Movie Digest # 078

LOVE AND OTHER DRUGS
Glorietta 4, Cinema 6, January 28, 8:05pm

Do you know those rom-coms where the leading man, after hitting an epiphany minutes before the ending, rushes to his lady love, begs for a second chance and promises eternity? I’m tired of those and this one’s no exception. Sure it has Jake Gyllenhaal and Anne Hathaway (reunited from “Brokeback Mountain”), and both are really good, but that’s about it.

Friends who might appreciate it: Anne-nonimous.

SHAOLIN
Glorietta 4, Cinema 4, January 28, 10:15pm

Most of my days spent when I was working in Singapore required me to appreciate Canto-Pop even from as far as Hongkong. Enter Andy Lau who is considered as one of the “Heavenly Kings” and who did wonderful films like “Infernal Affairs” and “Full Time Killers”. He’s in this period movie. He plays a cruel officer who transforms into a humble warrior after a tragic overtaking of power, a role that would require him to showcase his innate dramatic dreamcoat and a bit of an action figure. There’s also Jacky Chan who provides support to the project and a whole lot of martial arts spectacle. This is something that we don’t expect in art houses but sure the fight scenes are modestly enjoyable.

Friends who might appreciate it: I don’t know. How about those who miss Cynthia Luster?

RINDIDO
Robinsons Galleria, Cinema 8, January 30, 4:15pm

I’ve heard Noriel Jarito’s name before but I haven’t seen any of his short films yet (DVD compilations are being sold at the CCP shop). They are mostly about the plight of migrant workers and this feature length is no different. It’s about an OFW from the Middle East who comes home only to find out that his girl is having an affair with another man. “Rindido” is the state of mind the protagonist has to go through to deal with his adversary. I’m no scriptwriter but I think the film requires a clearer storytelling. For instance, an alternate ending confuses its simple premise and some technical aspects that need extra polishing didn’t help. Best part: the love scene.

Friends who might appreciate it: Definitely not for those who just came home from Egypt.

BULONG
Glorietta 4, Cinema 6, February 2, 7:50pm

I asked a high school friend to join me in watching this movie hinting that I will be disappointed if I watch it alone. True enough (and to my delight), my friend was a voluntary victim of the scare tactics that the film has to offer but also made it a point to laugh when needed (I think I chuckled in two or three scenes). On the minus side, I find the director a bit lazy on this one compared to his other works like “Feng Shui” and “Sukob”. The CGI is bad, the atmosphere is not balanced and probably the lead character being a male is not as flattering (though Vhong Navarro is a great actor, no doubt). I can say that since the movie made well in the box office, and that the crowd I was in when I saw it gladly reacted to the film, then the mission is accomplished.

Friends who might appreciate it: Those who wish to see Chito Roño’s take on comedy.

127 HOURS
Greenbelt 3, Cinema 1, February 10, 8:50pm

Can we conclude that most, if not all, Danny Boyle’s films deal with survival? The poor kid in “Slumdog Millionaire”, the drug junkie in “Trainspotting”, the humans versus zombies in “28 Days Later”, the backpacker in “The Beach”, the astronauts in “Sunshine” and the little boy in “Millions”. This time around, the director opts to lie low with simple film production about a backpacker who gets stuck in a crack when a rock hits his right arm (pretty much the whole ordeal is a summary of “The Beach”). What I like about the film, aside from James Franco’s Oscar worthy performance, is how the whole 127 hours of torment become interesting visually. Thanks to Boyle’s style and the honesty of the real life account from which the project is adapted. Self reflective and engaging (the last 15 minutes made me cringe), this film ups my perspective in life and the people around me.

Friends who might appreciate it: My once-in-a-blue-moon trek buddies.

TANGLED
Greenbelt 3, Cinema 2, February 10, 10:45pm

For the retelling of Rapunzel, yes. For the old-school Disney musical, yes. For the visuals (especially the one involving a gazillion lanterns), yes. It’s three yeses!

Friends who might appreciate it: Ricky Reyes. But wait, we’re not friends. Yet.

BROD
Robinsons Galleria, Cinema 7, February 17, 9:30pm

We’ve seen two Ray Gibraltar movies before and both are well received. His second outing, “Wanted: Border”, for instance, is my best Pinoy film for 2009. So I went to the cinema with high hopes (just like those who first saw the movie during Cinemanila last year). And not only that, screenwriter Archie del Mundo happens to be a co-Titusian. “Brod” is about the travails of Terence (Kenjie Garcia), a gay student, in going through the pitfalls of being a fraternity member. The initiation is interspersed with the path that he has to elbow when he meets Tad (Ardie Bascara), his fraternity lord. The two fell in love and together they face the final hazing. Direction is there. It’s just that I am not sure what the hell the film is for. Is it to raise money? Is it a platform for the director to prove that he can do a generic film? As for the story, I think it’s another anti-thesis to male sexuality, a notion (could be cheap to some) that everybody is prone to a sudden “gust of wind”. Archie did this with his “Ben & Sam” wherein a basketball star player is found to be gay. This time around, it’s somebody from the fraternity. Next, I’m guessing, is a taxi driver.

Friends who might appreciate it: Mr. Pete. Sorry, lack of sleep.

TRUE GRIT
Glorietta 4, Cinema 7, February 23, 7:55pm

Of course we are all watching this primarily because of the Coens (and that proposition is still golden with this one). This remake of a 1969 cowboy flick tells the long journey of 14-year old Mattie Ross (convincingly played by Hailee Steinfeld) as she demands justice for the death of his father. Together with U.S. Marshal Rooster Cogburn (Jeff Bridges is Jeff Bridges) and LaBoeuf (Matt Damon who’s always good with the projects he chose), they take the road to retribution. I haven’t seen all the films of the Coen brothers but I find this one more mainstream audience-friendly than the others. It’s not in a hurry as Hollywood action movies do and has provided much attention to let the flawed characters simmer. It has the mood of John Wayne movies, the vast arid land (which has snow at some point, probably to correct something), horses and those duel scenes. Watch it, watch it!

Friends who might appreciate it: Those who miss the good old Western movies.

Movie Digest # 077

PARANORMAL ACTIVITY 2
Punta Carretas Shopping, Grupo Cine – Sala 3, November 6, 6:20pm

Same experience when I saw the first movie: a horror train ride. This time around, they incorporated both the prequel and the sequel into one, with the help of a funding from a bigger studio.

Friends who might appreciate it: Male friends who can potentially scream.

THE KIDS ARE ALL RIGHT
Punta Carretas Shopping, Movie Center – Sala A, November 18, 7:45pm

Annette Bening and Julianne Moore lead the cast of this tale about a rainbow family who is shaken by the presence of the two kids’ father from artificial insemination (Mark Ruffalo). At first glance, the movie boasts of acting highlights from the lead. Oftentimes evident of a made-for-TV feel, I can say that it has a good story to tell at the very least. It just so happens that I feel like the film doesn’t make a giant leap from its initial offering (about two lesbian parents). Miss Bening deserves her Oscar nomination for this movie but it is Miss Moore’s presence that made a more affecting impact on me.

Friends who might appreciate it: Those who wish to see Annette Bening do a Hilary Swank role.

HARRY POTTER AND THE DEATHLY HALLOWS PART 1
Punta Carretas Shopping, Movie Center – Sala B, November 20, 4:00pm

What stands out of this latest franchise is that it has more time to inhale and exhale. It’s not in a hurry. For instance, the last part where the characters are into seclusion, a big chunk of running time is allotted for it. Thanks to the idea of splitting the last book into two movies (which they haven’t done before). I’m not a fan of Daniel Radcliffe and I still find it difficult ‘til now to see him do a scene that requires emotional heights. The film, of course, has other things under its belt: reliable supporting cast, CGI that is getting more and more polished and apparently J.K. Rowling’s participation in the production as a consultant.

Friends who might appreciate it: Easy. Fans of the book.

BURIED
Punta Carretas Shopping, Cines Hoyts – Sala 1, December 5, 8:30pm

Director Rodrigo Cortes’ challenge there is to create a story out of the claustrophobic box that serves as a coffin for Paul Conroy (Ryan Reynolds). Send in all the camera angles and you’ll have all the options for a serviceable storytelling. A bit mind-numbing to some but I enjoyed the tricks. Feels like a film school workshop has been thrown in and the student filmmaker got a good grade.

Friends who might appreciate it: Those who paid for half the price in a small cinema somewhere in Montevideo.

TRON LEGACY
SM Mall of Asia, IMAX Theater, January 15, 4:45pm

I was warned that the first Tron is a requirement. At some point, yes, but I think the sequel can stand on its own. There’s nothing much to root for story-wise though. It feels like the whole movie is just an episode of a bigger one. CGI is above average and should be the primary reason why the film has to be experienced in IMAX.

Friends who might appreciate it: Jeff Bridges fans. The movie has two of him.

THE TOURIST
Greenbelt 3, Cinema 2, January 16, 8:50pm

The first few sequences of the movie are very much reminiscent of Florian Henckel von Donnersmarck’s critically-acclaimed German film “The Lives of Others”. Not that I was expecting it to be brilliant, not to mention that it is shot in Venice, but I ended up asking for more. I am not sure, too, if I like the twist (even if it’s delivered by the ever reliable Johnny Depp).

Friends who might appreciate it: Lovers of the most romantic city in the world.

PRESA
SM Megamall, Cinema 7, January 19, 9:00pm

“Presa” is Adolf Alix’ take on the lives of Filipino women prisoners. Mostly off-angled to present the dullness within, the movie deals with the country’s top actresses to deliver the tales of longing, cleansing and retribution. There’s Anita Linda, Rosanna Roces, Jody Sta. Maria, Tetchie Agbayani, Lisa Lorena, Angeli Bayani, Ina Feleo and more who all made one hell of an ensemble performance. I just don’t like the idea that everybody has to share their piece, echoing the “Cell Block Tango” from the musical “Chicago”, given the limited timeframe. Some scenes are stand-out like the trip to the pool and Anita Linda’s moment with her weeping shadow (this one got me).

Friends who might appreciate it: Those who think that the film deserves the very first Best Indie Film award on the recently concluded MMFF.

HEREAFTER
Glorietta 4, Cinema 5, January 21, 10:30pm

I am not sure if I have seen a Clint Eastwood film before where the storytelling involves different geography. On top of that, there’s the CGI (which is enjoyable in the first few minutes of the movie) and there’s paranormal activity. I think it’s the mix of these new stuffs that stirs the film from its potential goodness. Nevertheless, the story is conveyed through and that silver lining about the characters’ new lease on life is very much appreciated.

Friends who might appreciate it: “X-Files” spectators.

GREEN HORNET
Newport Cinema, Cinema 3, January 22, 7:50pm

Just like “The Tourist”, the film also suffers from the demands of a major Hollywood studio. Very basic in terms of blockbuster mold and I am not sure if Michel Gondry intended it that way. I was looking for a different touch, something that would stand out in most of his films and music videos, but I ended up with only two distinctly Gondry montages.

Friends who might appreciate it: Atenistas and La Sallistas alike.

Philography File # 014: JM de Guzman

I already had JM's autograph during Cinemalaya 2010 in time for the screening of the ensemble film "Rekrut" then saw him again during the gap for the staging of Dulaang UP's "Orosman at Zafira". He is now becoming one of the fast-rising young actors for 2011. He just wrapped up two drama shows on TV and is now ready to reprise the role of Gabriel (originally by Rico Yan) in the remake of "Mula sa Puso". Beyond all the details, I decided to create a separate Philography File entry for him because of the dedication. He is the first celebrity who addressed me as "tagailogspecial".

CCP's Pasinaya 2011

Every year, the Cultural Center of the Philippines opens its doors to the public through an event that consists of 100+ teasers and programs. Headlined by the center's resident groups like Tanghalang Pilipino and Ballet Theater Philippines, it is also participated by cultural groups from different schools. By the promise of it, it's very jampacked. I, for instance, missed two of the shows that I really wanted to see (excerpts from "Zsazsa Zaturnnah, Ze Muzical" and "Beatles in Baroque") because the house was already full. It was frustrating. The priority pass that costs P100 (which is a baller band and that is cool)doesn't work as an assurance for a seat. Aside from the dance numbers that popped from almost everywhere, I was delighted to see Ballet Philippines' "Hero's Journey" and the Phillipine Madrigal Singers' "All For Love" (which is in preparation for their concert of the same title for the February 12 and 13 weekend also in CCP).

More details about the event can be found in CCP website. And more pictures here.

SIDE TRIP: At around 3pm, I hurried to Robinsons Galleria to meet the group who would visit the shoot of the short film "Mate" (done by some students from Letran). The location is in Lakeside Park in Angono, Rizal, which I think prettier if we reached it before dusk. Some attempts at night shots here.

SOFIA, Boots, Amalia

Last Saturday (February 5), I had the chance to be seated right behind two of my mom’s all-time favorite actresses. Miss Boots Anson-Roa (who probably had a vote from my mom when the great actress ran for senatorship) was in the first row, closer to the aisle than Miss Amalia Fuentes (mom calls her the epitome of beauty). The Society of Filipino Archivists for Film (or simply SOFIA) held their screening of Elwood Perez’ bold film “Isang Gabi, Tatlong Babae” (a 90’s movie also has the same title with three different stories starring Cristina Gonzales, Tetchie Agbayani and Ruffa Gutierrez). Too bad Pilar Pilapil didn’t make it but it was jam-packed nevertheless. Those who were standing and occupying the space in the middle had to leave Tanghalang Manuel Conde and settle for a simultaneous screening on a plasma TV just outside the theater. Since it was crowded, the dreaded air conditioner cooperated.

The copy of the film that was exhibited is not in perfect condition. It isn’t finished actually. Our dear archivists had to extend it with a poor television copy from GMA7 (GMA Arts, as the logo points out). Just the same, it doesn’t affect much of my appreciation to Mr. Perez’ campiness (the director was celebrating his birthday on the date of the screening, doubly campy, I would say). At first glance, the title might be a little titillating. It’s a bold film, yes, with lots of fleshing out as per 70’s standards and with some very suggestive scenes of copulation. More than that, it’s a film about women who stumbled, fell and attempted to gain their own salvation. The way the intertwining episodes are arranged, it looks like a retelling of “Oro, Plata, Mata” where the “gold” part belongs to a social climber celebrity while “silver” pertains to the elusive search of comfort from both the mother and son and “death” belongs to the crossroads the woman has to face when choosing between her two lovers who happen to be father and son. Of course, it wouldn’t be an Elwood Perez-Orlando Nadres-Joey Gosiengfiao movie without the lines “Ako’y isang dukha subalit mukha namang one million pesos!” and the “eksena” scenes with Mona Lisa holding a duck on her right shoulder as a fashion accessory or the poor boy petting a dirty-looking rat. Clincher: Mary Walter making sexual advances to Amalia Fuentes.

After the screening, a crew from ABS-CBN interviewed the ladies in the house (Marissa Delgado and Vangie Labalan were also present as well as Orestes Ojeda). Miss Fuentes remains sensible as ever with her opinion about the industry then and now. She mentioned that there is a very thin line nowadays for the actors/actresses appearing on TV or in movies. Food was served in the lobby and people found time to take pictures and just mingle. At one time, Miss Fuentes even screamed “Hindi na ako sanay sa ganitong atensyon!” which put a smile on everyone’s face. That was the most well attended SOFIA event I’ve been to so far (also the most surprising to have finally met the Nepaleses from LA) and I am looking forward to next month’s screening (Mario O’Hara’s “Bagong Hari”).

More pics here.

MMFF 2010: Makalipas ang Isang Buwan

Hindi ko namalayan na nakalipas na ang isang buwan at wala pa rin akong nasasabi tungkol sa nakaraang Metro Manila Film Festival. Hindi naman talaga kailangan na merong masabi, considering na nagbago na rin ang kalidad ng criteria sa pagpili ng mga kasali na nagbunsod upang mabago rin ang kalidad ng line-up at pagpili ng mga nanalo.

Kung meron mang kapansin-pansin na pagbabago, ito na siguro ‘yung pagkakaroon ng tatlong pelikula mula sa Star Cinema. Hindi ko makalimutan ‘yung gumawa pa sila dati ng ingay laban sa pagkakaroon ng tatlo o apat na entry mula kay Mother Lily. Pero ngayon, sabi nga, “If you can’t beat them, join them.” Binago rin ang hanay ng mga hurado dahil sabi nga ni MMDA Chairman Francis Tolentino sa MMFF commercial, magkakaroon ng isang guro, isang bus driver at iba pa. In short, mga hurado na maaaring wala talagang kinalaman sa pelikula. Mainam sana ang ganito kung ang pagpaparangal ng MMFF ay isang malaking Viewers’ Choice Award. Pero hindi nga ba?

Nag-introduce din para sa 2010 ng indie film category bilang, ayon muli sa MMDA, pagbibigay ng tribute sa kahusayan ng Pinoy sa ganitong larangan. Ang nakakalungkot lang, invitational ang screening at isang beses lang (6:30pm) sa iisang sinehan (Robinsons Galleria) para sa bawat isang pelikula. Pakiramdam ko, mas lalong bumaba ang tingin ng gobyerno sa indie film industry.

Oh well, sa ibaba ay, para sa akin, listahan ng nararapat na manalo. Hindi ko na tinangkang panoorin ang “Si Enteng at si Agimat” (dahil sigurado naman akong kikita ito) at naubusan naman ako ng sinehan para sa “Father Jejemon” ni Mang Dolphy.

BEST PICTURE: RPG: Metanoia

Hindi ko inaasahan na ang kauna-unahang Pinoy film sa 3D ang makakapag-deliver ng kuwento nang buo at maayos sa lahat ng mga entry. Natumbok ang argumento tungkol sa mga larong-batang kailangan at hindi kailangan ng pisikal na interaction (na marahil ay concern ng nakararaming mga magulang ngayon). Hindi nakakagulat nang makita ko ang pangalan ni Jade Castro sa kredito. Isa s’ya sa mga nagbigay buhay sa kredibilidad ng mundo ng network game at sa pagkabusilak ng mga batang kasali rito. Sa aspetong biswal, hindi rin nagpatalo ang pelikula. Lahat ng hinahanap ng isang batang Pilipino mula sa Pixar o Dreamworks ay nandito rin bagama’t hindi kasing rangya.

Special Mention: Shake, Rattle and Roll 12’s “Punerarya” episode. Bihirang bihira na tayong makanood ng mga dekalidad na episode sa franchise na ito ng Regal Films (na ang huli ko yatang nagustuhan ay ‘yung LRT episode ni Mike Tuviera). Simple lang din kung tutuusin ang tema subalit ang bawat technical aspect ay nagpiyesta sa detalye.

BEST DIRECTOR: Louie Suarez

Dalawa lang ang stand-out para sa akin, sina Louie Suarez (RPG: Metanoia) at Jerrold Tarog (Shake, Rattle and Roll 12’s “Punerarya”). Nanaig ang una dahil sa tingin ko, mas challenging sa Pinoy film culture ang makapagbigay ng isang buong animated feature na maaari ring ihanay sa labas ng bansa. Matino ang voice talents, siksik sa Pinoy values at magara ang mga biswal. Ang mapagsama ang mga aspetong ‘yan ay isang malaking achievement para sa isang filmmaker.

Special Mention: Maliban kay Jerrold Tarold, ang ambisyosong pagsasabuhay ni Albert Martinez ng isang bahagi ng nakalipas na kasaysayan sa mata ng isang nagkamaling babae at ina ay hindi dapat isantabi.

BEST PERFORMER: Carla Abellana at ang bumubuo ng “Punerarya”

Hindi ako fan ni Miss Carla Abellana pero nagalingan ako sa kanya rito bilang isang guro na nasadlak sa lihim na taguan ng mga aswang. Napatingkad n’ya ang kahinaan na hinihingi ng karakter, gan’un din ang pagsusumamong maitakas n’ya sa pagkakasadlak ang batang si Nash Aguas. Ang bumubuo ng clan sa pangunguna ni Sid Lucero at Odette Khan ay malaki rin ang naiambag.

Special Mention: Sid Lucero at Ricky Davao (para sa “Rosario”), at Ai-Ai delas Alas, Alwyn Uytingco at Eugene Domingo (para sa “Ang Tanging Ina Mo: Last Na ‘To”).

At hindi ko yata mapapalampas na hindi mabanggit ang mga ito:

BEST ACTING PIECE: Mr. Pringles-inspired na Bigote ni Philip Salvador (“Rosario”) at Pekpek Shorts ni Alwyn Uytingco (“Ang Tanging Ina Mo: Last Na ‘To”)

Lahat yata ay nakatingin sa bigote ni Ipe, kinakabahan na hinihintay itong mahulog. Hindi tuloy masyadong napansin ang special participation ng mahusay na beteranong aktor. Sa sobrang iksi naman ng mga shorts ni Alwyn, hindi rin maiikailang mag-debut ang kanyang tattoo na sinubukan namang takpan ng make-up upang lumuwa ang karakter n’yang bading. Sa pagitan ng bigote at shorts, ang isa ay nakakatuwa na nakakaawa at ang isa ay nakakatuwa na nakakatawa.

BEST CGI: Rosario

Bago matapos ang pelikula, sa panahong nag-uumpisa nang maging teenager ang anak ni Jennilyn Mercado, bumulaga ang half-naked na aktres na tila nakainom ng pampabata. Ang ganda-ganda n’ya r’un. Mas mukha pa s’yang bata r’yan kesa sa umpisa ng pelikula kung saan isa pa lang s’yang estudyante. Walang panama ang “The Curious Case of Benjamin Button”.

BEST CAMEO: MVP (“Rosario”)

Si Piolo Pascual (“Ang Tanging Ina Mo: Last Na ‘To”) lang naman ang kakumpetensya rito pero mas agaw-eksena si Manny Pangilinan. Nakuha pang isurpresa ng kamera. Sa umpisa ay hindi masyadong ipinapakita kung sino ang kausap na importanteng tao ni Mang Dolphy (na hindi ko maintindihan kung bakit ginawa ng direktor) pero kalaunan ay ini-highlight din. Parang ang gusto yatang sabihin ng pelikula, kahit na bigatin ang pangalan ni MVP, meron din itong hindi masyadong masaya na kwento ng nakaraan.

Special Mention: Joy Ortega bilang secretary ni MVP. Natatandaan n’yo pa ba s’ya? Iisa lang naman noon ang nagi-spoof kay Kris Aquino at ang balita ko, hindi masaya ang presidential daughter/sister sa panggagaya ni Miss Ortega. Maliban sa kanyang claim-to-fame na role sa “Bongbong at Kris” ng PETA, mas sumikat s’ya sa pagho-host ng Lunchdate sa GMA7 (na katapat noon ng “Eat Bulaga” sa ABS-CBN).

Ang Fight Club at ang Tutu ni Natalie Portman

Black Swan
Direksyon: Darren Aronofsky
Iskrip: Mark Heyman, Andres Heinz at John J. McLaughlin
Mga Nagsiganap: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey, Winona Ryder, atbp.

ISTORYA

Isang ballet dancer si Nina Sayers (Natalie Portman) na inaasam na matanso ang prestihiyosong pangunahing papel sa Swan Lake. Bahagi ng demand ng artistic director na si Thomas Leroy (Vincent Cassel) ay ang dilim at rahas na hinihiling ng Black Swan na kabaliktaran naman ng puro at immaculate na Swan Queen. Sa gitna ay mga balakid sa mga pangarap ni Nina: si Beth Macintyre (Winona Ryder) na dating musa ng direktor, si Lily (Mila Kunis) na kanyang kumpetisyon sa trono at ang kanyang overprotective na ina (Barbara Hershey).

KASING-DILIM NG ANINO

Kamukha ng ilang materyal ni Darren Aronofsky, tumalakay rin sa human condition ang pelikula, partikular sa sikolohikal na aspeto. Kung ang “Requiem for a Dream” ay kumatok sa pinto ng kawalan ng pag-asa ng mga karakter doon dulot ng drugs at ipinamalas naman ng “The Wrestler” ang pagdaan sa impiyerno ng isang tumatandang ama, masusi namang nahukay ang masalimuot at madilim na eskinita ng human mind sa “Black Swan”. Malinaw ang pagkakakuwento tungkol sa isang babaeng pinatiklop ng ambisyon dulot na rin ng kanyang environment (pamilya, peers at pangarap). Kung tutuusin, ito naman ang pangunahing layunin ng pelikula, ang akayin tayo sa isang pagtawid mula sa normal na pag-iisip papunta sa hindi normal. Dito pa lang, para sa akin ay nagtagumpay na ang obra. Bonus na lang na halos lahat ng eksena ay nababalutan ng salamin (sa rehearsal room, sa dressing room, mga gamit sa bahay at kuwarto) na tila masugid na paalala sa manonood ng pag-usisa sa ating sarili (na huli kong natunugan nang mapanood ko ang “Fight Club” ni David Fincher).

Nakita ko rin dito ang ilusyon ng “Requiem for a Dream”. Ang ilang magical na pangitain dulot ng droga ay pinalitan naman dito ng halusinasyon mula sa schizophrenia. Nariyang nagsalo sa isang frame ang dalawang Nina Sayers, sa isang sidewalk kung saan sila nagkasalubong at minsan naman ay mga eksena ng repleksyon sa salamin na may sariling buhay. Upang mabigyang-diin ang self-destruction, nagamit din ang ilusyon sa mga eksenang sinusugatan ni Nina ang kanyang katawan (ang kanyang likod na nagdurugo at ang sugat sa kuko na nagbunsod sa kanya, sa isang nakakapangilabot na eksena, na balatan ang sarili). Hindi rin tumahan dito ang ilusyon. Sa dulo, upang makarating sa kanyang katauhan bilang Black Swan, ipinakita ang literal na metamorphosis ng kanyang anyo: ang pagtubo ng kulay itim na balahibo, ang magarang pakpak at ang pamumula ng mga mata.

Hindi ko makakalimutan si Natalie Portman sa pelikulang ito. Kapani-paniwala ang kanyang pagsayaw bilang ballet dancer. Napaka-virginal din n’ya sa kanyang puting tutu, isang katangian na hinihiling ng kanyang karakter na stiff. “Loose yourself”, sabi nga ng kanyang mentor. At sa kanyang paglaya sa pagiging frigid, natumbok din ng aktres ang dilim na inaasahan mula sa kanya. Napagana n’ya nang sabay ang pagiging vulnerable at pagiging fierce.

KONKLUSYON

Kasing itim ng pamagat ang tema ng pelikula. Marahil ay ilang ulit na itong natalakay sa mga pelikula pero hindi maiikailang isa sa pinakaepektibo ang vision ni Darren Aronofsky rito. Hindi man kasing luho ng “Black Swan” ang ilang pagtapak natin sa dilim pero pinag-isip ako ng ilang pagkakataon na nagkaroon ako ng sariling itim na pakpak at lumipad nang taliwas sa tono. Siguro ay nasa kanya-kanyang pagtawid lang ‘yan ayon sa mga tao sa paligid natin o sa socio-economic na kalagayan ng bansa. May mga kakilala akong hindi nakarating at may ilan din namang mabulaklak ang pagkapanalo. Mapalad na ako, na matapos mapanood ang pelikula ay kaya kong balikan nang nakangiti ang aking pagkalampas.

Pagdating sa Dulo

Senior Year
Direksyon: Jerrold Tarog
Iskrip: Jerrold Tarog
Mga Nagsiganap: RJ Ledesma, Ina Feleo, Arnold Reyes, Dimples Romana, atbp.

ISTORYA

Rekoleksyon ng huling taon sa high school ang pelikula. Inumpisahan ito sa isang pagharap sa sarili ni Henry Dalmacio (RJ Ledesma) kung nararapat bang harapin pa o hindi na ang mga batchmates sa isang reunion na kanyang dadaluhan. Ikinuwento ng mga sumunod na eksena kung gaano kakulay ang buhay sa pagtatapos ng huling taon ng isang mag-aaral sa high school.

PAGBALIK AT PAGKABUO

Ito na siguro ang pinakamadaling maabot na full-length feature ni Jerrold Tarog pagdating sa tema at execution. Hindi ito kasing playful at mind-blowing kamukha ng “Confessional” at hindi naman kasing bigat ng “Mangatyanan” (na pareho kong nagustuhan at nakitaan ng mataas na uri ng craftmanship). Ang pinakamalapit na siguro pagdating sa ambiance ay hindi ang kanyang short film na “Faculty” (na prequel ng “Senior Year”) kundi ang mas nauna rito na “Carpool”. Kung tutuusin, puwedeng ihanay sa mainstream ang tema na gustong tahakin ng pelikula pero naniniwala akong walang mainstream director ang makakalikha ng ganitong klase ng obra. Sumakto rin sa subject ang musika at editing na sa tingin ko ay makakakuha ng atensyon mula sa younger generation.

Natural at walang palamuti ang pagkakalahad ng iba’t ibang kuwento ng mga high school students dito. Inilitanya ang magkakahalong sentimyento sa paraang madaling maamoy at makita ang mga karakter bilang buhay na bahagi ng society. Para kang nakatingin sa salamin. At anu-anong reflection nga ba ang ipinakita? Isang running for valedictorian na mas inuna ang utak kesa puso (na karaniwang issue ng mga thinking person). Isang sosyalera na nais makapasok sa La Salle at nabigo. Isang nagnanais makuha ang pagiging graceful ng sosyalera at isa namang naiinis sa sosyalera. Isang bading na nagnanasang matulungan ang gurong babae. Isang lesbian na nag-uumpisang bumukadkad. Isang batang oppressed sa pagtingin ng dalawang magulang at marami pang iba.

Hindi ko alam kung malaki ang naiambag ng pagkuha sa mga non-actor (na para sa akin ay isa sa pinakamahusay na ensemble sa pelikulang Pinoy para sa 2010). Nai-imagine ko habang nanonood ang ilan kong kapit-bahay na high school students na araw-araw sumasakay ng jeep o ‘yung mga naglalagay ng powder sa mukha sa kalamigan ng mga naglalakihang mall sa Metro Manila. Naalala ko rin ang mga classmates ko n’ung high school, ang bawat kakulitan at paglalambing nila, mga away-bata o maging ang amoy ng pawis matapos ang CAT class. Matapos kong mapanood ang pelikula, naisip ko na sana’y mas nakilala ko pa sila n’ung high school, mas nagkaroon pa sana ako ng pagkakataon na “makita” sila. Alam kong sa kabila ng mga bagong plantsang uniporme ay ilang gusut-gusot na buhay.

May isang linya sa pelikula ang hindi ko makalimutan at parati ko ring tinatanong sa aking sarili. Bakit nga ba gustung gusto nating balikan ang high school sa kabila ng kaibahan ng pagkatao natin noon? Halimbawa, kung paano tayo mag-isip. May ilang tala ang Time Magazine dati tungkol sa “Secrets of the Teen Brain” na tumalakay sa structure ng pag-iisip ng mga kabataan. Gusto lang i-summarize nito ang kasariwaan ng pagbuo ng desisyon (o sa ibang salita, immaturity) ng isang teenager. Iba pang usapan ang taste sa pananamit, mga pananaw sa buhay, mga angst at mga pangarap. Kapag sumasapit ang reunion, na kadalasan ay sampung taon ang kinakain bago maganap, hindi maiiwasang mapansin ang malaking pagkakaiba. Kini-claim natin na mas mature na tayo matapos maka-graduate sa college at mag-umpisang magtrabaho. Sa aking sariling experience, halimbawa, naninibago na rin ako sa ilang high school classmates. Oo, nand’un pa rin naman ang core na una mong napansin n’ung high school pero malaki na ang itinalon, pisikal man o sikolohikal. Minsan, napapaisip ako na, siguro kung bibigyan kami ng isa pang pagkakataon na magkasama-sama ulit sa isang matagal na panahon, baka hindi na kami magkaintindihan. Baka ang maging circle of friends ko na ay ibang grupo naman na hindi ko dati madalas nakakasama noon sa campus.

Sa dulo, ako rin naman ang makakasagot kung bakit masarap balik-balikan ang buhay-high school. Siguro dahil immature tayo noon, mas malaya tayong gawin ang mga bagay na maaaring magmarka sa ating pagkatao. Kumbaga, meron tayong excuse na magkamali, maging tama o magpakabaliw. Lahat ay justified dahil sa kabataan. May isang eksena sa “Senior Year” sa volleyball court kung saan pinatamaan ng bola ang sosyalera at naospital pa ito. Mga ganito ang excuse na gusto kong i-highlight. Mga excuse na valid pang gawin kapag bata pa pero hindi na nararapat kapag sumapit na sa adulthood. Ang maganda lang sa pelikula, hindi nito binigyan ng tuldok kung hanggang saan dapat mag-mature (o maging normal) ang isang tao. Kahit ang iilang eksena sa reunion ay hindi indikasyon na nakabalik nga nang buo ang mga karakter sa kani-kanilang sarili.

KONKLUSYON

Kakaunti ang mga pelikulang lokal man o foreign na tumalakay sa high school ang nagkaroon ng ganitong rekoleksyon at kontemplasyon sa akin. Hindi humimpil sa glitter ng kabataan ang pelikula. Hindi ito ipinagdiwang at mas lalong hindi ito itinama. Walang opresyon, socio-political relevance at kung anu-ano pang statement. Mas nagtanong ito kesa nagpaliwanag. Pagdating sa dulo, ang gusto lang tanungin ng pelikula ay ang konsepto ng pagbalik sa isang bahagi ng buhay na hindi pa buo at sadyang marupok pa. Sapat na ba itong conviction sa kung ano ang meron tayo ngayon? O ang buhay, kamukha ng isang klase sa high school, ay isang constant learning?

Kiliti ng Isang High School Student

4C
Produksyon: Philippine Stagers Foundation (PSF)
Direksyon: Vincent M. Tañada
Mandudula: Jomar Bautista (Fan), Vincent Tañada (Romeo Loves Juliet), Alex Dorola (Judas’ Lair) at Patrick Libao (Felipa)
Mga Nagsiganap: Kierwin Larena, Glory Ann Nacional, Jordan Ladra, Vincent Tañada, atbp.

ISTORYA

Isang koleksyon ng apat na one-act play ang pagtatanghal. Upang magkaroon ng isang nagbibigkis na tema, lahat ay tumalakay sa pag-ibig. Ang “Fan” ay tungkol sa isang batang bakla na humahanga nang head-over-heels sa kanyang paboritong pop icon. Sinilip naman ng “Romeo Loves Juliet” ang mundo ng eyeball at cyber romance. Pag-ibig sa bayan ang gustong sundutin ng “Judas’ Lair” samantalang inter-racial affair naman ang tinahak ng “Felipa”. Ang bawat act ay sinabawan ng ilang dance number at monologo tungkol sa ilang pananaw sa pag-ibig.

HALO-HALONG PALABAS

Hinabol ko ang napakaagang (8am) staging sa Cinema 9 ng SM City – North EDSA. Hindi pa talaga bukas ang mall ng ganitong oras at hindi gan’un kadali ang ma-interogate ng babaeng guwardyang nakapinid sa side entrance. Bakit daw wala pa akong ticket. Dapat daw ay kinontak ko na ang eskwelahan. Dito pa lang ay alam ko na ang target audience ng produksyon. Huli kong naramdaman ang ganitong agam-agam noong manood ako ng “Noli Me Tangere” ng Gantimpala Foundation dati nang mapagkalaman ako na isang titser sa high school. Inaasahan ko na na ang mga ganitong pagtatanghal ay tumatarget lamang sa mga estudyante at pinatunayan naman ito sa dami ng mga nanood mula sa Bestlink Colleges.

Sa loob ng teatro, naabutan kong naglelektyur ang isa sa mga staff ng PSF tungkol sa inaasahang respeto at disiplina mula sa mga manonood. Ganito rin ang umpisa n’ung mapanood ko ang kanilang “Enzo Santo”. At muli, nalungkot ako na kinakailangang gawin ang mga ganitong paalala sa art appreciation para sa mga mag-aaral, mga paalalang una kong inaasahang naituro na dapat ng mga magulang at mga guro.

Nagdilim ang teatro sa takdang oras ng pagtatanghal. Bumulaga ang mga performer suot ang isang post-apocalyptic get-up at umindayog sa isang trance music (dispensa pero ang una kong naisip ay ang mga contestant sa “Showtime”). Pagkatapos nito ay ipinakilala ang “leading man” ng PSF na si Kierwin Larena at nagbigay ng kanyang pananaw tungkol sa pag-ibig bago ipakilala ang unang dula (ganito ang itinakbo ng buong pagtatanghal: isang sayaw muna, monologo at one-act play na).

Hindi ko masyadong maintindihan ang gustong landasin ng “Fan”. Tungkol ba ito sa sekswalidad ng mga bata? Tungkol ba ito sa nag-uumapaw na pop culture? O tungkol sa isang busilak na pagkakaibigan ng dalawang bata? Sa aking pagkakaintindi, ang redeeming value na gustong sabihin ay, higit sa lahat, sa sekswalidad man o pagiging avid fan, mas nananaig ang pagkakaibigan. Siguro ay masyadong limitado ang iksi ng one-act play upang matalakay lahat ang mga nasabing tema.

Ang “Romeo Loves Juliet” naman ay gagana sana kung ginawa itong purong monologo mula sa pananaw ni Juliet na isang call center agent na hindi masyadong mapalad sa larangan ng pag-ibig. Muling pinaigting ang kanyang destiny ng isang pagkasawi na hindi masyadong nabigyan ng sapat na timbang at paliwanag. Sana’y mas pinalawig pa kung ano talaga ang kulay ng anino ni Romeo at hindi hinayaang nagtatanong ang mga tao kung ano ang kanyang mga pinaghuhugutan.

Isang retelling naman ng conflict sa pagitan ng magkaibang pananaw na political ng dalawang magkapatid ang binagtas ng “Judas’ Lair”. Ang una kong naisip ay ang Palanca-winning piece na “Sa Ngalan ng Ama” na sinulat ni Roberto Jose de Guzman. Gan’un din ang atake: politics, paternal, confrontation at trahedya. Promising sana ang pagkakasulat pero mukhang kailangang gupitin na ang mga punchline tungkol sa Lady Gaga song at Belo Medical Group. Hindi ito masyadong nagpakita ng focus at mas lalong hindi ito nakatulong sa tono ng dula. Malabo rin sa akin ang pag-devise ng confrontation scene sa harap ng burol at ng maraming tao.

Stand-out naman para sa akin ang huling dula tungkol sa eksorsismo ni “Felipa” na naganap sa turn of the century noong panahon ng mga Kastila. Ang staged na pagsapi ng demonyo ay isang magandang metaphor sa bawal na pag-iibigan ng isang Pinay at isang dayuhan. Bagama’t nadapa pa rin ito sa ilang gimik upang maabot ang target audience nito, nand’un pa rin ang kinang at ito ang mas mahalaga. Kung meron man akong hindi matanggap, ito na siguro ‘yung British accent ng aktor na si Jordan Ladra na gumanap bilang Kastila.

Malinaw naman para sa akin ang layunin ng PSF sa pagsasadula nitong 4C. Nais nilang magkaroon ng platform ang mga manunulat upang mai-showcase ang mga akda na maaaring hindi mag-qualify sa panlasa ng mga bumubuo ng Virgin Labfest sa CCP. Nais din nilang mabigyan ng pagkakataon ang mga high school students na magtanghal at mapaligaya sa pinakamabisang paraan upang makaiwas ang mga ito sa droga at kung ano pa mang bisyo (at ito para sa akin ang pinakaimportante). Hindi rin naman maiikailang isang ensayo ito para sa mga resident actor, stage manager, choreographer at costume designer ng PSF upang mapagbuti pa ang kanilang ginagawa. Sa katunayan, nandito pa rin naman sa 4C ang pangako ng mga nauna nilang produksyon. Maliksi pa rin ang choreography at maigting pa rin ang talent na pinamalas dito. Halimbawa, ang atake ni Kierwin Larena sa isang aktibista na namalagi sa US ay napakamental, kontrolado at tila isang malalim at tahimik na ilog. Mahusay rin si Glory Ann Nacional subalit kakarampot at stereotypical ang role na naibigay sa kanya. Ang gumanap na Romeo at Juliet ay nakasabay sa challenge ng emotional shift at blocking na nakakapagod. Pinag-aksayahan din naman ng panahon ang mga set at halata namang nage-enjoy ang audience nito at maging ang mga performer.

KONKLUSYON

Ang una kong impresyon ay maraming excess at palamuti ang 4C na kailangang isantabi. Nariyan ang paggamit ng mga good looking performers (na minsan ay kailangan pang gumiling at magpakilig). Nariyan ang nag-uumapaw na punchline mula sa script at maging sa direksyon. Nariyan ang theatrics na brutal na pinakita sa “Felipa” sa paggamit ng mga nahuhulog na picture frame at gumagalaw na mga upuan. At iba pa na ang tanging nais maabot ay ang kiliti ng target audience nito. Kung tutuusin, hindi gan’un kadali ang kanilang ginagawa dahil mahirap sabayan ang psyche at humor ng pangkaraniwang high school student ngayon. Ang mas mainam dito, seryoso silang makarating sa kabataan ang ligaya ng performing arts. Sa katunayan, magkakaroon sila ng libreng acting workshop sa mga nagnanais linangin ang kanilang talento sa pagganap. Siguro ay magmumukha rin namang pretentious kung sa isang iglap ay magtatanghal sila ng isang Shakespearean play sa kabuuhan ng teksto, konteksto at panahon nito. Pero hindi sana ito maging isang limitasyon pagdating ng panahon.

Este, Punta del Este

Most of the people who have gone through Uruguay claim that there are only three major tourist spots in the country that are worth visiting (and I hope to contest that someday): Montevideo, Colonia and Punta del Este.

I understand Montevideo for being on the list as it is the capital city where the presidential, senate and congress houses are seated. It also brags of its own huge ciudad vieja where some historic buildings are found plus the beautiful sunset in the rambla and a nice gastronomic haven in Mercado del Puerto. Colonia, on the other hand, has a small well maintained ciudad vieja with a lighthouse strategically erected to overlook Rio de la Plata (where a tiny Buenos Aires can be seen on a clear day). The oldest church in the country is also there and sunset is best enjoyed in the yacht port. As for Punta del Este, below is my share:

TAS D’VIAJE HOSTEL

Just like any other out-of-town trips from Montevideo, we took a COT bus from Tres Cruces Shopping/Bus Station (as its slogan suggests, is “where the country meets”). There are other options, of course, but I remember the guys in The Amazing Race – Season 5 taking the same bus company. The direct bus, one-way, costs us UYU 158 (or PHP 340) and we bought it two days prior to the trip. If I remember it correctly, there are two more COT busses going to Punta del Este for the 9:15am trip.



Weekend trip pictures here and the rest of the pictures of the hostel here.

Based on the atmosphere in Punta del Este, it seems like a hotel reservation is needed at least three days prior to the trip. It’s not peak season yet when we went there last November 27 – 28 weekend but I imagine the summer days in February to be so jam-packed with visitors. Out of the three options we had, we picked Tas D’Viaje Hostel probably because of location and availability of rooms with 10 – 12 dorm-like beds.

It’s strategically located roughly four blocks away from the central bus station in Punta del Este. From the same bus station, La Mano can be seen already. So we took a really quick stop there and walked to the hostel which is just along 24 St. (one of the main streets).

The hostel is, first and foremost, doesn’t remind us of the movie “Hostel”. Beside it is actually a sex shop, a notion that the hostel is probably a fun place. There’s a small gate on the right with a visible sign “RING” that points to a doorbell. Don’t try banging the gate as the guard dog Sargento might confront you. The lobby seems like a nest for surfers or backpackers or both. There’s a cozy couch, a big LCD TV and some magazines. The porteros are very friendly, to a point that you’ll mistake them for stranded backpackers. Kitchen is just beside the lobby where you can use the cooking ware and utensils if you wish to cook (breakfast is free, by the way). A few meters from the hostel is a supermarket (with a bakeshop inside it) that opens as early 9am and closes at midnight.

Going to the rooms will have you glance and adore the artwork almost everywhere. The walls are brightly painted and very warm to the eyes. We were only 10 but the room we got is good for 12. The 11th bunk bed belongs to an Aussie guy who stood our snoring at night and the occasional noise. Just like in other hostels, the toilet is common to all visitors. For the guys, it has two small rooms for toilet bowls and four shower rooms separated by a plastic glass divider and covered by shower curtains. True to its artsy feel, the toilet itself is charming. They have towels for rent at UYU 60 (PHP 129) each. Locker is for free so long as you bring your own small locks.

Rate is at UYU 358 (PHP 771) per person/day. I’ve only tried three hostels (one in Edinburgh and two in London) in my whole travel life and this one is definitely the best.

PLAYA DE LOS INGLESES



More snapshots of the beach here.

At past 12 noon, after settling in, we found ourselves strolling along the streets of Punta del Este hunting for food. We reached the Western side of the area facing Rio de la Plata and started browsing through a couple of restaurants there. We ended up in a make-your-own chiviteria which wasn’t so bad.

From there, we had a few blocks’ worth of walking, heading back to the Eastern side which is facing the Atlantic Ocean (so it’s river on the left and ocean on the right). It all began with a barefoot walk along the beach sand but we ended up setting up our mats and having a swim. Not all 10 of us swam (including me). It must be the temperature. It’s very cold. The rest braved it along with the giant waves that were enjoyed, too, by the surfers young and old.

The beach front we were at is called Playa de los Ingleses. It’s a stretch of fine but not so white sand. A Quicksilver event for surfers was being held that time but we were far from where the real action was (the announcements were in Spanish, anyway). Family and friends also gathered there enjoying the warm weather, having a stroll, a sunbath, a football game or just plain bumming around.

LA MANO


The rest of La Mano pictures here.

In the late afternoon, while the guys were probably playing some card games, I sneaked out and took a solo stroll near La Mano area. It was probably close to 6pm and the place was not occasionally busy. I managed to capture some pictures of it without anyone covering the view.

La Mano, by the way, is a sculpture by Mario Irrarazabal using mamposteria. It’s a giant structure of five fingers that represent a hand with the palm up, the last image that you can see from a drowning person. You have to be a bit far from the artwork to get the picture (otherwise, it looks like a polished Stonehenge piece up close). It’s put up in an elevated part of the sand in the playa and people in cars stop by from time to time just to take pictures. Just don’t ask me why the hell it is there and let’s just take it as a safety precaution.

CASAPUEBLO

The next day, we went to the highlight of the weekend trip (well, at least for me). The hotel/museum is used as the first pit stop in The Amazing Race – Season 5 (same season where the racers visited the Philippines). We went there by public transportation, particularly by COT bus. It’s the same bus that leaves for Montevideo and departure schedule is at every hour (return fares at UYU 68 or PHP 147). Taxis offer a back-and-forth transfer for UYU 1,000 (can accommodate four so it’s UYU 250 or PHP 538 each) and the taxi driver that I talked with mentioned that he’s willing to wait for 30 minutes (otherwise, we can just contact him for pick-up).

From the stop where the bus dropped us (the trip took roughly 15 to 20 minutes), we had to walk for two kilometers. There’s a good view of the city and other beach fronts along the way so the walk wasn’t boring at all. On our part for example, we stopped every ten minutes just to take pictures. I didn’t time the whole walking part but it probably took us 20 minutes to reach our destination.




More of Casapueblo pictures here.

Casapueblo is Carlos Páez Vilaró’s living sculpture that resembles those iconic white houses in Santorini, Greece with some hint of Gaudi’s signature domes. It’s primarily a hotel (an expensive one, I suppose) but it also has a museum with coffee shop. They charge UYU 120 (PHP 258) for the entrance but I think taking pictures from the outside should be fine. It is built in the remote Punta Ballena and romantically located on a hill facing the Atlantic Ocean. Beneath the grandeur of the place is a story about Vilaró’s son who is one of the survivors of the Uruguayan Air Force Flight 571 that crashed in the Andes (the basis of Frank Marshall’s “Alive” in 1993).

The museum is not really a big one but it houses Vilaró’s extensive collection of paintings and sculptures. In the topmost floor is a specially designed (probably by Vilaró himself) audio-visual room where a short film about the man’s inspirations and life is played. The coffee shop leads to a veranda facing the Atlantic where sunset is best experienced.

More of Vilaró here.

We capped the weekend with a short trip to La Mano and a quick dinner at La Pasiva. The bus going back to Montevideo left at 8:15pm. It was also sunset time. I was probably smiling when I slept during our trip back to reality.

P.S. If we look tired on the pictures, blame the Friday night party that we attended to. Evidences here.