CINEMALAYA 2013 (IN) REVIEW
With the 2013 Cinemalaya Philippine Independent Film
Festival (or Cinemalaya 9) now part of history, I have compiled and compressed
the capsule reviews I did of all the competing films in the New Breed and
Directors Showcase categories. They are
written in the order that I saw the films.
NEW BREED
PUROK 7 (directed by Carlo Obispo)
The film is a winsome coming-of-of age romance peopled with
real characters that surprisingly still manages to address the present
phenomenon of children of OFWs faced with a life without parental company or
support. Much of the credit for this delightful film must be given to the three
young leads - Krystel Valentino, Miggs
Cuaderno and Julian Trono – whose fetching portrayals repeatedly drew shrieks,
laughter and even the occasional sighs from the audience. They are ably
supported by an ensemble drawn largely from the theatre – Angeli Bayani,
Arnold Reyes, Sheenly Vee Gener, Carlon Matobato, Ruth Alferez, Olive Nieto,
Karen Haniel, and Max Celada among them (Krystle herself is a theatre major
from the Philippine High School for the Arts – she is in my book as a strong
contender for Best Actress). It also
helps that the other elements seem to all fall into place, particularly the
cinematography (by Marvin Reyes) and sound/music (by Pepe Manikan). Even the product placement is not
intrusive. Obispo should be making more
films, and soon.
QUICK CHANGE (Eduardo Roy, Jr.)
QUICK CHANGE is not a film for queasy audiences who balk at
seeing naked bodies onscreen. Thanks to a well-researched script that is
truthfully translated on screen, Roy succeeds in creating a film so seemingly
true-to-life that the appearance of relatively familiar faces (Ronnie Martinez
and Roli Inocencio) on-screen already become jarring; so believable are the
characters that they don’t seem to be acting.
Even Miggs Cuaderno made me forget he was the same actor playing the
innocent tyke in PUROK 7. But what
really carries the film through is Mimi Juareza as Dorina who effectively
brings out empathy even (or more so) in the scenes where there is no
dialogue. It is a performance difficult
to forget as he/she bares it all. (In
what category should her performance be:
Best Actor or Best Actress?).
Plus points for the verite cinematography of Dan Villegas, the haunting
music of Teresa Barrozo, and the tight editing of Fiona Borres.
TRANSIT (Hannah Espia)
I found Transit to be a very polished,
well-acted film. The cinematography, editing and music are
very good. Reminded me of A Separation. Can't/Won't say much more. A
must- see for everyone.
DEBOSYON (Alvin Yapan)
Debosyon works as a film on many levels. On the surface, it
is about a man trying to come to terms with the true nature of his new-found
muse; on another level, it is an introspection about faith. There is much to
like about it, even as its rather surprising, abrupt ending leaves room for
more reflection and analysis. Paulo Avelino and Mara Lopez more than capably
handle their roles and their screen chemistry works. The staging and coverage of the procession
and fluvial parade are particularly commendable. It is a must-see, delivering exactly what it
promises and more.
REKORDER (Mikhail Red)
The film’s technical elements are expectedly top-notch,
especially the cinematography by Arvin Viola and music and sound by Pepe
Manikan. I had thought that the film was
over with the death of Maven (Ronnie Quizon).
Red had a different ending in mind, one which gives the evildoers their
comeuppance but which is, arguably, not always the way it is in the
Philippines. I was also surprised at how
Maven was able to upload his analog footage online, apparently without help. But quibbling about the details aside,
REKORDER has the look and feel not of a film by a twenty-one year old but of
one who has a decided control of the medium.
NUWEBE (Ismael Laban
Jr.)
The film is based on a true-to-life story of a nine-year old
girl that got pregnant. It is good that
Nadine Samonte and Jake Cuenca have lent their talents on a Cinemalaya indie.
DAVID F. (Emmanuel Quindo Palo)
The title refers to David Fagen, an African-American soldier
during the Philippine-American war who defected to the ranks of the Filipinos
under Gen. Emilio Aguinaldo. Rather than
merely being a period historical drama, the film is framed by the search of an
Amerasian comedy bar performer named Dave for his American father. Told as three vignettes set in different
periods (1899-1902, 1944, 2013), the film provides a voice for Filipino
African-Amerasians as they search for their identity, first in a new country,
next in an environment when having a dark complexion sets one apart, and lastly
when color is still a fodder for jokes. While this seems unwieldy, Palo is able
to let the film’s dramatic voice rise above the fray, served as he is by a
coherent script (which he co-wrote with Liza Magtoto), picture-perfect
photography by Rain Yamzon (especially the Amorsolo-inspired framing for the
1944 scenes) complementing the appropriate production design by Joel Bilbao,
prudent editing by Chrisel Desuasido, apt music by Dean Rosen, and a fine
ensemble led by Dax Martin and including Mitch Valdez, Eula Valdes, Art Acuna,
Sid Lucero, Quester Hannah, Mariella Castillo, Shamaine Buencamino, Rocky
Salumbides, Janvier Daily and Will Devaughn.
On the whole, the film is a worthy follow-up to Palo’s 2012 Cinemalay
film STA. NINA. Answers are not readily provided by DAVID F, but it poses
questions that can make one ponder long after viewing the film.
THE DIPLOMAT HOTEL (Christopher Ad Castillo)
The film was touted as a horror movie, and it delivers in
the shrieks and thrills department.
Greatly helped by the cinematography of Dexter de la Pena and editing by
Carlo Francisco Manatad and Crio Sanchez, the film leads one to expect anything
to happen at every cranny of the hotel.
Gretchen Barretto is luminous as the reporter Veronica Lansang, Art
Acuna almost disappears into his role as the cameraman Danny, and Mon Confiado
sheds off 40 pounds from his normal weight to play the troubled Gani.
BABAGWA (Jason Paul Laxamana)
There is much to like in this film, beginning with its plot
conceit that irreversibly leads into only one probable conclusion. What Laxamana has done is to structure and
pace the film in a manner that makes it feel like a suspense thriller, almost
akin to Brian de Palma’s BODY DOUBLE and FEMME FATALE where everything is not
always as it seems. Alex Vincent Medina plays the film’s protagonist, and he
does admirably in a role that requires him to be both anti-hero and victim.
INSTANT MOMMY (Leo Abaya)
The film’s lead character played by Eugene Domingo is a
wardrobe assistant for TV commercials. The film begins with a sequence purportedly
taken behind-the-scenes of a shoot for a shampoo commercial that sets out the
plot premise of things not being what they seem. Domingo, as Betchay, finds
herself having to pretend she is pregnant, setting the stage for a series of
misadventures that she later finds herself having difficulty in getting out
off. Domingo is in good company, beginning
with Yuki Matsuzaki as Betchay’s beau, Karuo; Luis Alandy as her avid admirer,
Rico J. Puno as the father, Jojit Lorenzo as an indie filmmaker, Nicco Manalo
as her brother, Mitoy Sta. Ana as her boss, Dudz Terana as the make-up artist/hairdresser,
and even the real-life
mother-and-daughter Shamaine and Delphine Buencamino.
DIRECTORS’ SHOWCASE
AMOR Y MUERTE (Ces Evangelista)
is a period piece set
in 16th century just when the Spaniards were just beginning the
conquest of the Philippine islands. Althea Vega leads a small cast and since
the film is billed as an erotic period drama , there are plenty enough scenes
for those who expect it to be so.
EKSTRA (Jeffrey Jeturian)
The film is touted as Vilma Santos’s tribute to the lowly
talents that populate most every film and television series. Using real time
mode, Jeturian makes the audience follow Loida, a long-time crowd player,
through one complete day of taping for a TV soap opera. We join from her waking
hour til she completes her thirty-hour day as the production tries to complete
the 45 sequences it is scheduled to finish, ten of which are for airing the
same day and eight for the following evening.
In the process, we witness the travails of Loida and other extras as
they try to make the most out of the opportunities given to them. But more than being about extras, the film is
also an indictment of the present system of television production in the
country, where compromises are made left and right as a result of limited
budgets, inadequate planning, and personal failures. There is nary a false note
in the film, and those privy to industry practices may find people they know or
even themselves in it. Vilma Santos is believable as Loida, down to the
character’s limited acting abilities. She is ably supported by a cast that
includes such actors as Cherry Pie Picache, Richard Yap, Piolo Pascual, Marian
Rivera, Cherie Gil, Eula Valdes and Pilar Pilapil all playing themselves
(except for Pilapil who is named Amanda in the film). Then there are Marlon
Rivera as the TV Director, Vincent de Jesus as the Assistant Director, Sunshine
Teodoro as the Executive Producer, Ruby Ruiz as the Talent Coordinator, and
Tart Carlo as Loida’s fellow talent, all of whom turn in memorable characterizations. The script (by Jeturian with Zig Dulay and
Antoinette Jadaone), cinematography (Lee Briones), Production Design (Ericson
Navarro) and music (by De Jesus himself) are spot-on and help make the film a
wonderful viewing experience.
PORNO (Adolf Borinaga Alix Jr. )
I went into PORNO knowing fully well that it is by Adolf
Alix, one of the most prolific directors in the country today. I came out of
the theatre liking the film, but not really knowing why. As I told Adolf after the screening, I will
need some time to digest the film. As it
was, the film occupied my mind throughout the rest of the day. (SPOILER ALERT!) At first glance, PORNO seems
to consist of three different stories tied together by a pornographic scene
surreptitiously filmed and then dubbed which later finds its way into the hands
of another character. The pornographic scene, therefore, is seen in different
lights (literally and figuratively): first, as an incident involving the
characters played by Yul Servo and Rosanna Roces; second, as a scene being
dubbed by the characters of Carlo Aquino and Peggy Rico; and finally, as a DVD
being viewed by that of Angel Aquino.
The metamorphosis of the sex act is echoed in the metamorphosis of Alex.
SANA DATI(Jerrold Tarog)
The film is billed as the third part of Tarog’s Camera
Trilogy, consisting of three films anchored
on the theme of truth and lies, each one having a character with a camera. While the earlier films CONFESSIONAL and
MANGATYANAN frame the theme from socio-political and cultural persectives,
respectively, SANA DATI explores it from a personal viewpoint. As in the other films of the trilogy,
characters are flawed with no one being projected clearly as protagonist or
antagonist. The film is reminiscent of Laurice Guillen’s maiden film KASAL, but
Tarog succeeds in generating empathy for his complex characters through a
masterful synthesis and control of the script (by Tarog’s alter ego Raul Ukit),
spot-on production design by Ericson Navarro, appropriately enough picture
–perfect photography by Mackie Galvez, precise editing by Pats. R. Ranyo, music
by Tarog himself, and the able ensemble of actors. Lovi Poe proves that her previous acting
awards (including 2010 Best Actress for MAYOHAN) were no fluke as she breathes
life into the complicated bride-to-be Andrea.
The men do ably enough – Paulo Avelino as the mysterious Dennis, TJ
Trinidad in the difficult role of Robert, Andrea’s beau, and Benjamin Alves
more than acquits himself admirably as Andrew.
Even the supporting cast are superb:
Nico Antonio in a scene stealing role as the wedding coordinator that
bears little resemblance to the crime suspect in POSAS (or to the ill-fated
soundman in DIPLOMAT HOTEL), Carla Martinez as Andrea’s Mother, Lisesl Batucan
as the doting aunt, Cai Cortez and Bong Cabrera as another wedding couple, Chinggoy
Alonso as Robert’s father, and Nica Garcia as Andrea’s sister. Borrowing a line from the film, SANA DATI is an incident of singularity. Final word:
you may want to bring an extra hankie or a box of facial tissues when
you watch it.
LIARS (Gil M. Portes)
The film is inspired by the true story of a Little League
baseball team from the Philippines that went all the way to capture the world
championship only to be unmasked as having ineligible players in its
roster. In the hands of Portes, this
incident becomes fictionalized and translated onto the screen to become a
rumination on truth, honesty, and owning up to the consequences of one’s
actions.
Comments