n’ung may nakita akong pamilyar. Hinanap ko ‘yung contact ko sa art department. Nasa loob lang daw, naka-pekpek shorts sabi ng tinanungan ko. Sinubukan kong pumasok sa isang parang hall/kuwarto at nakita ko nga ang contact ko roon na nagpapahinga kasama nina direk Mario. Minabuti kong maghintay sa may bukana. Kinausap ko na lang ‘yung mga bodyguard ni Nora na maghahatid sa kanya para sa isang funeral scene shoot sa Marikina. Natutong makipaghiritan ang lady guard. Bawal daw i-approach si Nora sabay ngiti. Nagpapa-cute sa kanyang pagiging istrikto. Ang isa pang guard ay nakakwentuhan ko na rin. Matagal na raw silang kinukuha ng TV5 at madalas dawn a mga artista ang kanilang binabantayan. Hintayin ko na lang daw si Nora. Natutulog lang daw.

Habang naghihintay, nakasalubong ko si Edgar. Papalabas na, papunta ring Marikina. Nagulat ako na nilapitan ako at nakipag, hmm, ano bang tawag d’un? ‘Yung parang pag-uuntugin n’yo ang mga kamao habang nakatikom ito? Natuwa ako sa idea. Ibig sabihin, nakilala n’ya ako. Nakita ko ring lumabas si Nadine Samonte na may yakap na unan. Iisang van yata ang nagdala sa kanila sa Marikina. Dumaan din si Lilia Cuntapay sa harapan ko. Inaalalayan s’ya ng isang babae na kasa-kasama n’ya. Hinalikan ako ni Miss Lilia. Nakipagpalitan din ng number. Kunin ko raw s’ya kung meron akong proyekto. Napalunok ako at ginudlak na lang s’ya sa kanyang ‘Six Degrees” film. Bakit daw alam ko? Sabi ko, pinapag-usapan na ho sa internet. Napaka-surreal lang n’ung pagkakataon na ‘yun. Hindi ko talaga pinalampas na hindi makapagpa-picture.

Nang lumabas si Nora mula sa pinto na nakaitim at handang handa na sa shoot sa Marikina, parang tumigil sandali ang mundo. Hindi ko alam kung anong uunahin ko, ang magpa-picture ba o magpa-autograph. Kung anong nakita mong pagka-blush n’ya sa TV, gan’un din sa personal. Parang hindi na s’ya nasanay na merong lalapit at magpapaka-fan. Hindi ko na matandaan kung anong mga sinabi ko pero sure ako na nakapagsalita naman ako at sure ako na sumagot s’ya. For the books ang experience na ‘to. Parang matagal na palang pumapatak ang ulan n’yan pero hindi ko napapansin.

Ginugol ko ‘yung mga huling sandali sa pakikipagkwentuhan kay direk Mario. Nagkalakas na rin ako ng loob na istorbohin ‘yung taga-art department. Sa kanya ko nalaman na kapag nagpapalipas daw ng oras sa set si direk, lumalabas daw ito, nagkakape at naglalakad-lakad. Dahil nga may mga baon akong tanong n’un mula kay Noel Vera, ginamit ko itong susi para makapag-set up ng conversation para kay direk. Nasabi na lang n’ya, “Hay, naku, si Noel!”. Medyo nahihiya rin naman ako s’yempre. Alam kong matalino ang kausap ko at alam kong binabasa n’ya ako habang tinatahi ang mga tanong at follow-up question. Mukhang na-pull off ko naman. Wala namang sandaling nanlambot, lahat matikas ang palitan ng tanong at sagot. Hindi ko na matandaan lahat pero ang mga nagmarkang sagot ay ‘yung tungkol sa pagkakaroon ng political drama sa primetime, ‘yung role ni Nora na hindi lang basta kawawa o katulong at ang susunod nitong proyekto na indie film tungkol sa isang sarswela actress na nagtatanghal sa mga palabas sa plaza. Hindi ko rin makakalimutan ‘yung sinabing tatalikuran na ni direk ang pag-arte sa entablado. Hindi na raw kasi s’ya nakaka-memorize nang todo. Hindi ko lang daw alam, kung saan-saan na raw nakakakabit ang mga script bilang kodigo. Nariyang nasa damit ng kawal at nariyang nasa sahig. In fairness sa kanya, hindi ko ito nahalata sa ilang pagtatanghal na napanood ko. Ang American Hwangap na raw ang kanyang huling dula (na napalampas ko dahil wala ako sa Pinas n’ung ipinalabas). In-offer daw sa kanya ang Haring Lear ng PETA pero tinanggihan na raw n’ya.

Umuulan pa rin nang nilisan ko ang location. Kumain ako ng isang stick ng bananacue at bumalik sa aking lungga na busog na busog na busog.

Si Joanna Ampil, Bago ang Lahat

2011-11-27T19:49:00.006-05:00

The Sound of Music
Produksyon: Resorts World Manila
Direksyon: Roxanne Lapus
Mandudula: Howard Lindsay at Russel Crouse (halaw mula sa librong “The Trapp Family Singers” ni Maria August Trapp)
Titik at Musika: Oscar Hammerstein III at Richard Rodgers
Mga Nagsiganap: Joanna Ampil, Audie Gemora, Pinky Amador, Sheila Francisco, Tanya Manalang, Paolo Ocampo, Danielle Sianghio, Justin Sian, Thea Zamesa, Atasha Muhlach, Alexa Villaroel, Marvin Ong, atbp.

ISTORYA

Dahil sa dulang ito nanggaling ang pamosong pelikula ni Robert Wise, gan’un din ang kwento at listahan ng mga kanta rito. Sa bansang Austria, isang nagmamadreng si Maria (Joanna Ampil) ang nabigyan ng isang special task ng mother superior (Sheila Francisco) na maging nanny sa ulila na sa inang mga anak ng istriktong si Captain Von Trapp (Audie Germora). Dito ay nakagiliwan s’ya ng magkakapatid na sina Liesl (Tanya Manalang) na kasintahan ng binatang si Rolf Gruber (Marvin Ong), Friedrich (Paolo Ocampo), Loiusa (Danielle Sianghio), Kurt (Justin Sian), Marta (Thea Zamesa), Brigitta (Atasha Muhlach) at Gretl (Alexa Villaroel) sa tulong na rin ng musika. Ganap na naging bahagi ng pamilya si Maria kahit na nakatakda pang ikasal sana ang kapitan kay Elsa Shraeder (Pinky Amador). Ang special task ni Maria ay hinamon at pinatibay nang dumating ang World War II sa bansa.

PAGPUPUGAY SA KAYUMANGGING MARIA

Ang dasal ko talaga ay si Joanna Ampil ang gumanap ng Maria sa mapapanood kong staging nito sa Resorts World. Kaya ko nga pinatulan ang opening night dahil mas malaki ang tsansa. Hindi naman sa iniiwasan ko si Cris Villonco na mahusay rin sa ilang play na napanood ko dati pero si Joanna Ampil ‘yun. Graduate s’ya ng “Miss Saigon” at malamang, sa mga gumanap ng Kim, isa s’ya sa malayo rin ang narating (kasunod syempre ni Lea Salonga). Sa katunayan, ang isang OST recording ng “Jesus Christ Superstar” ay s’ya mismo ang bumoses kay Mary Magdalene. Pero higit pa r’yan, napanood ko s’ya bilang Fantine sa isang pagtatanghal ng “Les Miserables” sa West End noong 2005. Hinintay ko s’ya sa labas noon at nagpapirma. Tinanong ko kung marunong pa s’yang mag-Tagalog (Filipino) at sumagot lang s’ya ng “Syempre naman!” na may kasamang ngiti.

Noong pinapanood ko s’ya sa kanyang Fantine stint, maraming beses akong tinayuan ng balahibo sa tuwing dumadagundong ang palakpak para sa kanya. Nakaka-proud lalo na’t ang audience noon ay mga Caucasian. Bagama’t lutang na lutang ang pagiging Asyano ng kanyang frame lalo na’t nakikipagdikitan ito sa mga kapwa actor na mas matatangkad sa kanya, hindi s’ya nagpasapaw sa kantahan at aktingan.

Naulit ang pagpapa-autograph ko sa kanya n’ung mga 2008 siguro sa isang mini-dance concert sa Glorietta (nabanggit ko sa blog na ito). Bitbit ko naman noon ang isang CD niya na koleksyon ng mga Broadway hits. Hindi ko matandaan kung paano kami nagkapalitan ng email address pero may isa o dalawang reply yata akong nakuha mula sa kanya.

Bilang Maria sa “The Sound of Music” (naging Maria na rin s’ya sa “West Side Story” noong 2008 pero si Karylle ang naabutan ko), nand’un pa rin naman ‘yung mga nagustuhan ko n’ung una ko s’yang napanood sa London. Ang experience ng panonood kong ito sa isang local production ng isang Broadway show ay binuod lang sa pagtutok sa kanyang paglipad bilang bida, kung paano s’ya bumirit nang walang kahirap-hirap, kung paano s’ya makipagbalitaktakan sa mga kapwa Pinoy na theater artist at kung paano s’ya magiging “nanay” sa pitong bata.

Tungkol sa produksyon, tanggap ko naman ang magarbong paggamit ng set at visual dito. Malaki masyado ang stage ng Newport Performing Arts Theater kumpara sa ibang venue kaya’t inaasahan ko na na pagkakagastusan ang pag-recreate ng bahay ng mga Von Trapp o maging ang kumbento (salamat kay Mio Infante). Ang mga video na nagfa-flash sa malaking screen sa likod (kamukha ng mga ginagamit sa musical variety show sa TV tulad ng ASAP Rocks) ay inihanda ng filmmaker ng si Paul Soriano. May karagdagan itong mala-Vegas na pang-akit sa mga manonood pero hindi ko alam kung malaki talaga ang naitulong upang dalhin ang mga manonood sa Salzburg, Austria (isa sa mga paborito kong city). Para sa akin, boses pa lang ni Joanna Ampil at ang blending ng mga batang Von Trapp ay sapat na upang masabing “the hills are alive”.

KONKLUSYON

Pwede namang pag-ipunan ang ticket ng dulang ito na ang tanging interes ay maka-experience ng Broadway o West End (kahit na ang ilang teatro roon ay hindi rin naman malalaki). Ganito, unang una, ang vision ng produksyon para sa Resorts World na isang pinagsamang casino, mall, hotel at restaurant. Pwede ring manonood ka nito dahil nami-miss mo lang ang mga awit ng tambalang Rodgers at Hammerstein. Sa kaso ko, pinag-ipunan ko ito para kay Joanna Ampil at wala nang iba.

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SIDE TRIP. Napanood ko na rin sa wakas ang “Stomp” n’ung sumaglit sila sa Pinas para sa isang limited run. At ang masasabi ko: precision. Nakakabilib isipin kung paano nila nagawan ng ritmo at tiyempo ang mga pangkaraniwang tunog. Ito siguro ang ultimate na musicality. Naaliw ako r’un sa ilang number na ginawa nilang instant stomper ang audience. Ang kailangan mo lang ay focus at attention sa anumang napakahinang tunog. Ang pinakamalapit ko na sigurong skill sa ganito ay ang paglalaro ng larong bata dati na merong chant na “Nanay, tatay, gusto ko’ng tinapay. Gusto ko’ng kape. Lahat ay gusto ko....” Natuwa rin ako sa isang tsikiting sa harapan ko. Duda ko, hindi masyadong interesante para sa kanya ang palabas. Nang magpakita sa stage ang isang player na may dalang walis at nakabihis janitor, nagtanong ang bata: “Is that the show already?”

Alamat Questor

2011-11-25T05:56:00.004-05:00

Tatlong Tabing: Three Plays by Tony Perez
Produksyon: Tanghalang Pilipino
Direksyon: Tess Jamias (“Sierra Lakes”), Dennis Marasigan (“Bombita”) at Tuxqs Rutaquio (“Nobyembre... Noong Akala Ko’y Mahal Kita”)
Mandudula: Tony Perez
Mga Nagsiganap: Irene Vergara, Bodie Cruz, Ian Lomongo, Rayna Reyes, Marco Viaña, Jonathan Tadioan, Mayen Estañero, Marjorie Lorico, atbp.

ISTORYA

Hinati sa dalawang set ang retrospective. Ang una ay ang pinagsamang “Sierra Lakes” at “Bombita” at sa ikalawa naman ay ang “Nobyembre... Noong Akala Ko’y Mahal Kita”. Tungkol sa apat na magkakaiba at magkakaibigang karakter ang “Sierra Lakes”. Si Girlie (Ienne Vergara) ay may gusto kay Carlos (Ian Lomongo) na may gusto naman kay Arlene (Rayna Reyes) na ang gusto naman ay si Jusel (Bodie Cruz) na ang habol naman ay si Girlie. Isang road play naman ang “Bombita” kung saan isang grupo ng mga sundalo, isa na rito si Bombita (Marco Viaña), ang naatasang maghatid ng isang espesyal na baul sa isang lugar. Ang “Nobyembre... Noong Akala Ko’y Mahal Kita” ay tumalakay sa masculinity ng isang lalake (Jonathan Tadioan) at sa mga babaeng (palit-palitang ginampanan nina Mayen Estañero at Marjorie Lorico) dumaan sa kanyang buhay.

ISANG PAGPUPUGAY NA NOON PA SANA GINAWA

Sa isang culminating activity noon sa aming maliit na theater group sa highschool, ang “Bombita” ni Tony Perez ang naibigay sa aming proyekto. Samantalang ang iba ay naatasan ng ilang graduate play ng PETA kamukha ng “June Bride” (isang lighthearted na pananalamin sa dalawang klase ng mag-asawa, isang mayaman at isang salat) at “Mariang Aliw” (tungkol sa iba’t ibang uri at hugis ng mga pokpok), isinakay kami sa isang mahabang road play na kinakailangang magpatawa at maging seryoso. Kung hindi ako nagkakamali, ang iyaking si De Lara ang karakter na ibinigay sa akin. Natatandaan ko pa na nakasulat mismo sa script (hindi ko alam kung note lang ito ng direktor namin o talagang isinulat ng mandududla) na habang ginagawa ang isang monologo ay pinapatugtog ang “Mr. Lonely” ni Buddy Greco. Pero mahigit sa lahat ng hamong iyan sa issue ng role playing, ang hindi ko talaga makalimutan ay ‘yung pagkaka-inject sa akin ng dark comedy sa murang edad. Sa kabila ng masaya at makulit na paglalakbay ng mga sundalo sa Kabisayaan, isang oppression play rin ito. Sinusubukan nitong imulat ang kamalayan ng mga manonood (at para sa akin, ng mga aktor) ang konsepto ng maling paggamit ng kapangyarihan at pag-abuso sa mga kahinaan.

Medyo may pagka-guerilla ang pagkaka-stage ng tatlong dula sa Tanghalang Huseng Batute. Payak lang ang mga set design dahil na rin sa tatlong play ang maghahati rito. Ang mold ay parang Virgin Labfest at, para sa akin, isa naman itong plus factor bilang contrast sa kabi-kabila at naglalakihang Broadway show sa local scene. Sa “Bombita”, halimbawa, umaasa akong mapapanood ito sa mas enggrandeng pagtatanghal (mas enggrande sa aming highschool production, kahit papaano) pero nagkasya naman ako sa optimized na blocking ng kanilang “military jeep”. Ang “Sierra Lakes” ay nabasa ko n’ung college bilang bahagi ng isang libro sa Cubao series at sumakto ang inaasahan kong magiging hitsura ng stage. Maging ang kasimplehan ng mga pagtatanghal ay reflective sa kung anong personality meron si Tony Perez ayon sa impression ko nang makita ko s’ya sa personal (at makapagpa-autograph at makapagpa-picture).

Sa tatlong dulang kasali sa retrospective, lutang ang mensahe na maging mindful tayo sa anumang ating ginagawa. Sa “Sierra Lakes”, halimbawa, tila gustong sabihin na maging matalas ang pakiramdam natin sa mga taong nasa paligid natin na palihim na nagmamahal. Ang “Bombita” ay isang advocacy na maging vigilant tayo sa anumang pang-aabuso ng isang institusyon. Kung hindi naitulak ng isang pokpok na buksan ang mahiwagang baul, hindi malalaman ni Bombita ang kanyang halaga (o kawalan nito). Ewan pero para sa akin, ‘yung baul pa lang ay isa nang representation ng pag-iisip. Sa “Nobyembre...”, bagama’t ambisyoso ang mala-epiko nitong pagkukwento, gusto pa ring ipaalala na ang mga bagay na ginagawa natin sa sarili at sa ibang tao ay nagkakaroon ng epekto. Maaari tayong makasira at maaari rin tayong makabuo.

Competent naman ang tatlong direktor na kasali rito. Gusto ko lang i-single out ang effort na ibinigay ni Tuxqs Rutaquio sa “Nobyembre...” at panindigan na rin ang sinabi ko sa nakaraang blog na dapat s’yang abangan. Hindi madaling idirek ang dula. Marami itong timeline at madalas na isa o dalawang linya lang ang nakalaan para sa isang panahon. Mas umigting ang challenge dahil tatatlo lang ang aktor sa napakaraming karakter. Ang Lalake, halimbawa, ay kailangang magkaroon ng transition mula sa pagiging binatilyo hanggang sa tuluyang maging binata at ganap na matanda. Ang Babae 1 at Babae 2 naman ay nagpapalitan sa lahat ng karakter na babae (unang girlfriend, nanay, lola, kapatid, officemate, asawa at iba pa) at mas marami at mas mabilis ang kanilang transition. Pinadali ng direktor ang lahat nang gumamit s’ya ng chimes upang maipakita ang hudyat ng transition. Tumutunog ito sa tuwing tatawid ang isang timeline sa panibago. Mas pinagaan nito ang suhestiyon na ang dula ay kailangang namnamin sa kabuuan at hindi sa mumunting sequence nito. May kakaiba rin itong dating na tila ang lahat ng mga pangyayari ay nagaganap sa loob ng maraming pagtibok.

Ang huli kong napanood na Tony Perez ay ang “Saan Ba Tayo Ihahatid ng Disyembre?” mula sa PETA na idinirek ni Nonon Padilla mga dalawang taon na ang nakakalipas. Hindi ko alam kung bakit ngayon lang nagkaroon ng tribute para sa kanya. O kung bakit hindi tayo madalas magkaroon ng staging ng kanyang mga dula. Ang “Bombita”, halimbawa, ay kaya namang i-market bilang isang full length play at pwedeng pagkagastusan kung kinakailangan (parati kong iniisip na darating ang araw na isasapelikula ang dulang ito). May humor din naman ito pero siguro, limitado lang talaga ang theater audience niya. Sumusulat din s’ya ng mga libro. Sa katunayan, ang kanyang Cubao series ay naging malaki ang bahagi n’ung nasa college ako. Isa itong reliable na companion sa pagitan ng exam at machine problem. Nitong mga huling taon ay mas lumitaw ang pangalan n’ya sa pagiging involved sa ilang paranormal activity. Partikular dito ang para sa pamosong Spirit Questors na nangangalakal sa mga multo o anumang elemento. Isang episode pa nga dati sa "Shake, Rattle and Roll" ng Regal ang kanyang ginawan ng script. Tungkol ito sa isang tulay na pinupugaran ng multo, isang pagsang-ayon sa urban legend na ang mga ganitong structure ay inaalayan ng dugo ng mga paslit. N’ung naghahanap ako ng kanyang libro sa National Book Store para mapapirmahan, ang kanyang “Mga Panibagong Kulam” na ang aking naabutan. Koleksyon ito ng ilang simple at praktikal na pangungulam na ang intention naman ay para sa ikabubuti ng tao. Hindi ako bumili nito n’ung unang nalathala pero wala na akong ibang option para mapapirmahan. Wala na sa mga tindahang natanungan ko ang kanyang Cubao series. Wala akong ideya sa mga pinagkakaabalahan n’ya ngayon pero naaliw ako n’ung nagpa-picture sa kanya dahil kumuha s’ya ng isang wand mula sa kanyang bag. Inisip ko na lang na isa itong mabuting basbas.

KONKLUSYON

Sa pagsibol ng Facebook at Twitter, parang mabilis na lang ma-immortalize ang mga bagay-bagay. Mas mayaman na tayo sa preservation technique at mas sagana sa archive tools. Ito na siguro ang pagkakataon para maidamay sa ganitong tawag ng panahon ang mga akdang pandula ni Tony Perez, na para sa akin ay isang alamat ng sining, sa teatro man o iba pang medium. Ang retrospective para sa kanya ay isa lamang sa mahaba-haba pang prusisyon sa pagtuklas natin ng mga artist na sa ilang iglap ay maaari nang kainin ng alikabok ng makabagong ihip ng hangin. Hindi nag-iisa si Tony Perez dito. Marami pa tayong dapat kilalanin at malayo-layo pa ang ating paghahanap.

Orgasm ng Dugo

2011-11-20T19:22:00.002-05:00

Titus Andronicus (Tinarantadong Asintado)
Produksyon: Dulaang UP
Direksyon: Tuxqs Rutaquio
Mandudula: Layeta Bucoy (halaw mula sa “Titus Andronicus” ni William Shakespeare)
Mga Nagsiganap: Bembol Roco, Shamaine Centenera-Buencamino, Nicco Manalo, atbp.

ISTORYA

Nasa kasalukuyang panahon ng eleksyon sa Pilipinas ang dula. Isang assassin, si Carding (Bembol Roco), ang naatasang kumandidato sa kabila ng papalit-palit na pagpaslang sa dalawang magkalaban at naghaharing pamilya. Mas pinili n’yang hindi pumasok sa pulitika pero may ibang plano ang matrona na si Clarissa (Shamaine Centenera-Buencamino) mula sa kalabang partido. Ang kabi-kabilang pagpatay ay sinasayawan ng isang payaso (Nicco Manalo).

DINUGUAN

Pagbukas na pagbukas pa lang ng telon, parang laway nang dumikit ang dula sa akin. Mula sa dilim ay lumabas si Nicco Manalo bilang payaso habang isang desafinadong piyesa mula sa orchestra ang kanyang kinukumpasan. Ang bawat tono o paglakas ng tunog ay tila kanyang kontrolado habang nanggigigil s’yang diktahan ang patutunguhan nito. Fade out. At nanikit ang imahen ng payaso sa isip ko.

Ang pinaka-tangible sa adaptation ni Layeta Bucoy, maliban sa swak na swak na pagkaka-localize sa Philippine backdrop, ay ang paggamit ng payaso bilang Kamatayan. Siguro ay nasa mindset na n’ya na ang orihinal na akda ni Shakespeare ang pinakamarahas at pinakabayolente at nais n’yang ilagay rin sa utak ng mga manonood na ang buong pinagdaanan ni Titus Andronicus o ni Carding ay hawak ng isang Tagasundo. Ang bawat trahedya sa dula ay papasukin ng payaso, isasayaw ang napaslang at ipapasyal palabas ng entablado. Pinakakritikal sa pagsundo na ito ay sa dulo, kay Carding, na sinubukang i-outwit ang payaso sa pamamaril sa audience. Para sa akin, isa ito sa mga hindi ko makakalimutang eksena mula sa isang straight play para sa taong ito.

Marami pang ibang consistency ng karahasan ang dula. Ang challenge siguro para sa direktor nitong si Tuxqs Rutaquio ay makapanggulat sa paraang nagulat din ang mga naunang audience ng obra ni Shakespeare. Sa ilang madugong eksena, naglaan ang produksyon ng effort sa pagsirit ng dugo mula sa katawan ng mga walang kalaban-labang biktima. Hindi ito gumawa ng quicky at literal na tumalsik ang dugo patungo sa isang piling bahagi ng audience (kawawa ang ilang nakasuot ng puti). Kahit alam ng lahat na ang eksenang nabanggit ay palabas lamang, nakabuntis pa rin ito ng takot.

Sa puntong ito, pwede ko nang sabihin na isa si Tuxqs Rutaquio sa mga direktor na dapat abangan sa larangan ng teatro. Marahil ay pinaghugutan n’ya rin ang kanyang experience bilang set designer dahil lutang na lutang ang puhunan dito. Isa pang halimbawa, maliban sa theatrics ng mga dugong sumisirit, ay ang paggamit ng tricycle sa umpisa ng dula. Kung tutuusin, pwede naman itong hindi na ilagay pero nakadagdag kahit papaano sa Philippine atmosphere (kamukha ng isang bangka sa tagiliran ng stage noon para sa isa pang tambalan nila ni Layeta Bucoy, ang “Doc Resureccion: Gagamutin ang Bayan” para sa Virgin Labfest).

Mahusay ang buong ensemble at lahat ay lumutang sa kani-kanilang pagganap. Kung napanood mo na si Bembol Roco sa ibang pagtatanghal, madali mong makikilatis kung nakakalimutan n’ya ang kanyang mga linya. Sa kaso n’ya bilang Carding, wala namang mapapansin na ganito. Parating isang karangalan na mapanood s’ya sa mga ganitong klaseng dula. Si Shamaine Centenera-Buencamino ay wala na yatang hindi kayang gawin at pakiramdam ko, malayo-layo na rin ang kanyang napapatunayan. Minsan ay may ideya na ako sa kanyang posibleng maging atake bilang Clarissa pero patuloy pa rin n’ya akong sinusurpresa. Ang contribution ng iba ay hindi rin matatawaran. Si Olive Nieto bilang Salve (Lavinia) ay marupok mula simula at dulo ng dula. Si Paolo O’Hara bilang Chua (Aaron) ay nasa ilalim ang kulo samantalang si Cris Pasturan bilang Nomer (Demetrius) ay pinaghalo ang yabang at pagkaduwag. Maging ang take ni Skyzx Labastilla bilang guro, kahit na iisang eksena, ay gripping at kaawa-awa.

KONKLUSYON

Ang argumento lang naman kadalasan sa mga adaptation ay kung nabigyan ba ng sapat na karugtong na buhay ang pinaggalingan nitong akda. Hindi lang basta maisulat ito sa Filipino kundi makarating din sa contemporary audience ang punla nito. Hindi ako scholar sa mga obra ni Shakespeare at umaasa lang din ako sa ilang palabas bilang point of reference. Ayon sa pelikulang “Titus” ni Julie Taymor na pinagbidahan ni Anthony Hopkins, isinalarawan dito na synonymous sa giyera ang pumatay ng kapwa tao. Mas marahas dito ang lutuin ang karne ng tao at ipakain sa gutom na kaaway. Wala na sigurong mas brutal pa sa ganitong estado ng pag-iisip dahil maging ang aso nga na isang hayop ay tumatanggi sa karne ng kapwa aso. May nais sigurong sabihin si Shakespeare dito tungkol sa “paglamon” ng ibang tao, na ang karahasan ay isang display ng kahayupan. Nasa ganitong libog naman ang adaptation. Sapat ang paglatag ng terror sa foreplay ng dula hanggang umabot ito sa isang madugong rurok.

Ang Epiphany ni Cory

2011-11-14T06:01:00.005-05:00

(Ang larawan ay kinuha mula sa Facebook page ng Philippine Stagers Foundation)

Cory ng EDSA: A Filipino Musical
Produksyon: Philippine Stagers Foundation
Libretto at Direksyon: Vince Tañada
Musika: Pipo Cifra
Mga Nagsiganap: Cindy Liper, Vince Tañada, Adelle Ibarrientos-Lim, Jordan Ladra, Gabby Bautista, Kierwin Larena, Monique Azerreda, atbp.

ISTORYA

Inilahad ang buhay ng dating pangulo na si Corazon “Cory” Aquino (Cindy Liper) mula sa pagkamatay ni Ninoy hanggang sa kanyang sariling kamatayan. Kasabay ng piling timeline na ito ay ang pagdokumento ng reporter na si Peter (Vince Tañada) na nagsimbulong central character sa magkakadugtong na buhay ng batang si Edsa (Gabby Bautista) at ang kanyang tatay na si Rey (Jordan Ladra) na kapatid ni Elsie (Adelle Ibarrientos-Lim), isang software specialist, at ang magkasintahang sina Jason (Kierwin Larena), isang balik-bayan, at Anette (Monique Azerreda), isang folk singer sa mga rally.

ANG MAPAGPARAYANG SAKRIPISYO

Bagama’t ang ginamit na makinarya sa pagkukwento ay ayon sa ilang historical details (assassination ni Ninoy, walk-out ng 29 na “computer technician” sa Comelec, People Power, kudeta n’ung 90’s, atbp.), hindi ito tumutok sa figures. Ang intention ng musical ay makapaglilok ng history hindi sa pamamagitan ng mga petsa sa kalendaryo o mga pangalan ng mga tao at lugar na humubog sa bansa. Mas ini-highlight nito, kahit na one-sided, ang mapagparayang sakripisyo ni Cory sa paglabas sa kanyang comfort zone, partikular sa pagtakbo bilang pangulo hanggang sa mga panahon ng instability ng bansa na kailangan n’yang maging matatag. Mula sa kanyang pagiging simpleng maybahay at sa kawalan ng karanasan sa Philippine politics ay nagkaroon s’ya ng sariling epiphany upang harapin at isabuhay ang mga ideals na naiwan ng namayapang asawa.

Nagbunga naman ang sakripisyong ito sa tulong na rin marahil ng mga taong nakasalubong n’ya sa EDSA (o Epifanio delos Santos Avenue na tila may pahiwatig na kahit ang mga santo o ang Diyos ay may sariling epiphany para kay Cory). Sa katunayan, ang EDSA Revolution n’ung 1986 ay tinatawag na People Power dahil sa tulong ng maliliit na taong pinagbuklod para sa pag-aklas ng bansa laban sa diktadurya. Ang mga taong ito ang pumuno sa anumang kakulangan ng dating pangulo. Na-amplify ang koneksyon na ito ni Cory sa tao sa pagpapakilala ng ilang fictional character sa musical sa pangunguna ng reporter na si Peter.

Upang mas mapag-igting ang tema ng sakripisyo, inilatag ni Vince Tañada, bilang mandudula, ang parallel nito sa mga taong nakasalamuha ni Cory. Si Peter, halimbawa, ay nakikipagbuno sa sakit na Parkinson’s Disease at piniling isakripisyo ang asawa upang hindi ito maging pabigat. Ang buong storytelling ay nag-ugat sa kanya sa pangungulit na rin ng batang si Edsa (na may pagkakahawig sa batang character sa “Bertdey ni Guido” ni Rene O. Villanueva). Ang sakit ni Peter ay isa ring direct reference sa colon cancer ni Cory. Ang balik-bayan naman na si Jason ay nag-alay ng kanyang mga mata sa kasintahang si Anette. Wala mang ganitong eksaktong sakripisyo ang dating pangulo, pwede itong basahin bilang metaphor sa anumang blindness na kinaharap para sa bansa. Maging sa kanyang huling sandali, mas pinili n’yang magtiwala sa mga doktor sa Pilipinas na marahil ay matunog at napapanahon dahil sa pagkakalapit nito sa kalagayan ng dati ring pangulo na si Gloria Arroyo. Nararapat lang na maging fitting companion ang “Cory ng EDSA” sa “Ako si Ninoy” dahil halos magkapareho ang estilo ng dalawa at pareho namang epektibong nakapagbigay ng leksyon.

Marami akong inaabangan sa bawat pagtatanghal ang PSF. Isa na rito ang pagkausap sa mga high school students tungkol sa kahalagahan ng theater etiquette bago mag-umpisa ang dula. Minsan ay stressful ang pagkakasabi ng sinumang naatasang gumawa nito at minsan naman ay panatag. Sila lang yata ang theater group na gumagawa ng ganitong hakbang upang maturuan ng leksyon ang mga bata pagdating sa social grace. Ang mga pagkakataong ito ang nagpapaalala sa akin ng mga high school teachers ko at natutuwa ako na rumeresponde ang mga bata nang naaayon sa buong palabas. Madalas din kesa hindi ay makakarinig tayo ng nakakalibang na ad lib mula sa mandudula/aktor/direktor. Sa kaso ng “Cory ng EDSA” na inumpisahan ng mabigat na eksena (turmoil at kamatayan ni Ninoy), hindi agad lumabas ang hiritan. Nagpakita lang ito sa unang pagkakataon na nagkasama sa isang eksena sina Peter, Rey at Jason. Sa kabilang banda, karapatan naman ng creator na paglaruan ang kanyang sariling creation. Bagama’t pwedeng ituring ito ng iba na kawalan ng disiplina, malaki naman ang naiiambag nito upang panatilihin ang atensyon ng mga batang manonood. Nababawasan kahit papaano ang pagkakataon na bumigay sila sa tukso na makipagdaldalan o mag-text na lang.

Bilang musical, ang pagtatanghal na ito ay isa sa mga patunay ng patuloy na commitment ng PSF upang makapagbigay ng dulang madaling maabot ng mga manonood. Radio-friendly ang mga kanta rito (salamat kay Pipo Cifra). Sa katunayan, at marahil ay sa unang pagkakataaon, naglabas sila ng OST mula sa Viva Records. Ang tagal na yata nang huli tayong makarinig ng mga kanta mula sa musical na maaaring makipagsabayan sa Top 40, kung mabibigyan lang ng tamang exposure, kamukha ng “Naaalala Kita”. Wala akong masabi sa mga aktor dito. Hinog na hinog silang lahat sa bawat number at halata mong kahit sila ay naaaliw sa kanilang ginagawa. Mula sa powerful na boses ni Vince Tañada, sa character singing ni Cindy Liper (mapanood sana s’ya ng mga Aquino), sa father role ni Jordan Ladra hanggang sa timing sa comedy at pagpapakilig nina Kierwin Larena at Monique Azerreda, walang itulak-kabigin. Ang mahusay na koro ay nand’un pa rin (ito pa lang ay sapat nang panoorin ang dula), gan’un din ang magarbong costume changes at ensemble number. Ilan lang ito sa mga dahilan upang mapanatiling nakatutok ang isang high school student at lumabas ng teatro na may napulot na aral at karagdagang appreciation sa performing arts.

Sa aking personal na enjoyment, hinding hindi ko makalimutan ang pagsingit ng isang Broadway-style (tuxedo number a la “That’s Entertainment”) habang kumakanta ang ilan ng “Snap, snap, snap election”. Hindi lang sa nakaka-LSS ito kundi mahusay rin ‘yung ideya na magpasok ng mockery o satire sa gitna ng kaguluhan n’ung Marcos era. Posible na ang ganitong distraction ay statement mismo ng Stagers sa kabi-kabilang local adaptation ng mga Broadway musical na hindi gan’un kadaling maabot para sa isang karaniwang high school student.

KONKLUSYON

Ang “Cory ng EDSA” ay nararapat lang na maabot pa ng mas maraming audience. Kalimutan na muna natin ang political color nito at pansinin ang kakayanan ng dula na makapagbahagi tungkol sa sakripisyo. Nakakalungkot ang isang realization dito na kinakailangan pang masadlak sa Parkinson’s Disease ang storyteller upang tuluyang maliwanagan. Sikat tayong mga Pinoy sa kawalan ng sense of history. Ang pasakit na naranasan sa nakaraan ay mabilis na kinakalimutan na parang kagat lang ito ng langgam. May kinalaman yata ito sa pagkakaroon natin ng Filipino Time, na balewala para sa ilan ang mga nasayang na oras. Nawa’y hindi natin kailanganing magkasakit para lang magkaroon ng sariling epiphany.

Ang Harness at ang mga Bagay na Nakaangkla sa Lupa

2011-11-13T16:45:00.002-05:00

(Ang larawan ay kinuha mula sa website ng Repertory Philippines)

Peter Pan: A Musical Adventure
Produksyon: Repertory Philippines at Stages Production Specialists, Inc.
Direksyon: Jaime del Mundo at Menchu Lauchengco-Yulo
Libretto: Willis Hall (halaw mula sa dulang “Peter Pan” ni J.M. Barrie)
Musika at Titik: George Stiles at Anthony Drewe
Mga Nagsiganap: Sam Concepcion, Michael Williams, Cara Barredo, Joy Virata, atbp.

ISTORYA

Isang batang ayaw tumanda, si Peter Pan (Sam Concepcion), ang bumisita sa isang silid ng Pamilya Darling sa London. Mula rito ay tinuruang lumipad ni Peter sina Wendy (Cara Barredo) at mga kapatid nito papuntang Never Land. Sa isang panibagong mundo na kanilang kinasuungan, isang kakaibang adventure ang kanilang tinahak kasama ang mga Lost Boys laban sa mga piratang pinamumunuan ni Captain Hook (Michael Williams). Ang buong pakikipagsapalaran ay ikinuwento ng storyteller (Joy Virata) mula sa kanyang perspektibo.

"FLYING DIRECTORS"

Ang unang una kong napansin sa credit ng production ay ‘yung para sa dalawang “Flying Directors” na sina Brad Allen at Jaime Wilson (na napanood kong main puppeteer dati sa isang staging ng “Little Shop of Horrors” sa Repertory Philippines n’ung nasa William J. Shaw Theater pa ito sa Shangri-la Mall). Naisip ko, napaka-espesyal naman ng pagtatanghal na ito dahil dalawa pa ang nakatalaga para sa pagdidirek ng mga eksenang nasa ere si Peter Pan. Kung tutuusin, ang mga flying scene talaga ang pangunahing bentahe ng dula base sa mga press release nito (na kesyo imported pa ang ilang makinaryang ginamit para maisagawa ito). ‘Yun nga lang, napaka-underwhelming sa akin n’ung experience n’ung nakita ko nang lumilipad ang mga bida. Parang may sinusunod lang itong isa o dalawang linya at sa rutang ito ay pumaparoon-parito ang mga aktor. At sa kasimplehang ito ay nagawa naman nila nang tama, kahit papaano.

Hindi ko matandaan kung merong ibang produksyon na naka-harness ang mas elaborative kesa rito. ‘Yung ambisyosong realization ng Darna dati ng Ballet Philippines sa CCP, nakasalalay rin ito sa harness. Mas marami nga lang gimik kamukha ng transformation mula sa simpleng si Narda hanggang sa superhero at ‘yung ballet mismo sa ere. ‘Yung “Little Mermaid” ng Trumpets dati, may ganito ring bentahe upang i-simulate naman ang ilang underwater scene. Mas na-appreciate ko yata ‘yung effort doon dahil mas maraming direksyon ang pinagdalhan ng harness.

Iniisip ko na lang, tumatanda na siguro ako para sa mga eksenang lumilipad. Hindi na ito appealing sa akin matapos ang ilang segundong nakita kong kumakanta ang bida nang nakalutang. Siguradong hindi ganito ang pananaw ng isang batang viewer (bata, ibig sabihin, pre-schooler). At hindi lang batang viewer, kundi batang viewer na hindi natin kailanman makikita sa pagtatanghal ng isang all-original Filipino musical. Ewan ko pero parang damang dama sa karamihan ng mga nanood ‘yung pagkakaroon ng target audience sa mga ganitong pagtatanghal na “nakalutang sa ere”. Ang sa akin lang, sana makita ko rin ang ganitong crowd sa mga dulang mas reflective bilang Pinoy.

Kunsabagay, ang problema sa pagtanda ay kadalasang problema lang ng mga taong sagana na sa ibang aspeto ng buhay: edukasyon, health at maging wealth o career. ‘Yung pagtanda na lang talaga ang hindi maiiwasan. Sa ganitong paghahanap ng fountain of youth, naikwento naman ng musical adaptation nang maayos ang premise.

Sa kabila ng mga ganitong pagmumuni tungkol sa harness, nagustuhan ko naman ang set design ni Gino Gonzales lalo na n’ung nag-transform ito sa pagiging isang malaking barko sa dulo. Magara rin ang mga costume. Pero kung meron mang isang scene stealer dito, siguro ay wala nang iba kung hindi ang bida mismo na si Sam Concepcion. Para s’yang dinamita rito. Well optmized ang kanyang talent sa musical theater, kitang kita ang gilas n’ya at napakakumportable n’ya sa kanyang pagkanta at pagsayaw. Kung minsan nga, tingin ko, mas lumutang s’ya sa mga kasamahan n’yang aktor. Tama lang na ang kanyang katapat bilang Captain Hook ay kasing competent ni Michael Williams. Tingin ko, sila lang dalawa ang nakarating talaga sa Never Land at ang iba ay naiwan sa kani-kanilang London.

KONKLUSYON

Hindi ako masyadong nilipad ng pagtatanghal na ito ng Peter Pan. Kapag ganito, sinasabi ko na lang sa sarili ko na nasa maling audience ako (totoo rin naman kung edad lang ang pag-uusapan). Mas lumutang sa akin ‘yung discrimination sa pagitan ng mga nakakaangat at ang mga bagay na nakaangkla sa lupa. At sa mga ganitong pagkakataaon, mas napapaalala sa akin na kailangang mas ma-appreciate ang mga bagay na abot-kamay.

Aswang Po

2011-10-30T04:16:00.003-04:00

(Ang larawan ay kinuha mula sa Facebook fan page ng "Aswang")

Aswang (2011)
Produksyon: Regal Films
Direksyon: Jerrold Tarog
Iskrip: Aloy Adlawan at Jerrold Tarog
Sinematograpiya: Mackie Galvez
Editor: Aleks Castañeda
Musika: Jerrold Tarog
Mga Nagsiganap: Lovi Poe, Paulo Avelino, Albie Casiño, Jillian Ward, Marc Abaya, Niña Jose, Bembol Roco, Precious Lara Quigaman, Joem Bascon, atbp.

ISTORYA

Isang krimen sa Metro Manila ang nasaksihan at natakasan ng magkapatid na Gabriel (Albie Casiño) at Ahnia (Jillian Ward) mula sa kamay ng mga killer for hire na sina Guido (Marc Abaya), Queenie (Niña Jose) at Daniel (Paulo Avelino). Sa kanilang pagtatago sa Pampanga, nag-umpisa namang sumalanta ang mga abwak (mga aswang na may kakayanang sumalakay sa ilalim ng lupa at magkatawang-uwak). Isang maganda at misteryosang binibini, si Hasmin (Lovi Poe), ang sinubukang tumulong sa kanila.

PAGKILALA KINA PEQUE AT LORE

Ang plot, unang una, ay halaw sa feature length film na “Aswang” na ginawa nina Peque Gallaga at Lore Reyes noong 1992. Ganoon din ang gustong i-point out: na may parallel ang terror, ang mga krimen sa siyudad at ang horror mula sa mga mythical creature sa probinsya. Binigyan ito lalo ng highlight sa bagong bersyon. Mapapansin ang mga eksenang madikit na sinusundan ng dalawang uri ng monster ang mga kaawa-awang target na batang magkapatid. Ang gumanap na aswang noon ay si Alma Moreno samantalang ang batang naulila naman ay si Aiza Seguerra na sinamahan ng kanilang maid na si Manilyn Reynes upang makatakas at makapagtago. Sa katunayan, hindi lang ito basta hinalaw nina Jerrold Tarog at Aloy Adlawan, inilagay pa nila sa mga unang bahagi ng pelikula ang malinaw na pagkakakambal ng dalawang horror film. May isang tagpo sa 1992 film kung saan sinundan ng reporter na si Leo Martinez ang nagmamadaling umuwi na si Alma Moreno sa kanyang kubo. Habang nagpa-pan ang camera sa pagitan ng mga puno, pasulpot-sulpot si Alma Moreno at sa isang iglap ay biglang mawawala. Maganda at faithful ang naging atake ni Jerrold Tarog dito.

Nang mag-umpisang mawala ang tribute para sa mga naunang lumikha ng “Aswang”, dito na naging mas exciting ang storytelling. Maliban sa parallel ng terror na ipinakita, may isa pang parallel sa dalawang mundo na ginagalawan ng mortal na si Daniel at ang imortal na si Hasmin. Kung tutuusin, ito ang suhestiyon sa prologue ng pelikula, na ang dalawang nilalang ay trapped sa kani-kanilang lambat at gustong makatakas pabalik sa dagat. Bagama’t merong reference sa popular na pelikulang “Twilight”, partikular sa isang slow-mo na eksenang tumatakbo sa gubat ang dalawa, hindi naman ito nahulog sa pagpapakilig. Marami itong iniwasang patibong, sa totoo lang. Iniwasan din nito ang manggulat na madalas na pangunahing bentahe ng ibang horror film. Sa ilang parte, maliban sa sangkaterbang madugong eksena, hindi rin ito nakapag-inject ng chill (at least para sa akin). Halatang ang gustong tutukan ng pelikula sa loob ng isang oras at 50 minuto ay ang kwento nito at sa pagiging universal ng tema tungkol sa pagkakaiba, pagkakapareho at pagtanggap.

Ito ang kauna-unahang feature length film na mainstream ni Jerrold Tarog. Mula sa critical success ng kanyang episode sa “Shake, Rattle and Roll 12” noong nakaraang taon, ‘yung “Punerarya”, ay heto’t lumusong na nga s’ya sa baha. May ilang eksena na litaw ang kumpromiso ng direktor sa producer nito (‘yung dream sequence, halimbawa) pero ang mabilis mag-isip ay mabilis ding magpatawad sa mga ganitong kalakalan ng malalaking film production. Nakaka-pressure lang ang mga huling sequence ng pelikula (na malalaman n’yo rin kapag napanood n’yo na). Pero mukhang sinunod naman ng direktor ang payo ni Ricky Lee na panatilihin ang core. Maraming eksena, kung hindi man lahat, na alam mong under control at nag-iisip ang direktor. Paborito ko rito ‘yung unang atake ng terror sa bahay ng magkapatid na Gabriel at Ahnia. Napakasuwabe ng pagsunod ng camera rito.

Sa acting department, na tingin ko ay pinaka-weak na aspeto sa pelikula, ang pinakanagustuhan ko ay ‘yung mga gumanap sa karakter na hindi sagaran ang kasamaan o kabutihan. Si Marc Abaya, halimbawa, ay gumanap sa karakter na isinulat upang maging masama mula ulo hanggang paa. Nakaka-distract ‘yung ibang conceit n’ya na may pagka-neurotic na Johnny Depp ang atake. Good try pero baka merong ibang mas makaka-pull off nito. Mas naaliw ako sa presence ni Nonie Buencamino at sa take n’ya ng pagiging evil. Si Jillian Ward na nakakairita sa mga TV show ay hindi naman sobrang nakakainis dito. Nakakatuwa nga actually ‘yung ilang deadpan na bagsak n’ya ng linya. ‘Yun nga lang, hindi ko masyadong nakita sa kanya ‘yung trauma ng naulila. Gan’un din si Albie Casiño. Nakuha n’ya ‘yung pagiging frail pero hindi pa sapat ang terror sa kanyang mukha. Tama lang na kay Lovi Poe napunta ang title role dahil dinala n’ya ang pelikula ng walang bakas ng extra effort. Lutang ang kanyang senswalidad sa bawat frame bilang barrio lass at naibigay n’ya ‘yung pinaghalong kainosentahan at pagiging mapaghigante. Ang moment ni Paulo Avelino ay nasa may dulo. Mahusay ‘yung emotional transition na ipinakita n’ya roon.

KONKLUSYON

Walang bahid ng malisya ang naisip kong pamagat ng blog na ito sa serye ng “Mano Po” ng Regal. Natatandaan ko lang ‘yung pinag-ugatan dati ng katagang “Tao po.” Ito, ayon sa aking nabasa, ay sinasambit ng tao sa harapan ng isang bahay upang ideklara na ang nasa labas ng bahay ay tao at hindi ibang nilalang. Ang aswang daw ay walang kakayanang magsabi ng ganito. Kung hindi ako nagkakamali, ang Swedish vampire film na “Let The Right One In” ay may ganitong konsepto rin na tinahak, na kinakailangang ma-establish ang koneksyon, kahit ano ka pa mang uri, sa pagitan ng nasa loob at nasa labas ng bahay. ‘Yung respeto sa ganitong koneksyon ang gustong tumbukin ng makabagong “Aswang” ng walang halong pagbibintang kung alin sa pagitan ng nasa loob at labas ng bahay ang masama o mabuti.

The Montevideo Dinner Marathon

2011-10-29T04:56:00.024-04:00

(Chicken dish prepared by Carlos for the Sunday dinner)

It seems like a lot will be traveling on the last week of September and we thought of having some kind of a weeklong dinner feast (and a breakfast) to highlight the not-so-usual event.

Here’s the rundown:

Monday: Gardenia. This is my pick. It’s included in the top 5 best restaurants in Montevideo according to Tripadvisor users. I chose the place primarily because of the involvement of the great Uruguayan architect Carlos Ott. He designed the interior of the restaurant. All the food we had were for sharing so I got the chance to try their signature lamb dish (a must-try), French rack and a pasta with stuffing. For dessert, we had crème Brule.

Tuesday: El Italiano. This is Daryl’s pick as he has tried the food there before. It’s a diner located near the yacht club area (it’s actually the only diner in there). This time, we were joined by our officemate Enrique. We had a fresh seafood platter with some veggies in there and, err, French fries.

Wednesday: La Casa Violeta. We were in a hurry when we had our dinner there (I had porterhouse steak) as we were about to catch a gig with Anya at 10pm in the other side of Montevideo. Food is great as well as the ambience. The restaurant is overlooking Rio de la Plata and yes, it’s violet-colored.

Thursday: La Estada. It’s more of a team’s choice than Daryl’s or Jacq’s. Carlos found this asado place in a website and apparently, it’s a meeting place for expat. Aside from the fact that we’ve got company, there’s nothing much to root from the menu. Pretty much the same parrilla stuff.

Friday: Sheraton Hotel. We woke up early on a Friday just to catch an early buffet breakfast at Sheraton. I’ve always wanted to try the restaurant there and this is more of a wish granted. It was Jacq’s last day, by the way, so we thought of eating out with a bang. The selection is awesome, something that you would like to see in a grand Continental hotel breakfast: freshly baked bread, fruit juices, different hams and an as-you-like-it omelet. There was also a send-off lunch at Montevideo Rowing Club for Jacq with the bosses around. I shared a plate of ñoquis with Jacq.

Saturday: Estancia del Puerto. It’s our nth time with this Mercado del Puerto favorite. We had the usual: morcilla dulce, asado, chorizo, sweet bread and the like. For dessert, we tried the strawberry in whipped cream sprinkled with sugar.

Sunday: Porto Vanila. Not really a part of the dinner marathon but I just would like to include something for Sunday. Daryl and I went there after a two-hour afternoon walk along the rambla. I had a lemon cake and café cortado. For dinner, we enjoyed a tomato-based chicken dish prepared by Carlos.

Monday: Francis Restaurante. Francis has always been a favorite for us. Expensive but pretty much worth the price. We were joined this time by Nestor and Carlos. For appetizer, we had sushi (one of it is lamb sushi). I played safe with my main course: the fish trio. I was supposed to pack most of my stuff but the wine (from Argentina) crawled a bit.

Tuesday: La Otra. I was the last man standing for this dinner, representing the rest of the Manila Mafia. We just ordered the usual: morcilla dulce, asado and some salad. My mind was already on the packing I needed to do after the dinner but it’s good to see two-time Oscar winner Gustavo Santaolalla, an Argentinean, in person.

The rest of the pictures here. Plus an out-of-the-blue leisure walk along rambla on a Sunday afternoon here.

Rio de Janeiro – Day Zero: The Friendship Trip

2011-09-25T19:06:00.015-04:00

Jacq must be on her way back to the Philippines now. It’s been two weeks since we had our trip to Rio with Mike and Daryl. The Brazilian adventure was primarily conceived to compensate the Buenos Aires trip that Jacq missed. Planning was both financially and emotionally draining though. I don’t want to detail everything. Let’s just say that it’s gone through the eye of a needle, something that reaffirms the camaraderie we built here for the Uruguay project.

From Montevideo, we took a direct flight to Rio through Pluna (www.pluna.com/). Before, a stop-over at Sao Paulo is a must and that could mean more expensive and time consuming. Round trip ticket ranges from $400 to $600, depending of course, on how early you’ve prepared for the trip. Though Brazil is just on the East of Uruguay, it is still a big country and Rio is in the other coast. Philippine passport holders like us do not need a visa there so we didn’t have anything to worry about on that department. As per experience, looking for a place to stay that is within a reachable budget is far more frustrating than the rest of the planning. When we checked out website like bookings.com, there was a notification that says “900 hotels, zero availability” or something like that. We’ve been searching for a place to stay for like a couple of days. Then we started Googling with “hostels in Rio” and started doing reservation by accessing the hostel website directly. That one worked and we ended up at El Misti Rio Hostel (I love the wordplay) in Copacabana (www.elmisticopacabana.com) which charges Brazilian Real (BRL) 35 or PHP 810 per person a night in an 8-bed room. In our case, we had three nights of stay. That’s from late night Friday up to Sunday and left Rio on an early Monday morning.

Everything went smoothly except for the 45-minute delay on our flight. That means we needed to contact the hostel to inform the driver who’s going to pick us up (BRL 60 or PHP 1,400 as mentioned in the website). The hostel, by the way, quickly replies to email inquiry, either in English or Spanish. When we arrived in Rio (Galeão-Antonio Carlos Jobim International Airport is pretty much the same as Guarulhos International Airport in Sao Paulo but simpler), we saw this girl from El Misti Rio waiting for us with a sign that says “Charles” and nothing more. We were close to getting an airport taxi but we decided to ask the girl if she, by any chance, is waiting for us. She called the hostel, got back to us and agreed. Then she headed to the waiting area and a car arrived. The driver happens to be the girl’s father and asked them if they can just charge the hostel since we didn’t have Brazilian real yet that time. It has to be noted that the money changer stalls in Terminal 2 close at midnight and I remember one staff saying that we should visit Terminal 1 instead. It would be good if you have your local currency ready upon landing.

(Scenes from our arrival, left to right: directions in Portuguese, arrival area and my first glimpse of downtown Rio)

The trip from the airport down to the city center is an experience on its own. I can say that it’s one of the beautiful airport-to-downtown trips I had in a while. I had to open down the car window to experience my very first Rio de Janeiro atmosphere. Mike said that the driver smiled when he saw the fascination in me. Streetlights along the elevated road (just like our Skyway) are yellowish, painting the houses and the mountains at the side a bit unusually melancholic and poetic. Residential area near the airport looks crowded and packed; something that you don’t want to visit at night. Then came a long dimly lit but wide tunnel (check out the video here). This prompted me to realize that in order to build a city out of mountainous Rio, tunnels had to be holed up. After the tunnel, you know that you’re already downtown when, from a far, you see this lighted tiny little Jesus on top of a mountain. It gets greener and the sea breeze is easily recognizable. More pictures of the arrival here.

We stopped in a well lighted road called Rua Tonelero (in French, street is “Rue”). It’s a bit empty during that time but it looks very safe. We had to doorbell the hostel, which you won’t easily recognize as there is no neon lighted sign outside of it. It’s like camouflaging from enemies. The receptionist that time named Moreano (or something that sounds like it) welcomed us. He settled our pick-up fee by changing some of my USD with a rate that is reasonable enough (good to have an Oanda currency converter iPhone application handy). Then he led us to our room at 202 which is good for eight travelers.

(Snapshots from El Misti Rio Hostel in Copacabana)

The room we had, when we arrived, was messy. Big backpacks on the floor, some wet beach wear hanging somewhere, etc. We knew that we’re sharing with four others which we haven’t met yet that time (probably they were out to party) but we had no idea which beds were ours as almost all of them looked used. Moreano then decided which is which and we fixed it. Jacq took the upper bed near the light switch and Daryl was beneath it. I took the lower bed adjacent to it while Mike took the other lower bed opposite mine. We had a quick settling in like having a toothbrush and securing our own stash just beneath our bed. The lock I brought is keyless so I don’t need to worry where to keep the key when sleeping.

Check out more pictures of the hostel and the area here.

Just when we’re about to wake up at 6am (after less than four hours of sleep), four guys (on their early 20’s perhaps) started to arrive. They were drunk and I heard them complaining about us taking one of their beds. This was settled the next day and we Team Pinoy used all the lower beds (they came to the hostel first anyway). The accent tells that they are from Australia. In an instant, they undressed and grabbed their own bed. One guy had a girl with him and they shared one small bed. The other guys were teasing them. I grabbed my red backpack and headed to the common toilet/bathroom (in our floor alone, there are two and both are just two or three steps away) to signal the start of Day 01.

Rio de Janeiro – Day 01: Highlights in One Day

2011-09-25T17:10:00.018-04:00

Practically, we only had two whole days spare to enjoy the city. And the best way to optimize it is to get one of those open-top bus tours which, unfortunately, Rio doesn’t have (or we just didn’t put much effort to research). We got a suggestion from Line (and Jun who both declared that Rio is their favorite city in the world) about this guided private tour with Marcio Guedes (http://www.riotours.clicksitebuilder.com/). I contacted him and set for a day tour (eight hours to be exact). The rate (USD 250 or PHP 10,900, no deposit needed) for a car that is good for five people. It’s a bit expensive but we figured later that it’s a good deal given the language barrier and the logistics of the spots that we intended to see.

(From left to right: train ticket for Corcovado, a menu checklist from Rio Scenarium and cable car ticket to Sugar Loaf Mountain)

Marcio was already in front of the hostel at 7:30am. We came from a nearby bank (since we don’t have enough BRL’s yet), bought our breakfast from a store in the corner for take-out and off we started the day. We settled the fee beforehand but that is our choice, not Marcio’s. Our first stop, the Corcovado (where Cristo Redentor stands) has its first train ride at 8:30am so we strolled first along the Copacabana neighborhood. He gave us a brief geography class about the city, like where Copacabana is and what’s on the other side of the tunnel, etc. We reached the train station at around 8:10am and killed the extra 20 minutes having our breakfast while Marcio was arranging for our train tickets. The thing with having a tourism center-approved guide is that he can walk past the queue. He happens to hold an ID as well and this means he’s free to enter any of the sites anytime.

Optionally, Cristo Redentor can be reached by your own car and just pay up for the van that would bring you from the parking area to the top. This doesn’t have a schedule like the train and it’s an advantage to see the top with fewer tourists around. It’s just that Trem do Corcovado (BRL 36 or PHP 833 each return ticket), being older than the statue itself by close to half a century, is another experience (comparable, perhaps, to the tram that sends you up to Victoria Peak in Hongkong). It goes through the Tijuca forest, just like the van, and is open to Cariocas (the locals) as a means of transportation for those who live in the upper part of the forest. I saw one lady on our way down but that’s about it. Marcio said that it’s different during weekdays when kids are returning home from school. There’s a part of the funicular railway ride where a breathtaking view of the city just pops up out of the bushy nowhere. Marcio was quick enough to give us heads up about it.

From the train, we ran to the nearest elevator and went straight to the giant statue. A couple of tourists were there already but it wasn’t that crowded. We got a picture taken from the stairs facing Christ. Marcio said it’s the best spot to put the Redeemer in picture. Since we’re close to it, that’s the only time I noticed that Cristo Redentor is made of mosaic, making me realize that it was built more elaborately than I initially thought of. Mosaic, by the way, can be seen in most pavements near the beach in Rio. It’s probably a city signature. More Corcovado pictures here and a video here.

For our next stop, Marcio suggested that we visit the Sugar Loaf Mountain during the late morning (as opposed to the initial plan that it will be done in the afternoon). Before we left the train station, I asked the guys if we could make a quick visit at the nearby shop (across the mini-park) so that I can buy the staple postcards and stamps (which, surprisingly, have different rates per region of destination).

At 10am, we were already at the ground station of the cable car (BRL 53 or PHP 1,226) that would bring us to the peak of Sugar Loaf Mountain. There are two stops. First is the Morro da Urca which is a lower boulder mountain. There’s a restaurant there and some shops (I saw some Havaianas on display). Early generation cable cars are also displayed there. Another cable car route connects Morro da Urca and the peak of Sugar Loaf Mountain. Rio de Janeiro is best viewed from the peak as you can see the different beaches like Ipanema and Leblon plus the rest of the Guanabara Bay. This is the reason why the train to Corcovado was built first in 1884, far earlier than the statue of Christ. Cariocas would love to go at the top to enjoy the view. I hope Wayna Picchu can be conquered this easily. Right before we descended, Marcio let us try this soft and chewy, glutton-free cheese balls fresh from the snack bar. It’s really good. More pictures of Sugar Loaf Mountain here plus videos here and here.

For lunch, we headed to Centro, particularly in Travessa do Comércio near Praça XV. We entered through Arco do Telles and strolled along a short alley where Carmen Miranda once lived in one of the houses. We got an eat-all-you-can feijoada at a restaurant called The Line. There are a lot of alfresco choices there but we’re all eyeing for that Brazilian national dish. There was a 3-man band playing some choro music (according to Marcio) along the alley, something that best complements our hearty lunch.

(Top row: Monastery of St. Benedict; Bottom row: Metropolitan Cathedral of St. Sebastian)

Full and sleepy, we finished our last few hours with a visit to two misleadingly charming Catholic churches, namely Mosteiro de São Bento (or Monastery of St. Benedict) and the Catedral Metropolitana de São Sebastião (or Metropolitan Cathedral of St. Sebastian). Both are simple (well, it’s debatable for Catedral Metropolitana) from the outside but very much intricate and elaborate once you enter it. The first church boasts of overly decorated interiors while the second one amazes us with the huge stained glass artwork. More pictures here and here.

Our very last stop with Marcio was the Escadaria Selarón (pictures here) in Sta. Teresa (the book calls it Ladeira de Sta. Teresa or Ladeira do Selarón). It’s a series of multi-colored steps made by (and named after) a Chilean artist. The whole stretch is made vivid by the cemented tiles from all over the world. A small tile from the Philippines, bearing the republic seal, seats at the left side of the stairs. It’s not easy to find. It’s good that Marcio’s around and he just approached the artist’s assistant to help us locate our entry. If you’ve seen The Amazing Race 18, the Rio de Janeiro leg on the episode prior to the season finale, teams were asked to locate for their clue card there.

The rest of Centro pictures here.

As much as we didn’t want to end the tour, we had no choice but to be back at the hostel. That was around 4pm. Our last spot from our checklist for the day will resume at 8pm so we had time to do our own thing. Daryl and Jacq had to check their emails, Mike slept at the room while I prepared the postcards in the dining area after finishing a glass of papaya – passion fruit mix from the mini-snack place in the corner. This is also the time where our roommates were all sober and the bed assignment was settled. I charged my camera battery and just left the thing plugged in the dining area.

Clocked at exactly 8pm, we were already at the entrance of Rio Scenarium (pictures here) in Lapa (Rua do Lavaradio). We took a taxi going there for around BRL 25 or PHP 584). Marcio advised us to visit the place instead of the pre-planned trip (from 10pm to 4am) to different schools practicing for the Carnaval next year. I would say that it was a good call. The resto-bar is pretty much similar to Aca Bar in Buenos Aires in terms of the decoration (old items mounted on the wall, etc.) less the paintings and the board games. There was a band playing some Brazilian music and I remember them playing Mais Que Nada. I’ve heard different musical styles for the day but I still can’t differentiate one from the other just by listening to the drumbeat. By 10pm, as advised, the place was already full house either by people who were dining or gyrating in the dance floor. We had some steak and a local beer called Bohemia (which, according to Daryl is like San Mig Light). Before we left at 11pm past, we visited the other floors (there are two more) and took pictures of the area. From Rio Scenarium, we walked to the area near Arcos da Lapa where the roads are closed for people to mingle, chill and have some beer. We didn’t stay long and we headed back to the hostel. Videos here and here.

(From left to right: Interior of Rio Scenarium, party goers dancing to Brazilian music and Arcos da Lapa)

At close to midnight, we were scavenging for a good coffee shop in the hostel area. We walked heading to the beach but we couldn’t find something Starbucks-ish. We ended up preparing our own coffee at the hostel kitchen which is not a bad idea. I got my camera battery charger back and finished stamping my postcards while having a cup of “homemade” coffee.

Rio de Janeiro – Day 02: Jardim Botânico and the Beaches

2011-09-25T12:25:00.016-04:00

Our second (and last whole) day in Rio was spent mostly relaxing; something that can be attributed to what vacation is all about. We woke up an hour later than yesterday while roommates were still sleeping. We also managed to catch the hostel breakfast which starts at 8am. Compared to the one we had in Buenos Aires, the breakfast was more continental: toasts, butter, marmalade, ham and lots of fruits.

We took a cab again from the hostel going to Jardim Botânico (pictures here). It’s a huge botanic garden complete with alleys lined up with palm trees, a Japanese garden, a water lily pond, an orchidarium and more. We spend the whole gloomy morning there just chilling out and literally smelling the flowers. I enjoyed the visit. In fact, I got the most number of pictures from this spot.

(Species from the botanical garden)

Right before when we’re about to get a cab going to Garota de Ipanema restaurant, Bernardo, our officemate who lives in Rio picked us up for a joyride to his place called Barra which is another district along the beach. It leisurely gives us enough views on how Cariocas live in the area, favela life included. Bernardo also brought us to the hang gliding place (videos here, here, and here) but it was cloudy (though they were still operational). We had a share of corn there served a la Filipino vendor style. The lady selling it smiled when she saw me taking pictures of the corn. More highlights probably, aside from the sand, are the place where Ronhaldino once lived (or still using, I don’t remember) and a short trip to a refreshment bar called Bibi where we had our first taste of strawberry-flavored açai dessert topped with some granola (really, really good).

(From left to right: Barra beach, açai with granola and the Prainha coast)

The rest of the pictures taken from Barra and beyond here.

From there, we went further to the south called Prainha where a lovely beach coast was seen from a view deck. There’s nothing much to do there aside from conquering the southernmost part of Rio. At 3pm past, we were already on our way to Ipanema and Leblon where dropped us off. Though we haven’t had lunch that time, we didn’t go directly to a restaurant yet. We had some souvenir shopping to do at Feira Hippie Market which is open only on Sundays. I only got a t-shirt since we didn’t find any good shot glass in there. That signaled the start of another adventure for us, shot glass hunting on a Sunday evening.

We attempted to communicate with the police in the station near the plaza with the help of a phrase book and the minimal Spanish we know. It was an epic fail. Then we tried looking for shops in the beachfront but there’s none. We went to the nearest hotel and asked where we can find the souvenir items we’re looking for. The receptionist suggested a mall called Shopping Leblon so we took a cab going there as it is around ten blocks from where we were. By the looks of the mall’s façade alone, we’re sure that we couldn’t find a shot glass there but we still pushed our luck. The customer service girl, who speaks English fluently, said that the closest we can find is a photography shop. I called Marcio (yes, he’s free to accept inquiry over the phone or so I thought) and he said that in the area, the hippie market is the lone option. We did not rest our spirits there and decided to check back the souvenir shop we visited near the train station going to Corcovado. It was starting to rain and I can imagine the cab going around the Lagoa Rodrigo de Freitas. The train station was already closed when we got there, as well as the souvenir shop across the mini-park which was empty and quiet that time. We then asked the driver to just bring us back to Ipanema, specifically to Garota de Ipanema Restaurant for a comfort lunch, or dinner, that we all deserve.

(From left to right: Garota de Ipanema façade and picanha grille)

The pedigree of the restaurant, by the way, is that the song “Garota de Ipanema” (popularized by Frank Sinatra as “Girl from Ipanema” with a long e) was written by Carlos Antonio “Tom” Jobim there. It used to have another name but the owner decided to make use of the fame it’s getting. I don’t know if the “real girl” is still around but I remember another episode of The Amazing Race a couple of seasons ago where the teams were tasked to look for her at Ipanema beach. Maybe we were too hungry and tiresome that time. We finished two servings of churrascaria/picanha style dish, which, according to Marcio, is good for three per order. The food is served on a grille with the meat half cooked. It’s up to us to finish the cooking which kept us busy for a few minutes more.

We explored more of Ipanema by walking along the mosaic-filled pavements, went back to where the hippie market was stalled and took a metro ride from there. It wasn’t busy for a Sunday train ride. Ticketing system is state-of-the-art and route details are available including a portion for the blind (it’s in Braille), something that is new to me. The station where we got out is just across the hostel (one of the perks why we chose it).

(Snapshots from Praia de Copacabana)

At past 9pm, we were back to our hostel room. We changed clothes (my first time to wear the beach shorts I bought just for the trip), put on our chinelos (Brazilian/Portuguese for slippers) and headed to the Copacabana beach. We walked up to the Copacabana Palace (the very first hotel in the city and is featured in the U2 music video “Walk On”) and walked back in the sand trying to endure the cool breeze. Our leisure walk culminated in one of those generic yellow stalls that sell snack and coconut drink. I had my first authentic caipirinha (which is stronger than the ones I tried in El Pony Pisador in Montevideo) and Daryl, Jacq and Mike had soda while enjoying a basketball match on TV between Brazil and Argentina. We left the beach when the game was over. More pictures of Copacabana, Ipanema and Leblon beaches here.

The rest of the evening was spent packing our things. I decided to take a bath at midnight in preparation for the early morning departure.

Rio de Janeiro – Day 03: Leaving on a Wet Early Monday Morning

2011-09-25T11:38:00.017-04:00

Our roomies arrived at close to 5am. Still drunk and a bit noisy but more friendly this time. One even farted out loud and they all laughed. They were accompanied by an Asian looking girl, who, according to Daryl, said that her name Titi sounds funny in Filipino/Tagalog (tell me about it). The cab that would bring us to the airport was on time and we left the place. It was a damp morning, very sentimental.

There’s nothing much to do in the airport. We consumed most of the time shopping for souvenirs. It was very expensive but we’re just thankful that we can still get a shot glass (and a pair of Havaianas, a bottle of Cachaca, fridge magnets and more).

To sum up our two-day trip, let me just list down the spots mentioned in Top 10 – Rio de Janeiro from the DK Eyewitness Travel publishing:

(From top to bottom row, left to right: Cristo Redentor on top of the Corcovado Mountain, a glimpse of the Tijuca forest, the lower boulder of the Sugar Loaf Mountain called Morro da Urca, façade of Mosteiro de São Bento, Museu Nacional de Belas Artes, an orchid from Jardim Botânico, Praça XV, Praia de Copacabana and Ipanema and Leblon beaches)

1. Corcovado. Done. In case I’ll be going back to Rio, I wish to visit the view deck at night;

2. Parque Nacional da Tijuca. Partly done. We didn’t trek in the forest but the train went through it. Can be viewed from the top of Corcovado;

3. Sugar Loaf Mountain. Done. The cable ride alone is exciting;

4. Mosteiro de São Bento. Check. Book says it’s an example of Brazilian baroque. Beautiful church;

5. Museu Nacional de Belas Artes. Not done but we saw this from the outside. I even took a picture with it;

6. Jardim Botânico. Done. I agree with what the book says that it offers a haven of peace. I hope to have a cup of coffee there next time;

7. Museu Histórico Nacional. Not done. Maybe next time;

8. Praça XV. Done. When we say downtown Rio, I will always be reminded of this plaza sandwiched by old and new buildings;

9. Praia de Copacabana. Done. We strolled along the sand at night but did not experience it on a sunny day (with sunbathing and all); and

10. Ipanema and Leblon Beachlife. Done. Just like Copacabana, we hope to enjoy it next time on a sunny day.

I can say that Rio de Janeiro is a must-see city in South America (or even around the world). It’s a combination of white sand beaches, high mountains and numerous historical and cultural spots; a unique city I would conclude. Tom Jobim is definitely right when he said:

“New York is great but it is crap. Rio (de Janeiro) is crap but it is great.”

The rest of the departure pictures here.

Movie Digest # 081

2011-09-20T23:17:00.014-04:00

X-MEN: FIRST CLASS
Movie Center – Montevideo Shopping, Sala 2, June 17, 7:00pm

It’s just OK for me for a superhero film. Nothing spectacular except for the retro feel. The very first installment is still the best. Great cast, by the way, especially with the presence of Michael Fassbender (“Fish Tank”) and Jennifer Lawrence (who did a very good job in last year’s “Winter’s Bone” and is expected to shine brighter in the film adaptation of “The Hunger Games”).

Friends who might appreciate it: Easy. Comic book fans.

TRANSFORMERS: DARK OF THE MOON
Movie Center – Punta Carretas Shopping, Sala C, June 30, 10:05pm

I didn’t mind the robots. It’s an attraction from the very beginning and we all know that. What I can’t forgive is the lifeless acting from Megan Fox’s replacement. What’s her name again? Saving grace is the scene with the real life gliders.

Friends who might appreciate it: The film doesn’t need any recommendation.

FAIR GAME
Movie Center – Montevideo Shopping, Sala 8 1/2, July 2, 10:40pm

Watch it only if you dig Sean Penn and Naomi Watts. That’s what I did. Or if you want to kill time. For me, the film is too generic. We’ve seen films of similar topic (US government, FBI and secret agents) and this one has nothing special to offer. I’ll probably forget this easily. It is that generic.

Friends who might appreciate it: Conspiracy addicts.

MIDNIGHT IN PARIS
Cines Hoyts – Punta Carretas Shopping, Sala 2, July 8, 10:15pm

When you watch a Woody Allen film, there’s always a character that is inclined to the arts and would probably deliver a line or two involving a performance space or an argument from a literary luminary. This is the realization of it all. Gil (Owen Wilson who could replace Mr. Allen as an actor anytime), who looks suffocated with the relationship to his wife (Rachel McAdams), suddenly transports to another era where he meets the likes Ernest Hemingway and Salvador Dali. The film is set in Paris (one of his films that explores European cities or anywhere outside the fences of New York) and what a fitting tribute to the City of Lights. It’s not stuck in the fantasy device which is a good thing. It still debates about the fragility and vulnerability of relationships which is a signature topic for the filmmaker.

Friends who might appreciate it: Those who love Paris (the city, not the celeb) dearly.

HARRY POTTER AND THE DEATHLY HALLOWS, PART 2
Newport Cinemas, Cinema 3, July 15, 10:45pm

Almost, almost love the film except for the epilogue. I don’t think the senior version of the ensemble is neatly done. They look like a caricature to me. Other than that, it’s a satisfying finale for a series that spans for close to a decade. I understand if the moviegoers, non-fans included, will be sad for the absence of the wizards. Feels like Daniel Radcliffe remains limited in delivering breakdown scenes though but all in all, the cast delivers big time.

Friends who might appreciate it: Fans of the franchise, no doubt (which is almost everybody).

CAPTAIN AMERICA: THE FIRST AVENGER
Movie Center – Montevideo Shopping, Sala 9, July 29, 7:55pm

Another generic film for me and I don’t think the presence of Tommy Lee Jones could salvage the whole thing. Sometimes it gets tiring when a superhero film excels too much to explore not another backstory. It leaves the meat of the film a little less exciting, something that you would probably enjoy in the sequels. I feel it’s well made but too bland like a fastfood chain hamburger.

Friends who might appreciate it: Same as those who saw the latest “X-Men” movie.

HORRIBLE BOSSES
Grupocine – Punta Carretas Shopping, Sala 4, August 6, 3:40pm

It’s a darker attempt to equal the success of the “Hangover” series though it’s more star-studded (Jennifer Aniston, Kevin Spacey and Colin Farrell who pulled a big surprise here, all portraying evil superiors). I enjoyed most of the wit like the one with the character trying to mock a sex-on-phone while in the middle of a car chase or the other classmate who’s moonlighting for blow jobs in a bar. The resolution may be trite and the execution is mainstream but it is still a good film best watched with friends over a bottle of beer and some pizza slices.

Friends who might appreciate it: Officemates.

CRAZY, STUPID, LOVE
Movie Center – Punta Carretas Shopping, Sala D, September 3, 5:00pm

It’s still a Hollywood film, complete with “eksena” scenes like the graduation scene in the end but it’s worth the guilt. It’s good to see Ryan Gosling do a light and no-pressure film along with the likes of Steve Carell and Julianne Moore. That guy has long been robbed with an Oscar and it won’t hurt if he gets one from something unexpected like this. The characters are endearing and the little silly scenes work for me: the playboy’s sexless night, the nanny catching the kid jerking off, etc.

Friends who might appreciate it: Those who think that Ryan Gosling peaks at “Blue Valentine”.

GREEN LANTERN
Movie Center – Punta Carretas Shopping, Sala C, September 3, 8:00pm

I can say that this is the most usual Hollywood film I’ve seen this year. It is lousy and very predictable, something that would not stir any creative (or logical) imagination. As for it being too basic, I believe it still has an audience (as most superhero films are). I don’t remember any scene now that could salvage the film. It gets worse when you feel bad seeing great actors Tim Robbins and Angela Bassett doing a small and insignificant role. Hollywood could be that cruel sometimes.

Friends who might appreciate it: La Sallista friends.

COWBOYS & ALIENS
Movie Center – Punta Carretas Shopping, Sala E, September 3, 10:20pm

For the storytelling (or even filmmaking) alone, I think the film is serviceable enough. It’s just that the material itself is boring. Cowboys saving the world from aliens? The idea is most likely to come up with a unique action film experience, something that we haven’t seen yet. Too bad, the output is severely alienating.

Friends who might appreciate it: I’d rather not recommend it, not to my expense.

COPIE CONFORME (CERTIFIED COPY)
Movie Center – Punta Carretas Shopping, Sala E, September 18, 4:40pm

I don’t think I’ve seen a lot of Abbas Kiarostami films but I wasn’t surprised that this is as talky as you can get. Compared to “Before Sunset” which is set in Paris, this film explores Tuscany which is equally romantic. There are only two main characters (the ever reliable and luminous Juliette Binoche and William Shimell) in the movie and how the story remains interesting mainly depends on them. The film may be taken as a romance film (thanks to the trailer) but it seems like it is making a statement on copycats and originality. Whatever the argument is, I didn’t bother considering. I saw the film version for the Spanish-speaking audience and I missed the details on the last few sequences including the twist. I just figured it out when the male character started to use a different language. Just the same, I still enjoyed it. Trust that Miss Binoche can always save a gloomy day.

Friends who might appreciate it: Calling all the Binoche fans. Unite!

SUPER 8
Movie Center – Montevideo Shopping, Sala 7, September 18, 7:50pm

It’s been a while since I saw a good film that champions the heart of a child. There’s one key scene here (spoilers, watch out!) where Joe (Joel Courtney) comes face to face (or is that nose to nose?) with the extraterrestrial. Prior to that, the viewers have already seen how well, though sad, the kid’s heart is amidst the death in the family. In that particular thrilling part of the movie, we know that Joe can surpass it, or deserving to surpass it at the very least. The era, by the way, is the 80’s where kids are kids and angst or malice is easily classified away from purity and innocence. There’s also the film appreciation part, which, I am not sure of would still be appealing to kids in the age of Twitter and Playstation. That alone is a statement in the movie’s make-believe part where a childlike determination can salvage the whole town from destruction. Plus, of course, it’s well acted and well directed. Its texture transports me back to the 80’s where the frames were not that crisp and CGIs were not that distracting and overpowering.

Friends who might appreciate it: Those who wish to reconsider Hollywood.

Buenos Aires – Day Zero: Buquebus Coucher Avec Moi Ce Soir

2011-09-06T21:44:00.014-04:00

First things first. This trip was not on my plate before taking this onsite assignment leg. Of course I always wanted to visit Argentina as it is just a river crossing away from Montevideo. It’s just that we almost lost our hope on getting a visa. It took us more than a year (for Daryl, it’s two years) to finally get one.

On our first attempt to get a tourist visa from the Argentine consulate here in Montevideo, roughly half a year ago, they said no. We were asked to get it from the Philippines instead and that could mean as good as no-go because we don’t have enough time during our fly-backs to apply for one. Until one instance that we were asked to apply for another document that could serve as a temporary ID in Uruguay. To get that, I remember getting an NBI clearance and a consulate-authenticated birth certificate. That gave us a little hope as the Argentine consulate accepts it along with other supporting papers.

Using the temporary ID (others call it cedula), we were asked to obtain a police clearance here in Uruguay. Around two weeks or more ago, we woke up early just to avoid the queue (if there’s any) in a police station (looks like a satellite office of their NBI equivalent). One group got the first spot on the line and then we’re next. For 7:30am, it was close to empty. We showed our temporary ID, had a digital fingerprint (left index finger and right thumb), paid UYU 104 (or PHP 232) and got a receipt. Next process was to pick up the clearance in a different building after two days of processing.

The pick-up, we later found out, also means authentication. In the office that we’re asked to get it, we lined up for another queue and paid UYU 120 (PHP 268) more. From there, we proceeded to the Argentine consulate and submitted all the needed documents. We paid another USD 50 (PHP 2,118) for the visa processing and we were asked again to pick it up after three days (usually, it’s just two days but I think we hit a holiday then).

Finally, an Argentine tourist visa! And sadly, it’s valid for only a week. Having that limitation and some were bound to fly back already by middle of September, we ended up panic buying for a Buquebus (www.buquebus.com/) ticket for August 25 to 28 in less than a week prior. We got a return ticket for UYU 2,489 (or PHP 5,547). Needless to say, it could be half cheaper if we book it earlier.

Since we’re already here in Montevideo and Buenos Aires is just across Rio de la Plata, there’s nothing much to prepare on top of the paperwork. Let me just share our experience from the first part of the trip.

(Pictures from our ferry, inside and out)

Buquebus, as the name suggests, is a bus but it’s actually a bus and a ferry not a bus on a ferry. It has a terminal in the same place (Tres Cruces) where you can find all the other domestic buses. What’s probably new thing for us is the concept of checking-in for a bus trip. We were advised to be at the bus station as early as an hour before to get a boarding pass. There was a long queue when we arrived at 11:15pm and took us 15 minutes to get a piece of paper with detachable portions (one for the bus, for the ferry, etc.). From there, we lined up on another queue. This time it’s for the buses. That’s plural because practically, they need to transport all the ferry passengers (I don’t know the capacity of the ferry but it is huge enough) from the bus station to the port (which, by the way, is in Colonia or two hours away from Montevideo). Luggage bags were asked to be checked in right before we jumped into the bus. A staff was taking care of this and each piece was given with a corresponding sticker (just like in the plane). Since the luggage bags will go directly to Buenos Aires, I decided to skip this as I only brought my carry-on bag. It was already past 1am and I just slept during the bus trip.

In Colonia, we passed through the immigration booth. It’s funny to observe that there are two officers sharing the same booth. The first one is from Uruguay who will most likely bid you goodbye and wish you a nice trip and just beside him is from Argentina who is going to check your papers and will welcome you. In short, we got the stamp from the Argentine immigration while we were still in Uruguay (that’s new).

We waited for a couple of minutes more in an area upstairs. There’s one coffee shop there and I got myself a cup of café con leche. Passengers were starting to queue already as they wanted to get a better seat. We didn’t worry about this because the expensive ticket we got without a choice is in a less crowded area and seats are all comfy.

The Buquebus ferry that leaves at 4am-ish from Colonia is a big one. It has four levels and there’s an elevator to reach the topmost floor. Ground floor, I think, is for the most affordable seats and a duty-free shop. There’s another level for passengers then another level for the dock where people can roam around and do a Jack Dawson. The topmost level is where our seats are. It’s divided into two sections, one is the passenger area (lined-up with Lazy Boy-like seats) and the other is for the bar (some tables and chairs). There’s a complimentary snack (basically, a donut and a drink) and at around 5am, they turned off the lights. We woke up at sunrise and we rushed our way back to the dock to take pictures and get a glimpse of Buenos Aires from there. Good air indeed.

The rest of the arrival pictures here and a video here and here.

(A glimpse of our very first morning in Buenos Aires)

Buenos Aires – Day 01: Smile, You’re in Argentina!

2011-09-06T20:43:00.024-04:00

(Left: Puerto Madero in the morning; Right: Some buildings in Buenos Aires during rush hour)

Fabricio, our colleague/friend, was already at the waiting area when we arrived. We didn’t notice the exact time (probably we’re too happy to notice it). Mike was stuck in the baggage claim area as a lot of passengers were waiting for their luggage, typical to having a plane ride. So if you’re in a hurry, you better not check in your carry-on bag and just bring it with you in the ferry. That is, of course, if the Buquebus staff allows you to do so. After 15 minutes or more, we were finally on our way to Puerto Madero. Daryl was shaking our hands, congratulating us for making it to Argentina.

Coming from Montevideo which is a laid back city, the first things you will notice in Buenos Aires are the tall buildings. Even though you can see it from the ferry, it’s different when you’re actually walking through the streets where the skyscrapers are located. There’s a charm when you see those modern buildings swamping the old and historic ones. In Puerto Madero for instance, walking from Buquebus station to the iconic Puente de Mujer, you can see modern office buildings on the other side of the canal (with body of water coming from Rio de la Plata) and some old buildings including the Casa Rosada on the right. There’s a long stretch of restaurants in there, housed in a brick orange-like building. In between blocks, there’s a yellow metal structure that looks like a crane to me. It adds a feel that the area is being constructed but in fact, those are more of an art piece. Beneath it, for instance, you can find a tourist information center.

(More snapshots from Puerto Madero)

We spent almost the whole morning strolling along Puerto Madero still with our bags on. It was that breezy and pleasant and we barely noticed the long walk we had. We stopped at Starbucks (the branch is very artsy and classy) and had breakfast (I got a miga which is your usual loaf bread sandwich without the thick/toasted crust) there then visited the Oracle office which are all on the other side of the canal. From there, we crossed the canal through Puente de Mujer, walked to Plaza de Mayo (where Cabildo and Casa Rosada can be found) and took the subway (very Rome-like) heading to a station near Avenida 9 de Julio. The iconic obelisk is right there. We crossed the widest avenue in the world (9 de Julio) through Avenida Corrientes then took a left at Avenida Libertad. A few more blocks of walking and we’re finally in our hotel.

Gran Hotel Libertad is nothing fancy. From booking.com, I just grabbed the cheapest hotel that is near the main avenidas (Corrientes and 9 de Julio) and had the nod from another Argentinean colleague/friend (Nestor). Libertad is a bit Ongpin-ish or Ronquillo-ish in the morning and very quiet in the evening (too quiet for a single traveler walking from Avenida Corrientes). What we got is a quadruple room with four beds separated by a door. The bathroom is in the room that Mike and I picked so we always see Daryl and Pao on their way to take a bath (or other business). Beds are just OK but we can’t fix our heater. It’s just fortunate that they have thick blankets. The closet has a mini-vault that could serve as a locker for the valuables. You just need to request for the lock and key from the reception area on the ground floor. It’s free but you need to sign a paper that looks like a disclaimer to me.

After a short break at the hotel, we headed to Diagonal Norte to get a ticket for the yellow tourist bus (the sign on the side says “Buenos Aires Bus”). One day of hop-on, hop-off costs Argentine Peso or ARS 70 (PHP 705) and ARS 90 (PHP 906) for two days. We got the latter. Since it is the Zero Stop, we had to wait for the designated time. This brought us to one big and very busy branch of Burger King along Avenida Florida for a late lunch.

We took a seat on the bus’ open top on the second level. For an afternoon August breeze, it was cold. I remember the bus stopping first at Plaza de Mayo. The English recorded tour wasn’t working well at first but they eventually fixed it. It’s good to appreciate the significance of the different old buildings along Avenida de Mayo and how they played in the city’s cultural and historic bustle.

(Top row, left to right: our hotel key, Buenos Aires tourist bus and Casa Rosada
Bottom row: Colorful walls of La Boca)

We availed of our first hop-off at La Boca (the rest of the pictures here). We walked through El Caminito which is a colorful cobblestoned street (literally as the walls are painted with different bright colors) with some locals selling some artwork or wearing a tango get-up for a paid photo opportunity. I was informed that tango was born in the area (and Madonna had her tango lessons there, too, for the filming of “Evita”). It’s a feast to the eye. In fact, the most number of pictures in my camera belong to this area. Some were dancing tango in front of the restaurants to attract customers and some were playing live music. One restaurateur even offered us to look at the little house inside the backyard where tables are set for some parrilla.

(Left to right: Iglesia Nuestra Señora de Belén, Mafalda and an antique shop)

We went back to the stop and hopped on to our next stop which is San Telmo. It’s another old neighborhood but not that colorful. We passed by an antique shop, paid Mafalda (an Argentine kiddie character who is also popular in Uruguay) a visit and had a crepe in one restaurant there. The rest of San Telmo pictures here and a fascinating video of a dynamic artwork here.

The rest of the evening was spent with more walking. Sure it was tiring but there are a lot of interesting spots (architecture, monument, little parks, etc.) to see along the way. It’s a treat that our hotel is near Avenida Corrientes which transforms into a Broadway-like atmosphere at night. I don’t know if you still remember the movie adaptation of “Evita” but in the track “Buenos Aires”, Madonna is seen dancing along this avenue. We capped the night with a nice dinner at Las Cañas which is a food haunt for the locals according to Fabricio. That’s where I had my first Argentine beef (the dish is called Bife de Chorizo) and it’s one of the best grilled beef dishes I’ve tried. Pictures of all our dinners in Buenos Aires here.

(Theaters along Avenida Corrientes)

The rest of the pictures here.

Buenos Aires – Day 02: Evita and Tango

2011-09-06T06:20:00.014-04:00

Our second day in Buenos Aires wasn’t that tiring as the previous day. It’s our first time to have breakfast in the hotel, Argentinian style. I usually expect a continental breakfast (which is the same in Aguas Calientes in Peru or in Berlin) with toasts, scrambled eggs, fruits and fresh juices. What we had is a basket of croissants (called medialuna in Spanish because of its half moon shape) and a choice of a drink like hot chocolate or coffee. Fabricio confirmed that it is their typical breakfast. Come to think of it, our equivalent for that is probably the pandesal at kape tandem.

At close to 11am, we were already walking along Avenida Florida to catch our hop-on, hop-off bus. I noticed that somebody’s pulling my bag from behind and I was surprised, amidst the massive warnings about pickpocket and robbery in the city, that it was Ayelen (true to South American Spanish, it is pronounced as A-je-len), another colleague/friend of the Manila Mafia. She then joined us on the tour. Apparently, the bus sells tickets along the way but it may vary (i.e. the bus is not yet full, etc.).

The plan for first stop was Recoleta. It’s just that during the trip, we saw this gigantic metallic flower that is usually found in postcards. We decided to alight in the nearest hop-off stop (which is the MALBA or Museo de Arte Latinamericano de Buenos Aires) and walked to Recoleta cemetery from there. Along Avenida Pres. F. Alcorta, we saw some posh residences and a couple of embassies. We passed by a TV station (Canal 7) and made a quick up close visit to the “flower” which is called Floralis Genérica. It’s a dynamic artwork by Danilo Catalano (just read it from the book) which blooms during daytime and closes its petals at noon.

From the flower, we passed by a university and took the bridge heading to the cemetery. We saw the Museo Nacional de Bellas Artes from there and we visited a department store that specializes home design. A few more meters’ walk and we were already at the entrance of the cemetery. In my entire travel life, the only other city where its cemetery serves as a tourist attraction is Cimetière du Père Lachaise in Paris. Sure, Recoleta doesn’t boast of Maria Callas, Jim Morrison and Oscar Wilde (in fact, it’s not that celebrated for a non-Argentinian like me) but the feel and the structure are similar. Its crowning glory, for the lack of description, is the resting place of Eva Duerte de Perón or simply Evita. If there’s one person that most Filipinos can easily recognize, it’s probably her. Either that Andrew Lloyd Webber – Tim Rice musical has a spot in us or it must be the parallelism between her and Imelda Marcos. While walking through the tombs, I made a prank at Ayelen by hiding in one corner, ran fast to the next two blocks and surprised her. That’s just well executed. The rest of Recoleta pictures here.

After the walk, we took the bus again in MALBA (after a harrowing run to catch an earlier one) and stopped at Barrio Chino (Chinatown). We met Nestor there along with his kids Astor and Isabella (quite cute and both are smart). It’s our first time to see him as a dad in action. The rest of the early noon was spent at Palitos, munching some dimsum and chowfan. Most of the dishes are good. It’s just that I have to admit that some are having some sort of identity crisis. The chopsuey, for instance, looked like a togue dish. My favorite is the chicken dish that is a kung pao to me sans the peanuts.

We then moved to another area which is around ten blocks away from Barrio Chino. Fabricio said that one church is called Redonda because of its shape. Opposite that is a dessert place called Volta. They have a wide range of drinks from coffee to mixed ice cream and some cakes. I forgot the tiny cake I had but sure it was really good. For my drink, I had Submarino. It’s hot milk with a piece of chocolate bar that is shaped like a submarine. The chocolate had to be dropped in the milk and mix it until it becomes brown.

More pictures of Barrio Chino and Redonda here.

Ayelen, Nestor and kids had to leave afterwards. I think it was already 6pm. Manila Mafia and Fabricio walked some blocks more to check for a jersey for Daryl and Mike. Along the way came another surprise: DeLorean DMC-12 from the movie “Back to the Future”, on display in one gadget shop. Apparently, it was authentic. Christopher Lloyd was in Buenos Aires to shoot a commercial that makes use of his character from the Robert Zemeckis film. Of course I took a picture of the car.

(Scenes from a milonga)

We capped the night with two events: a hearty dinner at Guitarrita (one of the best pizzas I’ve tasted during my entire stay here in South America) and our first hardcore tango experience at La Argentina (check out this video taken while we were on our way to the tango place). We had two options for the tango. One is to watch an expensive Broadway-style show with exhibition moves and costumes or go to a milonga where the locals shake their booty on a weekend. Fabricio chose the latter. I am not sure if the rest of the mafia liked it but I enjoyed this one a bit. The place is comparable to a ballroom place in Manila with the same set of patrons when it comes to age bracket. At least I can say that I’ve been to a place where tango is being immortalized. More tango pictures here and two videos here and here.

On our way back to the hotel, I was taking pictures of the streets at night from Fabricio’s car. In one red light stop, a couple from an adjacent cab was waving at me and gesturing as if they wanted to get photographed too. The girl then made a seductive pose, close to harassing/embarrassing her boyfriend. I gave in.

The rest of the photos here.

Buenos Aires – Day 03: Teatro Colón, Parrilla and That Resto-Bar with Board Games

2011-09-06T00:49:00.013-04:00

Third day was the most relaxing as we didn’t have a busy itinerary. Medialuna breakfast again and off we went to Teatro Colón which is conveniently located in the same street where our hotel is (just five to six blocks away). The entrance is at Avenida Libertad but the back of the building can be seen from Avenida 9 de Julio.

(Snapshots of a chandelier, tiles on the floor and La Cúpula inside the Teatro Colón)

Teatro Colón will not become world class for nothing. Aside from the beautiful interior, it boasts of a perfect acoustic according to our tour guide. The tour, by the way, has a schedule. We arrived at close to 11am and the guided tour was for 30 minutes later. I don’t think you can get inside the theater without availing of the tour which costs at around ARS 60 (PHP 602). There are some areas where photography is not allowed and in the performance hall, it depends whether a rehearsal is ongoing or not. In our experience, a rehearsal was about to take place so we were still allowed to take pictures from there. There’s a Versailles-like hallway on the second floor that is painted with real gold. Some of the details, as highlighted by our guide, were the result of the renovation that took years. Unfortunately, photography is strictly not permissible in that section.

More pictures of the theater here.

From the theater, we walked back to Avenida Corrientes and picked up Fabricio’s car. We had a side trip back to La Boca to check the painting that Daryl was eyeing about. Tough luck, the seller wasn’t around. Then at 2pm-ish, we were already at Nestor’s place for the late parrilla lunch. We reached the place after having a quick visit at the nearby Carrefour. The area is already outside the city of Buenos Aires. It is part of Buenos Aires, the province, which, a bit perplex to know, doesn’t govern the city. It’s not like New York, New York where the city is part of the state. Buenos Aires, the city, is a province and a city on its own. And since Nestor’s place is already outside the city, it has its own set of traffic laws. For instance, if you’re about to turn left in an intersection, you need to take the rightmost lane.

(Taken from Palazzo Spedalieri)

The first thing you’ll notice in Nestor’s house (we created a Foursquare entry for it under the name “Palazzo Spedalieri”) is that it’s more of a home than a house. Toys, kiddie tables and musical instruments are everywhere. It may be too much to say that the kids Astor and Isabella are well loved by their parents. We headed directly to the backyard where the parrilla is located. Ayelen, by the way, was already there ahead of us. Beef and chorizo were being grilled and there we shared some wine and pica-pica. Daryl couldn’t resist the basketball ring beside the covered area. Astor asked me to create a paper plane for him. Quite a nice Saturday afternoon, I would say. It was spent with good food, lazy conversations, some music and a dash of Argentinean hospitality.

More of Palazzo Spedalieri here. Plus a video here, here and here.

Fresh from the relaxing afternoon, we found ourselves rushing for dinner. We needed to head back to the city to catch the table that Fabricio had reserved at Aca Bar. Since not everybody can fit in the car, Daryl, Ayelen and I had to take the bus. It was Saturday evening and some roads are mildly clogged but still bearable. In a bus stop along Avenida 9 de Julio, we had to walk fast to the hotel make it on time. The bar is actually close to the city/province boundary but we all had to go back to the hotel to freshen up. We made it of course.

(The cue cards we were holding are actually the menu entries; rightmost is the Sexyonary game)

Aca Bar, according to Fabricio, is a word play on its own. Yes, it works as Aca Bar but I heard that “acabar” is a word in Spanish which means, if I heard it right, “to cum”. It wasn’t yet crowded when we reached the place. It’s cinematically well lighted and art work is just everywhere. Their menu, all entries in cue cards, is a clever idea. But the main come-on there is that you can borrow a board game from their shelf (there’s a lot to choose from and they have many copies per game set) and play it there during or after dinner. We had a PG13 version of Pictionary called Sexyonary and it was swell.

From there, we walked for some blocks more and waited until 1:30am to get in the posh Honduras club. It is too posh for me, probably similar to Republiq at Resorts World which I haven’t experienced yet. Entrance fee is ARS 40 (PHP 402) with one drink inclusive. I had one bottle of Pronto, some wine and lots of partying spirit.

The rest of Day 03 pictures here.

Buenos Aires – Day 04: Leaving at Noon

2011-09-05T23:32:00.014-04:00

Our scheduled trip back to Colonia was at 12:30pm so we didn’t have enough time to stroll. We checked out at 10am and Fabricio was already there when we went to the lobby. We then headed to Mc Donald’s along Avenida Florida to jumpstart our last and shortest day in Buenos Aires. At 11am, whether we liked it or not, we were already at the Buquebus station at Puerto Madero.

Let me just list down the Top 10 picks from DK Eyewitness Travel and have a check on each:

(From top row, left to right: the Cabildo in Plaza de Mayo, the church near Cementerio de la Recoleta, performance hall in Teatro Colón, an old building along Avenida de Mayo, facade of the Museo Nacional de Bellas Artes, a terrace in San Telmo, El Obelisco, facade of MALBA and a milonga)

1. Plaza de Mayo. We did this from the Puerto Madero during our first day. Too bad that we didn’t stay there for long. If ever I will be going back to Buenos Aires, I want to do the Casa Rosada tour;

2. Cementerio de la Recoleta. Check. Got to see the tomb of Evita and the gigantic artwork called Floralis Genérica;

3. Teatro Colón. Done, too, but maybe a good opera will seal the deal next time.

4. Avenida de Mayo. We also did this on our first day, specifically during the Buenos Aires Bus trip. I remember one small theater there where, according to the recording, a Lorca play was performed (with Lorca himself);

5. Museo Nacional de Bellas Artes. Not done but we passed by to this museum on our way to Recoleta Cemetery;

6. San Telmo. Done. We even visited Mafalda’s birthplace;

7. Avenida 9 de Julio. To and from our hotel, we always passed by this avenue which happens to be the widest in the world. The iconic obelisk is just right there;

8. Museo de Arte Latinoamericano de Buenos Aires (MALBA). Similar to Museo Nacional de Bellas Artes, we alighted in this museum and passed by. While waiting for our bus, I managed to visit the shop but I didn’t buy any;

9. Colonia del Sacramento, Uruguay. I don’t know which gets offended with what but for crying out loud, Uruguay is another country and it’s not under Argentina. We have visited the place for a couple of times now; and

10. Tango. Best experienced in a milonga, I would think.

So for four days, we realized a lot of things about Argentina. Prior to our trip and based on the people who had been there, I had an impression about Porteños (Buenos Aires locals) being ill-mannered. Sure the lady staff in our first bus trip was a little unreasonable but she doesn’t represent the rest of the population (pretty much a universal thought). Restaurant staffs are cool and even store managers make it a point to serve the customers well. To top it all, I find them more of artsy than rude as shown in their street art, theaters and architecture. I also learned about petty crimes being so prevalent in the city. That’s the same warning I got when I visited Madrid and I survived it. Fortunately, I survived Buenos Aires, too. Usual stuff should still be considered: be extra alert in crowded areas, take care of your valuables, avoid trusting the strangers, etc. and that’s about it. There are many things to see and do in the city and we barely had enough time to discover it all. That’s aside, of course, from one important realization that I didn’t find any corned beef in Argentina.

The rest of the pics on our departure day here.

Si Rizal sa Isang Musical Variety Show

2011-08-24T00:54:00.003-04:00

Rizal X
Produksyon: Dulaang UP
Direksyon: Dexter Santos
Mandudula: Katte Sabate at Chic San Agustin
Musika: Happy Days Ahead
Mga Nagsiganap: Reuben Uy, Bea Garcia, Red Concepcion, Maita Ponce, Alchris Galura, atbp.

ISTORYA

Wala talagang iisang istorya ang dula. Isa itong koleksyon ng mga alaala, buhay, pag-ibig at aspirasyon ni Jose Rizal na inilahad sa iba’t ibang production number (sayaw, awit, sayawit, tula, short film at iba pa).

NO COMMERCIAL BREAK

N’ung binigyan ko ng pangalawang tingin ang logo ng dula na naka-project sa telon, d’un ko lang napansin na kamukha ito ng font ng ASAP XV. Kaya pala ang stage design ay mukha ring hinugot sa musical variety show tuwing Linggo ng tanghali na dinidirek ni Johnny Manahan sa ABS-CBN. Sa buong pagtatanghal, parang TV show rin ang daloy. May kakanta (o sasayaw), lalabas ang gumanap at may papalit na bago. Matapos ang costume change at ilang number, babalik muli ang naunang gumanap.

Kung ang basehan ay ang bawat produksyon, wala akong masasabi. Radio-friendly ang mga awit mula sa Happy Days Ahead (na una kong napanood sa thesis play na “Cyrano”) at entertaining ang mga performer. Ganito ang mga concept na maaaring kay Dexter Santos lang puwedeng manggaling. Nate-test dito ang kanyang versatility bilang choreographer. Kinakailangan kasing hindi mag-overlap ang mga number upang hindi mabato ang mga manonood. At sa aspetong ito, nakakaaliw makita ang kanyang kahusayan. Ang kapalit nga lang, hindi masyadong mahuhubog ang kanyang pagiging dramatista o storyteller na isang limitasyon ng mga ganitong concept.

O, siguro, merong kolektibong storytelling dito. Sa halip na ikuwento nang linear ang buhay ni Rizal, ginawa na lang sa maliliit na installment, sa paraang mas madaling maabot ng target audience nito na mga estudyante (na kadalasan ay maiksi ang atensyon). May kakaibang appeal nga naman minsan ang panonood ng musical variety show. At kung ang mga number dito ay hitik sa panitikan at kasaysayan, eh ‘di masustanya itong panonood. Napagbigyan na ang luho natin, may natutunan pa tayo. Ang ikinakaba ko lang, baka hindi makuha ng mga batang manonood ang mga mensahe sa bawat number. Ito ang sa tingin kong weak sa production. Baka mas maalala nila kung gaano ka-glam ang isang pagsayaw o pag-awit kesa ang totoong sinasabi nito kay Rizal. Kahit ako minsan, hinahayaan ko na lang lumampas sa kabilang tenga ang mga gustong sabihin ng dula at manood lang upang ma-entertain. Nakakatakot kung lalabas ang mga estudyante ng tanghalan na wala silang napulot. Baka hindi sila na-move dito. Baka pag-uwi nila sa bahay, ang sasabihin lang nila ay nanood ng parang ASAP at wala nang iba.

Maliban sa TV show na devise, mainam din sigurong hindi makalimutan na, unang una, isa itong kolaborasyon ng mga akda. Hindi sila masyadong credited sa pagtatanghal maliban na lang kung bibili ka ng program. Hindi ko lahat mapapangalanan dito pero lahat sila ay merong iniambag: Dong Abay, Layeta Bucoy, Winter David, JM de Guzman, Floy Quintos, Joaquin Valdes at Rene Villanueva (sumalangit nawa).

KONKLUSYON

Wala ako sa posisyon para humusga kung ano ang tamang paraan ng pagtuturo para sa mga estudyante. Siguro nga ay kinakailangan mong pumantay sa kanilang level upang mas madaling maunawaan ang isang bagay. Old soul lang ako. Lumaki ako at natuto sa pagiging istrikto ng ilan kong naging guro. Meron din yatang biblical reference ito na ang umpisa ng dunong ay pagkatakot. Pakiramdam ko, sa “Rizal X”, masyadong na-pamper ang mga estudyante sa kanilang luho. Ang hiling ko ay may natisod man lang sana sila kahit konting kabayanihan. Kung hindi, maeekis lang ang dahilan kung bakit natin ipinagdiriwang ang ika-150 taong anibersaryo ng ating pambansang bayani.

SIDE TRIP: Natuwa ako na sa unang beses ay nakapagtanghal ang Cirque du Soleil sa Pilipinas sa pamamagitan ng “Varekai”. Na-test nito ang market lalo na’t sadyang mahal ang mga ticket dito. Kahit papaano ay nakatikim ang mga Pinoy ng ganito kataas ang kalibre na musical circus. Mas naaliw ako sa kanilang “Alegria” na napanood ko noong 2006 pero definitive naman ang pagkaka-stage ng ipinalabas nila sa Quirino Grandstand. May jetlag pa dapat ako n’ung pinanood ko ito pero napaglabanan ko dahil na rin sa thrill ng mga act dito.

Philography File # 017: Cinemalaya 2011 Attendees

2011-08-23T21:33:00.003-04:00

Accomplished during the 7th Cinemalaya Philippine Independent Film Festival at CCP from July 15 to 24.

Here’s the rundown:

Cherry Pie Picache, Maria Isabel Lopez, Marc Abaya, Ramon Bautista, Arron Villaflor, Sheryl Cruz, Jason Abalos, Lauren Young, Jade Castro, Martin Escudero, Kean Cipriano and Jennifer Sevilla. Not as hyper as last year but I like my 2011 line-up. There's one autograph in there that I don't recognize the owner now. It starts with an N and the name looks like Nucio. Whoever you are, get a better handwriting next time.

40 Pelikula (O Kung Paano I-boost ang Festive Excitement ng Cinemalaya 2011)

2011-08-22T22:24:00.060-04:00

Mula sa trip sa Dubai, lumapag ako sa Manila n’ung July 14 ng mga 4pm. Roughly, mga ganyang oras. Pinakiusapan ko na si manong taxi driver na pagkahatid sa akin sa apartment, baka pwedeng magpahintay na lang ako, magpapalit ng damit at salawal at kung ano pang qualified sa salitang “freshen up” at magpahatid na rin agad sa may Quirino Grandstand para sa 7:30pm show ng Cirque du Soleil na Varekai. Umabot naman kahit photo finish. Isang circus ang palabas at doon ako nakipag-flying trapeze sa jetlag. Cinemalaya na kasi kinabukasan.

Ilang linggo bago pa man ang film festival (na nasa ikapitong taon na), nagkaroon na ito ng ingay. Unang una, dahil sa sagot ni Rafa Santos, isang short filmmaker na may lahok sa festival, tungkol sa pag-arkila ng mga theater artist na pwedeng suklian ng cat food at Sky Flakes. Biro lang naman ito pero alam mo na, sa panahon ng Twitter at Facebook, parang lahat ay merong opinyon for the sake of giving an opinion. Lumobo ang isyu at pumutok lang ang bula nang mag-umpisa na ang event. Nagtaas din ang festival pass. Kung n’ung isang taon ay P1,500 ang all-access, ngayon ay umabot sa P5,000. Ang kuwenta ko noon ay pumatak ng P45.45 kada pelikula, ngayon ay P125 na. Isa ako sa umalma rito. Pero umalma naman ako na nang walang galit. Umalma ako sa mga social network site at nagpatawa at the same time. Pinukol ko ng kritisismo, primarily, ang aking sarili na kaya kong pag-ipunan ang ganitong halaga para lang sa isang bagay na interesado ako. ‘Yung natitirang banat-komedya ay para na lang sa kung sinumang nakaisip nito. At alam ko, hindi natawa ang tinamaan (kung meron man). Sana lang ay walang biglaan. Sisiw namang pag-ipunan ang ganitong halaga kung taunan din lang ang usapan. Sa Eraserheads reunion concert nga, nagawan ng paraan, sa Pinoy indie pa kaya?

O s’ya, heto na ang 40 pelikula (o higit pa dahil isa lang ang bilang ko sa koleksyon ng mga short film). Paki-control F na lang ‘yung hinahanap mong entry dahil pihado akong mababagot ka kung babasahin mo mula umpisa.

01. MASKARA (Laurice Guillen) Considered na ito ang unang indie film ni Ms. Guillen sa panahon ng pag-usbong ng Cinemanila, Cinemalaya, Cinema One Originals, atbp. Bumalik s’ya sa core ng genre, ang makapaglahad ng isang kuwento na personal sa kanya at walang bahid na kumpromiso mula sa isang studio. Kung tutuusin, ang kanyang anak na si Ina Feleo ang kinuha n’yang scriptwriter na pinag-workshop kay Bing Lao. Siguro ganito kaindependente ang vision n’ya. Ang resulta, bits and pieces ng direktor: ang pagiging acting coach, ang pagiging Kristiyano, ang pagmamahal sa kanyang asawang si Johnny Delgado at ilang anino ng mga kabit movies n’ya n’ung 80’s. Bagama’t ang main plot ay tungkol sa pagdiskubre ng asawang babae (Shamaine Centenera-Buencamino) sa buong pagkatao ng kanyang artistang asawa (Tirso Cruz III sa isang kontroladong pagganap sa kabila ng kokonting eksena), mayaman ang pelikula sa personal na paghahanap ng totoong aktor. Posibleng ang take ay nami-miss lang natin si Mr. Delgado pero sa ilalim nito, nand’un ang patuloy nating pagkilatis sa kung ano nga ba ang nasa likod ng maskara, actor ba o star? Sinagot ito ng mga mumunting monologo mula sa mga kaibigan ng mag-asawa, reel and real. Minsan ay masyadong indulging ang mga confession pero ginawa naman ng direktor na tapikin at ibalik ang manonood. Isang payo, ‘wag manood nang nakamaskara dahil mababasa lang ito ng luha.

02. BAHAY BATA (Eduardo Roy, Jr.) Ang unang unang mapapansin mo sa pelikula ay ang pagiging reminiscent nito sa ilang real time movies nitong mga huling nakaraang taon. Ang main character na si Sarah (na malamang ay may Biblical reference) ay isang nurse na sinusundan ng manonood sa kanyang palakad-lakad/palipat-lipat na pakikisalamuha sa mga tao sa isang maternity ward. Maliban sa mga lakad scenes (na hindi ko nakitang nakakapagod kumpara sa iba), maganda ang pagkaasul ng pelikula. Appealing ito sa mata. Wala rin akong nakitang problema sa delivery ni Diana Zubiri bilang lead character dito. Ayos din sa akin ang resolution sa dulo. Ang issue ko ay ang contradiction sa pagiging ultra realistic ng ilang eksena at sa pagiging peke ng pagpapaarte sa iba. Sobrang extreme para sa akin. Nariyang diretsahang kinukunan ng camera ang pagpapaanak samantalang ang ilan naman ay parang hinalukay sa soap opera (sampalan, hindi pulidong sequence kamukha ng pagbisita ng isang doktor na tila nakalimutan pa yata ang linya, atbp.). Very Bing Lao rin ito. ‘Yung eksenang namimigay ng regalo ang isang doktora, naalala ko ‘yung pamimigay ng panis na hopia sa “Pila-Balde”. Sa isang Facebook group ko, nabigyan ko yata ito ng 2.5/5, ang pinakamababang naibigay ko sa lahat ng kalahok sa New Breed. At tinatamad na akong bawiin.

03. ISDA (Adolf Alix, Jr.) Siguro ay fascinated lang talaga ang direktor sa tabloid story noong 90’s tungkol sa isang ginang na apparently ay nanganak ng isda. Ang natatandaan ko, ayon sa isang obserbasyon, lumalabas daw ang mga ganitong freak stories kapag malapit na ang eleksyon sa Pilipinas. Nariyang may nakakita raw ng aswang at kung anu-ano pa. Pero hindi ito ang tinahak ng pelikula. Naka-focus ito sa buhay ng mag-asawa (Bembol Roco at Cherry Pie Picache) at kung paano nila pagdadaaanan ang proseso ng mga ganitong pangyayari. Hindi man nagpakita ng science ang pelikula, malinaw naman ang gustong paratingin. Ang backdrop ng mag-asawa ay isang Smokey Mountain. Kabundok ang kahirapan. Ipinakita rin na nanggaling sila sa probinsya at naghahanap ng comfort sa Maynila, isang karaniwang kuwento ng kahirapan o anatomiya ng krimen. Paminsan-minsan ay nagsisingit din ng ilang news clip tungkol sa fish kill sa Batangas. Gusto lang nitong sabihin na minsan, deserving tayo na manganak ng isda sa dami ng dumi na nilalanghap ng isang pangkaraniwang Pinoy. Sabi nga sa isang computer class: “Garbage in, garbage out”. Gusto ko si Ms. Picache rito. Kahit wala s’yang masyadong ipinakitang bago, na-maintain naman n’ya ‘yung pagiging consistent sa delivery. Hindi n’ya nilagyan ng butas ang storytelling na maaaring kasingitan ng pagkutya mula sa audience. Natatawa ang manonood hindi dahil sa kanyang dilemma kundi sa irony ng kanyang sitwasyon.

04. KASAMBUHAY, HABAMBUHAY (Chris Martinez, Raul Jorolan, Jun Reyes, Sid Maderazo, A/F Benaza, Jeorge Agcoili, Stephen Ngo, Henry Frejas at Carlo Directo) Wala sana ito sa itinerary ko pero dahil nangako ang isang filmmaker na mapapanood ko ang pelikula n’ya, ito na lang ang pinili ko. Only to find out later na mapapako ang pangako. Hindi ko alam kung bakit. Baka busy lang. O baka mukha akong didiretso sa Quiapo. Pasensya na pero may bad aftertaste lang kapag hindi mo napanood ang gusto mo talagang mapanood. Oh well. Ang palabas na ito ay isang koleksyon ng mga short film na pinrodyus ng Nestlé Philippines. Ibig sabihin, magaganda ang camera na ginamit (pang-advertising), ginastusan pero may konting product placement. Kunsabagay, ang isang TVC ay isa rin namang short film. Kailangan mong makapagkuwento kung gaano kaganda ang produkto sa isang mabilis na paraan. May ilang entry rito na tumama sa puso kamukha ng “The Howl & the Fussyket” ni Chris Martinez. Simple lang naman ang kuwento ng isang batang may F defect na tinulungan ng inang si Eugene Domingo at ilang baso ng Bear Brand upang sumali sa declamation contest. Tried and tested na talaga kapag tungkol sa pagmamahal ng ina sa kanyang anak ang tema. Hindi ko na ie-specify lahat dahil available naman online for sure ang mga detalye pero ang mga pinakapaborito ko ay ang “Isang Tasang Pangarap” ni Sid Maderazo at ang “Tingala sa Baba” ni Henry Frejas. Ang una ay may parody sa “Himala” ni Nora Aunor pero na-pull off ang humor sa tulong na rin ni Ramon Bautista. May poesiya sa title ng pelikula ni G. Frejas (na s’ya ring nagdirek ng “Hanapbuhay” na kasali sa short film category ngayong taon kahit na naipalabas na ito n’ung “AmBisyon”). Ang pinakagusto ko ay hindi ko naramdaman na short film ang kanyang pelikula para sa koleksyon na ito. Hindi ko rin masyadong naramdaman ang product placement pero ramdam na ramdam ko ang irony sa pagitan ng batang mahirap at batang mayaman na nagkasundo sa paglalaro ng see-saw. All in all, wala naman akong masyadong napanood dito na hindi ko talaga nagustuhan. More of mas lumalamang lang minsan ang product placement part kesa sa challenge na makapagkuwento gamit ang mga produkto.

05. PAGLIPAD NG ANGHEL (Doy del Mundo, Jr.) Mataas ang expectation ko rito. Sa plot pa lang, parang marami nang gustong sabihin. Isang Good Samaritan (Sid Lucero) ang nagising na lang isang araw na tinutubuan ng pakpak. Isa sa kanyang kabutihan, halimbawa, ay ang pag-iwas sa mga gimik at pre-marital sex (kahit na si LJ Moreno pa ang nagpapa-cute sa ‘yo). Iniisip ko, ganito pala ang parusa for keeping your virginity, etc. Puwede rin namang rewarding ang pagtulong kung magagamit mo ang pakpak sa luho na makalipad. Gusto ko sanang pagmunian ‘yan kaso talagang nakakawala ng konsentrasyon ang pelikula. Maraming eksena sa opisina na halatang orchestrated. Pilit din ang humor. Hindi rin nakatulong ang biglaang pagsulpot ni Joel Torre bilang isa pang anghel. At lalong ‘wag na ‘wag nang pag-interesang titigan ang CGI rito dahil baka tubuan ka rin ng pakpak (sige ka). Supposedly, labor of love ito mula sa mga graduate ng La Salle (may cameo si Mike Enriquez at ang ilang parte ay sa university yata nag-shoot). Kaya lang, hindi ko alam kung well represented ang talent nila sa pelikulang ito. Kung meron mang sumalungat sa hangin dito, ito na siguro ang reliable na pagganap ni G. Lucero. Nakakahawa ang kanyang pagiging seryoso rito. Para s’yang si Charito Solis bilang Ina Magenta sa “OK Ka, Fairy Ko” series.

06. LAYANG BILANGGO (Michael Angelo Dagñalan) Parang mas na-appreciate ko na s’ya ngayong sinusubukan kong i-recall kung ano ang mga nagustuhan ko rito. Una, sure ako na iba ang level ng pagkukwento rito kumpara sa ibang Pinoy crime o action film. Kumbaga, hindi ito ‘yung mga klase ng pelikula na masyadong conscious sa rehistro ng mga imahe sa screen. Hindi rin loud ang pagkakadirek at lalong hindi lousy. Kahit na hitik ang mga arko ng kuwento, hindi ito naging alienating at hindi rin naging sell-out. Ang pinakamalaking risk siguro sa pelikulang ito ay ang aktor para sa lead character. Naitawid ni Pen Medina nang maayos ‘yung pinaka-critical na bentahe ng materyal. Kung pumalpak ang bida, papalpak din ang kabuuhan. Nagustuhan ko ‘to. It makes me wait for the director’s next film. Bonus na lang ang mahusay na rendition ni Johnoy Danao sa theme song ng pelikula.

07. SHORTS B – NEW BREED (Henry Frejas, Misha Balangue, Gio Puyat, Pamela Llanes Reyes at Mikhail Red) Kamukha n’ung ginawa ko sa unang koleksyon ng short film, ‘yun na lang mga stand-out sa akin ang babanggitin ko. I like Henry Frejas’ “Hanapbuhay” even before Cinemalaya. Para sa akin, ito ‘yung nakapagkabit ng humor kahit na pwersado itong tumalakay sa mga issue ng bansa. Nakapagkwento ito nang hindi idinaan lang sa speaking lines o limitadong location sa kabila ng maliit na budget. Ang “Immanuel” naman ang pinaka-eye candy. Lutang na lutang ang mayamang production design at nai-deliver naman ang kailangang i-deliver. Base sa output na ito, pwedeng pwede nang gumawa ng full length ang direktor at maaari nang pagkatiwalaan ng mga producer, indie man o mainstream.

08. SAWASDEE BANGKOK (Aditya Assarat, Kongdej Jaturanrasamee, Pen-Ek Ratanaruang at Wisit Sasanatieng) Hindi ko alam kung sino ang nagdirek ng anong episode pero isa rin itong koleksyon ng mga pelikula a la “Shake, Rattle and Roll”. Bagama’t ang title ay tila nagi-invite sa mga nakakabasa na pumunta sa Bangkok, hindi ito isang tourism booster. Sa katunayan, ang common sa apat na maliit na pelikula ay ilang display ng mga bagay na hindi mo nais makita sa isang vacation destination. Ang pulubi na natutulog sa ilalim ng tulay, ang building construction (nga ba o demolition?) sa kapit-bahay, ang laganap na prostitution at ang taong grasa. Sa kabila nito, na-overread ko na yata ang pelikula. Ang basa ko, tungkol din ito sa iba’t ibang sense ng ating katawan. Ang una ay tungkol sa mata na naglitanya ng pagkaganda ng Bangkok mula sa isang bulag na pulubi. Ang ikawala ay tungkol sa miscommunication at ang pag-highlight sa isang eksena ng kawalan ng kakayanang makinig (ito ang pinaka-artsy sa apat). Duda ko, sense of touch naman ang gustong tumbukin ng kuwento tungkol sa isang prostitute at sa kanyang parokyano (ang ikatlo at aking paborito). Tungkol naman sa prejudice sa isang mabahong taong-grasa ang tinalakay ng panghuli.

09. LIBERACION (Adolf Alix, Jr.) Tahimik ang pelikula at mahahaba ang cut. Nakakabato. Pero ganito ang gustong puntiryahin. Tungkol kasi ito sa isang Hapon noong panahon ng giyera na naiwan sa gubat ng mahabang panahon habang naghihintay ng kanyang sariling paglaya. Kung tutuusin, sa sobrang tagal, pwede na s’yang mag-harakiri pero hindi n’ya ito ginawa. May gusto sigurong sabihin sa human endurance o discipline. Bilang manonood, hindi naman ako tuluyang nabagot. Maganda sa mata ang mga gubat natin dito sa Pilipinas kahit na B&W pa. May dagdag din na charm ang pagiging visual ng pelikula at kawalan ng daldalan. Very Zen. Nakaka-relax.

10. PATIKUL (Joel Lamangan) Tingin ko, ang mga contemporary ni Joel Lamangan sa paggawa ng mainstream na advocacy film ay napagod na. Sa puntong ito, commendable na nariyan pa rin s’ya at patuloy na gumagawa ng ganitong pelikula para sa audience na hindi masyadong mahilig sa indie film o mga pelikulang may maliit na budget at walang sikat na artista. Dahil d’yan, ang comparison ko sa “Patikul” ay sa mga lumang pelikula na lang n’ya na may tema rin ng opresyon. Para sa akin, mas nagustuhan ko ito kung ihahambing sa “Dukot”. Pero hanggang d’yan na lang ang kaya kong sabihin. N’ung pinanood ko ito, nakasabay ko sa sinehan ang grupo nina Arnel Mardoquio at Fe Hyde na nagbigay sa atin ng mas authentic na reality sa Mindanao. Sabi ni Ms. Hyde, maayos daw naman ang pelikula. May ilang detalye na hindi makatotohanan pero ang kabuuhan ay ayos naman daw.

11. TEORIYA (Zurich Chan) Appealing sa akin personally ang mga kuwentong may tema tungkol sa ama at anak. Siguro ay ganito rin kapersonal ang pelikula sa direktor. Engaging naman ‘yung pagdiskubre ng anak sa kanyang ama pero hindi ko alam kung gusto ko ‘yung road trip part, ‘yung pagkakaroon ng multiple character at ‘yung huling bahagi. May mangilan-ngilang mahusay na visual at ‘sakto lang ang effort ni Alfred Vargas dito. Consistent naman na mukha s’yang may galit sa mundo kahit na hindi natin alam ang dahilan. Siguro ay guessing game ito at wala akong teoriya kung bakit.

12. MATIMBANG ANG DUGO SA TUBIG (D’Lanor.) Ngayon ko lang nalaman na maliban sa Ronwaldo Reyes ay gumamit din si FPJ ng “D’Lanor” bilang pangalan ng direktor. Kung hindi mo pa nafi-figure out, binaliktad lang ito na “Ronald”. Unang beses ko rin pala itong makanood ng pelikula na ginawa ni FPJ noong 60’s (1967, to be exact). Wala pa rito ang signature armalite punch at wala pa rin ang mga witty one-liner na nauso n’ung 90’s. Nakatutok lang talaga sa kwento at sa dream project kasama ang kanyang kapatid na si Andy Poe. Kung tutuusin, medyo trite na ang plot. Tungkol sa magkapatid na nagkahiwalay ng landas n’ung bata pa. Medyo predictable ang resolution pero very disciplined naman ang pagkakagawa. Ang mga eksena sa umpisa na nagpapakita ng giyera sa mga mata ng na-trauma na ina ng magkapatid ay mahirap makalimutan. Isa itong magandang entry para sa retrospective ni FPJ bilang direktor.

13. CHANTS OF LOTUS (PEREMPUAN PUNYA CERITA (Upi Avianto, Nia di Nata, Fatimah Rony at Lasja F. Susatyo) May concept din ang kolekyson ng mga pelikulang ito. Binubuo ng apat na babaeng filmmaker na tumalakay sa mga temang may kinalaman sa pagkababae o ang pagiging babae sa Malaysia. Hindi ko alam kung may direct reference ang hugis ng lotus sa ari ng babae kaya gan’un ang title. Merong tungkol sa rape (o disability with rape), AIDS, prostitution at maagang pagbubuntis. Wala akong nakitang bago, mula sa pagiging melodrama at sa pagtalakay ng mga issue sa makabagong panahon, pero malinaw naman kung ano ang statement dito.

14. NIÑO (Loy Arcenas) Ito siguro ang unang pelikula sa history ng Cinemalaya na hindi ako nag-atubiling lapitan ang direktor at usisain ang kanyang vision sa kanyang idinirehe. Ang pakiramdam ko kasi, isa itong love letter kay Nick Joaquin, particularly sa “A Portrait of the Artist as Filipino”. Maliban sa tertulla, may nakita pa akong parallel: ang pag-degrade ng isang bohemian family, ang pagpapahalaga sa nawawalang sining, ang bulag na pagharap sa modernisasyon, ang pag-asang gumaling ng isang patriarch at maging ang abandon ni Tony Javier sa karakter na si Mombic (Art Acuña). Sabi ni G. Arcenas (na pinapanood ko ang mga dulang pang-entablado sa loob ng halos isang dekada na rin mula “Flipzoid” hanggang “Tatlong Mariya”), wala raw itong koneksyon. Naisipan lang daw nila ni Rody Vera na sumali at sumali sila nang wala pa talagang iniisip na tema. Noong una, natakot ako sa sagot ni G. Arcenas. Pakiramdam ko, pinapagalitan ako. Sabihin ko rin daw sa iba ang kawalan ng connection sa “Portrait” dahil marami nga raw nakakapansin. Pero pinabulaanan naman ang impression kong ito nang makasabay ko s’yang muli sa cafeteria at nagyayang makipagkuwentuhan kahit saglit lang. Taga-teatro raw ba ako at anong ginagawa ko sa Uruguay (hindi ko pwedeng palampasin na sa lahat ng na-meet ko, s’ya lang ang tama ang pagkaka-pronounce ng local name ng bansa). Sa kabila ng pagkakadikit ng pangalan ng direktor at scriptwriter nito (o maging ang cast, Fides Cuyugan-Asensio, Shamaine Centenera-Buencamino, Joaquin Valdes, atbp.) sa mundo ng teatro, hindi ko nakita kahit kusing ang pagiging stagey. Matapang din ang produksyon sa pagkakaroon ng pelikula na tumalakay sa isang topic na hindi masyadong napapasadahan ng ibang filmmaker. Nalungkot ako nang hindi nakopo ang Best Picture award pero isang malaking bagay na rin ang Jury Prize. Sabi ko nga kay G. Arcenas sa cafeteria, maghanda na s’ya ng speech na sinagot lang n’ya ng “Let’s cross the bridge when we get there.”

15. BUSONG (Auraeus Solito) Nakalimutan ko na na meron nga palang salitang “busong” sa Quezon. Kapag napapadaan sa isang punso, sinasambit namin ang “Pwera-busong” na isang pangontra diumano sa engkanto. Naririnig ko rin ito kapag merong natatapong pagkain sa sahig nang hindi sinasadya. Sinasabi kasi na ang mga natirang ulam ay nilalantakan ng ilang elemento habang natutulog ang may-ari ng bahay. At bilang magkasama sa Region IV ang Quezon at Palawan, ganito rin ang concept ng pelikula. Isang babae (Alessandra de Rossi) ang may malubhang sakit sa balat na cursed tumapak sa lupa (isang interaction na elemental). Sa kanyang paghahanap ng lunas, nakasalubong n’ya ang ilang tao na may sari-sariling kwento ng busong. Ang asawa ng isang maybahay at nagkasakit matapos nitong putulin ang puno samantalang iniligtas naman sa kapahamakan ang mag-ama nang mabusong ng isang stone fish ang isang foreigner. Ang pagsulpot ng paruparo mula sa sugat ng babae ay isang pagpapatunay na hindi lahat ng busong ay pagpapariwara. Meron din itong mabuti at mapagpalayang epekto sa tao, isang deconstruction ng alam natin tungkol sa salitang karma. Kapag positibo ang interaction na ginawa natin, elemental man o hindi, positibo rin ang kahihinatnan. Syempre, hindi rito tumigil ang message ng pelikula tungkol sa interaction. Maaaring ang take ay tungkol sa respeto na generous kang ibigay sa mga bagay at tao sa paligid mo. Pwede ring ang take ay interaction mo naman sa iyong pinanggalingan (kamukha ng ginawa ng direktor sa kanyang Palawan), lugar man o nakaraan. Kung paano mo nirespeto ang interaction na ito, ganito rin ang isusukli sa ‘yo.

16. ANG BABAE SA SEPTIC TANK (Marlon Rivera) Merong dalawang mahahalagang bagay na gustong sabihin ang movie. Una, ang indie filmmaking ay pwede mo rin palang araruhin ng pangungutya (o pagkilatis) sa paraang pinagtatawanan natin minsan ang mga pelikulang mainstream. Ikalawa, si Eugene Domingo ay si Eugene Domingo. Sa una, ang ikinakatakot ko lang, dahil sa sobrang lawig ng maaaring marating ng pelikula (napatunayan na ito ng box office success matapos ipalabas sa labas ng CCP), baka magkaroon ng impression ang mga hindi masyadong mahilig tumangkilik ng indie na gan’un ka-pretentiously ambitious ang ilang indie filmmaker o indie filmmaking in general. Para sa mga tumatangkilik naman ng indie, isa nang lumang joke ang pelikula. Pihadong meron nang humirit nito dati (katulad ni Lourd de Veyra). Siguro kung napanindigan nito ang dark comedy na sa dulo lang lumutang, baka mas seryosohin ko ang joke. Sa kaso ni Eugene Domingo, wala namang kokontra na s’ya lang ang maaaring maka-pull off ng ganitong materyal. Naalala ko ang trick na ginawa sa kanya sa short film ni Quark Henares na “A Date with Jao Mapa” (i-Google mo, available ito sa Youtube) na isa ring pagtalikod mula sa totoong pagkatao ng gumanap. All in all, maganda naman ang pagkakagawa ng pelikula. Irerespeto ko ang success nito. Minsan lang, gan’un talaga, gets mo na ang joke kahit hindi pa ibinabagsak ang punchline.

17. BOUNDARY (Benito Bautista) May coincidental akong kwento sa pelikulang ito. N’ung umaga sa screening day ng pelikula, sumugod ako sa Market! Market! para bumili ng Chinese longganisa na bilin ng nanay ko. Dumaan na rin ako sa Fully Booked para bumili naman ng ilang CD na pwede kong i-rip at baunin ko pabalik ng Montevideo. Mula Bonifacio High Street, kailangan ko nang mag-taxi para umabot sa unang Cinemalaya film sa araw na ‘yun. Nagulat ako nang makipagkwentuhan si manong driver na medyo nasa late-20’s yata. Isinikay raw n’ya ang direktor ng “Boundary” papuntang CCP n’ung isang araw. May kasama raw magandang chick at artista yata. Ayaw raw magpakilala at abangan na lang daw sa pelikula. Apparently, nag-invite daw si direk na manood ng kanilang premiere. Tungkol daw kasi sa mga taxi driver ang pelikula at masisiyahan daw s’ya. Isama raw ang misis at mag-date daw sila roon. Ayon sa itinakbo ng aming usapan, fascinated s’yang makapunta sa CCP. Minsan lang daw naman makapasok sa mga gan’un. Pinangakuan s’ya ng direktor na makakapagpapiktyur daw s’ya sa kanyang kuya Ronnie (Lazaro) at sa iba pa. Hindi ko nakita si manong during the screening pero roon ko unang nakasabay si Kidlat Tahimik na manood ng sine. Kokonti lang ang nanood. Wala kasi talagang masyadong buzz sa pelikulang ito. Ito ba ay gay themed? Ito ba ay porn? Ito ba ay pretentious? One of those? Walang nakakaalam at malaking kawalan ito para sa kanila. Isang malaking surpresa ang pelikula. Tungkol nga sa isang taxi driver (Ronnie Lazaro) at ang kanyang encounter sa isang pasaherong mukhang mayaman (Raymond Bagatsing). Talky s’ya pero crime/suspense movie rin. Nakuha pa rin n’yang mabuo ang terror na gusto nitong sabihin. Maliban sa visual, inalagaan din ang ibang aspeto kamukha ng tunog at musical score (na ilang distorted na violin piece). Under control ang direktor. Alam n’ya ang ginagawa n’ya at may taste s’ya sa pagkuha kay Coke Bolipata bilang musical scorer. I have nothing against kay manong driver pero may duda akong hindi n’ya ito maa-appreciate. Kakaiba ang sensibilidad. May balls ang materyal, isang welcoming treat para sa indie scene.

18. CHASSIS (Adolf Alix, Jr.) May pinagdaanan sa MTRCB ang pelikulang ito. Matapos maipalabas sa isang prestigious film festival sa Argentina, hindi nito makuhang magkaroon ng regular screening sa Pilipinas maliban sa censor-free zone kamukha ng CCP at UPFI. Matapos ko itong mapanood, hindi ko naisip na tungkol sa kalaswaan ang pelikula. Mas tungkol yata ito sa kahirapan na trite na tema na rin lalo na sa indie scene. Ang pagkakapili kay Jodi Sta. Maria bilang Nora ay isang indikasyon na bahid ng storytelling ang kokonting nudity sa pelikula at wala nang iba. Pero hindi ko masasabing nagustuhan ko ito. Maganda ang discipline ng movie na nagiging tatak na ni G. Alix sa kanyang mga huling nagawa: tahimik, underacting, walang eksena o punchline at minsan ay mahahaba ang cut. Hindi lang talaga konektado ang finale scene. Parang ibang pelikula ito.

19. SHORTS A – NEW BREED (Ana Carlyn Lim, Rafa Santos, Emerson Reyes, Gino Santos at Rommel Tolentino) Hindi masyadong mabigat para sa akin ang set na ito ng short film. Kung meron man akong nagustuhan, ito na siguro ‘yung “Walang Katapusang Kwarto” ni Emerson Reyes. Tungkol ito sa isang couple na ninanamnam ang masasayang sandali matapos nilang magtalik (baka nagpapahinga lang para sa susunod na round, hindi ko alam). Realistic ang mga linya. Na-capture ang reckless at intimate moment na ‘yun ng isang magkasintahan. Parang sila lang ang magkakampi sa mundo at kaharian nila ang kwarto na ‘yun habang ang mga tao sa labas nito ay isang eksena na kanilang pinapanood mula sa kanilang trono. Noon pa man, matapos kong mapanood bilang Insiang sa stage version ng pelikula ni Brocka, gusto ko na si Sheenly Gener. Pwede na rin pala ang “Niño Bonito” ni Rommel Tolentino. Sa hindi ko maipaliwanag na dahilan, tawa ako nang tawa kapag nagfi-fliptap ang batang bida.

20. ASTRO MAYABANG (John Paul Laxamana) May kakaibang comfort ang strangeness ng pelikula. Maliban sa Kapampangan ang pangunahing speaking lines dito, may ilang eksena na sigurado akong hindi ko pa nakikita sa local cinema. Ang masaya lang, kontrolado ang pagka-weird ng movie. Alam mong sinasadya na para sa akin ay appealing naman. Kung tatanggalin ang layer na ito ng pelikula, simple lang naman ang kwento. Isang teenager na sagad ang nasyonalismo, si Astro (Arron Villaflor na dynamite rito sa kanyang delivery bilang bida), ang nahulog ang loob sa isang Fil-Am. Lahat ay magiging swak na sana hanggang dumating sa punto na nalaman ng manonood ang nag-iisang bagay na hindi n’ya kayang ipagyabang: ang kanyang pagkalalake (o kawalan ng command performance dito kung kinakailangan). Sa dulo, ibinigay sa manonood ang dalawang bersyon ng kayabangan. Inihain ang pagkakadikit, contrast at parallel, ng kayabangan ng ating pagka-Pinoy sa kayabangan na kayang tayuan ng pagkalalake. Talking about extremes. Parang gustong i-suggest na kailangan mo ng bayag upang mapanindigan ang iyong nasyonalismo. Kailangan ko lang ding banggitin na maganda pala ang OST nito.

21. LOCAL GIRLS (Ned Trespesces) Ang tingin ko sa kanya, parang storyboard. Parang reenactment ng script kung gagawin itong isang pelikula. Parang nagpi-pitch ka sa isang producer sa kung anong magiging final product ng script mo. I think the script will do. Tungkol sa dalawang “local girls” sa Davao (nga ba?) na nasangkot sa kalakalan ng droga roon matapos nilang madiskubre ang isang bag ng shabu sa isang hotel room na kanilang nililinis. Wala akong nakikitang masamang tinapay rito. Doable kumbaga bilang isang suspense movie na may pagka-indie at regional feel. At least isang pelikula mula sa ibaba na hindi opresyon ang tema. Nai-imagine ko kung ibang mas able na direktor ang gumawa, posible itong isang maging importanteng pelikula. Ayokong isipin na dahil ito sa kakulangan ng budget. Sana hindi na lang muna ginawa kung gan’un.

22. BLEAK NIGHT (Yoon Sunghyun) Hands down, ito ang pinaka-affecting at pinaka-moving na pelikula na napanood ko sa Cinemalaya 2011. Bahagi ito ng Focus Asia series (na na-introduce this year) kasabay ng “Sawasdee Bangkok”, “Chants of Lotus” at iba pa. Muntik pang hindi maipalabas dahil sa technical problem nang unang beses itong isalang. Tungkol ito sa barkada. Tungkol sa mga teenager. Social issue. Ginawa siguro ito dahil malaki ang impact ng peer pressure sa mga kabataan upang mahubog ang kanilang views at lifestyle. Baka meron ding study about juvenile crime and suicide sa South Korea, hindi ko alam. Naka-focus ang pelikula sa pag-usisa ng ama sa barkada ng kanyang anak na nagpakamatay. Hindi masyadong eventful ang pelikula kung arko lang ng kwento ang pag-uusapan. Madalas na daldalan ito at nakaantabay ka lang sa kung ano ang bagay na madidiskubre ng tatay sa kanyang anak. Human emotion din naman ang tema kamukha ng ilang Koreanovela na napapanood natin sa local channel. Mas restricted lang ito, mas behave at mas intense. Sa katunayan, sa sobrang intense ng mga eksena lalo na ‘yung dulo, may ilang araw rin akong dinurog nito. Na-appreciate ko na mas normal (sa kawalan ng mas angkop na adjective) sa barkadang ‘yun ang mga naging barkada ko n’ung high school. Masaya ako na nalampasan ko ang bahagi na iyon ng pagbibinata na kokonti lang ang gasgas sa tuhod. Bata pa ang direktor nito. Present s’ya sa CCP upang i-introduce ang pelikula. Nakakatuwa nga na nagkukulitan pa sila ng kanyang interpreter tungkol sa mas eksaktong translation ng kanyang sinabi. Sabi n’ya, katulad daw ng hindi nila pagkakaunawaan ng interpreter ang tema ng pelikula.

23. SPONSOR (Shandii Bacolod) Experimental ang pelikula. Real time ang pagkakadirek at walang script. Ang kaibahan lang nito sa “Ang Damgo ni Eleuteria”, wala talagang rehearsal (sabi ng direktor). Siguro ay inilatag lang sa mga artista ang plot at sequence at hinayaan na lang silang mag-improvise mula rito. May ganito kaming kamukhang exercise sa acting workshop dati. Ang tawag nila ay “tableux”. Sasabihin ng acting coach halimbawa ang tagpo at sa loob ng sampung segundo ay magbubuo kami ng eksena a la Last Supper at biglang magfe-freeze. Kapag tinapik ng tungkod ang isang participant, gagalaw s’ya at magi-improvise ng linya. At hihinto muli. Ang susunod na papagalawin ay magi-improvise din ng sariling linya base sa mga nauna nang ibinagsak na linya. Sa “Sponsor”, ang tagpo ay isang neighborhood na may kanya-kanyang issue sa droga, prostitution, incest, sexuality at kung anu-ano pa. Maganda ang challenge na ito lalo na’t ang mga key player dito ay sina Marife Necesito, Mailes Kanapi, Xeno Alejandro, Abner Delina at Alchris Galura. Maliban sa malaking chance na makakita ng raw emotion, nakakaaliw ring bantayan kung paano nila haharapin ang challenge. May ilang balakid din syempre. Halimbawa, walang idea ang player kung kelan tatapusin ang eksena at kung kelan dapag bumabad pa. Sa isang sequence halimbawa, paulit-ulit na ang sinasabi ng karakter ni Xeno sa karakter ni Mailes. Just to make fun of the skit or probably to make it more difficult, Mailes retaliated “Paulit-ulit. Paulit-ulit.” At tumatak ito sa mga manonood. Kapag merong eksena na nagmumukhang endless loop, nagsasalita na rin sila (at least ang katabi ko) ng “Paulit-ulit. Paulit-ulit.” May ilang pagkakataon na ibang level din ang challenge kamukha n’ung mga love scene. Paano nga ba umarte at mag-simulate ng love scene at the same time? Kinakailangan bang maitago ng direktor sa anggulo ang hugis ng pagkalibog? Hanggang saang punto natatapos ang improvisation at hanggang saang punto nag-uumpisa ang totoong eksena? Sa isang post-credit scene, halimbawa, ay merong cum shot. Paano ba ito pwedeng ma-improvise? Sa totoo lang, very indie spirit ang pagka-experimental dito. Kung naging mas kontrolado siguro ang pagkakagawa, ibig sabihin, medyo praktisado, baka mas promising. ‘Yun nga lang, mababawasan ng pagka-raw.

24. ANG SAYAW NG DALAWANG KALIWANG PAA (Alvin Yapan) Unang una, na-solve nito ang challenge dati na magkaroon ng isang gay film na walang hubaran at halikan. Madalas nating sabihin na, kapag hindi tayo marunong sumayaw, parehong kaliwa ang ating mga paa. At madalas nating i-equate na kapag inlab ang tao, madalas itong walang dunong o nagiging foolish. Ganito ang kwento ng pelikula. Ang unang kaliwang paa ay mula kay Marlon (Paulo Avelino) na ini-stalk ang kanyang Literature teacher na si Karen (Jean Garcia). Ang ikalawang kaliwang paa naman ay mula kay Dennis (Rocco Nacino na para sa akin ay stand-out sa pelikulang ito) na nagkakasya na lang sa pagsulyap-sulyap sa kanyang classmate na si Marlon na walang kaalam-alam. Ang dalawang kaliwang paang ito ay nagsama sa isang sayaw nang naisin ni Marlon na magpa-impress kay Karen (na isa ring dance instructor) at upang mapalapit naman si Dennis (na isang mahusay na student sa dance class at nagpasyang maging tutor) kay Marlon. Napaka-subtle ng pagkaka-execute ng mga eksena. Sumakto ang pagiging makata ng mga tagpo sa mga tula na dini-discuss sa klase ni Karen na n’ung una ay hindi naiintindihan ni Marlon. Maging ang leksyon sa poetry ay itinuro ng guro sa kanyang dalawang estudyante hanggang sa labas ng classroom. Sa dulo ng pagtatanghal ng isang sayaw ni Marlon, pumatak ang kanyang luha. Epiphany ito ng lahat. Naiintindihan na n’ya ang mga tula ni Karen. Naiintindihan na n’ya ang pakiramdam kung ikaw naman ang nasa sapatos ng iba at maging object ng isang lihim na pag-ibig. Para sa akin, hindi na mahalaga kung ano ang kinahinatnan ng tatlong “mananayaw”. Ang mahalaga ay naiintindihan na nila ang mga tula sa paraang sila lang ang nakakaalam. Kung bibigyang tuldok ang kanilang kinahantungan, para mo na ring ipinabasa at ipinaintindi ang tula sa iba. Hindi mo na binigyan ang sarili ng kakayanang mag-interpret nito at magkaroon ng sariling bersyon ng paglaya.

25. I-LIBINGS (Rommel Sales) Topical ang pelikula. Ibig sabihin, nakatutok ang kwento sa isang subject, particularly ang pagkakaroon ng isang klase ng business sa Pilipinas na nagseserbisyo ng online funeral at libing. Wala naman akong issue sa pagkakagawa ng pelikula o sa topic nito. ‘Yun nga lang, nahulaan ko ang magiging problema sa dulo at nahulaan ko rin kung ano ang magiging eksena ng videographer na si Isabel (Glaiza de Castro).

26. RICE: NINE COUNTRIES, NINE STORIES, ONE THEME (Indonesia – Robby Ertanto, Laos - Dethakhone Luangmovihane, Malaysia – Pang Pui, Myanmar – Zaw Ko Ko, Philippines – Mae Urtal Caralde, Singapore – Swee Wee Keong, South Korea – Hyuk-in Kwon, Thailand – Samavee Pummuang at Vietnam – Phan Duy Linh) Koleksyon ulit ito ng mga short film na tumalakay sa bigas mula sa iba’t ibang perspektibo ng ilang piling bansa sa Asia. May ilang tumalakay sa opresyon (kumukha n’ung sa Pilipinas at Indonesia) at may ilang nagpatunay naman na ang bigas ay may malaking kontribusyon sa society (Laos at Malaysia). Sa lahat ng mga entry, ang short film lang mula sa South Korea ang very light ang conflict. Tungkol ito sa magkakaibigan na nagpapagalingang magluto habang ang isa ay competitive sa pagnanakaw ng nilutong kanin. Nagva-vary ang produksyon, mula sa tila amateur na pagkakagawa, na sa ilang pagkakataon ay nagmimistulang mumurahing TVC mula sa gobyerno, hanggang sa ilang halatang polished na.

27. GERMAN PLUS RAIN (Satoko Yokohama) Well represented ang uncanny sense of humor ng mga Hapon sa pelikulang ito. Character study ito ng isang teenage girl na may kakaibang trip sa buhay. Wrong audience ako sa mga ganitong storytelling pero naaliw ako na isang eksena involving a hole. Isang matamis na rendition ng pagkalaho.

28. THE NATURAL PHENOMENON OF MADNESS (Bebs Gohetia) Ang couple sa pelikula ay may pinagdadaanang proseso. Nabuo ang kanilang pagtitinginan sa isang rape at mula rito ay ipinakita sa audience ang dalawang bersyon ng kanilang agony. Ang unang bahagi ng running time, halimbawa, ay inilaan para sa babae (Opaline Santos) at ang kalahati ay sa lalake (Jess Mendoza na malaki ang improvement mula sa “Ben & Sam”) naman. Maganda, sa totoo lang, ang rehistro sa screen ng mga nagsiganap. Klaro rin ang depiction ng depression dito. Kung tutuusin, ngayon na lang ako ulit nakakita ng ganitong melancholia sa pelikulang Pinoy. Siguro kung tinanggal ang gimik ng dalawang bersyon at ng twist sa dulo, mas maa-appreciate ko ito. Ewan ko pero hindi ko talaga nakitang naging artsy ang mga hugis ng depression.

29. TAKSIKAB (Archie del Mundo) Nabasa ko ang script nito noong short film pa lamang. Ibang iba man ang storyline, iisang dilim lang ang gusto nitong tumbukin. Ang pelikula ay inumpisahan sa pagdyadyakol ng taxi driver na si David (Kristofer King). Maganda ang opening sequence. Mula sa pagkakagising ng bida na tila galing sa isang panaginip hanggang sa kanyang climax, habang ang camera ay mabilis na dumuduyan mula sa subject at sa reflection nito sa salamin. Mula rito ay nakasalamuha n’ya ang iba’t ibang tao sa kanyang paligid na nakasalamuha rin ng ibang karakter hanggang bumalik ang focus sa bida. Granted na trivial ang mga taong nakakasalubong ni David (minsan ganito naman talaga ang totoong buhay), may naisip akong isang concept nang biglang ipakita ang eksena ng isang matandang bading sa loob ng pipitsuging sinehan. Matapos ang isang “transaksyon” sa isang callboy, natulala ito at sumigaw na natagpuan na raw n’ya ang perpektong tite. Naisip ko, pwede sanang deconstruction ang pelikulang ito na parang naghahanap ng isang perpektong pink movie. Sa isang eksena, halimbawa, parang nagpapatungkol ito kay Coco Martin, sa labas man o sa loob ng tabing. Pero hindi ganito ang packaging at straightforward lang talaga ang storytelling. Hit and miss sa acting department. Ang mga reliable na ay pinatunayang reliable talaga sila samantalang ang mga baguhan ay halata lalong baguhan.

30. CUCHERA (Joseph Laban) Kamukha ng “I-Libings”, topical din ang pelikulang ito. Tungkol naman ito sa ilang kababayan nating tumatawid ng bansa na may itinatagong ilang pakete ng droga sa tiyan. Ang cuchera rito ay si Isabel (Maria Isabel Lopez). S’ya ang nagbuo ng kanyang grupo ng mga drug mules na nagtagpo sa isang maliit na hotel upang isagawa ang “pagtatago” sa tiyan. Multiple character ito at ang lahat ay may kanya-kanyang dilemma kung paano maiitawid ang kanilang produkto. Magkahalong awa at lungkot ang pwede mong ibigay sa mga karakter dito kung sila ay isa sa mga kapit-bahay mo. May gumagawa talaga ng gan’un kaagresibong paraan para lang kumita ng pera. Nakakatakot isipin na ipapasok mo sa tiyan mo ang mga paketeng nakaplastic sa tulong ng okra. Kung hindi naman kaya ng sikmura (ako, for instance, ay nasusuka sa mental image), sa puwet mo naman ito ipapasok kamukha ng isang lalakeng karakter dito. Chilling ang pag-assemble ni Isabel sa kanyang mga kinukutsero. Gusto ko ‘yung pakonti-konting ipinapakilala ang mga karakter at sa parteng gitna mo lang mafi-figure out kung ano ang nangyayari. Hindi man sold sa akin ang aktingan dito, gusto ko ‘yung warning na gustong ipahatid nito. Kamukha ng “Serbis”, hindi ito meant to be liked.

31. ANIMATION 1: KAPITAN TORPE (Antonio Jose H. Cadiz) Nagkamali yata ang humahawak ng projector at ‘yung Animation 1 ang ipinalabas sa halip na Animation 2 na koleksyon ng ilang animated shorts. Pero hindi ako nagreklamo. Mas exciting panoorin ang feature length dahil bihirang bihira tayong mabiyayaan ng ganitong finished product. Ang pelikula ay walang ipinagkaiba sa ilang superhero movie. Animation nga lang at Pinoy pop culture ang reference. Patok sa akin ang humor dito. Halimbawa, ang pangalan sana ng bida ay Kapitan Torpedo pero sa isang blooper ay natanggal ang huling dalawang letra. Not to mention syempre na torpe rin in real life ang bida. Marami pang hirit dito na natawa ako kahit na medyo green. May attention din sa details ang pagkakasulat. Kumbaga, hindi ‘yung basta lang makalikha ng isang superhero movie for the sake of just making one. The creator tends to mock his own creation. Hindi man sobrang pulido ang pagkakagawa dahil sa kakulangan sa budget, kitang kita naman ang passion ng animator dito. Ang vioice character, halimbawa, ay s’ya rin halos lahat ang naglapat. Napakagandang treat ng pelikulang ito sa kabila ng mga nag-uumpugang competition films at special screenings.

32. SAN LAZARO (Wincy Ong) In a gist, isa itong pinagsamahang exorcism movie at road film. Imagine, nasa trunk lang ng kotse mo ang taong possessed? Siguro ay nagtatawanan sina Wincy Ong at Ramon Bautista rito habang kino-conceptualize nila ang pelikula. O baka nakainom sila nang mapagkasunduan nila na mismong si Ramon Bautista ang gaganap sa isa sa mga lead character dito. Horror at comedy, bakit hindi? Sinubukan naman ito ng “Bulong” ni Chito Roño pero hindi gan’un ka-successful. Medyo nakakapanibago ang genre sa umpisa pero para sa akin, na-pull off naman na pagsamahin ito. Maganda ang visual na hindi ko inaasahan at ang signature humor ng mga bida ay hindi naging sell out.

33. NONO (Rommel Tolentino) Kung consistency lang sa tema, lamang na lamang na si Rommel “Milo” Tolentino sa kapwa n’ya direktor sa NETPAC. Ang subject n’ya ngayon ay isang bata na may diperensya sa pagsasalita o isang ngongo. Tungkol ito sa kanyang struggle sa school at tungkol din ito sa relasyon n’ya sa kanyang ina kahit na may bago na itong asawa. Kumpara sa unang feature length ng direktor na kalahok sa Cinema One Originals, mas nagustuhan ko ito. ‘Yun nga lang, kailangan ko muna sigurong magpahinga sa panonood ng kanyang mga pelikula bago ako tuluyang magsawa. Kumbaga sa college, graduate na ako sa ganitong leksyon: mga karapatang pambata, karampatang atensyon ng mga magulang sa kanilang mga anak, atbp. Mas exciting (muli, sa kawalan ng ibang adjective) siguro kung ‘yung mga bata naman sa upper class ang kanyang bigyan ng spotlight. For sure, meron din itong sariling problemang nasu-suppress sa kabila ng kaalwanan sa buhay.

34. BISPERAS (Jeffrey Jeturian) Wala naman sigurong hindi naka-miss sa mga pelikula ni G. Jeturian. Isa s’ya sa nagtulak ng indie filmmaking industry sa bansa at nakakasabik mapanood ang kanyang entry sa Director’s Showcase matapos ang ilang taon ng pananahimik. Well, not exactly pala. Gumawa s’ya rati ng isang short film para sa AmBisyon (ang controversial na entry na may eksena sa tae) at paminsan-minsan ay sumusulpot ang kanyang pangalan sa mga soap opera sa Dos. Family drama ang kanyang pagbabalik-indie. Real time din. Ikinuwento ang pinagdadaanan ng pamilya sa isang noche buena. Maaari itong isang deconstruction ng pamilya na ideally ay masaya at taimtim na sinasalubong ang Pasko nang magkakasama. Tama siguro ang sinasabi ng dulang “Sa Ngalan ng Ama” na sa dalawang okasyon daw nagiging sentimental ang isang tao, sa kanyang birthday at tuwing Pasko. Nang hindi makita ang dokumento sa bahay at lupa matapos malooban ang pamilya, dito na sumambulat ang mga natatagong emosyon. Hindi ako scriptwriter at humahanga ako kay Paul Sta. Ana pero para sa akin, masyadong jampacked ang pagkakasulat. Halos wala nang espasyo para huminga. Ang fridge magnet ng Canada ay nagasa-suggest na galing dito ang balik-bayang anak. Pero baka naman napapagkamalian ko lang ito na attention to details. Baka mali ako. Sa mga nagsiganap, lahat naman ay halos magagaling (kabilang ang Ateneo jacket at cap) pero si Julia Clarete ang pinakaumangat sa akin dito.

35. LIGO NA U, LAPIT NA ME (Erick Salud) Hindi masyadong mayaman ang local scene sa sex comedy o ang variation nito na sex rom-com kaya malaking bagay na ginawa ang film adaptation na ito ng libro ni Eros S. Atalia. May tendency kasi siguro tayong kumiling sa pagiging erotic kesa sa pagkiliti sa utak. Mabuti na lang at hindi ganito ang pagkakagawa ng pelikula. Mas character driven at side dish na lang ang hubaran, hindi main dish. Si Intoy (Edgar Allan Guzman) ay isang college student na nahumaling sa kaklaseng si Jenny (Mercedes Cabral) na isang pantasya ng bayan. Hindi traditional ang kanilang relasyon. Sexual ito at hindi ang inaasahang merong commitment. May commentary sa puntong ito, kung paano nagiging fascinating pumasok sa relasyong hindi mo kailangang magpakita ng emotion dahil nga hindi ka naman commited. Ibig sabihin, maaari kang umalpas o bitawan kahit anong oras. May ilan akong kakilala na nasa ganitong limbo at hindi ko sila masisisi kung uuwing bigo matapos ma-detach. Ang pelikula ay mula sa perspektibo ng lalake sa relasyon. Bilang nakapantalon, dobleng pagtatago ang kanyang ginagawa upang hindi mahalata na sa kanyang niloloob ay nag-uumpisa na s’yang mahalin ang babae. Convincing ang dalawang lead. Halos solo nilang dinala ang pelikula pero dahil nga mula ito sa boses ng lalake, mas nangibabaw ang karakter ni Intoy. Makulay ang mga eksena, mabilis din ang cut para sa merong short attention disorder at streetsmart ang mga linya na siguradong makaka-relate ang mga kabataang nasa ganitong relasyon. Sa mga entry sa New Breed, dito ko hindi naramdaman ang pressure ng competition. Kamukha ni Intoy, easy lang s’ya.

36. AMOK (Lawrence Fajardo) Itong pelikula, para sa akin, ang pinaka-cutthroat ang vision. Gusto nitong magtanim ng terror sa isang pamilyar na lugar sa Metro Manila sa kasikatan ng araw. Ipinakilala nang mabagal (mahahaba ang cut at boring ang mga linya) ng mga karakter: isang ama (Nonie Buencamino) na kausap ang kanyang anak na nasa college, isang bading sa taxi (Tuxqs Rutaquio) at ang kanyang ka-EB, ang magtiyo sa walkway (Roli Inocencio at Acey Aguilar), ang dating action star (Mark Gil) at ang nakatalik nitong transvestite at marami pang iba. Pinaramdam muna ng direktor na hindi interesante ang mga conversation sa kalye, in the same manner na hindi natin ito pinaglalaanan ng panahon sa busy na intersection kamukha ng EDSA at Taft Avenue sa Pasay. Siguro ay mas mindful tayo kung paano makakalabas sa gan’ung area upang makarating agad sa paroroonan nang ligtas at walang wallet o kuwintas na nadudukot. Nagkaroon ng koneksyon ang lahat nang mag-umpisa ang isang pag-aamok. Dito bumilis ang pacing. Kahit ‘yung cut ay mas mabilis na rin. Mas nakikita na natin ang pagkakadikit-dikit ng mga karakter at mula sa malayo ay nakikita natin kung gaano ka-frail ang kanilang buhay. Dito ko na naisip na it could be me. What if magkaroon nga ng gulo habang tumatawid ako sa walkway roon? Hindi man sobrang realistic ng aktingan dito, naiwan pa rin ang core ng pelikula hindi lang upang magbadya kung hindi manakot.

37. DUMAGUETE: AN ARTIST’S HAVEN (Carmen del Prado), UNDO (DRUGS, ART AND FATE: AN ARTIST’S CONFESSION (Cierlito Tabay at Moreno Benigno), AGUSAN MARSH DIARIES (Jerrold Tarog)) Hindi ko matandaan kung anong term ang ginamit sa collection na ito ng short docus. Parang “Documentary Premieres” yata. Wala rin kasing common denominator sa tatlo maliban sa ang lahat ay may subject sa southern part ng bansa. Ang una ay parang primer na naglista ng mga sikat na artist ng Dumaguete. Noong awarding kinabukasan, nang tawagin ang national artist na si Eddie Romero, na-remind ako na “Ah, taga-Dumaguete ‘yan.” Ang ikalawa ay isang advocacy docu tungkol sa epekto ng droga, na sa isang iglap ay maaari nitong ma-shatter ang artistry ng tao. Totoo naman ito at hindi ko nakitang naging preachy ang docu. ‘Yun nga lang, hindi masyadong na-document kung anong nangyari sa subject. Open-ended ba ito upang tayo na lang ang mag-isip? Ang ikatlo, at malamang ay highlight ng collection, ay isang short travel docu mula kay Jerrold Tarog. Kinuha n’ya si Gaby dela Merced bilang first hand explorer ng lugar. Ayos lang naman. Nothing much nga lang. Siguro masyadong short ang stay ng produksyon para ganap na maramdaman kung paano mabuhay roon. Sa isang banda, kahit papaano, nagawa nitong maging interesante ang Agusan Marsh at mapasali sa mga dapat mabisita (at mapangalagaan) sa bansa.

38. RAKENROL (Quark Henares) Sabi ng isang katoto, tuwing ika-sampung taon lang daw nagbo-boom ang rock scene sa Pilipinas. Sa mga naabutan ko, ang una raw ay ‘yung panahon ng The Dawn. Sinundan ito ng panahon ng Eraserheads na sinundan naman ng era kung kelan nauso ang Pogi Rock. Ang pelikulang ito ay ginawa n’ung huling nag-boom ang Pinoy rock. Bagama’t halata na mukhang bata pa rito sina Jason Abalos, Glaiza de Castro, Alwyn Uytingco at Ketchup Eusebio, nagkaroon ito ng kakaibang charm bilang representasyon ng nasabing panahon. Ito rin ang mundo ng direktor, ito ang kanyang circle of friends, ang kanyang musika at ang kanyang buhay. Kung ang kwento ay tumibok sa lihim na pag-ibig ng gitarista sa kanyang bokalista, ang pelikula naman ay nagpadala ng love letter sa rock scene. True to the taste, wala namang seryosong tinahak ang pelikula. Hindi rin ito nagpaka-socially relevant o kung anuman. Kumbaga, chill lang. Kumbaga, rakenrol lang.

39. ZOMBADINGS 1: PATAYIN SA SHOKOT SI REMINGTON (Jade Castro) May namumuong tension sa pagtatapat ng regular screening sa August 31 ng pelikulang ito at isang Epal movie galing sa producer na kinalakihan din ng mga tao sa likod ng Zombadings. Dahil dito, uunahan ko na: piliin n’yo ang pelikulang ito at hinding hindi kayo magsisisi. Maraming dahilan. Una, pwedeng pwede itong zombie film. Sa katunayan, may natatandaan ba kayong zombie film na nagpaliwanag pa kung bakit muling nabuhay ang mga patay? Dito, merong back story. Ikalawa, pwedeng magpaka-artsy ang take mo. Panoorin ito dahil napakahusay ni Mart Escudero rito. Sigurado ako, s’ya ang mananalong Best Actor in a Comedy or Musical ng Entertainment Press. Sa ibang race, marami rin s’yang patataubin. Hindi ako magugulat kung papakyawin n’ya ang lahat ng tropeyo. Ikatlo, pure entertainment. Kelan n’yo ba huling nakita si Roderick Paulate sa mga ganitong role? Nakita mo na ba ang bagong talent ni Eugene Domingo rito? Eh ‘yung sa trailer pa lang ay natatawa ka na? Ikaapat, star-studded ito: Maliban sa mga nabanggit, may cameo pa ang primetime queen (daw) na si Marian Rivera. May Lauren Young din at Mailes Kanapi, Janice de Belen at John Regala. Saan ka pa? At panglima, ang pinakaimportante, si Jade Castro ang direktor, Raymond Lee, Michiko Yamamoto at Jade ulit ang sumulat tapos Teresa Barrozo pa ang musical direktor. Sabi nga ng slogan nito, “Awaaaaaard!”

40. LANGIT AT LUPA (D’Lanor.) Ipinalabas ang pelikulang ito noong 1967. May konting musical pa nga rito na siguro ay nag-uumpisang umusbong (o matapos?) noong panahong ‘yun. Love story ito na may pagka-epic. Tungkol sa isang minero (FPJ) na nakatagpo ang landas ng isang madre (Susan Roces) matapos ang isang aksidente. Ang gitna ng pelikula ay tungkol sa giyera at kung paano nabuo ang naunsyaming pagtitinginan ng dalawang bida. Hindi masyadong maaksyon ang pelikula pero nakakakilig ang dulo. Pruweba rito ay ang tilian mula sa audience. Marami pa akong kakaining bigas pero sa ngayon, ito ang paborito kong pelikula na idinirehe ni Da King. Ang mga thumbnail poster nga pala ng "Matimbang ang Dugo sa Tubig" at "Langit at Lupa" ay hinalukay mula rito.

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Pagkahaba-haba man ng blog na ito, kung ito ay isang prusisyon, gusto kong maging simbahan ang isang wish ni Alexis Tioseco para sa Philippine cinema. Sinabi n’ya:

"I wish Cinemalaya, which, thanks to the media and the government’s press mileage behind it, has a great festive excitement, would actually put their efforts in the service of Philippine cinema, and not their own self-involved attempt to start a micro-industry."

Bagama’t halos dalawang taon na ang nakakalipas nang s’ya at ang kanyang Nika ay inagaw sa atin, may umaandap namang pag-asa na matupad ang kanyang hiling (at least isa sa mahabang listahan). Hindi ko alam kung kaya kong makapagsalita on behalf of Cinamalaya attendees, pero naha-high ako kapag nasa CCP. Maraming tao, maraming nakikita. Hindi magkamayaw ang ilang estudyante na kahit kay Joel Lamangan ay nagpapapirma at nagpapa-picture, isang bagay na marahil kahit para sa direktor ay alienating minsan. Hindi ko na na-consider, syempre, na ni-require lang sila ng kanilang school para manood. Sigurado akong maraming entry sa taong ito ang nagpaandar sa kanilang motivation upang maging mabuting estudyante. May kakilala akong ilan (kabilang na ako) na nagfa-file talaga ng vacation leave para lang makapag-marathon ng pelikula. Ang karamihan dito ay handang sunugin ang P5,000 ng kanilang ipon para lang makakuha ng all-access na festival pass.

Ganito na rin naman halos sa mga nakalipas na festival pero siguro, sa panahon ng Twitter at Facebook (na partly na lang siguro naabutan ni Alexis), mas umigting ang curiosity ng tao. Maliban sa mga nasa academe o ‘yung mula sa circle ng mga film buff, binuksan din ang pintuan ngayong 2011 na mapanood ang mga entry sa labas ng CCP. May dalawang ginamit na sinehan sa Greenbelt 3 na sa aking pagkakaalam ay halos ubos ang ticket sa mga screening. Ibig sabihin, may space ang Pinoy indie sa mga nag-oopisina sa Makati o ‘yung mga simpleng namamasyal sa mall.

Sa ilang argumento sa nabanggit na wish ni Alexis, wala na yata ako sa posisyon para i-validate kung natupad nga ito. ‘Yung sinabi n’yang “not their own self-involved attempt to start a micro-industry” ay medyo contrasting. Tingin ko, hindi naman talaga mapapalawig ang Pinoy indie na kasing lawig ng mainstream, self-involved man o hindi. Malabo ito lalo na sa socio-economic na estado ng bansa. Sa dulo, walang common Pinoy ang gagastos sa sine na walang masyadong artistang sikat, hindi nakakatawa at may shaky camera work ang susugal kumalam ang tiyan. Mahirap isubo sa iba ang mga palabas na sigurado naman tayong iluluwa nila. Hindi na rin kailangang banggitin na ang art ay isang bagay na malaya at hindi dapat puwersadong nguyain. Mahaba-habang proseso ng edukasyon sa bansa ang kinakailangan at sana ay may Cinemalaya pa kapag dumating tayo riyan. Ang tingin ko, isang optimized na hakbang na ang pagkakaroon ng screening sa Greenbelt 3 (na ang balita ko pa ay madaragdagan sa susunod na taon).

Doon sa “in the service of Philippine cinema”, gusto ko na lang maging optimistic dito. Wala rin naman akong mahihilang talangka dahil wala ako sa loob ng basket. Isa lang din akong consumer. Baka ang mga tao (organizer, festival director, New Breed director, writer, producer, atbp.) sa likod ng Cinemalaya ang may karapatang sumagot nito. Hindi rin ganap na malinaw kung ano bang serbisyo ang inaasahan ni Alexis. Kung sigla para sa industriya, pwede na. Bumabaha man ng piracy, kapag may festival na kamukha nito, kahit papaano ay nagkakaroon ng trabaho ang ilan. At nabibigyan sila ng angkop na recognition na walang kinukumpromiso. Kung ang serbisyo naman ay recognition ng Philippine cinema sa labas, na-address na rin naman ito. Ang ilang Cinemalaya filmmaker o producer ay nabibigyan ng mas challenging na trabaho sa tuwing ini-exhibit ang kanilang pelikula sa mga festival abroad. Kung tutuusin, halos lahat ng nagbabalik ng Pilipinas sa mapa ng mundo ay gawang indie.

Marahil ay hanggang d’yan lang muna ang limitation ng Cinemalaya pagdating sa serbisyo. Marami pa namang puwedeng tumulong kung Philippine cinema lang din ang batayan. For now, uumpisahan ko na lang munang ipunin ‘yung pambayad para sa festival pass sa susunod na taon.

May ilang pictures dito at dalawang video rito at dito.

Dubai – Day Zero: The Carlos Ott Connection

2011-08-14T14:25:00.011-04:00

(From the left, clockwise: Torre de las Telecomunicaciones, Aeropuerto de Carrasco and National Bank of Dubai)

Our onsite office in Montevideo is in the area where Torre de las Telecomunicaciones (or Antel Tower), the country’s tallest, is almost always visible. It is designed by Carlos Ott, an Uruguayan, who became famous after clinching the prize in an architectural design contest for the Opera de la Bastille in Paris (more of him here, and more of Antel Tower here). If you look at it, you’ll be reminded of Dubai’s iconic 7-star hotel Burj Al Arab. It could be the boat-inspired (to be accurate, abra or dhow, a kind of boat found along the Dubai creek) upper part of the building that resembles it but there’s no connection in terms of who did the architecture. Not entirely. Carlos Ott was also commissioned to design some buildings, mostly financial centers, in Dubai. The famous one is probably another iconic building along the creek, the National Bank of Dubai, which is literally golden during sunset.

On my way to Dubai last July 9, Saturday, Carlos Ott was like waving goodbye at me and wishing me luck through Aeropuerto de Carrasco (another impressive structure he designed). Luck was all I needed that time as Pueyehue volcano in Chile was starting to get mad again after days of being calm and poised. I don’t exactly remember how I managed to survive my last day of work then as the news about flight cancellation broke out early on that Friday morning. I thought it was all a joke from our boss. I even informed my friend Mike (Fyodor to some) in Dubai that a cancellation of the whole shebang was possible. I’d rather go straight to Manila than stay in Dubai for a shorter period than planned. Gladly, Pueyehue was gentle the next day.

For United Arab Emirates, a visa is required for a Philippine passport holder like me. The tourist visa period varies from 96 hours to close to a month, I think, and it is valid for 60 days upon approval. I applied mine through the internet barely two months before my flight, specifically through Emirates Airline (which, from experience of their service, is very much deserving of its international awards). In the Emirates website, just go to Manage a Booking (of course, your flight should be through them but I guess there are options other than this) and click on the Apply link next to UAE Visa Application under Additional Services tab. You’re required of four things: (1) completed application form that includes the place you will be staying at, be it a hotel or a relative/friend’s place, (2) an updated photo to be posted in your visa which will be sent as an email, (3) scanned images of your passport, just five of it, if I remember it right and (4) credit card payment of USD 373.25 (where USD 272.50 of it is just a deposit amount).

Some tips. I heard that they are very particular with your Dubai address so make sure that the details there, needless to say, are correct. For the scanned images of passport, just choose the significant ones. Prioritize the page that is stamped with a US visa if you have one. Based on the notes prior to the application, there’s a criteria that if you don’t have a US visa yet, a financial document is expected to support your application like a bank statement or probably credit history. In case of rejection, the deposit amount is returned. For successful application, the amount will be refunded days or weeks after leaving UAE. As per experience, I got approved after four business days. I am not sure if you need to consider but weekdays in UAE start on a Sunday and end on a Thursday. There’s an initial notification that the documents are OK then after that is the actual email containing the visa as a file attachment. I think it was saved as a different file type for security reason. I just renamed it to .doc. The deposit amount, by the way, was refunded to me two weeks after my departure from Dubai.

My Dubai trip, my first Arabian adventure, was not a backpacking trip. I stayed in my friend Mike’s place, a kababayan from Lopez, Quezon, so I did not bother checking out the best B&B’s in the city. My transportation budget was waived as well as Mike has a car (a BMW to be exact).

If there’s one more tip that I could add, the local forex centers do not accept old USD bills. They will advise you to have it exchanged instead in a bank. Optionally and more conveniently, you can just pay it in some stores (I consumed mine at a local Virgin Store). And when the travel books say that you should avoid Dubai during summer (July – September), believe them.

Dubai – Day 01: The Arrival and That Old City Charm

2011-08-14T11:46:00.020-04:00

I passed through the immigration and all at around midnight. The queues were long and I wasn’t a Gold Skywards member (yet). There is a big sign there that leads to “Eye Scan” which I dismissed and went directly to the queue; only to find out later that I needed to accomplish it first as prompted courteously by the immigration officer (the only lady at that time). There were only three people ahead of me for the scan. My initial foolish thought then was that the process is used for health purposes. I was told by my friends that it’s more of an ID. That means, according to them, I already have a record in most Arabian countries. Some pictures of my touchdown here.

Mike was already at the waiting area when I got out. We went to the parking place which introduced me to the 40-ish degree Celsius Dubai weather. The airport is not that far from the city center (not a Heathrow kind of far) and we reached his place, a gated community in a manufacturing company area, roughly 20 minutes after. The concept of “area” as in IT area or media area was not clear to me then. We stopped at the nearby Mc Donald’s and I got myself my very first Arabian Mc Flurry (which is just the usual Oreo). That was also my very first encounter with Mike’s dog named Jacky, a bulldog from Russia, who is so huge and very active for its size. He ransacked my slippers the next morning, his way of giving his very warm welcome and his friendship.

My very first morning in Dubai started at around 7am. Got a quick shower (which, by default, is hotter than the usual) and readied my backpack and all for the 9am call time. Our plan then was Mike had to take a half day off in the morning and just report to work after lunch. We had breakfast at Subway (supposedly Mc Donald’s but the branch we visited had moved to another location) and off we braved the heat on our way to Dubai Museum.

Entrance fee is AED (United Arab Emirates Dirham) 3 which is around PHP 35 only. The museum (pictures here) is not that grand but it is housed in the historic Bastakiya or Old Dubai area. It was originally a headquarters and now houses a roomful of artifacts and dioramas. A big dhow, a boat, is displayed outside while a small traditional house with a distinct wind tower (seen almost everywhere in the area) is stalled near the entrance.

(Top row: all taken from the Dubai Museum; Bottom row: snapshots from Bastakiya)

From there, we walked along the small alleys of Bastakiya (pictures here) in broad daylight, armed with a bottle of water. The area is probably their version of Intramuros, only well maintained and will give you the feel what it was all about during the 1920’s. It was around 12 noon, very hot, and we’re the only ones strolling around and taking pictures. We stopped at Architectural Heritage Department, had a short break but still taking some pictures. The view of the creek and Deira is nice from the second floor while on our back is a nice mélange of wind towers and roofs in dusty cream hues.

Then we walked back to the Dubai Museum area and got through the textile souk (quick glance of the area here) on the right and reached the boat station. Through an abra, a small passenger boat, we crossed the creek for AED 2 one way. There are a lot of abras queued along the port. Just like the way with the jeepneys in the Philippines, they wait for the boat to be fully occupied before sailing. Upong-piso, so to speak. We had a short stop at Deira port, which is lined up with financial centers and some establishments, and headed back to Bur Dubai. More of abra ride pictures here and a short video here.

(From left to right: taken from the perfume souk, gold souk and spice souk)

Still sweating at around 2pm, we left Bastakiya. Mike had to report for work so he dropped me in the gold souk area in Deira. Nothing much to do there but be amazed with the gold jewelry being sold in the stores similar to those in Ongpin. Some didn’t mind having their wares photographed but some put a warning by the window. Aside from the gold souk, there’s also a perfume souk and spice souk (more pictures here). From there, I took a cab heading to Wafi Mall (AED 35). That’s where Mike and I will be meeting up at 5pm.

The Egytian-themed mall (more pictures here) was very quiet when I got there it. Locals were probably taking a nap or at work. I took some pictures of the sphinx and the mummies and looked for a good lunch. The food court with four or five stalls is not that easy to find (still not busy at that time). There’s a Timezone arcade area beside it and closest to it is a Chinese restaurant called Chinese Palace where I got my spicy Kung Pao chicken. Not surprisingly, the staff who entertained me is a kababayan. There's a short video here of my escalator ride from the food court down to the ground floor.

Energized, I went to the mall’s gold souk which is very charming with its dim lighting and still very quiet. There are other things to buy there but I didn’t bother checking out. I spent the rest of waiting time exploring the nearby stores and took a break at Wi-Fi-ready Rose Café on the top floor with a big artsy piece in the middle that resembles the one in Berlin City Hall. I had a white cheese and honey crepe served with a chilly fruit cocktail drink, a relief for somebody who was adjusting with the weather and still coping with jetlag. And there went my first “This is life!” moment in Dubai. If Mike was late even for a couple of minutes, I would have probably dozed off.

From Wafi Mall, off we went to the world’s biggest mall, the Dubai Mall (pictures here). It is so huge that I can get lost easily (MOA is also big but the interior is not difficult to get familiarized with). To my delight, the first part that Mike showed me was the cinema complex of the mall called Reel Cinemas which houses 22 theaters (the most numerous I’ve seen, I think). There’s a digital bulletin board in one corner and there’s an announcement as to what cinema is about to open for screening, just like boarding a plane. In addition, the mall has an indoor giant aquarium with recognition from the Guinness World Records as the largest single acrylic panel. It also boasts of the biggest candy store in the world, the Candylicious, plus the posh Armani Cafe and a technicolored floor that serves as a runway during fashion events.

(Scenes from Dubai Mall)

There we purchased our tickets for At The Top (Burj Khalifa) for a 5:30pm visit on my last day (Wednesday, July 13). We paid AED 100 but feel free to visit the view deck’s website for more details and on how you can optimize your entrance fee. We also met Luis there, enjoyed the musical fountain (video here) a la Bellagio in Vegas just outside the mall and called it a day with an Asian dinner at the food court. Nightcap at home was a double treat of keeping up with my teleserye fix through TFC and playtime with Jacky. By then, the dog was very much eager to sleep on my bed.

Dubai – Day 02: Of Open Minds and Desert Safari

2011-08-14T01:03:00.016-04:00

My second day started with noticing that Jacky’s already up. He was probably waiting for another round of rope war (on which we scored 2-2 the night before). I call him a CSI dog as aside from playing, he likes to sniff on my luggage and he makes it a point to observe what you are doing and where you are going. Too bad, no playtime for Jacky in the morning as we had to rush for the 10am “Open Doors, Open Minds” talk at Jumeirah Mosque (regularly done on Tuesdays and Thursdays, if I remember it right).

We had a quick Mc Breakfast (with two Pinoy crew in the house) then we reached the mosque on schedule. I don’t remember if we paid for the entrance but if we did, it’s probably around AED 2 to 3 only (including a complimentary mineral water in a small sealed plastic cup). We took our shoes off and entered the mosque which has a very peaceful vibe. For the record, as mentioned in the book (DK Eyewitness Top 10), that is the only mosque that is open to non-Muslims (the rest of the pictures here).

Latifah, the in-house guide, then asked us to sit comfortably on the floor. She, by the way, is a Caucasian who came from England and was once a Catholic before marrying her husband who is a believer of Islam. As a disclaimer, Latifah told us that she’s not a scholar or something so difficult questions may not be addressed well. The talk is primarily about the five pillars of Islam, which, in general, have similarities to Christian faith. First pillar, for instance, is about believing that there’s only one God. Second to fourth is about prayers and duties while the fifth, the most unique one I may say, is a visit to Mecca at least once in their lifetime. After the pillars and after a demo on how they pray inside the mosque, questions were entertained. The questions varied from the women’s all-black attire, men having four wives and the different factions in the Muslim community. In gist, Latifah was trying to erase the gritty images we see on CNN and the like. She’s trying to emphasize that Islam is not synonymous to suicide bombing and terrorist attacks, and I’m pretty sure that her point was not put in vain (at least for me).

The talk was over at around 11am. We had enough time to kill for the desert safari at 4pm so we headed to some short stops. First was at Mercato Shopping Mall (more pictures here) which is just near the mosque. It’s an Italian-themed mall complete with old Europe flooring and ambiance. I don’t know if it’s a bad thing that I visited a Virgin Store (that’s where I spent my old USD bill). I ended up buying some Arabian films on DVD, a CD and an Angry Bird shirt. Good stuff so no regrets.

From the mall, we drove to the beachfront then to Jumeirah Hotel and took some snapshots of Burj Al Arab from there. Then we passed by at Wild Wadi and Madinat Jumeirah and made a quick stop at the IT area. That was the time when the concept of “area” in Dubai was starting to make sense. The city is designed a la SimCity where all the offices are grouped by type or category. For instance, the IT area has Mc Afee and Oracle headquarters in the same way that the TFC office is just beside CNN or BBC. Pretty neat, I should say. I attempted to surprise my ex-Manila officemate Charrie but she was working from home that time. More pictures here.

By lunchtime, we were already at Ibn Battuta Shopping Mall (pictures here). In case you haven’t noticed it yet, all the malls that I’ve been to have a theme (probably due to competition). Wafi Mall is Egyptian. Dubai Mall is record breaker, period. Mercato Shopping Mall is Italian. For its share, Ibn Battuta Shopping Mall is conceptualized with all the places that the Arabian traveler where the mall is named after had been to. It’s one straight mall divided into different sections for China, India, Persia, Egypt, Tunisia and Andalusia. We had lunch at KFC somewhere in between those countries.

We waited for the Desert Safari guys to call us for pick-up at 4pm. From Ibn Battuta, we went straight to Emirates Towers (where Mike’s office is located in the office building of the twin towers) and had a frap at Starbucks there (more pictures here). We got a call at close to 4:30pm and had us picked up in the hotel lobby part of the twin building. I remember seeing a silver camel artwork there while one of the passengers was taking a picture of it. We were a total of seven clueless passengers in the SUV: the driver (which I forgot the name), two young Danish ladies, us, two Pinoys, plus two more ladies (Japanese) who we picked up at a hotel.

Our driver is a fun guy. He should be, especially for those who are just dragged to take on the desert adventure. All throughout the trip going out of Dubai city center, he was making us feel at ease with his techno Arabian playlist. I’m not sure if he was hitting on one of the Danish girls but I enjoyed the wit. Roughly after 20 minutes of driving from the city center, we stopped at a junction to freshen up and flatten the tire a bit for a more sand-friendly drive (most of the SUVs for the desert safari were there, too). From there, it took only five to 10 minutes to reach the first part of the desert. Just like the other SUVs (from other tour agents), we stopped again to take pictures of the area and be really ready. I took that as a sign for point of no return.

Mike and I were seated at the back part of the car, the Danish girls in the middle plus the Japanese girl then the other Japanese in front (check out the video here). I don’t remember how fast the drive was but surely seatbelt is a must. Then we drove through the desert, going uphill or the opposite, in an unimaginable speed as if you’re in a rollercoaster ride. Let me rephrase that, as if your car is about to turn upside down! It’s a total experience, something that I haven’t felt in any theme park ride. In one instance, the driver even got his upper body out of the window with his right hand still on the steering wheel. We did stop again after 30 minutes, this time in the middle of the desert. That was a call to take pictures and gather self after a dizzying ride (a 360-degree video here). The SUV ride wore down one of the Danish girls on which the driver took a chance to poke fun and comfort her at the same time. I shared a picture with the Japanese, complete with that famous Asian sign.

(Snapshots from the desert)

After 15 minutes or less, we were already on our way to the desert then back to the highway. From the highway, we turned right somewhere leading to another sandy area only with some plants and all, had a gentler version of the crisscrossing drive then finally, a Bedouin village where we had our final stop for the trip. That’s where I had my first camelback ride, my first sheesha, my closest encounter with a falcon and my first desert sunset. There are, of course, other things happening in the village. There’s a free Henna tattoo (where I had a scorpion on my right arm), a buffet dinner, some beer and a cultural show with Tanoura (a video clip here) and a belly dance (check out the video here). All six passengers of us were sharing the same table while sitting on a mat, eating, chitchatting and most of the time enjoying the breeze. The experience is simply for the books and I can conclude that the desert adventure is the highlight of my Dubai trip (proof here).

We got back to the city at past 9pm and strolled for a little bit in the financial district (same location as the Emirates Towers). Mike reminded me about the film shoot that Tom Cruise did in one of the streets for the upcoming “Mission: Impossible” franchise. Back to the apartment, it’s playtime once again with Jacky.

Dubai – Day 03: The Palm, the World’s Tallest Building and a Warm Filipino Send-Off

2011-08-13T23:14:00.036-04:00

(Top to bottom row, from left to right: stamps for the postcards (taken from a post office in Karama, Madinat Jumeirah theater, a beachfront taken from the monorail in the Palm Jumeirah, two pictures from Mall of the Emirates, the Emirates Building taken from the metro and three pictures of the Burj Khalifa)

At six in the morning, I sensed the urge from Jacky that he wanted to sleep beside me. I gave in. Maybe it’s the dog’s way of saying goodbye and that he was acknowledging the time we played and bonded. He slept on my blanket and I myself went back to sleep for two or more hours.

Filipino breakfast was served at Kape Korner in Karama (more pictures here). It’s a treat for us after visiting the post office to drop a hefty number of postcards for family and friends. I had tapsilog and Mike ordered some halo-halo for dessert. Everybody was attuned to the TFC show on the right. It’s the same building where one Chowking branch is stalled. That’s also the same building where we bought a couple of perfume as requested by friends. At 11am, we were already hopping to another building that sells souvenir items then to Madinat Jumeirah (no longer part of Karama) to visit one of the The Amazing Race pit stops (some pictures here). That’s also where the glamorous Dubai International Film Festival is held every December.

. The rest of noontime was spent with a back and forth ride on the monorail (check out the video here) in Palm Jumeirah (the rest of the pictures here). You’ve probably seen it somewhere. It’s the manmade spot in Dubai that looks like a palm from a bird’s eye view. To access the station, you need to go to Atlantis Hotel which, according to Mike is a replica of the one in the Bahamas. There’s another water theme park in the hotel but we’ve got no time to explore it. I think one of The Amazing Race challenges was done there, particularly the one where the teams had to do the steep slide with some sharks swimming on the pool below it.

From there, Mike drove to Mall of the Emirates which is another huge mall. The interior is more of Old Town feel and most stores are high-end (more pictures here). We took the metro from there, going to as far as the airport and then back. Mike said it’s relatively new and it was his first time to commute by train (he looked more excited than I). It’s good to note that the ticket ranges from regular to gold passes. The more expensive it is, the more comfy your seats could get. There are some officers who check the tickets from time to time and it is important to read the dos and don’ts before taking the train. Good thing that photography is not prohibited. By the way, I slept on our way back, something that I couldn’t do in a jam-packed MRT (the rest of the pictures here). We returned to the mall at close to 4pm, had a quick stop at Ski Dubai (the world’s largest indoor snow park) and then got dragged by the discounted Rip Curl travelling bag. Surprisingly, we made it to our next stop just in time.

Towering at 828 meters and 160 floors, Burj Khalifa is currently the world’s tallest building (pictures here). Imagine a few more meters and it’s already a kilometer! The view deck, simply called At The Top, is at the 124th floor. You can see the city in 360 degrees including the project The World which is another manmade set of islands that resembles the world map. It was dusty on that afternoon and the sun was still up. Mike said that there could be a sandstorm somewhere nearby. Usually, he said, the sky is all blue. There are some digital binoculars for rent in the area, a souvenir shop (where we saw the Japanese ladies again) that sells some delectable but expensive chocodates (chocolate plus dates) and a very nice rest room. Check out how fast the elevators are in Burj Khalifa through a video here.

Before we left the tower, I was already receiving some text messages from high school batch mates and friends that we will be meeting up for dinner. Mike then drove from Dubai Mall (where Burj Khalifa is located) to Bur Juman where Barrio Fiesta has a branch. The dinner was just perfect and very memorable. It was my first time to meet up a high school batch mate/classmate or kababayans outside the Philippines. I can name all of them and I wish I could thank all of them enough: Andy (who was alphabetically seated before me during high school), Luis, Mike (of course), Isol, Nerisa, Lovelle, Lobell and Carol (more pictures with them here). It’s one of those rare moments wherein no matter how mouth-watering the food is, it’s the warm conversation that stands out. We spent the rest of early evening taking pictures in another area of the mall. Some even stayed and joined me on our way back to Mike’s apartment, waited for me to pack up and take a shower and then proceed to the airport. Mike and Luis were even pushing my cart on our way to the check-in counter. It felt good when friends, whom I only got acquainted for a short period of time, send you off to that extent. There’s this sheltering sentiment of friendship and being important. And to top the day’s goodness, I got upgraded to Business.

Six In-Flight Movies

2011-07-31T16:38:00.011-04:00

I remember five years ago that my direct flight to the Netherlands (again, walang personalan, trabaho lang ‘to) took 12 hours and 45 minutes. No complaint on my end. That means more movies to watch. And for airlines like KLM (with on-demand in-flight screening), it’s a joy to take long flights. Four years or so after, that was outdone when I was tasked to work onsite in a Uruguayan project. For the record, that’s a total of three flights, one from Manila to Dubai (eight hours) through Emirates, then Dubai to Sao Paolo (14 hours, 40 minutes), also through Emirates and a domestic flight-like trip from Sao Paolo to Montevideo (around three hours) through TAM/Pluna.

My personal challenge there is to watch many movies given with a limited travel time. As of press time, I could only finish four for a 14-hour trip (ideally and if I were 10 years younger, the count could be as healthy as six). I need to catch up with sleep. Time difference in Uruguay is like the total opposite. I need to eat. Economy or business, food in Emirates is just tempting. And for the previous trips where I got upgraded to business (pure luck), you can’t pass up the comfortable seat that’s easy to recline up to 180 degrees. Swell.

Anyway, here’s a quick rundown from the two flights I had. One from Sao Paolo to Dubai, the first four movies, and another from the recent Dubai to Sao Paolo with only two movies (thanks to the sleeping habit I gained from the recent Cinemalaya).

The Lightning Tree (Ryuichi Hiroki, 2010) A star-crossed love story between Narimichi, an official from a powerful clan, and Rai, a young girl living in the forest. At first look, it’s a period drama with bits and pieces of samurai action. The musical score is a mix of old-school theme and some contemporary pop. The effect is slightly weird but maybe the film is trying to reach the younger crowd. The film runs for 133 minutes and I probably paused this in the middle, slept and waited for the attendant to wake me up when lunch/dinner was ready.

Exit Through the Gift Shop (Bansky, 2010) This documentary has a disclaimer in the summary tab: “could be a hoax”. The film covers the rise of an artist through his search for the camera shy graffiti artist Bansky. Just to burst the curiosity bubble, the title suggests the thing you should do when chased by a police officer after completing a graffiti art (which others may call vandalism). There’s a lot of interesting elements mentioned in the film. There’s this sense of adventure in “executing” your artwork, a sense of danger, as if you’re making love to a married person. Then there’s the evolution of art without being too heavy-handed. I think I finished this in one go (with a help of probably some crackers and orange juice). If there’s one turn-off, it’s the part where Andre, for crying out loud, declares “I am an artist.”

Tamara Drewe (Stephen Frears, 2010) I am not sure if I have seen a lot of Stephen Frears movies but this one is his attempt to try out an Almodovar-ish tale with multiple characters and a dash of dry humor (could be a Woody Allen at some point). This keeps me up for a couple of minutes though there’s nothing much to root for. I’m sure I’ve seen better and more effective films than this.

Young Frankenstein (Mel Brooks, 1974) The thing with comedies in black and white is that they look serious with their wit. This is supposed to be a spoof of Mary Shelley’s literary work but compared to the gag shows we see of late, it doesn’t try very hard to be funny. Thanks to Gene Wilder’s presence and humor. The first sequence alone is a riot, with the grandson trying to avoid the misfit of the old Frankenstein demands his last name be pronounced as “Frankens-teen” instead. There are some corny one-liners like the “Where wolf?” part but it’s the 70’s and that’s forgivable. I had a ball watching this as I was racing against time. The plane was on its descent and the images froze from time to time due to the pilot’s necessary announcements.

The Dilemma (Ron Howard, 2010) Best thing that could be said about this film is the cast: Vince Vaughn, Kevin James, Jennifer Connelly, Winona Ryder, Channing Tatum and Queen Latifah. Ron Howard does something lighter this time but it was so light that I’m not sure if it’s even worthy of putting up into a film (a case of so-so take on a so-so material perhaps).

Fireflies in the Garden (Dennis Lee, 2008) Another great cast of A-listers: Julia Roberts, Willem Defoe, Ryan Reynolds, Emily Watson (!) and Carrie-Anne Moss (of Matrix’ Trinity fame). A predictable tale of a dysfunctional family whose redemption relies on revisiting the past no matter how painful. There are some great moments like the confrontation between the son and the father but there’s nothing new in general.

SIDE TRIP. Residue pics here from the last time we had a parrilla night with colleagues.

Alaala ng mga Pelikula Mula sa Ibaba

2011-06-10T00:12:00.011-04:00

Ang mga larawan ay kinuha mula sa mga fan page sa Facebook at sa mubi.com.

Mukhang ang layag ng Pinoy cinema ay palabas ng Metro Manila. Patunay rito ang katatapos lamang na Gawad Urian kung saan ang sumunggab ng karamihan, kung hindi man ng lahat, sa mga parangal ay mga pelikulang iniluwal mula o para sa probinsya. Indikasyon lang ito ng maraming bagay. Una, ang hamon ng naglipanang mainstream cinema ay hindi tumahan sa metropolis. Ibig sabihin, maliban siguro sa ekonomikal na kadahilanan, mas masidhi ang pagnanasang makapagkuwento sa paraang hindi nababahiran ng anumang kumpromiso. Ikalawa, nang naghagis ng talento ang Diyos ng husay sa filmmaking, hindi n’ya ito inipon sa iisang lugar. Nang una kong mapanood ang mga short film ni Remton Zuasola sa Cinema Rehiyon sa CCP noong 2009, alam ko na ang kinang na kayang gawin ng mga pelikula mula sa ibaba. Hindi maiikaila na ang filmmaking sa labas ng Metro Manila ay buhay at kayang makipagbunong-braso nang matikas. Ikatlo, epektibo ang storytelling mula sa ibang bahagi ng Pilipinas upang makapagpalaganap ng awareness, politikal man o kultural. Nagkakaroon na ng boses ang dating bulong lamang.

Ilan sa mga tumatak na alaala mula sa regional cinema ay ang alinlangan ni Eleuteria sa “Mga Damgo ni Eleuteria” ni Remton Zuasola. Tinalakay nito sa estilong real time ang nagsasalpukang bato sa isipan ng bida kung susundin n’ya ang ninanais ng kanyang mga magulang na mas maginhawang buhay o isang buhay na bagama’t sinunod ang puso ay hindi ganap na maliwanag. Ang see-saw ay sa pagitan ng pag-aasawa sa isang foreigner sa Germany o sa pananatili sa Pilipinas kapiling ang pamilya at kasintahan nito. Sa loob ng isang oras at kalahati, mula sa isang isla sa labas ng Cebu City hanggang sa pantalan nito, nailitanya ang agam-agam ng isang Pinoy tungkol sa kahungkagan ng kaalwanan sa ating bansa.

Opresyon sa Mindanao ang tinalakay ng “Hospital Boat” ni Arnel Mardoquio. Bagama’t gasgas at minsan ay stereotypical na ang mga ganitong tema sa ibabang bahagi ng bansa (o sa mga pelikula ng tambalang Joel Lamangan at Bonifacio Ilagan), hindi ko rin mabilis makakalimutan ang mga imaheng napanood ko rito. Bumaybay ang kuwento ng isang grupong inalon ng tadhana upang magpalaganap ng medical mission sa malalayo at liblib na bahagi ng Mindanao. Ang boluntaryong proyekto ay pinangunahan nina Dr. Sittie at Sr. Claire, dalawang babaeng matapang na binuno ang sigalot kabalikat ang pagnanasang makapaglingkod sa nangangailangan. Pero hindi rito nag-umpisa ang pelikula. Inumpisahan ito sa pagkaanod sa kawalan ng pag-asa ng batang si Nikol (bunga s’ya ng internal conflict sa Mindanao). Si Nikol ang nagsilbing alalay ng dalawang misyonero, sa tulong ng paring si Fr. Allan at ang batang babaeng si Lensha, upang harapin ang iba pang giyera, partikular ang laban sa isang political clan (Congresswoman Fatmawatti, ang kapatid nitong si Muktar at ang kanilang ina).

Nakarating naman sa Negros Occidental ang tema ni Monster Jimenez sa kanyang documentary na “Kano: An American and His Harem”. Ang subject dito ay ang dating US soldier na si Victor Pearson. Matapos ang kanyang serbisyo, pinili n’yang magretiro sa Pilipinas. Naging mabunga ang kanyang pananatili nang mag-umpisang makahanap ng unang asawang Pinay na nasundan nang nasaundan nang nasundan. Sa huling tala, umabot ito ng halos 100 at ang ilan dito ay may sariling kuwento ng magkahalong abuso, pera at pag-ibig. Puwedeng isipin na prostitusyon ang nais tumbukin ng pelikula. Kasing linaw ng sikat ng araw na ang pension ni Victor Pearson ang ilan sa mga dahilan kung bakit nagkasya ang napakaraming babae sa isang harem (na iginawa talaga ng isang “kaharian”). May ilang pagkakataon na ang mga babaeng menor de edad, matapos magreklamo ng rape, ay nagbabago ang debosyon marahil dahil sa pinansiyal na kadahilanan. Ginawa ring salamin ng documentary ang kalagayan ng mga kababayan nating mahihirap, na wala nang ibang mabilis na paraan upang makaahon sa buhay. Kung ang kahirapan ay kakambal ng kawalan ng tamang edukasyon, maaga itong nasumpungan ng isa sa mga asawa ni Pearson na piniling mag-aral at makapagtrabaho. Lutang na lutang ang personalidad ng babaeng ito na walang sinayang na sandali sa maikling interview upang ipagyabang ang kanyang pagiging sibilisado.

Kung susumahin, marami-rami na ring pelikula ang tumalakay sa social ill na isiniwalat ng tatlong pelikula. Ang pelikulang “’Merika” ay nagkuwento ng isang malungkot at paulit-ulit na buhay-OFW sa US. Maging ang ilang mainstream films kamukha ng “Sana Maulit Muli” at “Milan” ay tumalakay rin, bagama’t pahapyaw lang, sa buhay ng mga Pinoy sa ibang bansa. Kamakailan lang ay binigyan tayo (at patuloy na binibigyan) ng mga political film ni Joel Lamangan na walang ibang tinutumbok kung hindi ang opresyon at korupsyon sa gobyerno. Ang prostitusyon na siguro ang isa sa paboritong tema ng ilang filmmaker dahil kahit saan man paikutin, meron itong karagdagang commercial value (“White Slavery”, “Prosti”, “Masahista” at iba pa).

Pero kakaiba ang atake ng “Ang Damgo ni Eleuteria”. Pinandigan nito ang pagiging real time dahil walang putol ang buong pelikula mula sa pagkakaahon ni Eleuteria sa dagat hanggang sa kanyang huling desisyon. Ibig sabihin, hindi puwedeng magkamali ang sinuman, ang mga artista, ang direktor at kung sinumang nasa likod ng camera rito, upang maitawid ito nang maayos. At nagampanan naman ni Remton Zuasola ang hinihinging vision ng proyekto. Tila nais ipagmalaki ng pelikula na ito ang totoong real time, na nakapagkuwento ito sa pinakamabilis at pinakamakatotohanang paraan. Para sa akin, magbubukas ito ng pinto sa kung ano pang hamon ang puwedeng ibigay ng mga materyal na nangangailangan din ng real time. Sa ngayon, wala pa akong maisip kung paano ito mauungusan. At kung merong magkakaroon ng lakas ng loob.

Maraming ebidensya ang “Hospital Boat” na maaari rin itong makipagsabayan sa mainstream cinema kung arko lang ng pagkukuwento ang papansinin. Tungkol kasi ito sa struggle ng mga underdog laban sa mga ganid na sektor ng lipunan. Puwede tayong makisimpatiya sa paraang nakikisimpatiya tayo sa mga bida sa telenobela. May ilang eksenang makapigil-hininga dahil lahat tayo, kahit na mukhang imposible, ay nangangarap na malampasan ng mga api ang mga parusang ibinibigay ng mga nang-aapi. May panaka-nakang paggamit din ng musika sa ilang montage na nagiging tatak na yata ng ilang rom-com mula sa Star Cinema. Ang pagkakaiba, hindi nagmamadali ang “Hospital Boat”. Ninanamnam nito ang bawat sandali ng pagkukwento na tila kahit ang direktor o manunulat ay nakikinig sa kanilang sariling kuwento bilang paalala sa kanilang pinagdadaanan. Maging ang mga aktor ay hindi mo maramdaman na mga aktor. Hindi ko nakita ang mga Tirso Cruz III at Zsazsa Padilla (“Sigwa”) rito o sina Iza Calzado at Allen Dizon (“Dukot”). Ang lahat ay tila isang recreation ng mga karanasan mula sa mga nagsiganap.

Hindi biro ang katapangan na ipinakita ng dokumentarista sa “Kano: An American and His Harem” dahil naisiwalat nang buo ang lahat ng anggulo. Nakuha pa nitong pumunta sa US upang magsagawa ng ilang interview sa mga kamag-anak at kaibigan ni Victor Pearson. Dito siguro nagkaroon ng kakaibang hugis ang pelikula. Pinilit nitong gawing tao ang nauna na sanang impresyon na demonyo si Pearson. Mas nakita ng manonood ang ugat (kung ito nga ba ang ugat) ng motibasyon sa likod ng pagkakaroon ng maraming asawa at ang mga abusong tinamasa nila, pisikal man o sikolohikal.

Hanggang ngayon, hindi ko makakalimutan ang pag-ahon ni Eleuteria mula sa dagat. Parang panaginip ang lahat. O parang isang Greek goddess na nagising sa kanyang bangungot upang harapin ang totoong bangungot. O isang makata na handa nang talikuran ang poesiya. Gan’un din ang pagkakahawig ng mga aktor na gumanap bilang Fr. Allan (anghel) at Muktar (demonyo). Hindi ko alam kung sinadya ito ng filmmaker upang sumimbolo sa yin-yang o balanse ng kabutihan at kasamaan. May kakaibang kurot ang eksenang magkakasamang sumakay sa roller coaster ang mga asawa ni Pearson sa isang perya sa probinsya. Habang sila ay tumitili sa excitement, naririnig mo ang pait na kanilang pinagdadaanan.

Kung hanggang saan liliparin ang Pinoy cinema ng mga imaheng ito, hindi ko alam. Ang sigurado ako, malayo-layo ang mararating ng ating kamalayan kung susubukang tangkilikin ang ganitong mga pelikulang may kaluluwa.

Trip to Vinos (of Bodegas Carrau)

2011-06-05T20:27:00.015-04:00

This has been planned since last year. We thought that we’re running out of things to conquer here on a weekend like we’ve been to Colonia a thousand times and the wintery weather hinders us from visiting Punta del Este. Trip to a vineyard/winery is a good idea. Uruguay is also a wine country and most dinners we had were accompanied by vinos. Needless to say, the problem is that we don’t have much access to where-to’s here. We almost availed of one winery tour that we found on the net but another dear officemate suggested something else. He said that the wine and food are orgasmic.

The 3rd Festival del Tannat y Cordero in Bodegas Carrau satisfied our thirst. It’s a not-so-formal feast of tannat (a type of grape which Uruguay is very good at fermenting) and lamb (they claimed that they are also good with this meat variety, not just with beef), not-so-formal in a sense that it’s almost just nominal. A ticket costs UYU 800 (or roughly PHP 1,800) which we paid at Red Pagos (something like a Bayad Center). According to Ana Laura of Bodegas Carrau, who was very accommodating from our email exchange and in personal, a limit of 80 people was set for the event.

At a little past 11 in the morning, we were already heading to Avenida Gral. Rivera by cab and from there we took Bus 468 heading to La Paz (one-way ticket costs UYU 18 or PHP 41). The winery is located in the outskirts of Montevideo and it took us around 45 minutes to reach the nearest bus stop along Avenida Gral. Garzon (just opposite of Nordex).

We came 20 minutes later than the schedule on the ticket. Good thing that it was still assembly time. A few more minutes passed and it was announced that the mini-tour to the winery was about to take place. It was a guided tour in Spanish and it was a relief to see our dear officemate there to help translate some of the info. We passed by a series of containers for fermentation, then a machine for bottling then down to the old age storage. It’s filled with barrels and only a handful of lamps light the place. In one section, only candles are put up, giving a romantic/creepy atmosphere.

The food and wine festival officially started when we went back to the hall opposite the bodega. A lamb pizza al horno greeted us with a bottomless Reservas Tannat Rosé "Saignée". The main dish was divided into three stations plus the dessert:

Estación 1
• Tacos de cordero
• JUAN CARRAU Cepas Nobles Tannat 2009

Estación 2:
• Kebabs de codero
• JUAN CARRAU Tannat de Reserva 2008

Estación 3:
• Irish Stew
• ARERUNGUÁ Tannat 2002

Postre:
• Húmedo de chocolate y licor de Tannat
• VIVENT Licor de Tannat 2006

We were reminded that the wine being served has a level of strength. The higher the station you get, the stronger your wine gets. Pretty much we can attest to it. When we were done with the second station, we were already under the wine spell, talky and brave. Talky to a point that we were vocal that we missed the Irish stew, which, we believe, was the gastronomical highlight. And brave to a point that Pao didn’t mind dancing with the gorgeous tango dancer and being a willing interviewee on national TV. He won a prize, by the way, in the raffle.

As for the food other than the stew, everything was mouth-watering. We have to agree that it’s orgasmic. Just a note, too, that they served dessert wines. The difference is that it’s obviously sweet as a candy. Aside from three dashing tango numbers, having a warm chitchat with the Carrau children and the raffle on which they gave out bottles of wine, a lady volunteered to render some aria pieces. That sealed the day. As Pao has put it in a tipsy way, everything is surreal.

The rest of the pics here and some videos here, here and here.

Movie Digest # 080

2011-06-03T07:47:00.008-04:00

SUCKER PUNCH
Moviecenter – Montevideo Shopping, Sala 3, April 9, 5:35pm

In a nutshell, this is difficult to describe. Let’s just say it’s about a group of young girls who are trapped in an asylum. On their attempt to escape, a big amount of strategy (and imagination) should be in place. It’s been a while since I last saw a high-concept movie. If this is categorically a popcorn film, this should be the one with extra dip on top of the usual artificial flavoring. I got alienated at first but once you get the hang of it, you’ll probably enjoy it (though a part of me is wishing to see the dance sequences). Visuals are in place just like the rest of Zack Snyder’s filmography and the redeeming value in the end surprises some punch but that’s about it.

Friends who might appreciate it: Suckers.

INSIDE JOB
Casablanca, Sala Marilyn, April 30, 10:30pm

This is Charles Ferguson’s documentary narrated by Matt Damon that tackles the root of the 2008 recession in the US. It starts with an impacted case in Iceland then it discusses how it all began in the US and what could have been done to prevent it. The film is mostly capped with interviews of the filmmaker with economists, people who deal with stocks, industry observers and some from the academe. From somebody who hates economy as a topic, I appreciate this some sort of Recession 101. It even has a short glimpse of our headquarters in the US in the part that mentions about thriving IT companies (which can be taken perhaps as an allegory). The best segment for me, the most memorable one, is the last few minutes of the film that mock Ivy Leaguer Economics teachers who were part of the fall. It’s just saying that the blame should not be in the government alone but should also be assaulted to those holier than thou professors who moonlight as advisers.

Friends who might appreciate it: Those who still have 8-to-5 jobs.

THOR
Moviecenter – Montevideo Shopping, Sala 9, May 3, 10:15pm

Note to self before heading to the cinema: Kenneth Branagh directs this superhero movie. And for most of us who know Mr. Branagh, aside from his take at “Frankenstein” during late 90’s, he is very much associated to Shakespeare. Having said that, the scenes involving Greek mythology in Thor’s introduction to mankind shine the brightest. Its politics, as well as betrayal and deceit, is well executed on screen (thanks to the supporting cast like Anthony Hopkins, Tom Hiddleston and even the not-so-busy-these-days Rene Russo). It feels like a stage play at times. As for the scenes that should depict what a superhero movie should be, it’s surprisingly enjoyable (specifically the one involving the destroyer, so comics). The only drawback from me aside from Chris Hemsworth’s cold performance is the love angle between Thor and Jane Foster (Natalie Portman). It seems forced and should be given more room to grow and kick.

Friends who might appreciate it: Those who expect MC Hammer to show up during the fight scenes.

FAST AND THE FURIOUS 5
Moviecenter – Montevideo Shopping, Sala 10, May 10, 7:55pm

Aside from the early buzz that this is the best of the series and for peer pressure, I could have skipped this franchise (same thing with what I did with the third and fourth installments). But what the heck, it’s a popcorn film trying to be a popcorn film and it’s definitely not trying to be critically acclaimed. Flawed but everybody knows Hollywood so no regrets here. Justin Lin did his best to inject adrenaline rush (and testosterone) and I think it’s a success in some parts. Rio de Janeiro provides a complimenting backdrop to this sweaty action film of car chases, robbery and guns. With that alone, the movie is worthy of an after-office extra time. This probably makes a good companion for caipirinha.

Friends who might appreciate it: The tourist in me who wants to see the favelas.

WATER FOR ELEPHANTS
Moviecenter – Montevideo Shopping, Sala 8, May 12, 7:40pm

Set during the Great Depression, this love story tackles the struggles of undergraduate Jacob (Robert Pattinson) as he falls in love with the circus manager’s (Christoph Waltz) wife named Marlena (Reese Witherspoon). I don’t know exactly what’s wrong with the film in the same way that I am not sure why I don’t like it either. It’s got a cast who all can deliver and the production design to recreate a wandering circus is unexpectedly charming. I don’t mind seeing Robert Pattinson sharing scenes with the likes of Oscar-decorated Ms. Witherspoon and Mr. Waltz. It’s actually a welcoming treat to those who easily get irritated with “Twilight” and all its sequels. My guess is that the delivery maybe too elementary and too obvious (talking about nuances, direction and script-wise). It could have been atypical if it’s more subtle and, well, more “boring”.

Friends who might appreciate it: Those who believe that animals also deserve an acting recognition from the Oscars.

THE HANGOVER PART II
Grupocine – Punta Carretas Shopping, Sala 5, May 29, 4:00pm

If you’ve seen the first installment, it’s pretty much the same banana. Only this time, the gang is trapped in an Asian sin city. It’s predictable but definitely nuttier than the original. Todd Philips tried to inject some Farrelly Brothers humor and it’s successful in most parts (ironically, Farrelly Brothers’ last film “Hall Pass” has some shades of “The Hangover”). Good to see Paul Giamatti here; always, always a treat. I might spoil the fun if I mention about the other amusing surprise. Let’s just say you better finish the film regardless if you already know how the alcohol is going to fizzle.

Friends who might appreciate it: Safe bet: those who have been to Bangkok.

PIRATES OF THE CARIBBEAN: ON STRANGER TIDES
Moviecenter – Montevideo Shopping, Sala 3D, May 31, 10:00pm

Some of the installments of this movie are not that easy to write about especially the synopsis. This one is simpler and easier to digest. It’s about three ships trying to race its asses off to conquer the so-called fountain of youth. Rob Marshall’s take-over could be the culprit (but they probably replaced the writers as well). Even Johnny Depp’s Keith Richards impersonation is starting to wear off. There are two things that could salvage this latest franchise: the scene with the mermaids and the collaboration of Hans Zimmer with the guitar duo Rodrigo y Gabriela to provide the musical score.

Friends who might appreciate it: Those who wish to see the real and reel Keith Richards. Again.

How the Uruguayan Women Rock Their Jewelry

2011-05-30T08:14:00.003-04:00

One of the attractions here that I always look forward on our everyday taxi trip to the office is the walls along Avenida Paraguay. They are always packed with posters of upcoming events fuelled with hope that The Script or Lady Gaga, at least, to pay a visit here. That’s where I first saw an Andy Warhol-inspired ad of Danger Four who had a stint at Sala Zitarrosa in Avenida 18 de Julio. I caught their first gig out of the four-night event.

Danger Four is, according to an officemate, the best Beatles tribute band here in Uruguay. I don’t know how many copycats they keep but four gigs mean a lot here especially for a band that plays non-Spanish/Latino songs. But, yeah, it’s the Fab Four. I didn’t even research about the band. I just wanted to hear some Lennon or McCartney being performed live and that’s all I needed. The other come-on, according to the same officemate, is that the band purchased (and now, using) some instruments that were once owned by the Beatles themselves (he thought it’s the bass guitar but not very sure).

Sala Zitarrosa isn’t a big venue but it’s not Saguijo little either. The capacity could be comparable to Music Museum and seeing it full house with fellow Beatlemaniacs was a good indication that I was in for a ride. Entrance ticket is UYU 340 (PHP 770) with a cheaper alternative at the balcony for roughly UYU 100 less. It was reserved seating (I got the leftmost spot in the middle of the fourth row) and no drinks were sold.

The band is composed of Beto Fregosi (Paul McCartney), Coco Boudakian (George Harrison), Camilo Celi Nuñez (John Lennon and the object of sexy headbanging from the pretty teenage girl in front of me) and Lucas Fiorentino (Ringo Star); all representing different age brackets. For instance, their George Harrison looks like their Paul McCartney’s dad who, in turn, happens to look like their John Lennon’s dad. They opened the show, all in their 60’s combo uniform, with “Eight Days a Week” and immediately followed with “I Want to Hold Your Hand”. Prior to that, a cool animation was projected on an ASAP Rocks-like video wall while “A Hard Day’s Night” was being played as an overture.

Name a popular Beatles song you know and it’s probably included in the repertoire. I missed hearing “Blackbird” or “Two of Us” but their list of songs was serviceable enough. To my surprise, the mixed crowd partied big time during “Ob-La-Di, Ob-La-Da” and “Twist and Shout”. I was relieved to know that women here know how to rock their jewelry.

The gig lasted for around two hours. They sold CDs for UYU 200 each with (surprise, surprise) covers of Beatles songs. Some even asked for autographs or pictures; proof that they already have a healthy fan base here.

It probably rained during the gig. The streets were all damp.

Revisited: Colonia del Sacramento

2011-05-30T08:09:00.003-04:00

This was my third visit to the Ciudad Vieja at Colonia del Sacramento. One thing's for sure: I love catching sunsets there.

The rest of the pictures here and two videos here and here.

Revisited: Escollera de Sarandi

2011-05-30T07:54:00.005-04:00

One of the first things that I did here in Montevideo was a trip to Escollera de Sarandi after having a hearty meal at Mercado del Puerto. Nothing fancy, really. Though it doesn't look like a relaxing place, it's a therapy to walk through that alley of fishermen and and their family trying to catch their luck.

More pictures here and videos here, here and here.

Montevideo Comics

2011-05-16T22:59:00.019-04:00

The recently concluded comicon here is simply called "Montevideo Comics". It was held in a downtown cinema complex in the city center. Entrance fee is UYU 220 (or roughly PHP 484). I'm not really a fan of comics but I enjoyed the gathering (as much as I enjoyed playing with my Color Splash app). Details of the event can be found in www.montevideocomics.com.uy.

More pictures here. Backlog albums for some dinner meet-ups here and a short visit to Fuente de los Candados (or Fountain of Locks) here.

And by the way, a short glimpse of animation here (still at the comicon).

Movie Digest # 079

2011-05-15T08:00:00.006-04:00

NEVER LET ME GO
Greenbelt 3, Cinema 3, March 2, 8:35pm

There are two things happening in the film. It started as a simple love triangle story between grade school classmates Kathy, Tommy and Ruth (grown-ups are played by Carey Mulligan, Andrew Garfield and Keira Knightley respectively). Everything seems to be normal until one concerned teacher shares with her students about the “experiment” happening in the special school. That leads us to the other aspect of the movie. It turns out the special class is composed of kids that are cloned from other DNA. What I appreciate about the film is that it downplays the science part most of the time. It doesn’t try to be controversial or even informative and the key characters are treated as normal citizens. Performances are good, the leads provide a different dimension to the way we view clones. The direction doesn’t try to be loud; it stays normal as possible and does its best to pacify the already disturbing theme. I believe this film is underrated and deserves more nods than it already got.

Friends who might appreciate it: Those who wish to see the next Spiderman’s previous movies.

UNKNOWN
Greenbelt 3, Cinema 4, March 2, 10:35pm

It’s always fun to watch a popcorn action movie with Liam Neeson on it. Just like “Taken”, this one’s equally enjoyable. There’s identity switch, there’s Berlin, there’s a car chase, there’s an explosion and a twist that I could have guessed.

Friends who might appreciate it: I really don’t know.

THE ADJUSTMENT BUREAU
Glorietta 4, Cinema 6, March 4, 5:00pm

I’m not sure how Philip K. Dick the adaptation is but as I see it, it’s a film about love, angels without wings and NYC. I was probably in the mood for romance when I saw this one. Cheesy it could be to the cynics but there are a lot of things to root for other than it being a love story. Matt Damon and Emily Blunt provide a convincing couple who is trapped in a dilemma that seems irresolvable. Mr. Damon appears to be getting impressive projects since he started (even Eastwood’s “Hereafter” which got mixed reviews). I believe that this film project would be cheesier or would look more Hollywood if given to another actor. There’s a part in the movie, apparently the highlight, where the city of New York takes the center stage. The filmmaker or the writer is, no doubt, a fan of the city.

Friends who might appreciate it: Office folks who know Adjustment Types by heart.

HAPPYLAND
Greenbelt 3, Cinema 1, March 7, 7:00pm

Compared to poverty porn that made headlines to the international scene, this Pinoy indie embraces a more goody path. It’s a tale about the seedy area in Tondo called Hapilan, its juvenile delinquents and the passion for football. The intension is there and it’s loud and clear. In fact, I watched this film as part of a drive to raise money for the so-called barefoot football players of Tondo. This is pretty much simpler than Jim Libiran’s first feature length but I don’t think the storytelling works very well given its candor. The football matches are a bit anti-climactic and not as exciting as it should be. I have an impression that the director is not really a football fan. The drama part could stand a chance proven by the teary eyed patrons inside the cinema. I am not sure if casting is the culprit but let me enumerate. Leading the cast is real life priest Fr. Jose whose story is the basis of the film. He may be a good actor but I am not a fan of that concept wherein the real character is required to undergo the whole process of recreating the emotions he’s gone through. The other off for me is the young lead who is cast as a Muslim living in Tondo. His accent betrays him big time. For an average Pinoy film, this is more luxurious as evident in the toned cinematography. I would always support this film primarily for the cause.

Friends who might appreciate it: Those who pretend to like soccer like me.

SOMEWHERE
Cines Hoyts, Sala 1, March 29, 8:00pm

This is Sofia Coppola’s least talky film. It’s about a Hollywood superstar who is living an empty life despite the popularity and the glitz. Being so quiet most of the scenes, this represents a different storytelling from a not-so-mainstream American filmmaker. I didn’t like it at first. I was turned off by the resolution in the end where the lead character finds solace somewhere (hence the title). I thought that the title should be altered to “Nowhere” as I was expecting the single dad angle to be resolved. On second thought, that’s the point of the film. The breath of fresh air means a relief from the emptiness and nothingness. That somewhere could be nowhere but for sure, it’s a place for the main character to be free.

Friends who might appreciate it: Those who are asking “Where the hell is Stephen Dorff?”

Notes from XXIX Festival Cinematografico Internacional del Uruguay

2011-05-09T06:57:00.012-04:00

The film festival ran from April 18 to 30. It started during the Holy Week and I wasn’t around the time it kicked off. I actually didn’t notice (read: language barrier) that there was an upcoming “big event” prior to my out-of-the-country trip. Thankfully, there are some officemates who find time to remind us of the events that we need to attend to (like the Candombe parade, the agricultural fair in Prado, etc.).

Compared to Montevideo Film Festival last year, this one’s has more edge to say that it’s really a film festival. Numerous films across the continents participated, including one from Malaysia (Charlotte Lim’s “My Daughter) and the Cannes-winning film “Uncle Boonmee Who Can Recall His Past Lives”. Films, just like in other international film fests, were categorized accordingly. Some were for competition for “Largometrajes de Ficcion” (feature length) and “Ibero-Americanos” (films within the Latin American region and other countries like Spain and Portugal). Some were for shorts or even documentaries. They also had Jeonju Digital Project (which included our very own Lav Diaz’ “Butterflies Have No Memories”). Two screenings of Fritz Lang’s “Metropolis” were held, accompanied by a live piano music from Stephan Graf von Bothmer. I missed this special event due to schedule conflicts but I sneaked in for a few minutes just to experience how they do it here.

The screenings were held at Cinemateca cinemas which are scattered in most key places here in Montevideo. Biggest of all is probably Cinemateca 18 which is just along 18 de Julio St. (their Ayala Avenue). It's a downtown cinema (meaning outside the mall or a complex) and it had me reminisce the good old days of watching movies in Lopez, Quezon. Seats are not of Greenbelt quality and even the toilets are not well maintained but I liked its charm. There's also Sala Cinemateca just four or five blocks away from Cinemateca 18 (not good for marathons); a bit smaller but has the same appeal. These are good cinemas but I watched most of the films at Casablanca primarily because it's the nearest from my place.

Based on the catalog (they sell it for UYU 70 or roughly PHP 150), they exhibited more than a hundred films. It should have been an overwhelming event for me but since Uruguay is a Spanish-speaking country, all subs were in Spanish. What I did was check out those that are in English and those that I think will not be that talky (I did watch three of it and survived!).

In case you’re interested to participate next year, here’s a link to their vision and an entry form can be found from this site. Just a note though for Filipino filmmakers and producers, I don’t see much “kababayans” here compared to, say, Brussels or Belfast. I am not sure if you can gather much Pinoys here to support your film. As for the case of the Malaysian film I’ve viewed, the cinema was more than half full (which is a good thing) and I was the only Asian.

As for eight films I had the chance to see:

1. Nicolo Donato’s “Broderskab (Brotherhood)” – 2009

I was asked before not to cross-reference a film but I can’t help but compare this to Ray Gibraltar’s “Brod” (the titles are even close). A neo-Nazi group recruits and trains people for a mission. It works like a fraternity (like in “Brod”), headed by some leaders, and executes some tasks that hurt other townsfolk. Lars, a newbie whose skills and determination get the attention of one of the leaders, is assigned to stay with Jimmy in a house by the sea and remote from the rest of the town. There they get acquainted, to a point that they start to develop affection for each other. Predictably, things become complicated when everything is poured into open. Tales like this could not be very fresh but I like the way it was made. It never becomes romantic or poetic; the lighting is a bit dark while most tight shots do not pretend to be something else. Maybe it is trying to mock those ultra-masculine groups and it succeeded for me. Or maybe it is just wishing for attention by trying to be controversial. Whatever that is, I would always appreciate its lingering last frame and a very competent acting from the whole cast. The film, by the way, is from Denmark and I couldn’t understand a word (Spanish subs, too) but the visuals helped.

2. Richard J. Lewis’ “Barney’s Version” – 2010

This film gives Paul Giamatti his first Golden Globe best actor award in a musical/comedy. As I see it, its main attempt is to come up with a film bio-like storytelling as it focuses on the ups and downs of rich mogul Barney Panofsky. It’s a cute idea. Mr. Giamatti who is definitely not a Brad Pitt plays a colorful character that pinpoints the tail of womanizing as something inherent to every Adam. He’s fun to watch, especially when surrounded by gorgeous ladies like Rosamund Pike and Minnie Driver (who both shine in this movie) but he is at his peak in the usual depressed and quiet moments. From film bio-ish, it swings occasionally to dry humor and makes a U-turn in the last few minutes. I can say that the film is probably conceptualized with Mr. Giamatti in mind but I am not complaining. Paul Giamatti is Paul Giamatti.

3. Ben Safdie and Joshua Safdie’s “Go Get Some Rosemary” – 2009

Third film on my line-up is indie as indie you can get. It tells a city tale of a single dad named Lenny who tries his best juggling meager work and being a parent to two kids aged 9 and 7. The first thing that got my attention is the main character’s name. Very unisex; it says something to me about the dad and mom roles a single parent should take responsibility to. And it doesn’t look easy for Lenny. Not as cool as the opening sequence where he tries to cross a fence and fail, losing the hotdog sandwich and laughing at what had just happened. Backdrop is New York City with a Dave Eggers-like script, the film seems dreamy at times (especially the last part) and bittersweet in between.

4. Ken Loach’s “Route Irish” – 2010

I think I’ve seen only two or three Ken Loach films before (including the Cannes-winning film “The Wind that Shakes the Barley”) and my impression is that he loves to tackle socio-political issues (he took up Law, Google says). His latest film talks about the Iraq war, the violence it creates both from outside and behind the enemy line. It’s a war film but it doesn’t show much of the actual war but its persisting aftermath. The storyline could actually pass for a Hollywood action movie but it’s stuck to its vision in giving awareness of the oppression that our military men have to carry on. I wasn’t moved by the film but the filmmaker’s familiarity of the topic is loud and clear.

5. Joe Swanberg’s “Art History” - 2011

This one’s another indie film from the US, something that we normally categorize as an “art film”. It’s about a group of people who’s shooting a film in what looks like a vacation house. There’s no obvious plot in there and no characterization business whatsoever, just a bunch of film production crew doing their thing and sometimes swimming at the pool (which I like because of the shot being creative and its abstraction). Sequences are long and most of the time, nothing is happening (reminiscent of sequences of our very own Lav Diaz). It’s also unfeeling. The love scene that is being shot is not mindful of the crew and the cinema audience. Nipples here and there and some genitalia, careless of what the body parts may mean for the lovers in the set. The only time it provides an emotion is on the last frame just before rolling the end credits.

6. Aaron Katz’ “Cold Weather” - 2010

Among the low budgeted indies I’ve seen during the film festival, this one is the most reachable. It is about Doug, a college drop-out who returns home and be reunited with his sister Gail. First part establishes the relationship between the siblings and Doug to his new officemate and his ex-girlfriend. Second chunk is different as it travails to a crime solving route that looks like an adaptation of a teenage novel, complete with a reference to Sherlock Holmes. Direction is impressive. It lives up to its film title through its shots from that part of Oregon. The minus side for me is the second part that looks ridiculous at times. After the subplot about the missing ex-girlfriend surfaces, every clue pointing to the answer seems to be strangely and conveniently popping out. I thought it was all a joke, like the sister will unplug the surprise and admit that everything’s a farce. But it didn’t. It was really serious with the mystery part. The saving grace for me is the ending that seems to be pointing back to what I appreciate most in the movie.

7. Felix van Goeringen’s “De Helaasheid der Dingen (The Misfortunates)” - 2009

My second film on the list that is non-English is from Belgium (and Netherlands) I think. It’s a coming of age tale about Gunther Strobbe who grew up in the company of drunkard dad and uncles. One incident in the family changes the life direction of the kid which serves either as an eternal burden or a freeing opportunity. Aside from the very well-acted cast, it boasts of a pretty neat direction and a script that is both simple and genuine. The material may not be new but it still hits the spot (at least for me). I can say that this is my favorite among the films that I’ve seen from the festival.

8. Charlotte Lim’s “Li Fa Dian de Nu Er (My Daughter)” - 2009

The film, as I expected, is not talky but in the only scenes where dialog is needed, it got me lost a bit. It’s a mother and daughter tale on love between the two women and the factors that try to invade and ruin it. It is very quiet and the visuals make it a point to storm the emotions hiding in both the mother and the teenager daughter (both are really good actors). It’s also slow as per Hollywood (or even Asian melodrama standards) and I’m sure this is something that the international audience would really love. It’s also Hubert Bals-funded so expect a little something.

Day Zero: Preparing for the Machu Picchu/Wayna Picchu Trip

2011-04-25T23:38:00.008-04:00

Just like any other trip, preparation is a must (at least for an OC like me). Along with officemates Topeng and Nina, we started reserving plane tickets and hotel accommodation as early as March 25 for the April 18 – 21 schedule (it was Holy Week so please consider that a lot of people all over the world might be optimizing their holidays). I think we began checking the rates days before March 25 and prices kept on jumping up by the day. Needless to say, the earlier you plan your trip to Peru, the better deal you will get.

Furthermore, below is a list of things you need to consider for your Machu Picchu/Wayna Picchu itinerary:

1. Plane Ticket

Machu Picchu and Wayna Picchu are two mountains (“picchu” means mountain) located 20 minutes away by bus from Aguas Calientes town (some websites call it “Machu Picchu Pueblo”). The town is four hours away by train from Cuzco (also “Cusco” or “Qosqo” in local dialect Quecha) which is roughly two hours away by southeast-bound plane from Lima City. So to get to the mountains, you need to get two flight itineraries: one international flight going to Lima and a domestic flight to Cuzco.

Coming from Uruguay, a local officemate suggested to check out www.despegar.com.uy for cheap rates. We ended up with Expedia instead since the price range is comparable and we’ve got a cheaper flight and hotel package.

For Philippine passport holder like us, tourist visa is not needed. As per experience, we were given 15 days for the entire stay by the Peruvian immigration officer (depending, I guess, on how many days you plan to explore Peru).

2. Train Ticket

As a friendly advice from another officemate who already visited Machu Picchu, purchasing a train ticket from Peru Rail is very important before plotting your itinerary. Schedules are a bit odd (like the first train takes off at 7am and will land you to Aguas Calientes at 11am; too late if you wish to visit Wayna Picchu as people queue as early as 4am to get a slot out of 400, a limit set by the park authorities to preserve the mountain).

Prices start at $48 and it can go as high as something unimaginable like the Hiram Bingham series (a rolling five-star hotel). We got Expedition ($48) on our way there and Autowagon ($60) from Aguas Calientes to Ollantaytambo. Complimentary snacks are inclusive.

3. Entrance Ticket to Machu Picchu/Wayna Picchu

This is the tricky part. Since number of visitors to Wayna Picchu is limited to 400, tourists wish to secure this hot ticket first. Let me get things straight. There’s only one entrance ticket (a whopping Peruvian Nuevo Soles or PEN 126 or $45) needed for both Machu Picchu and Wayna Picchu. Wayna Picchu is seated at the back of Machu Picchu in most of the postcard shots. So to go to Wayna, you need to access Machu. Visitors are either going to Machu Picchu only or to both Machu Picchu and Wayna Picchu (if you still have the energy). I don’t think there is a limit to the number of people going to Machu Picchu but to Wayna Picchu, it’s 400 a day (200 on the first set at 7am or earlier and another 200 at 10 or 11am).

I heard that before, you can only purchase the entrance ticket at a center (one in Aguas Calientes’ Machu Picchu Cultural Center and alternatively, in Cuzco at Instituto Nacional de Cultura in Calle San Bernardo or Direccion Regional de la Cultura Cusco at # 238 Avenida de la Cultura). Then we heard about having a reservation through online in which we availed of after some trials (the website is quite moody). Please note that the online thing (with bar code and all on your print-out) is just a reservation. You still need to pay up in the cultural offices mentioned above. In Cuzco, as per experience, we ended up paying at Interbank along Avenida del Sol (a detailed story to follow) with a note from the staff that reservation is valid for six hours only! To be safe, have the reservation ready prior to your trip to Cuzco then go the offices the earliest possible or do another reservation within six hours upon arrival in Cuzco.

4. Bus Ticket from Aguas Calientes to Machu Picchu/Wayna Picchu Drop-off

Bus tickets cost $15.50 for the year 2011, two-way. It is valid for three days and you may use it anytime from 5:20am onwards (last bus from drop-off leaves at 5:30pm). If you’re planning to have a climb at Wayna Picchu, you better purchase the ticket day before your schedule to make use of your time. There are two ways to purchase it and through online is, as of this writing, out of the question. One, is in Cuzco, at Consettur Office (the only company that operates the busses in Aguas Calientes) located in Avenida Pardo just opposite Parque España. As per experience, this is difficult to locate even with the help of a taxi. The other option, the one we ended up doing, is through the ticketing office in Aguas Calientes located along the main road (parallel to the river Rio Urubamba). Beside the bus pick-up/stop is a selling booth and few meters from it is smaller one, right under the biggest bridge, opposite the information center. There was no queue when we got ours at around lunchtime.

5. Hotel/Hostel Location

Cuzco is a small town. From the airport, you can reach the town proper in roughly 10 minutes by cab. You can either take any place to stay near Plaza de Armas but it won’t hurt if you choose those located two or three blocks away (like Misters Inkas Hotels Inn Palace Exclusive where we stayed at). Aguas Calientes is far smaller than Cuzco. It looks like a village and it’s divided by the river (Rio Urubamba). One side has the train station, where a less busy line of inns are found (including our pick Machu Picchu Green Nature). The other side has the main road (where the bus station is), the main square where the post office and other tourist centers are located and streets bustling with restaurants and bars. Either side, bus and train stations are walkable. Since the Cuzco – Ollantaytambo train route was under construction due to flooding in 2010, we opted to stay in Ollantaytambo for a night. Hostal Iskay, our place, is probably the best among the three hostels we stayed at but we decided to ask for a pick-up at the train station. It is located in an old Inca village and finding it on foot at night can be taxing.

6. Health Preparation

I just have to include a note on this one as Wayna Picchu is not an easy climb. Find time to do some exercises like jogging or brisk walking at least a month before (mine wasn’t enough). There’s another thing to consider: high altitude sickness. Websites (and friends) were warning us before the flight to take a medicine and not just rely on coca leaves (as mostly suggested). On our end, we tried our best here in Montevideo to look for a travel doctor that would prescribe us some medicine but to no avail. One admin employee from our client even thought that I was joking. Our first night in Cuzco was a little struggle during the night, mostly for shortness of breath. But that’s it. No stomach ache or dizziness. I believe this is a case to case basis so I suggest that you still look for a doctor and ask around.

7. Pocket Money

I can't provide a sound advice on this one but I allotted $300 t0 400 for the whole 4-day trip and survived. Perhaps as a guide, each meal can cost Peruvian Nuevo Sol (PEN) 30 in an average touristy restaurant. Taxis around Cuzco proper range from PEN 2.50 to 3. For souvenirs, get cheaper options in goods sold by vendors along the streets and always haggle. It won't hurt if you ready some local currency prior to the trip but on personal note, we got our PEN from the forex booth in Lima airport on our way to our gate for our Cuzco flight (in the same open area where the conveyor belts for luggage are found). It's convenient that most stores (both in Cuzco and Aguas Calientes) accept USD. Just a note though. They are very particular with the USD bills. Those with minor cuts are not considered by some vendors, saying that the banks won't accept it.

8. Itinerary

Lastly, there are a thousand things to do in Cuzco alone so you better choose the things you love to do and pick the best from it. We only had four days spare so we cut some of the spots out of many and finalized the itinerary as specified below (just click on the image to enlarge):