ARTEPINAS FILM

VISIONS OF PHILIPPINE CINEMA

2011-10-01T00:00:00.000-07:00

FDCP SINENG PAMBANSA LAUNCHES NATIONAL FILM COMPETITION

2011-09-27T00:00:00.000-07:00

Do you have a story in your mind that can be made into a compelling film?

If you want to join the growing ranks of the country’s young and dynamic filmmakers, many of whom have won national and international awards, now is your chance.

The Film Development Council of the Philippines (FDCP) has launched the first National Film Competition which will reward the best screenplays submitted by aspiring directors and scriptwriters across the country with substantial seed money to translate their stories into quality films for local and even foreign exhibition.

The FDCP’s mandate is to promote the growth and development of the Philippine movie industry, spread awareness and appreciation for Philippine culture and history through film, and revitalize the Philippine movie industry by creating new opportunities for aspiring filmmakers as well as generating a bigger audience for Philippine cinema by bringing Filipino films to Filipino communities everywhere.

The nationwide scriptwriting and film competition seeks to highlight our outstanding film culture, while unifying the many diverse visions, views and voices of Filipino filmmakers across the country. The announcement of winners and awarding of prizes will be held either in Davao City or Cebu City in May 2012.

HIGHLIGHTS OF COMPETITION GUIDELINES:

• Open to Filipinos who have not written or co-written, directed or co-directed more than three films, documentaries or animated features.

• Three Categories:
o Feature Film Competition
o Full-Length Documentary
o Animated Short Film Competition

• Three Divisions in the Feature Film Competition and Full-Length Documentary Competition
o Luzon Division
o Visayas Division
o Mindanao Division

• National competition for animation
• Geographically oriented using language/dialect indigenous to setting
• Deadline for submission of screenplay is midnight of November 15, 2011
• Finalists announced December 20, 2011
• Filming starts January 2012 and final submission of films on April 30, 2012
• Festival in May 2012 at Davao City.
• Detailed guidelines at www.fdcp.ph
• Forms can be downloaded from www.fdcp.ph or are available at FDCP Makati Office

For the complete set of rules and guidelines of the National Film Competition and application forms, please visit our website: www.fdcp.ph, or email us at: natcom@fdcp.ph (FDCP Media Desk)

THE SINULOG 201 SHORT FILM FESTIVAL

2010-12-13T00:00:00.000-08:00

Sinulog Foundation,Inc.
in cooperation with:
Cebu City Government
&
Cebu’s Film Society

Presents

The Sinulog 2011 Short Film Festival

The 7th Annual Sinulog Video Documentary and Short Film Competition is on! As we celebrate another season of fervent praises to the Sr. Sto. Niño! Whether documenting the Annual Sinulog Celebration or presenting a story of the power of the Holy Child Jesus, thru film or video, you can tell us your point of view! Share your created story or an actual personal experience of the miraculous power of the Señor Sto. Niño and how it has affected and changed your life! You, too, can be an instrument in changing this nation and the world! Touch other people’s lives! Just do it now! Join us as we once again shout out loud the theme that makes the big difference:

3 of 3 File(s)
2011SinulogSFFestGuidelines
2011SSFFRegistration
2011SFF.Criteria.doc

RINDIDO

2010-12-06T00:00:00.000-08:00

OMBRE

2010-12-05T00:00:00.000-08:00

Phylum Productions presents
an intriguing bromantic love story...

“OMBRE "

OMBRE tells the story of Jake, an aspiring actor who went to Baguio City for a reality star search audition. There, he meets Dennis, a photographer from Manila. Both stay in a transient house owned by Dennis’ gay best friend, Brix.

Jake is a dreamer.

Dennis is a searcher who just got out of rehab.

They became friends and secret lovers. While both of them have special someone waiting back in Manila, it becomes clear that there’s a bond between them that they’ve never felt with other people, and this feeling begins to grow into something deeper.

Is this LOVE?

OMBRE is written and directed by Jonison Fontanos and stars Zac Ferrero, Darwin Taylo, Jobben Bello, Lando Perez, G.A Villafuerte, Tin Gonzalez, Kimjee Abad with Ms. Jef Gaitan (Survivor Philippines Palau finalist).

Dreams, destiny and love, in forms not known to many, come together in this full-length independent film, pre-slated to be shown early next year, 2011.

ANIMAHENASYON 2010 WINNERS

2010-12-04T00:00:00.000-08:00

Animahenasyon 2010 Winners

Grand Prize Winner: When Alma Died by Richmond Wesley Tan

Professional Division:
Best Animation - Category A (1-5 minutes) – SMOG by Jerome Alcordo
Best Animation - Category B (6-20 minutes) – MGA DAMGO (DREAMS) by Remton Siega Zuasola
Best Animation - Category C (21-40 minutes) – No entry
Best Animation - Category D (Full-length animated feature) – KAPITAN TORPE by Antonio Jose Cadiz
Best Animation - Category E (Music video) – No winner
Best Animation - Category F (TVC/OBB/demo reel) – PASINTABI OBB by Jeff Capili
Best Animation - Category G (TV series) – No entry

Student/Amateur Division:
Best Animation - Category H (1-5 minutes) – WHEN ALMA DIED by Richmond Wesley Tan
Best Animation - Category I (6-20 minutes) – THE MYSTERY OF THE 24TH by Julian Carmelo Santiago
Best Animation - Category J (21-40 minutes) – No entry
Best Animation - Category K (Music video) – UPUAN by Mavreen Anne Romero
Best Animation - Category L (TVC/OBB/demo reel) – CLOSE-UP TOOTHPASTE by Marcelo William Muñoz

Special Jury Prize
WASTELAND by Eleanor Ramos in cooperation with Sarimanok News Network, Inc.

Best Regional Entry
SULUNDON (Hero) by Jerome Alcordo and Ionone Bangcas of BouncingBall, Inc. from Cebu

Hero TV's Choice
MGA DAMGO (DREAMS) by Remton Siega Zuasola
Hero's Choice Award is given to the entry that exhibits the theme "Finding the Hero Within." Winner is given a special feature of the work and an interview of the producer.

Lifetime Achievement Awardee
ROQUE FEDERIZON LEE
for his significant contributions and outstanding original body of work that helped shaped the development of Philippine independent film animation, for promoting, instilling and integrating Filipino culture in his work, for continually demonstrating and setting aesthetic excellence in his craft, and for all his artistic endeavors and unwavering effort in keeping the creative industry alive in the country.

The Secretariat
Animation Council of the Philippines, Inc.
9th Floor, The Palisades Condominium
107 Perea Street, Legaspi Village, Makati City
+632-8172727 loc. 108
+632-4839501

CINEPAMBATA FILM FESTIVAL 2010

2010-11-11T00:00:00.000-08:00

CINEMANILA 2010 FINAL CALL FOR ENTRIES

2010-10-25T00:00:00.000-07:00

CINEMANILA 2010 FINAL CALL FOR ENTRIES
DEADLINE: Friday, November 5, 2010

The 12th Cinemanila has extended the deadline for the final submission of entries for the Digital Lokal, Young Cinema, and International Competition until November 5, 2010.

The 12th Cinemanila International Film festival will take place from December 1 to 5, 2010 in Quezon City, Philippines.

Now on it 12th year, the CIFF has presented award-winning indie films, both local and international, and has discovered new local talents like Brillante Mendoza, Lav Diaz, Raya Martin, John Torres, and Remton Siega Zuasola, among others. Film luminaries like Quentin Tarantino, Lou Diamond Phillips, Fernando Meirelles, Paul Schrader, Christine Hakim, Jafar Panahi, Pusan International Film Festival director Kim Dong Ho, and Aruna Vasudev of NETPAC have received Lifetime Achievement Awards in the longest-running and only international film festival of its kind in the Philippines.

Entry forms can be downloaded: www.cinemanila.org.ph. For further inquires, please email cinemanila@gmail.com or call 392 7935.

CHICAGO FILIPINO AMERICAN FILM FESTIVAL 2010 CALL FOR SUBMISSIONS

2010-10-23T00:00:00.000-07:00

The Chicago Filipino American Film Festival is now accepting entries for its 2010 Program.
The Chicago Filipino American Film Festival features feature films and short works in the following categories:

-Feature-length Narrative
-Documentary (Feature Length)
-Short (Narrative or Experimental)
-Documentary (Short)
-Music Video

The Chicago Filipino American Film Festival invites all films made by, for, or about people of Filipino descent. Qualifying films will include, but not be limited to:

-Works featuring the talents of directors, performers, writers, and other filmmakers of Filipino descent from the United States, the Philippines, and throughout the world.

-Stories, characters, and themes about Filipinos, Filipino Americans, and others of Filipino descent.

-Issues and topics relevant to audiences of Filipino descent.

For entry form and shipping information, please visit www.cfaff.org or download our entry form here.

THE 8TH WORLD FILM FESTIVAL OF BANGKOK

2010-10-21T00:00:00.000-07:00

The 8th World Film Festival of Bangkok
5 - 14 November, 2010
Paragon Cineplex and Major Cineplex Sukhumvit (Ekamai)
"Emotions Unleashed"

The 8th World Film Festival of Bangkok introduces around 150 movies from around the world. French post-New-Wave director Jacques Doillon and Turkish director Nuri Bilge Ceylan will attend the festival. The Thai indie film "Eternity" ("Tee Rak") will be the opener.

Kriengsak "Victor" Silakong, director of the World Film Festival of Bangkok (WFFBKK), says the movies will be shown in nine sections: Asian Contemporary; Cinema Beat; Cine Latino; Doc Feast; Short Wave; Guts Nouveau; Music & Dance A la Carte, New Turkish Cinema and Retrospective.

There are several "must-see" movies in the festival, including "Insects in the Backyard", the debut feature by indie director Tanwarin Sukhapisit, which premiered at the Vancouver International Film Festival. It'll make its Thai premiere at the WFFBKK.

Others are "Red Dragonflies" from Singapore, which has been awarded at many film festivals; "The Well", a coming-of-age drama from India; "Au Revoir Taipei", a new romantic comedy from Taiwan; "Cold Water of the Sea" from Costa Rica, which won a Tiger Award at this year's International Film Festival Rotterdam; "The Famous and the Dead", a new teenage flick from Brazil; "Curling" from Canada, winner of two awards at the Locarno film festival this year; and "A Film Unfinished", Yael Hersonski's powerful documentary that portrays people behind and before the camera in the Warsaw Ghetto during Nazi occupation in World War II.

The opening film "Eternity" ("Tee Rak") by Sivaroj Kongsakul, represents the new blood of Thai independent cinema. His first feature explores the three stages of a man's life, from his romance as a young man to the woman who will be his wife, then as a ghost wandering his childhood home and finally as a void in the lives of those he left behind. It's a tribute to his father, who died when Sivaroj was a child.

Sivaroj is well known in Thailand's independent cinema scene. His short films "Always" and "Silencio" have won prizes in various film festivals. He has worked as an assistant director for Aditya Assarat, Pen-Ek Ratanaruang and Wisit Sasanatieng. "Eternity" ("Tee Rak") premiered in the New Currents competition at the 2010 Pusan International Film Festival, and the World Film Festival of Bangkok hosts the movie's Thai premiere.

The festival's prestigious Lotus Award this year will be given to Nuri Bilge Ceylan, one of the most important filmmakers from Turkey. We are thrilled to have him in person and meet the audience on the opening night and for the screening of "Three Monkeys".

The opening ceremony of the 8th World Film Festival of Bangkok will be held in the Infinity Hall of Paragon Cineplex on 5 November, 2010, at 6pm.

French director Jacques Doillon will be praised in the Retrospective section. He will attend the festival to present five of his movies: "Touched in the Head" (1974), "The Little Gangster" (1990), "Ponette" (1996), "Just Anybody" (2008), "The Three Way Wedding" (2010) and one documentary about his life and works: "Jacques Doillon – Words and Emotion" (1998) by Anne Brochet and Françoise Dumas. This is a rare chance for Bangkok audiences to watch Doillon's films and meet the director.

With support from the Ministry of Culture, the Ministry of Tourism of Turkey and Turkish Airlines, the festival presents New Turkish Cinema, a section that focuses on five outstanding contemporary Turkish films: "Envy" by Zeki Demirkubuz, "Kosmos" by Reha Erdem , "Vavien" by Durul Taylan and Yagmur Taylan, "Wrong Rosary" by Mahmut Fazil Coskun and "Honey" by Semih Klaplanoglu.

Another exciting part of the WFFBKK is the poster competition. We received so many great poster designs and many of them are full of creative ideas.

As with past years, the closing celebration will have a "Celebrity Look Alike" competition. This year, with generous support by Thai Life Insurance Co., Ltd., we are going with the special theme "Vampire Party". Get ready for the fun on 13 November, 2010, from 6pm onward.

The 8th World Film Festival of Bangkok is co-organised by The Office of Contemporary Art and Culture, the Ministry of Culture, The Nation, Major Cineplex Group Plc, Paragon Cineplex, Nation Broadcasting Corporation and Mango TV. It is supported by Singha Corporation Co., Ltd., Thai Life Insurance Co., Ltd., FedEx Express and Turkish Airlines, with the cooperation of the foreign embassies in Thailand and special cooperation of The Embassy of Turkey, The Taipei Economic and Cultural Office in Thailand, The Embassy of France, The Embassy of Brazil, The Embassy of Switzerland, The Embassy of India, The Embassy of Peru, The Embassy of Israel and The Embassy of Portugal. Other media supporters include Happening Magazine, Bioscope Magazine and Music & Art Magazine.

The 8th World Film Festival of Bangkok will be held at Paragon Cineplex and Major Cineplex Sukhumvit (Ekamai) from 5 to 14 November, 2010. Tickets are Bt100 and Bt50 for students. For more information please check out www.WorldFilmBKK.com.

THE 2010 CALABARZON FILM FESTIVAL

2010-10-20T08:54:00.000-07:00

The revised and updated rules and regulations for submission of entries:

1. All entries should be original. It is encouraged that the filmmaker use original music for their films, but if this is not the case, she or he should secure permission to use copyrighted materials appearing in the film.

2. The filmmaker/s should be residents of any of Calabarzon provinces namely, Cavite, Laguna, Batangas, Rizal, and Quezon. Filmmaker should submit proof of residence (cedula, ID indicating address, barangay clearance, etc.).

3. The film should be made in 2010 and should showcase the region’s culture and heritage, specifically that of the filmmaker’s province.

4. Entries should be a short film. All film genres (e.g. narrative, documentary, experimental, animation) are accepted. Running time should at least be five minutes but should not exceed 20 minutes. Longer films may be considered for valid reasons but should not exceed 60 minutes.

5. A filmmaker may submit more than one entry, but there is no guarantee that all will be screened. A shortlist of finalists will be released a few weeks after the deadline.

6. The film should have English subtitles in consideration of foreign audience.

7. Filmmaker should submit duly accomplished submission form, one (1) DVD format and one (1) AVI file of the film, trailer in AVI format, and poster in CD form.

8. Shortlisted filmmakers should attend the three-day film festival on Dec. 9-11 at UP Los BaÃ±os

9. The organizers reserve the right not to show the film deemed unsuitable for general patronage. Filmmaker should notify the organizers if the film contains explicit language and images.

10. Winners will receive cash prizes and certificate of participation. The winning film has the chance to be screened in NCCA’s Cinemarehiyon 2011 in Davao City.

11. All entries should be received on or before Nov. 6.

Submission forms could still be downloaded here: http://www.mediafire.com/?90cmbay9zxytkbb

For inquiries, don't hesitate to email us at pelikulab@gmail.com or contact 0916.375.1339.

BUSAN BIDS TO BECOME HUB 0F ASIAN FILM WORLD

2010-10-18T00:00:00.000-07:00

By Agence France-Presse, Updated: 10/16/2010
Busan bids to become hub of Asian film world

Asia's largest film festival signed off this week with a promise to make the South Korean port city of Busan not only the hub of Korean cinema but of the entire region.

Busan bids to become hub of Asian film world

The 15th Pusan International Film Festival closed with a glittering ceremony Friday night at the Haeundae Yachting Centre and a world premiere screening of the three-part production "Camellia".

The joint effort by Thai director Wisit Sasanatieng, South Koreas Jang Joon-Hwan and Japan's Isao Yukisada pays homage to Busan and was put together under the eye of veteran festival director Kim Dong-Ho, who now retires from his post after 15 years in charge.

It was a fitting way to bring the curtain down on the latest edition of a festival which grew from humble beginnings to become the premier cinematic gathering in the region -- providing a window into Asian independent film.

Kim said the challenge ahead was to establish Busan as the centre of the Asian film world. The inauguration next year of the 133 million dollar Dureraum, or Busan Film Centre, will go some way toward achieving that goal.

But the festival will miss the guidance of the 73-year-old Kim, who has been credited with helping introduce a generation of Asian filmmakers -- from Park Chan-Wook ("Old Boy") to Bong Joon-Ho ("Mother") -- to the rest of the world.

"Next year we move physically into a new facility and psychologically Mr Kim is not going to be with us, but we will hold on to traces of Mr Kim and try to move the festival forward," said co-director Lee Yong-Kwan.

South Korean films dominated the festival's awards this year.

Park Jung-Bums "The Journals of Musan" and Yoon Sung-Hyuns "Bleak Night" -- both mature, measured looks at aspects of modern Korean society -- took the two 30,000 dollar prizes awarded in the main New Currents section for first or second time Asian directors.

They showed the depth of talent in independent Korean cinema, while audiences, including representatives of the international film industry, were also given a taste of the mainstream films which have recently been drawing crowds across South Korea.

Director Lee Jeong-Beom's ultra-violent thriller "The Man from Nowhere" -- second only to the Hollywood blockbuster "Avatar" at the Korean box office this year -- proved a hit for visitors to the country. So did Kim Jee-Woons blood-splattered "I Saw the Devil".

Outside of films from the host country, China came to Busan with a mixture of small, independent films and blockbusters and showed just why box office receipts in that country are spiralling upwards.

The China Film Producers Association has estimated that by 2015 China will be ranked second behind the United States in terms of box office turnover.

Receipts by then are predicted to reach close to five billion dollars, and its a fair guess to think that local cinema will take a share of those riches.

Director Li Weirans madcap but socially aware comedy "Welcome to Sharma Town" was a hit with fans and critics alike.

And international visitors who for the first time saw Feng Xiaogangs earthquake-themed actioner "Aftershock" -- Chinas all-time box office leader with receipts of 98.9 million dollars -- were left suitably impressed.

The festivals special sections were also well received.

They included a revealing look at work by Kurdish filmmakers, while "A Window on Asian Cinema" featured some regional gems, such as Japanese maverick Takashi Miikes take on the samurai genre, "Thirteen Assassins".

"Twenty years ago in the film world it was Hollywood, Europe and the rest of the world. Now its Hollywood, Asia and the rest," said noted film scholar Thomas Elsaesser, in Busan as part of the jury for the Flash Forward award for first or second time non-Asian directors.

That awards 20,000 dollar first prize was won by the Swedish director Lisa Langseths "Pure", which features a haunting performance from Alicia Vikander as a young woman whose life is changed after she witnesses a performance of Mozarts "Requiem".

A total of 306 films were screened over the festivals 10 days, with 101 of them being world premieres.

Organizers reported that 182,046 people turned up to watch them -- and to attend the beachside talks with international stars such as Hollywoods Willem Dafoe and French star Juliette Binoche as well as local heartthrob Won Bin.

At the 5th Asian Film Market, which runs concurrently with the main festival, business was reported to be brisk rather than brilliant.

Most of the sales for distribution of films such as Chinese director Tsui Harks actioner "Director Dee and the Mystery of the Phantom Flame" - currently the Chinese box office champ -- were to other Asian markets and to Europe rather than to the United States.

But more deals are expected to be signed when the film festival circuit moves to events in Tokyo (October 23-31) and the American Film Market (November 3-10).

However, there were reminders that cinema isn't always simply about business at the box office.

"For me this festival is famous around the world for supporting young, independent filmmakers," said Iraqi director Mohamed Al-Daradji, whos "Son of Babylon" screened as part of the "A Window on Asian Cinema" section.

The film is Iraq's official Oscar submission for the 2011 awards.

"It is a thrill for us to come here and to find an audience and a festival that is just so supportive of what young filmmakers are trying to do," he said.

COPPOLA WINS VENICE FILMFEST’S GOLDEN LION

2010-09-14T00:00:00.000-07:00

By Agence France-Presse, Updated: 9/12/2010

Coppola wins Venice filmfest's Golden Lion

US director Sofia Coppola won the Golden Lion at the Venice film festival for "Somewhere", a father-daughter drama set in the lonely world of Hollywood moviemaking.

Coppola wins Venice filmfest's Golden Lion

From that first enchanted screening it grew and grew in our hearts, in our minds, in our affections," said jury president Quentin Tarantino, Coppola's former boyfriend, as he announced the top prize, adding that the decision had been unanimous.

The Silver Lion for best director went to Alex de la Iglesia of Spain for his dark comedy "A Sad Trumpet Ballad", a love triangle in a zany circus setting which the director said was an attempt to "exorcise" the enduring pain of the Spanish Civil War.

Jerzy Skolimowski's "Essential Killing" about an American Taliban who is captured in Afghanistan, "rendered" to Poland, then escapes into an endurance test in snowy mountains, won the special jury prize as well as a best actor award for Vincent Gallo.

Tarantino also announced a "Special Lion" for cult director Monte Hellman, who was in Venice with "Road to Nowhere", a complex romantic noir thriller.

The veteran US director, 78, was the executive director of Tarantino's debut film, the 1992 crime flick "Reservoir Dogs".

"This director is both a great cinematic artist and a minimalist poet," Tarantino said of Hellman. "His work was an inspiration to this jury and it is our honour to honour him."

The jury at the world's oldest film festival also included fellow directors Arnaud Desplechin of France, Guillermo Arriaga of Mexico and Italian Gabriele Salvatores.

"Somewhere", which reflects the peculiar desolation of the Hollywood lifestyle, is about A-list actor Johnny Marco (Stephen Dorff) and his daughter Cleo (12-year-old Elle Fanning), adrift in the lonely world of Hollywood moviemaking.

"I try to put myself in all the characters that I write," the 39-year-old Oscar winner for "Lost in Translation" told a news conference after accepting the award.

Among the people she thanked was her father Francis Ford Coppola, "for teaching me".

Iglesia, 44, said ahead of the screening of "A Sad Trumpet Ballad" that it was "an exorcism of anguish through humour, irony, comedy mixed with the noir genre so everything can have a proper burial."

The Spanish director, whose 1995 horror comedy "The Day of the Beast" won cult status in his homeland, added: "This is a love story, a crazy, ruthless, wild kind of love. The anxiety and the search for revenge lead to the destruction of the object of love."

On Saturday he said: "The trick is how best to mix the elements."

An award for best photography went to Mikhail Krichman in the film "Silent Souls" by Russia's Aleksei Fedorchenko, the tender story of a member of Russia's vanished Merya minority who drives thousands of miles to bury his wife in a sacred lake according to ancient pagan rituals.

The visual and lyrical feast for the senses paints a compelling portrait of a people long ago assimilated into Russia's Slavic mainstream who nevertheless retain their myths and traditions.

Ariane Labed of France won a best actress award for her role in the experimental film "Attenberg" by Athina Rachel Tsangari of Greece.

Darren Aronofsky's "Black Swan" garnered the Marcello Mastroianni prize for best young actress for the performance of Mila Kunis, 27, the duplicitous friend of an ambitious but psychologically tormented prima ballerina played by Natalie Portman.

Twenty-four films competed in the Mostra, which screened 79 full-length world premieres from 34 countries all together over 11 days.

PUSAN FILM FESTIVAL TO OFFER RECORD NUMBER OF PREMIERES

2010-09-12T00:00:00.000-07:00

By Agence France-Presse, Updated: 9/7/2010

Pusan film festival to offer record number of premieres

One of Asia's most prestigious film festivals will feature a record number of world premieres when it gets under way next month for a 15th year, organisers said Tuesday.

Pusan film festival to offer record number of premieres

The Pusan International Film Festival, to be held in South Korea's southern city of Busan from October 7-15, will feature 308 movies from 67 countries.

Organisers said 103 films would have their first public screening at the festival, which focuses on discovering new movies and first-time directors from across Asia.

Another 52 films which were only previously screened in their countries of origin would make their international debut in Busan.

"Under the Hawthorn Tree", a Chinese film directed by Zhang Yimou, who also directed the opening ceremony of the 2008 Beijing Olympics, will open the festival.

It will close with "Camellia", an omnibus film of three separate short pieces about the city of Busan directed by Wisit Sasanatieng of Thailand, Isao Yukisada of Japan and Jang Jun-Hwan of South Korea.

"This year is for discovering new directors who will lead the future of the film industry. This will provide an opportunity for the films to become more contemporary and more revolutionary," organisers said in a statement.

The Iranian director Abbas Kiarostami will lead an education programme for young aspiring filmmakers from 16 countries. His "Certified Copy" earned its lead actress Juliette Binoche the Best Actress award at this year's Cannes Film Festival.

Invited guests include French actress Binoche, British actress Jane March, Tang Wei of China, Japanese actress Miyazaki Aoi and directors such as Oliver Stone of the United States, Spain's Carlos Saura and Ann Hui of Hong Kong.

The festival will also include a forum on the illegal distribution of movies over the Internet, which is severely damaging the industry.

Taiwanese director Tsai Ming Liang has been chosen as Asian Filmmaker of the Year for his work in pioneering unexplored areas that overcome the limitations of the art film industry.

VENICE FILM FEST FIGHTS ITS CORNER AS CRISIS BITES

2010-09-10T00:00:00.000-07:00

Venice film fest fights its corner as crisis bites (Reuters)
Source: Reuters Tue Sep 07, 2010, 6:38 am EDT

VENICE (Reuters) - A dearth of big Hollywood stars, Venice's notoriously high costs, fierce competition from Toronto -- this year's film festival on the Lido is fighting to keep its place on the map as one of cinema's most prestigious events.

The venue itself is a building site, with completion of the long-delayed new Palazzo del Cinema -- its main screening theater -- now not expected until 2012.

On the waterfront, the legendary Hotel Des Bains where Thomas Mann set his "Death in Venice" classic -- and Luchino Visconti shot its famous film adaptation -- is shut, and work is under way to convert it into luxury apartments.

With the recent financial crisis still biting, and both the industry and media in cost-cutting mode, the Mostra del Cinema is feeling the heat from the Toronto festival, which overlaps with Venice and is showing many of the same films.

Its location in North America, lower costs and the presence of so many deal-making industry executives all make Toronto a tempting and cheaper alternative for studios keen to showcase their films as the unofficial cinema awards race gets underway.

"For American stars it's just a lot easier to go to Toronto, and for producers it's a matter of money -- it costs a third of what Venice does or less," said Natalia Aspesi, a veteran critic for Italian daily La Repubblica.

As the festival, the world's oldest, hits the half-way mark ahead of the awards ceremony on Saturday, most film watchers agree this year's line-up on the Lido is strong but may lack the defining masterpiece that makes for a vintage year.

Films tipped to bag the top Golden Lion prize include China's "The Ditch," a hard-hitting look at the fate of political prisoners condemned to forced labor camps in 1960.

Another critics' favorite is "Essential Killing," with Vincent Gallo starring as a suspected Taliban fighter on the run from U.S. forces -- and not uttering a single word throughout the film.

Outside the competition, Casey Affleck's documentary on Joaquin Phoenix and his transition from acclaimed actor to shambolic hip-hop wannabe -- whether a hoax or not -- captivated viewers and kept media attention high.

Still, directors like Clint Eastwood, Robert Redford and Danny Boyle have all opted to premiere their latest films in Toronto, whose own movie showcase kicks off on September 9.

Marco Mueller, the respected chief of the 12-million euro Venice festival, has put on a brave face, insisting he believes the two events could continue to exist side-by-side.

"I'm convinced that Venice is still strong," he told Reuters, adding that "the visibility, the impact of a film is created here and the market potential of the film is then completely assessed only in Toronto."

He is also keen to point out that he deemed some films screening in Toronto just not good enough for Venice, especially when they come with strings attached by the studios. For example, he turned down "The American," with George Clooney, which producers wanted to open his festival.

Instead Mueller opted for youth -- the average age of directors in the main competition is an unusually low 47 -- and Hollywood misfits rather than A-listers this year.

Stars on the Lido red carpet, vital to feed the media buzz around a festival, have so far included Natalie Portman, Catherine Deneuve and Quentin Tarantino -- but that is a far cry from celebrity-studded editions seen in the past.

"Toronto is becoming more aggressive and it is a great launching pad for North America. Now they've also started getting a higher profile internationally, and that has to be a concern for Venice," said a publicist who asked not to be named.

"Still, the Biennale has been around a long time and if they can get their politics right then I think Venice still has a future. But they need to react to a changing landscape and increasing competition," he said.

THE 63RD EDITION OF THE FESTIVAL DEL FILM LOCARNO

2010-09-08T00:00:00.000-07:00

Festival del film Locarno
15.08.2010 Olivier Père’s first edition concluded

The 63rd edition of the Festival del film Locarno, the first under the French new Artistic Director Olivier Père, concluded on Saturday August 14. Rain meant that the closing ceremony had to be transferred indoor to the Auditorium Fevi, rather than its traditional home on the Piazza Grande.

The Pardo d’oro 2010 (Golden Leopard) went to the Chinese film Han Jia (Winter Vacation) by LI Hongqi – whose project participated in the Festival’s Open Doors coproduction lab last year. World rights for the film have been bought during the Festival by French distributor Capricci Films.

The total number of spectators for the 63rd Festival is of 148,436 (compared to 157,057 in 2009). This decrease was naturally mainly caused by the Piazza Grande results (52,300 spectators, compared to 58,100 in 2009), which were affected by four nights of rain or cold weather. Nevertheless, those numbers will be object of a detailed analysis by the Festival’s Directorship. The Festival registered an excellent attendance in the theatres, with stable results despite the substantial reduction in the number of films (280 in this year’s programme compared to 397 in 2009) and one less screen (Cinema Otello). And the Festival once again drew a large number of film professionals this year, a total of 3852 delegates, of whom 900 were « industry » accredited and 875 journalists from all over the world.

In terms of programming, the 63rd edition was marked by youth: from the filmmakers, actors, and members of the various juries to the directors and protagonists of the films in the official selection, which featured no less than 22 first films and premières, and by strongly affecting evenings on the Piazza Grande with such honoured guests as filmmakers JIA Zhang-ke and Alain Tanner (both recipients of the Pardo d’onore Swisscom 2010), filmmaker Francesco Rosi (Career Pardo), producer Menahem Golan (the Raimondo Rezzonico Prize for Best Independent Producer) and actors Chiara Mastroianni (Excellence Award Moët & Chandon) and John C.Reilly. Other notable hits were seen in the crowds flocking to the retrospective of that master of comedy Ernst Lubitsch, and sell-outs for short films in the 20th anniversary of the «Pardi di domani» section. The 2010 edition also had a big success with its new initiatives, such as the Industry Days – three days of screenings and meetings for professionals – and the Locarno Summer Academy – a new training programme for students and young film professionals.

Photos and videos from the 63rd Festival are all viewable here.

The 64th edition of the Festival del film Locarno will take place August 3 – 13, 2011.

RIGHTS 3 FILM PROJECT CALL FOR ENTRIES

2010-09-06T00:00:00.000-07:00

"RIGHTS 3" Film Project Call for Entries

The Southern Tagalog Exposure and ARTISTS’ ARREST “Artists Response to the Call for Social Change and Transformation,” in cooperation with KARAPATAN-Southern Tagalog and the FREE JONAS BURGOS MOVEMENT is now organizing the third installment of the “RIGHTS” project - a compendium of short videos intended to increase awareness and rally support behind the respect for human rights. “RIGHTS” was designed as a continuing project. It has successfully produced 2 volumes containing the works of budding and established filmmakers alike.

The project came as a response of the filmmaking community to the increasing number of human rights violations under the Arroyo administration. The PSAs tackle notorious human rights violations such as enforced disappearances, torture, salvaging, censorship, among others, that characterized the human rights situation during the decade-long regime of Gloria Arroyo.

For more details on the project and guidelines on how to join, please visit the RIGHTS 3 webpage or you can email us for any inquiries.

Thank You.
RJ Mabilin
ST eXposure

CHINA, SOUTH KOREA SWEEP ASIAN FILM AWARDS

2010-03-26T00:00:00.000-07:00

By Agence France-Presse, Updated: 3/22/2010

China, South Korea sweep Asian film awards

China and South Korea blitzed the Asian Film Awards this year, dominating top honours including best picture, best actor and best actress at the ceremony in Hong Kong Monday.

"Mother", a South Korean mystery thriller about a woman's quest to prove the innocence of her mentally incapacitated son by taking it upon herself to investigate the murder of a teenage girl, grabbed the best film award.

Producer Moon Yang-kwon said after the ceremony that it was a very challenging film to shoot.

"It's very tough. But I decided to make the film because I felt very touched after reading the script," he told reporters.

"Every one of us has a mother. The film illustrates very well the way children feel towards their mothers and vice versa."

Kim Hye-ja, who played the mother, beat China's Li Bingbing and Japan's Matsu Takako to the best actress award.

Chinese director Lu Chuan won the best director award for his feature film "City of Life and Death", which tackles the Nanjing Massacre in 1937, where hundreds of thousands of Chinese civilians were killed by Japanese soldiers.

Lu said the biggest challenge in making the film was to conquer his fear of death.

"I was really afraid of dying. But I had to learn to face death and tried to express it every day during the production period."

Wang Xueqi from mainland China won the best actor award for starring in "Bodyguards and Assassins" as a businessman who provided financial aid for the revolutionary movement led by Sun Yat-sen, Father of China, in the early 20th century.

"Raise the Red Lantern" director Zhang Yimou won the prize for outstanding contribution to Asian cinema.

Zhang, whose films catapulted mainland Chinese actresses Gong Li and Zhang Ziyi into internationally acclaimed star status, said his hopes were pinned on the new generation of Asian directors.

The prize for top-grossing film director for 2009 went to action supremo John Woo for Red Cliff, which is also reportedly the highest-grossing Chinese-language film in Chinese film history.

Woo, originally from Hong Kong, is best known for directing Hollywood blockbuster "Mission: Impossible II".

Veteran Indian film producer and actor Amitabh Bachchan, dubbed the "Godfather of Bollywood", was given the lifetime achievement award.

"In a world that is fast disintegrating, I believe cinema is one medium that brings all of us together in love, in friendship, and in cooperation, " said Bachchan.

Hong Kong singer-cum-actor Nicholas Tse was crowned best supporting actor for his role in "Bodyguards and Assassins." Tse starred as a rickshaw puller who sacrificed himself to protect Sun Yat-sen from assassins.

Best supporting actress went to Hong Kong television veteran Wai Ying-hung, for playing an emotionally disturbed single mother in "At the End of Daybreak", a joint production between Hong Kong, South Korea, and Malaysia.

Ng Meng-hui was named best newcomer in the same film for playing an innocent teenage girl.

The Asian Film Festival, held annually since 2007, is aimed at showcasing the region's movie talent. The awards were dominated by South Korea in its first two years, but Japan stole the show last year.

Thirty-seven films vied for 14 prizes this year.

2ND PAMBUJAN FILM FESTIVAL

2010-03-13T23:35:00.000-08:00

Calling all filmmakers from Samar and Leyte.

The 2nd Pambujan Pelikula Para sa Publiko (PPPP) Film Festival will be held at Pambujan, Northern Samar this coming June 15 to 18, 2010

There will be a short film contest for the festival. The deadline for submission of entries is on April 30, 2010. Works in progress may be submitted by the deadline but final output must be submitted by May 31, 2010.

Submit to:
Noriel Jarito
Magallanes St., District 2
Pambujan, Northern Samar 6413

The RULES & GUIDELINES are as follows (Please take note of Rule #4):

1. Short films (narrative) about Samar and Leyte set locally, other place or abroad.
2. Made by Samar-Leyte filmmakers amateur or professional living here or abroad.
3. Maximum 20 minutes in DVD format (1 copy) and AVI file (1 copy).
4. Using Samar-Leyte dialect with English subtitles.
5. Film synopsis, filmmaker’s profile+filmography and stills/posters (in CD).
6. Contestants may submit as many entries as they want.
7. The organizers reserve the right not to show any film unfit for general patronage.
8. Winning films will be toured in the region and distributed in DVD and other media.

Awards

Best Film P20,000
Special Jury Prize P10,000
Other Prizes
Best Director
Best Screenplay
Best Editing
Best Cinematography
Best Production Design
Best Sound Design
Best Original Music
Best Actor
Best Actress
Audience Choice Award

Winners will receive a certificate and a trophy. They will also be invited to the festival.

Winners will also receive free three days accommodations and free attendance to the scriptwriting workshop during the festival.

For Inquiries, please contact Noriel Jarito at 0928-4604679 or email him at ironoriel@yahoo. com

UP FILM INSTITUTE’S NEW YEAR OF AUTEURS

2010-01-12T00:00:00.000-08:00

UP Film Institute’s New Year of Auteurs

Pave the way for the rise of the bold filmmaking order as UP Film Institute brings in for 2010 the New Year of Auteurs. Featured are films by Lav Diaz, Raya Martin, Armando Lao, Francis Xavier Pasion, Ron Bryant, Sherad Anthony Sanchez, John Torres, Jerrold Tarog and Ruel Dahis Antipuesto. A special added program is a selection of breakthrough short films regarded now as classics from some of the most celebrated names in Philippine counter-stream cinema. A taste of vintage international features is provided by acclaimed cult films by legendary directors Alejandro Jodorowsky and Dario Argento.

Initial leg of UP Film Institute’s screenings for January 2010 is shown in graphs as follows:

CINE ADARNA:

Lav Diaz’s HEREMIAS
Jan 6 / wed / 1pm
Jan 9 / sat / 1pm

Lav Diaz’s EBOLUSYON NG ISANG PAMILYANG PILIPINO
Jan 7 / thu / 1pm
Jan 11 / mon / 1pm

Lav Diaz’s BUTTERFLIES HAVE NO MEMORIES
+AGONISTES
Jan 13 / wed / 4pm, 7pm

Alejandro Jodorowsky’s TRIPTYCH
(santa sangre, holy mountain, el topo)
Jan 12 / tue / 5pm, 7 p.m. (parts 1 & 2)
Jan 18 / mon / 5pm (part 3)

Dario Argento’s TWINBILL
(suspiria, the bird with the crystal plumage)
Jan 19 /tue / 5pm, 7 pm

John Torres’ Double Feature
(todo todo teros , taon noong ako'y anak sa labas)
Jan 20 / wed / 5pm ,7 p.m.

VIDEOTHEQUE:

Raya Martin’s NEXT ATTRACTION
Jan 8 / fri / 2:30, 4:30 & 6:30 p.m.
Jan 9 / sat / 2:30, 4:30 & 6:30 p.m.
Jan 11 / mon / 4:30 & 6:30 p.m.
Jan 12 / tue / 4:30 & 6:30 p.m.
Jan 13 /wed /4:30 & 6:30 p.m.

Armando Lao’s BIYAHENG LUPA
Jan 14 / thu /4:30 & 6:30 p.m.
Jan 15 / fri / 2:30pm & 4:30pm
Jan 16 / sat /6:30pm
Jan 18 / mon / 6:30pm
Jan 19 / tue / 4:30pm
Jan 20 / wed / 4:30pm
Jan 21 / thu / 6:30pm
Jan 22 / fri / 6:30pm
Jan 23 / sat / 4:30 & 6:30 p.m.

Francis Pasion’s JAY
Jan 15 / fri / 6:30pm
Jan 16 / sat / 2:30 & 4:30pm
Jan 18 / mon / 4:30pm
Jan 19 / tue / 6:30pm
Jan 20 / wed/ 6:30pm
Jan 21 / thu/ 4:30pm
Jan 22 / fri / 2:30 & 4:30pm
Jan 23 / sat/ 2:30pm

Ron Bryant’s ALON
Jan 25 / mon / 4:30 & 6:30pm
Jan 27 / wed / 4:30pm
Jan 29 / fri / 6:30pm
Jan 30 / sat / 2:30pm

Sherad Anthony Sanchez’s IMBURNAL
Jan 26 / tue / 4:30pm
Jan 29 / fri / 2:30pm

Sherad Anthony Sanchez’s HULING BALYAN NG BUHI
Jan 27 /wed / 6:30pm
Jan 30 /sat / 4:30pm

Jerrold Tarog’s CONFESSIONAL
Jan 28 / thu / 4:30 & 6:30pm
Jan 30 / sat / 6:30pm

Jerrold Tarog’s MANGATYANAN
Feb 1 / mon / 4:30 & 6:30pm
Feb 2 / tue / 4:30 & 6:30pm
Feb 3 / wed / 4:30 & 6:30pm
Feb 4 / thu / 2:30, 4:30 & 6:30pm
Feb 5 / fri / 2:30, 4:30 & 6:30pm
Feb 6 / sat / 2:30, 4:30 & 6:30pm

WALANG ALAALA ANG MGA PARUPARO

2010-01-11T00:02:00.000-08:00

WALANG ALAALA ANG MGA PARUPARO
Pelikula ni LAV DIAZ

UP Film Institute invites you to a special screening of Lav Diaz’s BUTTERFLIES HAVE NO MEMORIES on January 13, Wednesday, 7pm at UPFI Cine AdarnaThe event will be preceded by his work-in-progress film, AGONISTES followed by a talk from KALIKASAN.

January 13, Wednesday, UP Film Institute Cine Adarna

4PM – Agonistes
6:30PM- Q & A With Kalikasan
7PM – Butterflies Have No Memories

Overview:

Lav Diaz’s BUTTERFLIES HAVE NO MEMORIES (Walang Alaala Ang Mga Paruparo)
On an island far from the main land of the Philippines, islanders who used to be wealthy go through economic difficulties when a goldmine company withdraws from the area. Ferding, Santos and Willy only drink in despair. One day, a Canadian woman’s visit changes everything.. .. Through the expression of the contradictory nature of the prosperity development brings and the environmental destruction it causes, the pain Philippine society experiences is fully captured.

KALIKASAN
Kalikasan-PNE is a network of people's organizations (POs), non-government organizations (NGOs) and environmental advocates. It aims to address environmental issues in such a way that primacy is given to the people- especially those in the grassroots level who constitute the overwhelming majority of the population. All environmental causes shall thus have the people's interest at their core.

PARISUKAT

2010-01-11T00:00:00.000-08:00

PARISUKAT:
“Makuha Ka Sa Isang Titig…”
Starring Toffee Calma

Written & Directed by Jonison Fontanos

SYNOPSIS

A “whodunnit” crime of passion involving 6 male characters: a young man, a gay lover, a hustler, a discreet bisexual, a houseboy, and a transvestite. No one knows that their lives are interconnected by a past murder case until fate brought them together in an old Spanish boarding house to unfold the mysterious crime in full circle.

CAST OF CHARACTERS

MARCUS – 18 y.o., the runaway young man who got himself enmeshed in an unresolved murder case.
XANDER – 25-30 y.o., the transvestite boarder whose ex-lover turns out to be Marcus friend.
JAIME – 30 y.o., the lonely bisexual landlord of an old Spanish boarding house.
HUBERT – 20 y.o., Xander's ex-lover and Marcus' friend who hustles for gay sex to earn his keep.
GERMAN – 25-30 y.o., the victim whose mysterious death will keep us guessing as to who is the real perpetrator of the crime.
TOTO – 18-25y.o., the houseboy who seems blind to the events that unfold inside the boarding house

PARISUKAT opens FEBRUARY 17, 2010 @ Robinson's Galleria, Robinson's Ermita, Roben, Remar Cubao, Cinerama Isettan Recto, Gotesco Grand Central Caloocan and Ultra Vistarama Cebu

BIYAHENG LUPA

2010-01-10T00:00:00.000-08:00

Armando “Bing” Lao’s controversial directorial debut “Biyaheng Lupa (Soliluquy)” as produced by Quantum Films will have a full run at the University of the Philippines’ Videotheque from Jan. 14 to 23, 2010. Filmed in the breakthrough poetic time mode, it tells the story of passengers as played by Angel Aquino, Jacklyn Jose, Julio Diaz, Eugene Domingo, Andoy Ranay, Coco Martin, Susan Africa, Carlo Guevarra among others, of a Bicol-bound bus. To screen on its built-in lcd projector, admission is the student-friendly price of P80 for students both from UP and the other schools.

SINULOG 2010 SHORT FILM FESTIVAL

2010-01-09T00:00:00.000-08:00

Sinulog Foundation, Inc.
in cooperation with:
Cebu City Government
&
Cebu Filmmakers’ Society

Presents

The Sinulog 2010 Short Film Festival

As we celebrate 30 years of continuous fervent praises to the Sr. Sto. Niño, we are also heralding our film festival’s 6th year of existence!

Whether documenting the Annual Sinulog Celebration or presenting a story of the power of the Holy Child Jesus, thru film or video, you can tell us your point of view!

Better yet, share your actual personal experience of the miraculous power of the Señor Sto. Niño and how it has affected and changed your life!

Best Sinulog Short Film and Best Sinulog Video Documentary
Two (2) Grand Prize Winners: Php 30,000.00 (One for Video Documentary & One for Short Film)
Two (2) Second Prize Winners: Php 20,000.00 (One for Video Documentary & One for Short Film)
Two (2) Third Prize Winners: Php 10,000.00 (One for Video Documentary & One for Short Film)
Five (5) Consolation Prizes: Php 1,000.00 for each Category

Special Awards
Best Story
Best Director
Best Cinematography
Best Production Design
Best Sound Engineering & Musical Scoring
Best Editing
Best Screenplay

Entries should be in DVD format
Deadline of Registration: January 16, 2010, Saturday, 5:00 pm

For guidelines and more information, contact:
Mr. Ron Heri “Ronnie” S. Tan
Chairman, Sinulog 2010 Short Film Festival Committee
Cellphone No.: (063) 9272589909
email: ronheri888tan@ yahoo.com / cebufilmfestivals@ yahoo.com
or
Sinulog Foundation Office
Ground Floor, Cebu City Sports Center, R. R. Landon St., Cebu City
Tel. Nos.: (032) 253-3700 / 254-5010 / 253-224 Telefax: (032) 416-4845

Website: www.sinulog. ph

WINNERS OF 21st CCP ALTERNATIVE FILM & VIDEO TILT NAMED

2009-12-19T00:00:00.000-08:00

The winners of the 21st Gawad CCP Para sa Alternatibong Pelikula at Video were announced in awarding rites held on December 11, 2009 at the Cultural Center of the Philippines Tanghalang Manuel Conde.

In the Experimental category, the 1st Prize went to ANG EBOLUSYON NI KASALANAN by Emerson Reyes, 2nd prize to ANG ROMANSA NI TINYENTE GIMO AND MARYA LABO by Joenar Pueblo and 3rd Prize to PONKAN by John Japhet Tubeo and Jonathan Marasigan. Honorable Mention was given to BIYAHILO By Revsson Antonio, Anthony Delima, Sheena Pearl Barandino, Joecel Bueno, Rochelle Relosa, Ronald Diata, Analyn Gamelo and Reggie Lapera.

In the Animation category, the 1st Prize was awarded to MASKARA by Alejandro Karlo Zapanta and 2nd Prize to CLOWNES by Neil Paul Molina. Two entries— LUKSO by John Kristoffer Sta. Clara and GRANDFATHER' S CLOCK by Marcelo William W. Muñoz—won 3rd Prize. Honorable Mentions were given to PERANG KENKOY by Christopher C. Asa, BOX by John Kristoffer Sta. Clara and ROBOTICA by Alan Ray Bumanglag

In the Documentary category, the 1st Prize was awarded to WINDMILLS: The Case Study of Bangui Windmills by Ellaine R. Bensal, C. Castro, K. Colo and A. Cruz; 2nd Prize to TAWILIS: Palaot sa Mailap na Huli by Reymer Salvador and 3rd Prize to THE FILIPINO STUDENT'S GUIDE ON HOW TO BE INVISIBLE IN LONDON by Raz de la Torre. KUYA by Mary Angelica Eileen A. Cruz won Honorable Mention.

In the Short Feature category, the 1st Prize was awarded to APRIL FOOLS by Trinka Lat and 2nd Prize to BA'T `MAN by Noriel Jarito. The 3rd Prize was given to both RIVER OF DREAMS by Michael Angelo Dagñalan and ARAW NG PIGHATI by Ryanorlie "Yan" Abeledo. Honorable Mention was awarded to BATANG JAPAN by Al Eugenio, KINULAYANG KITI by Richard S. Legaspi and BABAE AKO by Jeyow Evangelista.

The animation entries from Ateneo de Naga University were collectively awarded the Best Regional Entry award while the RIVER OF DREAMS by Michael Angelo Dagñalan was named Best Entry for/on/by Children.

The 21st Gawad CCP Para Sa Alternatibong Pelikula at Video was held December 8-11 at the CCP. A competition for works for both Film and Video formats, it is held in four categories of Short Feature/Narrative, Experimental, Documentary and Animation.

FREE SCREENING OF 3 NORA AUNOR CLASSICS

2009-12-18T00:01:00.001-08:00

The UP Film Institute and the International Circle of Online Noranians (ICON) invite the public to the 25th anniversary commemorative screening of three films starring Superstar Nora Aunor: Gil Portes’s ’Merika and Mario O’Hara’s Condemned and Bulaklak sa City Jail.

Venue: UPFI Videotheque, UP Diliman
Date: December 19, 2009 (Saturday)

Schedule

1:00 pm
’Merika (1984, Adrian Films)

The story of Milagros Cruz, a Filipino nurse in New York, who longs for a different life despite material comforts abroad and opts courageously to go back to her country.

Direction: Gil M. Portes; Screenplay: Clodualdo Del Mundo Jr. and Jose Gil Quito; Cast: Nora Aunor, Bembol Roco, Cesar Aliparo, Marilyn Concepcion

Awards: PMPC Star Awards for Movies: Movie Actress of the Year (Nora Aunor), Cinematographer of the Year; Nominations: Gawad Urian: Pinakamahusay na Pelikula, Pinakamahusay na Direksiyon, Pinakamahusay na Pangunahing Aktres (Nora Aunor), Pinakamahusay na Dulang Pampelikula, Pinakamahusay na Pangalawang Aktor (Cesar Aliparo); Film Academy of the Philippines: Best Director, Best Original Screenplay; PMPC Star Awards for Movies: Movie of the Year, Movie Supporting Actor of the Year (Cesar Aliparo), Movie Screenplay of the Year

3:00 pm
Bulaklak sa City Jail (1984, Cherubim Films)

The searing odyssey of Angela, a pregnant victim of a miscarriage of justice, from her incarceration in the women’s section of an urban prison, through her escape and delivery of her love child in a city zoo, to her recapture and eventual legal triumph in obtaining custody of her baby. (Joel David)

Direction: Mario O’Hara; Screenplay: Lualhati Bautista; Cast: Nora Aunor, Gina Alajar, Celia Rodriguez, Perla Bautista, Maya Valdez, Zenaida Amador, Maritess Gutierrez, Shyr Valdez, Tom Olivar, Ricky Davao

Awards: FAMAS: Best Actress (Nora Aunor), Best Supporting Actress (Perla Bautista); Catholic Mass Media Awards: Best Actress (Nora Aunor), Best Supporting Actress (Celia Rodriguez), Best Supporting Actress (Perla Bautista); FAP: Best Adapted Screenplay; PMPC Star Awards for Movies: Movie Director of the Year, Adapted Screenplay of the Year, New Movie Actress of the Year (Maritess Gutierrez); Metro Manila Film Festival: Best Picture, Best Director, Best Actress (Nora Aunor), Best Screenplay, Best Story, Best Supporting Actress (Celia Rodriguez)

7:00 pm
Condemned (1984, NV Productions and Golden Dragon Films)

Tells of the sibling love between Yolly, a rose peddler in the streets of Ermita, and her brother Efren who is entrapped in the operations of a syndicate queen (Gloria Romero).

Direction: Mario O’Hara; Screenplay: Mario O’Hara, Jose Javier Reyes, Frank Rivera; Cast: Nora Aunor, Gloria Romero, Gina Alajar, Rio Locsin, Dan Alvaro, Leni Santos, Ricky Davao, Connie Angeles, Sonny Parsons, Alicia Alonzo, Romnick Sarmenta, Toby Alejar

Nominations: FAMAS: Best Supporting Actress (Gloria Romero), Best Editing, Best Sound, Best Music; PMPC Star Awards for Movies: Movie Actress of the Year (Nora Aunor), Movie Actor of the Year Actor (Dan Alvaro), Movie Supporting Actress of the Year (Gina Alajar), Movie Screenplay of the Year, Movie Theme Song of the Year, New Male Movie Star of the Year (Dan Alvaro)

A program will be held—featuring a panel discussion with guests, the soft launch of the DVD of Bona and Tatlong Taong Walang Diyos from NV Productions and Ivory Music & Video, and the special screening of Doy Del Mundo’s short film Superfan—between 4:30 and 7:00 pm at the UPFI Bernal Gallery. The event is open to the public.

NEW MOVIE DISTRIBUTION METHODS EXPLORED AT DUBAI IFF 2009

2009-12-18T00:01:00.000-08:00

The traditional methods of movie distribution are giving way to new and exciting hybrid models that present filmmakers with exciting opportunities, delegates attending DIFF 2009 heard this week.

The Industry Panel: "Distribution in Motion" was attended by Scillla Andreen from IndieFlix; Ryan Kampe, from Visit Films, and Andy Whittaker, representing Dogwoof, and moderated by Elizabeth Radshaw from Hot Docs.

Scilla Andreen said IndieFlix offers filmmakers a "multi-platform distribution" , with the chance to capitalise on up to nine distinct revenue streams, while keeping hold of their rights. "We are the new model – I think we will become the new standard."

She noted how the profile of the internet has changed from a place of anonymity to one of transparency – "although the reality is that in online distribution, there's not a tonne of money right now. We are all still trying to figure it out."

Getting films out to audiences is naturally critical, and for Andreen, that means not being afraid to combine old and new ways of thinking. "We started showing films in local Starbucks outlets – sometimes we would get 110 people showing up," she said. "Just carry a clipboard with you – it sounds so elementary and free, but it's very effective."

Ryan Kampe said Visit Films, a North American general sales agent, works with filmmakers the world over, from Iceland and Argentina, to Serbia and Singapore. He said regional filmmakers had to decide whether to make films for the Arab diaspora, or those which will only appeal to the art house or festival crowd. "Ultimately distributors are looking for films which will get to a number of people," he said. "The test should be `will a guy in Norway watch my film?'"

Andy Whittaker works for London-based Dogwoof, specialists in social issue-led film distribution, be it food industry themes or climate change, with strong emphasis on documentaries. "Film has this amazing power to change things, as we heard at the Cultural Bridge panel," he said.

During the question and answer session, Soniya Kirpalani from Sprocket Science, relayed her positive experiences, as someone who knew little about the industry a year ago, and has now secured a number of deals and tapped into funding opportunities. "There's lots of hope for newcomers."

DIFF 2009, which runs until December 16, is screening more than 168 films this week. DIFF 2009 is held in association with Dubai Studio City. Dubai Duty Free, Dubai Pearl, Emirates Airline and Madinat Jumeirah are the principal sponsors of DIFF and the event is supported by Dubai Culture & Arts Authority (Dubai Culture).

2010 HONOLULU INTERNATIONAL FILM FESTIVAL

2009-12-18T00:00:00.000-08:00

The 2010 Honolulu International Film Festival's Call For Entries is officially open! The festival will be held March 12 -14, 2010 along the pristine shores of world-famous Waikiki Beach at the beautiful Hilton Hawaiian Village Beach Resort.

Honolulu's Premiere Film Festival
The Honolulu International Film Festival is a crossroads of the world, bridging the gap between East and West and held annually on the beautiful island of Oahu, Hawaii. Surrounded by the sparkling Pacific and spectacular scenery, the Honolulu International Film Festival recognizes outstanding achievement in filmmaking from around the world. It is our mission to showcase the finest independent cinema the world has to offer while helping to advance the careers of promising filmmakers by providing a platform through which their talents can be recognized.

The Honolulu International Film Festival offers a variety of film screenings, special Hawaiian premieres, celebrity tributes, interactive panel discussions, a screenplay competition, a filmmaker reception luau, as well as a closing award ceremony and brunch.

Awards and Cash Prizes
Each year, the Honolulu International Film Festival awards the winning filmmakers with the prestigious Golden Palm Awards, a signature statement of excellence in the arts of filmmaking and storytelling. Juried awards are given in all categories to celebrate achievements in filmmaking, screenwriting and acting in addition to cash prizes and awards from our sponsors.

Filmmaker Panels
The festival invites all filmmakers, writers and selected actors to participate in festival panels and roundtable discussions with audiences, producers, directors and screenwriters to explore the craft and creative process of cinema, as well as the business of making, financing, and distributing a film.

Parties and Galas
Festival activities include parties, live music and galas, traditional Hawaiian Luaus, a filmmaker reception and the closing award ceremony and brunch.

We look forward to seeing you at this year's Honolulu International Film Festival!

Categories

Features
DocumentariesShort Films
Foreign Films
Student Films
Experimental
Animation
Music Videos
Screenplay Competition
Television Pilots
Hawaii Films
Action Sports
Made on Mobile

Deadlines and Fees

Late Deadline - Dec 20
Extended - Jan 15
Fees:
Late Deadline:
Short: $40 / Feature: $45
Extended Deadline:
Short: $50 / Feature: $55

Click Here to Submit Your Film or Screenplay Now!

BRILLANTE MENDOZA’S “LOLA” WINS BEST FEATURE FILM AT DUBAI IFF 2009

2009-12-17T00:00:00.000-08:00

The sixth edition of Dubai International Film Festival concluded on Wednesday night with a glittering award ceremony that honoured the finest acting and cinematic talent from the Arab world, Asia and Africa at the Muhr Arab and Muhr AsiaAfrica awards.

In all, 28 prizes were distributed for excellence in acting, cinematography, editing, music and scriptwriting in addition to the jury general excellence awards. The entries were from more than 62 nations across Asia, Africa, the Americas, Australia and Europe in three categories -documentaries, short films and feature films.

DIFF received more than 900 entries from the Arab world, Asia and Africa for over US$575,000 in prize money, in addition to the acclaim of a prestigious international jury. The Muhr Arab competition, open to directors of Arab nationality or origin, drew around 437 entries, while the Muhr AsiaAfrica competition, currently in its second year, received over 513 entries.

DIFF Artistic Director Masoud Amralla Al Ali said the strong participation of films, documentaries and shorts for the Muhr Arab and Muhr AsiaAfrica awards was matched by impressive creativity and technical finesse. "The increased participation and the quality of participating films underscores the fact that DIFF has helped drive regional talent in cinema, offering filmmakers in the Arab world, Asia and Africa a definitive platform to showcase their creativity."

The winners of `Movies in Motion,' an innovative pan-Arab talent contest for budding filmmakers in the Middle East organised by MBC, were also awarded. The third prize winner was Diab Ghazi; the second prize went to Dani Hasecic and the first prize was won by Mohammed Al Badri. Ouail Mohammed won the People's Choice Award in the 2-minute movie competition that received 550 entries.

DIFF 2009 has partnered with the Human Rights Film Network a partnership of human rights film festivals around the world. Established in Prague in 2004, the Network promotes exchange, communication and collaboration regarding the representation of human rights issues in moving pictures. Merzak Allouache for HARRAGAS (Algeria) won the inaugural DIFF Human Rights Film Network Award, selected from 10 movies that best depicted the human rights themes.

The International Federation of Film Critics (FIPRESCI), the foremost body of film writers, academics and critics from over 60 countries, presents the annual `Prize of the International Critics' for Arab films screened at DIFF. The winner of the award for the best feature film in the Muhr Awards for Excellence in Arab Cinema goes to Merzak Allouache for HARRAGAS (Algeria) for its complexity in depicting one of the most serious human problems of the Third World: The emigration. This year FIPRESCI also introduces an award for best shorts in Muhr Arab Awards, which was clinched by Mohammad Aldhahri for SHROUQ/GHROUB (SUNRISE/SUNSET) (Saudi Arabia) for its simple strong style and courageous approach of the undercurrent problems that a young boy facing in our society.

The People Choice Award for 2009 was clinched by Zeina Daccache for the documentary 12 Angry Lebanese.

Emirati talent was highlighted at DIFF when three awards were presented at the closing ceremony. The prize for Best Emirati talent went to Mohammed Hassan Ahmad; the Most Promising Emirati female filmmaker was Manal Bin Amro and Most Promising Emirati filmmaker was Nawaf Al Janahi.

Muhr AsiaAfrica Feature Jury Chairman Bahman Farmanara said: "Judging is not an easy process, especially in art, where creativity is defined by the artists' personal discretions and considerations. But it becomes immensely difficult, and I must say very pleasing, when the quality of films selected by the organizers of the festival is outstanding. Then the whole process becomes rewarding."

He added: "This was what my fellow jury members, Manisha Koirala, , Jean-Micheal Frodon, Keith Shiri, Noureddin Lakhmari and I experienced when evaluating the Muhr AsiaAfrica short-list. The quality of works was extremely encouraging and prompts us to look forward to watching good, powerful films emerge from these two territories in the future."

Muhr AsiaAfrica Documentaries Jury Chairman Budhadeb Dasgupta said: "The films shown in the competition section of Muhr AsiaAfrica Documentary Awards represented varied cultures of different countries of contemporary relevance. It was not easy for us to find the best three from amongst the twelve films addressing different issues, starting from challenges faced by man to political problems."

"The Muhr Arab documentary jury thanks the Dubai International Film Festival and all participating filmmakers for the unique opportunity to watch such a wide and interesting range of films from the Arab world," said Jury Chairman Omar Amiralay. "The films had powerful themes of immediate and topical importance. Yet, they often lacked true cinematic treatment and a well-rounded perspective – two key facets that are extremely important to deliver compelling documentaries.

He added: "Some films were indeed passionate about their themes. There was a sincere effort and true determination to bring about change and reform but we believe that only a genuinely artistic engagement can deliver an engaging, moving and powerful film experience."

The Muhr Arab and Muhr AsiaAfrica award winners are:

Muhr AsiaAfrica Short Films:
First Prize
Dyana Gaye for UN TRANSPORT EN COMMUN (SAINT LOUIS BLUES)
France, Senegal

Special Jury Prize
Sung-hee Jo for DON'T STEP OUT OF THE HOUSE
South Korea
Second Prize
Vinoo Choliparambil for VITTHAL
India

Muhr Arab Short Films:
First Prize
Bassam Ali Jarbawi for CHICKEN HEADS
Palestine

Special Jury Prize
Talal Khoury for 9AAB (9 AUGUST)
Lebanon

Second Prize
Aida Elkashef for RHAPSODY IN AUTUMN
Egypt

Special Mention
Mohammad Aldhahri for SHROUQ/GHROUB (SUNRISE/SUNSET)
Saudi Arabia

Muhr AsiaAfrica Documentary:
First Prize
Tokachi Tsuchiya for FUTSU NO SHIGOTO GA SHITAI (A NORMAL LIFE, PLEASE)
Japan

Special Jury Prize
Lloyd Ross for THE SILVER FEZ
South Africa

Second Prize
Jean-Marie Teno for LIEUX SAINTS (SACRED PLACES)
Cameroon, France

Muhr Arab Documentary:
First Prize
Zeina Daccache for 12 ANGRY LEBANESE – THE DOCUMENTARY
Lebanon

Special Jury Prize
Mai Iskander for GARBAGE DREAMS
USA

Second Prize
Bilal Yousef for AL AWDA ELA AL THAT (BACK TO ONE'S ROOTS)
Qatar, Palestine

Special Mention
Hakim Belabbes for ASHLAA (IN PIECES)
Morocco

Muhr AsiaAfrica – Feature
Best Screenplay
Eun-kyo Park and Bong Joon-ho for MOTHER
South Korea

Best Editor
Garreth Fradgley for SHIRLEY ADAMS
South Africa

Best Composer
Akritchalerm Kalayanamitr and Koichi Shimizu for NANG MAI (NYMPH)
Thailand, Netherlands

Best Cinematographer
Channa Deshapriya for AHASIN WETEI (BETWEEN TWO WORLDS)
Sri Lanka, France

Best Actor
Hasan Pourshirazi for KESHTZARHAYE SEPID (THE WHITE MEADOWS)
Iran

Best Actress
Denise Newman for SHIRLEY ADAMS
South Africa

Special Jury Prize
Mohammad Rasoulof for KESHTZARHAYE SEPID (THE WHITE MEADOWS)
Iran

Muhr Arab – Feature
Best Screenplay
Mariam Naoum for WAHED-SEFR (ONE-ZERO)
Egypt

Best Editor
Ahmed Dawood for ASAFEER EL NEEL (THE NILE BIRDS)
Egypt

Best Composer
Le Trio Joubran for ADIEU GARY (FAREWELL GARY)
France

Best Cinematographer
Nancy Abdel Fattah for WAHED-SIFR (ONE-ZERO)
Egypt

Best Actor
Said Bey for THE MAN WHO SOLD THE WORLD
Morocco

Best Actress
Nisreen Faour for AMREEKA
USA, Canada, Kuwait

Special Mention
Shawkat Amin Korki for KICK OFF
Japan, Iraq

Special Jury Prize
Merzak Allouache for HARRAGAS
Algeria

Muhr AsiaAfrica Feature – Best Film
Brillante Mendoza for LOLA
France, Philippines

Muhr Arab Feature – Best Film
Michel Khleifi for ZINDEEQ
Palestine, United Kingdome, United Arab Emirates

The Muhr Arab and Muhr AsiaAfrica award winning films will be screened at Cinestar cinemas at Mall of the Emirates on Friday, Dec. 18, 2009.

DIFF 2009 held in association with Dubai Studio City, screened more than 168 movies over the past days. Dubai Duty Free, Dubai Pearl, Emirates Airline and Madinat Jumeirah were the principal sponsors of DIFF and the event was supported by Dubai Culture & Arts Authority (Dubai Culture).

FILIPINO FILMS COMPETE IN 6TH DUBAI INTERNATIONAL FILMFEST

2009-12-15T00:00:00.000-08:00

Filipino films compete in 6th Dubai Int'l Filmfest

Brillante Mendoza's "Lola" and Richard Legaspi's "Kinulayang Kiti" are representing the Philippines in competition at the Muhr AsiaAfrica feature and short film category, respectively, of the sixth Dubai International Film Festival (DIFF), which runs from December 9 to 16.

An official selection at this year's Venice Film Festival and opening film of the 11th Cinemanila International Film Festival, "Lola" (Tagalog for "grandmother" ) is a simple tale, yet loaded with emotion and profound moral dilemmas. It tells the story of two elderly ladies and their respective grandsons. One's lying on a slab in a morgue following a brutal mugging and the other is the guilty party, arraigned in prison awaiting trial. Despite being devastated by his death, Lola Sepa and her impoverished family must bear the burden of making the funeral arrangements, as well as the legal pursuit against the suspected murderer, while the equally poor Lola Puring is committed to getting her grandson Mateo out of jail.

On the other hand, "Kinulayang Kiti" (Hand-Painted Feathers) is a moving tale of surviving the harsh realities of urban life. It shows the struggle of a young boy whose father was murdered in a labor strike. His last resort is to believe in a superstition that by placing live chicks on his father's casket, their pecks will serve as stabs to the killer's conscience. The film recently won honorable mention in the short feature category of the 21st Gawad CCP for Alternative Film and Video and was also screened at the 16th Filipino American Cine (FACINE) Festival last month.

In addition, Raymond Red's "Himpapawid" (Manila Skies) is among the highlights of DIFF's Cinema of AsiaAfrica segment. Inspired by a true event, it tracks the story of a lone hijacker who struggles to survive on the margins of big city society. It competed in the main section of the 22nd Tokyo International Film Festival and was the closing film of the 11th Cinemanila.

Held in association with the Dubai Studio City, DIFF has established itself as a major international festival, while continuing to serve as a premier showcase event for Arab cinema, and contributing to the development and growth of the regional industry. The film festival has also extended its platform to present and honor excellence in cinema from countries in Asia and Africa. Independent and established talents from Asian and African countries with a burgeoning cinema culture are given prominent standing in the festival's program and competition.

DIFF's pioneering initiatives such as the Muhr Awards, Dubai Film Connection and Dubai Film Market have enriched professional experiences in the region, while also raising the profile of regional works on the world stage.

The festival has left an indelible impression on its guests, industry professionals and viewers, through its events, workshops, seminars and principal mandate of presenting the finest selection of cinema from all over the world. DIFF is a frontrunner in promoting better cultural understanding through creative achievements in film.

Dubai Duty Free, Dubai Pearl, Emirates Airline and Madinat Jumeirah are the principal sponsors of DIFF and the event is supported by Dubai Culture & Arts Authority (Dubai Culture). For more information on the festival, please visit www.dubaifilmfest. com.

FILIPINO NOMINEES IN THE 37TH INTERNATIONAL EMMY AWARDS

2009-10-18T00:00:00.000-07:00

Filipino nominees in the 37th International Emmy Awards

Three entries from the Philippines were nominated in the 37th International Emmy Awards.

Congratulations to “Kahit Isang Saglit” and “Magdusa Ka,” nominees for Best Telenovela and Angel Locsin nominee for Best Actress for her performance in Lobo.

The 37th International Emmy Awards will take place Monday, 23 November 2009 at the Hilton Hotel, New York and will be hosted by British comedian Graham Norton.

TUPARIN NATIN ANG BANTA NG ATING PANAHON

2009-08-20T00:00:00.000-07:00

Tuparin natin ang banta ng ating panahon
Artists Arrest

TRT: 3:51 mins
Genre: animation
Theme: graft and corruption, traditional politics

The video is a parody of the political turmoil gripping President Gloria Macapagal-Arroyo over the controversial “Hello Garci” tapes. A collaboration of independent artists, the video uses different media aside from video – poetry shadow play, picture cut-outs, ad sketches- to present lightly a rather grim subject.

PADRE DE PAMILYA

2009-08-19T00:01:00.000-07:00

Padre de Pamilya
Cesar Buendia

TRT: 95 min
Genre: Narrative
Theme: graft and corruption, traditional politics

Saradong Katoliko maituturing ang pamilya MIRASOL. Nagsisimba tuwing linggo, nagdarasal bago maghapunan… palibhasa’y isa lang ag hangarin ng padre de pamilyang si JOSELITO – ang lumaki ng maayos at maka-Diyos ang kanyang anak. Kaya’t pilit niyang pinagbubuti ang kanyang pagiging Katoliko. Hanggang sa kanyang makakaya’y sinusuod niya ang lahat ng mga tradisyon at utos ng simbahan. Mahalaga kay Joselito ang makilala siya bilang isang mabuting ama. At ganun din naman para kay MAGGIE, ang kanyan asawa. Hinid sila mayaman, pero pinangangalagaan nila ang kanilang pangalan.

DE LATA

2009-08-19T00:00:00.000-07:00

De Lata
Mae Urtal Caralde

TRT: 12 mins
Genre: Narrative
Theme: graft and corruption, traditional politics

A satirical film created as a reaction and commentary to the current Philippine socio-political problems. It uses REPUBLIC sardines, a fictional commodity advertised o TV by an Iron Chief, as a metaphor of the country’s harsh realities

LONG LIVE THE FEARLESS MAN

2009-08-18T00:01:00.000-07:00

Long Live the Fearless Man
Aissa Penafiel, UPFI

TRT: 3 min.
Genre: PSA
Theme: graft and corruption, traditional politics

“Long live the fearless man” approaches the question “What is democracy?” in a critical light by exploring its other face: a visage everyone is familiar with yet few dare to confront. The film lends its voice to those who are afraid to speak of the abuses that occur in this other side of democracy which is constantly veiled by the corrupt.

POGI

2009-08-18T00:00:00.000-07:00

Pogi
Eros Arbilon, Colegio de San Juan de Letran

TRT: 17 min
Genre: Satire
Theme: graft and corruption, traditional politics

Ito’y tungkol kay Florante, isang bata na napasali sa isang grupo na ang pangalan ay Pogi. Sa pagsali niya, mayroon siyang isang malaking isasakripisyo para siya ay maging ganap na pogi. Ang pogi ay isang satire-musical kung saan ipinapakita nito ang epekto ng pagpapapogi ng mga politiko.

UPUAN

2009-08-17T00:01:00.000-07:00

Upuan
Jay Pacena

TRT: 4:46
Genre: Music Video
Theme: graft and corruption, traditional politics

The idea came from “All that is necessary for the triumph of evil is that good men do nothing” by Edmund Burke. Presenting images of a man who is in the position but exploits his power. A boy in the video represents the majority of the people, those who work hard and keep the man in his position. A woman representing all those who waste the fruits of the labor of the people and a Holy Man that is blinded by his idealism.

TONE-TONELADANG BASURA

2009-08-17T00:00:00.000-07:00

Tone-toneladang basura
Sanggalaw Productions, UP Baguio

TRT:9:05 mins
Genre: Documentary
Theme: Environment

The documentary focuses on the detrimental effects of improper garbage disposal. It also manages to show the importance of sanitary landfills (and proper garbage disposal)

BUNKER O: SUMIRIB PLUS

2009-08-16T00:00:00.000-07:00

Bunker O: Sumirib Plus
JP Carpio

TRT: 10 min.
Genre: Documentary
Theme: Environment

The film shows a series of moments involving the people of Sitio Sumirib, Barangay La Paz in the municipality of Nueva Valencia, province of Guimaras, one of the areas most affected by the oil spill from the sunken tanker Solar 1 chartered by Petron. The film focuses more on their thoughts and feelings

ALAMAT NG KULAY

2009-08-15T00:01:00.000-07:00

Alamat ng Kulay
Marie Rivelle Mallari, UPFI

TRT: 8:52min
Genre: Animation
Theme: Environment

Long ago, the earth only had three colors inhabited by three clans representing each. War broke when the three clans sought to have the crystal that serves as the source of color and immortal life. Adeya, from the blue clan, and Sinukuan, from the red, caught passion for each other, even though love between two of the different kind is forbidden. They went into hiding when the crystal broke into pieces and the earth lost its colors. Meanwhile, Adeya bore three children of disparate coolors. Silab was almost redl Agwe, was almost blue but the last one, Bunyan, and was curiously white. As they grew older, Bunyan was favoured by their parents so the elder two became jealous. Through that jealousy, we will find out how the colors came back and multiplied to Earth.

OYAYI SA KANLUNGAN NG DIGMA

2009-08-15T00:00:00.000-07:00

Oyayi sa Kanlungan ng Digma
ST Exposure

TRT: 4min
Genre: Photoslide
Theme: Indigenous peoples

A lyrical video about people’s displacement based on a poem inspired by the life experiences of peasant and Mangyan internal refugees, a phenomenon which re-emerged in Oriental Mindoro where the Philippine Army intensified counter-insurgency operations and campaigns against suspected New People’s Army members and sympathizers in the last two years

DIAGNOSING POVERTY, BUILDING COMMUNITY

2009-08-14T00:00:00.001-07:00

Diagnosing poverty, building community
KODAO Productions

TRT: 33 mins.
Genre: Documentary
Theme: Indigenous peoples

“All our achievements are the fruit of the people’s unity. Without, we would have been defeated. That’s how we were able to survive.” This is how Manang Anita, a Philippine community health worker, summarizes the essence of her community’s struggle for health. Diagnosing poverty, Building a Community tells the story of Filiipinos who take their health and their future into their own hands like the poor peasants in Bukidnon, Mindanao, and Gene and Julie, two oung doctors from Manila. It is the story of Baby Jessie, a child from a remote indigenous community, who almost died because of his government’s neglect and wrong priorities. Most of it all, it is the story of ordinary people’s struggle to organize themselves.

EHBON

2009-08-14T00:00:00.000-07:00

Ehbon
John Japhet Tubeo, University of Makati

TRT:10 min
Genre: Documentary
Theme: Indigenous peoples

This is a story of a young Moro who struggle to survive in the cruel world of the city.

ON POTOK

2009-08-13T00:01:00.000-07:00

On Potok
ST Exposure

TRT: 3 min
Genre: Music Video
Theme: Indigenous peoples

A music video about the Dumagat Tribe in the Philippines and their struggle for land and ancestral domain.

WALA NG BALIKBAYAN

2009-08-13T00:00:00.000-07:00

Wala ng Balikbayan
Ilang Ilang Quijano, Kim Pascual

TRT: 25 min 20 seconds
Genre: Documentary
Theme: Migrants situation

BROTHERS OF KAPPA PI

2009-08-12T00:01:00.000-07:00

Brothers of Kappa Pi
Roberto Reyes Ang

TRT: 18:23 mins
Genre: Documentary
Theme: Migrants situation

Why do so many recently arrived Filipino youth join gangs? How have some of these restless youth channeled their angst towards the human rights advocacy and community service instead of gang warfare or even worse, murder? THE BROTHERS OF KAPPA PI is the story of a fraternity based in Queens, New York. Kappa Pi is the story of Filipinos, mainly immigrants fostering the ideals of their Philippine revolutionary heroes. While Kappa Pi is a service oriented and politically – conscious fraternity, it mimics the structure of a gang to attract new recruits who might otherwise be drawn to dangerous life of real urban gangs.

THE SEDUCTION

2009-08-12T00:00:00.000-07:00

The Seduction
Roberto Reyes Ang

TRT: 5 mins. 49 secs
Genre: Poetry in Film
Theme: Migrants situation

What goes through the mind of a patriotic citizen who is prompted to leave his country in search for a greener pasture? How does one deal with the pain and sadness of having to abandon one;s home and becoming an immigrant at an economically advantaged country? What if there is a strained political and power struggle between the citizens and government of his two “homes”? The SEDUCTION is a filmic rendition of a poem that deals with the internal and moral struggles in the mind and political conscience of an immigrant.

PUDPOD

2009-08-11T00:01:00.000-07:00

Pudpod
Walang ku-Corrupt Production

TRT:25 mins.
Genre: Fiction
Theme: Poverty and underdevelopment

Tells a story of a hard working family man, and the hard realities a family is experiencing amidst the grave poverty in the country.

LUNES NG HAPIS

2009-08-11T00:00:00.000-07:00

Lunes ng Hapis
Nick Olanka, UPFI

TRT: 12min.
Genre: Fiction
Theme: War and peace

Virgie and Ismael are lovers in the midst of a military offensive in Sta, Filomena; Virgia is a teacher of a local elementary school and Ismael is a captain of the troop assigned to infiltrate the rebels. Every monday, they meet and make love passionately and violently. One day, Virgie's student Tikoy asks her to help find his missing father, Mang Lino, a rumoured rebel symphatizer. Events unfold and point to Ismael as being responsible for Mang Lino's disappearance, because of this Virgie is overwhelmed by guilt. The next monday, as they make love, Virgie chooses between her love for Ismael and her love for her community.

WW II

2009-08-10T00:01:00.000-07:00

WW II
Artists Arrest

TRT: 21 sec
Genre: Music Video
Theme: War and peace

An animated music video of a song by a renowned singer/song writer Dong Abay, describing the on-going war in the country. The video communicates the collective consciousness of a people questioning the unjust war pepetrated by those in power.

KASWALTI

2009-08-10T00:00:00.000-07:00

Kaswalti
Mae Urtal Caralde

TRT: 12 min.
Genre: Narrative
Theme: War and peace

The film tackles the psychological struggle between a wounded soldier and a rebel as their paths meet outside the battle front.

IMPERIALIST PUPPET

2009-08-09T00:01:00.000-07:00

Imperialist Puppet (Part 1: E-VAT)
ST Exposure

TRT: 50 secs
Genre: PSA
Theme: US Imperialism

Part of a series of twelve animations, “A Day in the life of Gloria Arroyo” is a satire on the different political and economic issues the country is facing under the Arroyo administration

Imperialist Puppet (Part 2: Globalized Agriculture)
ST Exposure

TRT: 47 secs
Genre: PSA
Theme: US Imperialism

Part of a series of twelve animations, “A Day in the life of Gloria Arroyo” is a satire on the different political and economic issues the country is facing under the Arroyo administration

Imperialist Puppet (Part 4: VFA)
ST Exposure

TRT: 51 secs
Genre: PSA
Theme: US Imperialism

Part of a series of twelve animations, “A Day in the life of Gloria Arroyo” is a satire on the different political and economic issues the country is facing under the Arroyo administration

LABABO

2009-08-09T00:00:00.000-07:00

Lababo
Seymour Sanchez, University of Makati

TRT: 16:47
Genre: Narrative
Theme: US Imperialism

Lababo tells the story of two Filipinas who fell in love with the same American soldier. Parallel to their story are historical events on RP-US relationship.

ANDALUSIAN BITCH

2009-08-08T00:01:00.000-07:00

Andalusian Bitch
Sasha Palomares, UPFI

TRT: 11 mins.
Genre: Experimental
Theme: Gender

Andalucian bitch is a surrealist film about a woman looking at the world and seeing herself in it – who she is and who she can be.

KARSEL

2009-08-08T00:00:00.000-07:00

Karsel
Rianne Hill Soriano, UPFI

TRT: 20 min
Genre: Film
Theme: Gender

“Karsel” delves into a young adult female’s submission to a traditional home and her struggle for her liberation.

NFFM MINDORO

2009-08-07T00:01:00.000-07:00

NFFM Mindoro
ST Exposure

TRT: 1: 20
Genre: Documentary
Theme: Human rights, political repression

On April 11, 2003, a human rights Quick Reaction Team was abducted by suspected elements of the 204th infantry brigade in Naujan, Mindoro Oriental. The video shows the re-enactment and investigation of the events that lead to the murders of the leaders of the QRT, KARAPATAN secretary general, Eden Marcillana and KASAMA – TK chairperson Eddie Gumanoy. The brutal murders provoked public outrage against state terrorism and intensified the demands for the investigation and arrest of perpetrators of human rights violations.

BIHAG

2009-08-07T00:00:00.000-07:00

Bihag
Sierra C. Alparce, UPFI

TRT: 28min
Genre: Narrative
Theme: Human rights, political repression

The film is about Istong Penamante, a 68-year old grandfather, who finds himself in the same situation he was in more than two decades ago, for 26 years after his brothers' abduction, his granddaughter, an activist writer, is abducted, becoming a victim of involuntary disappearance as well. The lives of the family members are interrupted and their strong bond is put to the test. For the second time, Istong is torn between two choices, to give in to hopelessness, or to continue fighting for his loved ones, and for himself.

EKSENANG TAHIMIK

2009-08-06T00:01:00.000-07:00

Eksenang Tahimik
JL Burgos

TRT: 9:57
Genre: Poetry in Motion
Theme: Human rights, political repression

From a painting, to a poem, to a song, and eventually to a film, Eksenang Tahimik is multidisciplinary artwork that depicts the human rights situation of the Philippines. It touches the situation of the families and friends of enforced disappearances, which is being carried out with impunity by the hooded assassins.

KUYA

2009-08-06T00:00:00.000-07:00

Kuya
Mary Angelica Eileen Cruz, St. Scholastica’s College Manila

TRT:9:30
Genre: Documentary
Theme: Children and youth situation

A nine minute documentary of a special child who has been loved and accepted by his mother despite of his condition.

SHORTCUT

2009-08-05T00:01:00.000-07:00

Shortcut
Rene Anselmo, University of the East Caloocan

TRT: 16:05
Genre: Documentary
Theme: Children and youth situation

Shortcut is a documentary that reveals the life of children in Valenzuela Public Cemetery. These children discovered life and livelihood in the sanctuary of dead.

ULING

2009-08-05T00:00:00.000-07:00

Uling
University of the Assumption Pampanga

TRT: 20:58
Genre: Documentary
Theme: Children and youth situation

ULING, which stands for Unang Laro Iyak Ngiti Ginto, is a record of the life of Filipino children in the real society. These children who dream, struggle and courageusly will realize their dreams through an enthusiastic approach to life. ULING has for its subjects three children who belong to different walks but share the same goals of establishing an excellent existence in the future: a young girl from an indigenous community is an image of a model student, a young boy who works to support his family and studies proves that poverty is indeed before our eyes, and a young girl who is fighting physical illness to survive establishes that achievement of a gold is possible even at the most tragic moment of life. ULING is an inspiration to the youth to live with dignity and perseverance.

PANDAYANG LINO BROCKA POLITICAL FILM AND NEW MEDIA FESTIVAL SCHEDULE

2009-08-03T00:01:00.000-07:00

Pandayang Lino Brocka Political Film and New Media Festival
School Film Screenings Schedule

University of the Philippines Diliman Cine Adarna
August 5, 2009, 1:00pm to 7:00pm

Poverty and underdevelopment
1:00pm to 2:35pm

Opening film:
Pera-perahang Lata - Rianne Hill Soriano (narrative, 29 mins)
Esem - Ian Baluca, Ateneo de Naga (music video, 3:52 mins)
Tiangge - Ray Gibraltar, Iloilo (narrative, 6:09mins)
Limang Libo - Ice Idanan, UPFI (narrative, 10:44 mins)
Pudpod – Adrian Recci Galang, UP Baguio (narrative, 25mins)
Muntinlupa demolition (1 and 4) Tudla Productions (newsreels, 20 mins)

Migrants situation
2:35pm to 3:50pm

Rhose - Nawruz Paguidopon, UPFI (music video, 5mins)
Performing Naturalness - Dada Docot (narrative, 3mins)
Surreal Random MMS texts… - Chris Gozum (experimental,16mins)
The Seduction – Roberto Reyes Ang (poetry in motion, 5;41mins)
Wala nang balikbayan - Ilang-ilang Quijano (documentary, 25mins)
The Brothers of Kappa Pi – Roberto Reyes Ang (documentary, 18:23mins)

Indigenous peoples
3:50pm to 4:40pm

Diagnosing poverty, building community - KODAO Productions (documentary, 33mins)
On Potok - ST Exposure (music video, 3 mins)
Ehbon - John Japhet Tubeo, UMak (documentary, 10 mins)
Oyayi sa Kanlungan ng Digma - ST Exposure (photoslide, 4 mins)

US Imperialism
4:40pm to 5:10pm

Lababo - Seymour Sanchez, University of Makati (narrative, 16:47mins)
Imperialist Puppet (Part 1, 2 amd 4) - ST Exposure (animation, 50, 47, 51 secs)

War and Peace
5:10pm to 5:45pm

Lunes ng Hapis - Nick Olanka, UPFI (narrative, 12mins)
Pagkalinga - Sine Proletaryo (documentary, 6mins)
WW III - Artist Arrest (music video, 4:08 mins)
Kaswalti - Mae Urtal Caralde, (narrative, 12mins)

Human rights, political repression
5:45pm to 6:54pm

CPR - KODAO Productions (documentary, 15mins)
Eksenang Tahimik - JL Burgos (poetry in motion, 9:57mins)
NFFM Mindoro - ST Exposure (documentary,16mins)

Closing film:
Bihag - Sierra C. Alparce, UPFI (narrative, 28 mins)

University of the Philippines Diliman Cine Adarna
August 6, 2009, 1:00pm to 7:00pm

Workers, peasants and fisherfolk situation
1:00pm to 2:35pm

Opening film:
Kasama sa bawat Mayo Uno - Mayday Productions (documentary, 22:46mins)
Awit ng KMU - ST Exposure (music video, 2:49 mins)
There’s Blood in Your Coffee - ST Exposure (documentary, 23:14)
Pagulong Fort - ST Exposure (documentary, 16:40mins)
Salot – Jay Jomar Quintos, UPFI (narrative, 23:07 mins)

Children and Youth situation
2:35pm to 3:22pm

Shortcut - Rene Anselmo, UE Caloocan (documentary, 16:05 mins)
Kuya - Mary Angelica Eileen Cruz, St. Scholastica’s College Manila (documentary, 9:30mins)
Uling - University of the Assumption Pampanga (documentary, 20:58mins)

Environment
3:22pm to 3:41pm

Alamat ng Kulay - Mari Rivelle Mallari, UPFI (animation, 8:52mins)
Bunker O: Sumirib Plus - JP Carpio (documentary, 10mins)
Tone-Toneladang Basua – Sanggalaw Productions (documentary)

Gender
3:41pm to 4:21pm

Karsel - Rianne Hill Soriano, UPFI (narrative, 20 mins)
Andalusian Bitch - Sasha Palomares, UPFI (experimental, 11mins)

Graft and corruption, misrepresentation, traditional politics
4:21pm to 6:37pm

Padre de Pamilya - Cesar Buendia (full length feature, 95mins)
Upuan - Jay Pacena (music video, 4:46mins)
Pogi - Eros Arbilon, Colegio de San Juan de Letran (narrative/satire, 17mins)

Tuparin natin ang banta ng ating panahon - Artist Arrest (animation, 3:51mins)
Long Live the Fearless Man - Aissa Penafiel, UPFI (PSA, 3mins)

Closing film:
De Lata - Mae Urtal Caralde (narrative, (narrative, 12mins)

PANDAYANG LINO BROCKA POLITICAL FILM AND NEW MEDIA FESTIVAL

2009-08-02T00:00:00.000-07:00

The Pandayang Lino Brocka Political Film and New Media Festival is a cultural gathering that aims to inspire the creation and popularization of truthful, artistic and relevant audiovisual works to enlighten and cultivate critical consciousness of the mass audience. This maiden launch of this festival in 2009 aims to be an aggregate of efforts in political cinema production and distribution in the first decade of the 21st century, a time of worsening economic crisis aggravating the poor people’s plight.

This affair hails the daring of the late Lino Brocka, whose works earned local and international acclaim for political cinema and whose untimely death saw a decline in political cinema in the mainstream. While critical of the government and the prevailing system, even the government recognized his talent and contribution, as he was given the posthumous distinction of National Artist for Film in 1997.

It is Lino Brocka’s strong conviction that artists are first and foremost citizens, and must address the issues confronting the country. That’s why in his practice, his films “look with sympathy on the common man and the human condition” and were situated in their dwellings and thoughts. Lino Brocka firmly believes that films and politics cannot be dissociated. His desire is to develop what he calls "the Great Filipino Audience" which for him is more important than creating "the Great Filipino Movie."

Films of political and progressive content are deemed to be not widely patronized or are thought to be not commercial successes. But if the audience is the common people and the works speak of their lives, no political film shall ever be unpopular and immaterial. They will always find audience among the millions of poor and oppressed people in society, as the films of Lino Brocka.

There is a battleground in the field of filmmaking and artistic production—the struggle for the hearts and minds of the people. This festival engages itself in this battle, as it campaigns for artists and audience to revert from the dominant practice of local mainstream and Hollywood entertainment production and consumption to film as a platform for social and political commentary.

Truly, film is a powerful tool to shape mind and consciousness. Artists are here challenged to use film as a vehicle for socio-cultural reflection and as an ideological weapon to liberate the minds of the people. For films as art that exposes, identifies and defies the oppressors in society guides the way for the realization of the democratic aspirations of the people.

TUDLA PRODUCTIONS GROUP, INC.

2009-08-01T00:00:00.000-07:00

Tudla Productions Group, Inc. (TUDLA) is an alternative, non-profit group of filmmakers, students and cultural workers that utilizes different media in drawing attention to the plight and struggle of marginalized sectors and to issues of national significance.

Through the support of the National Commission for Culture and the Arts, TUDLA will launch the 1st PANDAYANG LINO BROCKA Political Film and New Media Festival in August 2009. This is a two-part festival that will be first held in schools and then in the indigent communities in Quezon City and Manila. The target audience in the school and communities numbers to 4,000. The works to be featured are from all over the country. We have sent invitations to schools with mass communication, film and related courses to over 90 schools outside Metro Manila and over 20 schools in Quezon City and Manila.

The program we have clinched in the schools so far include film showings in the following dates and venues: August 5-6 at UP Diliman and August 10 at Asia Pacific College. There are other film showing dates in communities and factories/workplaces in Metro Manila within August.

In our desire to draw audience for the festival, we would like to invite your company to become our media partner. We would like to solicit your company’s support in publishing our event in the lifestyle/community news/bulletin of your paper or feature our event through an article with photo. We can provide the article and photo.

We hope that you may be able to assist our group again in this worthy endeavor. Please contact us through 0921-6020007 or 0915-3914765.

ANIMAHENASYON 2009

2009-07-09T00:00:00.000-07:00

Animation Council of the Philippines launches Animahenasyon 2009

The Animation Council of the Philippines, Inc. (ACPI) is calling all budding and professional animators from across the country to participate and submit their animated works to Animahenasyon 2009: 3rd Pinoy Animation Festival, as it formally opens and accepts entries to this year's festival. Entry forms may be downloaded from the ACPI web site at . The deadline for submission of entries is on September 15. Animahenasyon 2009 will be held from November 25 to 28 at the Gateway Mall Araneta Center.

In an effort to build an audience, awareness and development of original contents, ACPI puts together its flagship project through an annual animation festival called Animahenasyon that showcases original animated works of both aspiring and professional animators in the country through a competition.

The festival is composed of the professional and the student/amateur divisions that will have different running time categories: 1 to 5 minutes; 6 to 20 minutes, 21 to 60 minutes, and the full-animated feature (more than 60 minutes). There are also categories for music video, title sequence, public information, demo reel, and TV series. There will also be animated works in exhibition (full-length, special citation, and past Animahenasyon winners).

Last year's grand prize winner of Animahenasyon is Love and Marriage, a jab at the folly of racial prejudice in marriage, as seen through the eyes of its Chinese-Filipino filmmaker Kenny Lynn Tai. Love and Marriage is a narrative musical cartoon that relates the story of Chinese-Filipino interracial marriage, and a comic take on this long-standing issue in the Chinese society captured in 7.5 minutes. Tai is graduated from De La Salle - College of Saint Benilde with a degree in Multimedia Arts, and is now a freelance animator.

This year's Animahenasyon will feature a global animation forum where delegates from the continents of North America, Latin America, Canada, Australia and the Asia-Pacific will come to the country and showcase the latest trends and best practices from their respective countries in the field of animation, game development and the digital creative industry in general.

These foreign representatives will present the current state/condition of their industry and feature sample contents from their country. These delegates will also bring with them a group of people for possible business matching in the Philippines. The global animation forum shall provide a venue for exchange among animators, producers, industry supporters, and possible business opportunities

Animahenasyon 2009 will also include an investors' forum where business seminars would be held in conjunction with business meetings. The forum will cover content sales and distribution, outsourcing, co-production, financing and even for education partnerships. This assumes a full day, divided into six sessions of 60 minutes each for presentation with an open forum. This component of Animahenasyon shall help set direction for the development of the animation industry.

Also part of Animahenasyon 2009 is the animation master classes/ workshops, and exhibit of works of this year's lifetime achievement awardee Jose Zabala Santos, nephew of renowned artist Nonoy Marcelo.

Animahenasyon serves as a venue for Filipino animators to present their world-class ideas, and opens doors of opportunities for them to meet with and be inspired by the finest names in the industry. It also aims to create greater awareness of the Philippine animation industry and its contributions to the global entertainment business, while tapping locally produced content for promotion in animation markets here and abroad.

ACPI's vision is to make Philippines as the prime provider of animation and content creation services to the global marketplace. On the other hand, ACPI's mission is to be the center of excellence for animation and content creation services through building more efficient and effective collaborative business practices that will elevate the country's economy and culture.

As an organized body, ACPI aims to promote the Filipino talent both locally and internationally. With the cooperation of its members as well as the Philippine government, it is envisioned that the member studios and schools will be considered competitive both creatively and technologically.

ACPI is a non-stock and non-profit organization whose member companies specialize mainly in, but not limited to, 2D, Flash or 3D animation. It aims to promote the animation industry globally with the intention of creating an identity for the Philippines to be considered amongst the preferred countries that service the animation industry.
For more information about Animahenasyon 2009, please call 483-9501, 8172727 local 108 or email the secretariat at animationcouncil@ gmail.com, or visit www.animationcouncil.org.

Click here to read the regulations and download the form.

CINEMALAYA FILM CONGRESS 2009

2009-07-07T00:00:00.000-07:00

CINEMALAYA FILM CONGRESS 2009
July 21-22, 2009
Cultural Center of the Philippines
Theme: LINKING DIGITAL HIGHWAYS

Rationale:

There is no doubt that the introduction of Digital Video (DV) Technology in 2000 has revolutionized filmmaking in the Philippines . Just as the high cost of celluloid had concentrated the production of films in the hands of a few producers whose main concern was business for profit, so the very affordable cost of digital video has democratized filmmaking and given birth to a new generation of filmmakers who can now pursue their own artistic visions in film without being forced to compromise for commercial considerations.

With the entry of alternative producers into film production and with the establishment of grant-giving bodies like Cinemalaya and Cinema One and the recognition and prestige conferred on artistic films by festival competitions and award-giving bodies both here and abroad, independent film grew by leaps and bounds in the last five years not only in Manila but also in the regions. In fact and truth to tell, indie films have constituted the greater majority of all the films produced in the whole country in the last five years, and this does not include the many indie films that did not make it to commercial theaters.

Given the phenomenal growth of independent filmmaking in the whole country and the endless peregrinations of Filipino indie films from one international festival to another from which many have brought home an astounding harvest of prestigious awards, perhaps it is time to take stock of what has been produced by the indie filmmakers in the last five years, so that the growth of the indie film may be gauged from a national perspective, so that the value of the artistic achievements of indie films may be properly weighed and so that indie filmmakers may assess for themselves, together with their audiences and sponsors, their present problems and their prospects for development in the future.

The Cinemalaya Film Congress 2009 has the following aims:

1) To discover the major centers of independent filmmaking in the country and identify their significant film artists and cinematic productions;

2) To assess the artistic achievement of the cinematic works produced by indie filmmakers from all over the country in the last five years, especially from the point of view of artistic vision, integrity and independence;

3) To invite indie filmmakers from different regions such as Manila , Bacolod , Naga and Davao to speak about the state of indie filmmaking in their areas, identifying their strengths and weaknesses in terms of the production, distribution and exhibition of their films; and

4) To establish a formal or informal network of indie filmmaking centers all over the country in order to consolidate all indie filmmakers especially in their efforts to create, promote and market independent films both here and abroad.

180 MICROCINEMA FESTIVAL

2009-06-24T00:00:00.000-07:00

180?

The FDCP urges all Filipino filmmakers to ‘Spin the System’ with 180-second cinema experiences embracing unique and unorthodox approaches to filmmaking: 180 celebrates the different, the unusual, and the extraordinary— all told succinctly in 180 immersive seconds.

Why?

In fulfilling its mandate to “promote and support the development and growth of the Philippine film industry,” the FDCP is casting itself as an art beacon for new talent, launching 180 to revitalize the Philippine Film Industry by populating the current Filmmaking Talent Pool with original, forward-thinking Artists.

Particulars?

The Festival is open to Filipinos Worldwide, the FDCP providing an online venue to showcase their works.
Categories: Narrative/Experimental/Documentary
Contestants may submit one 180-second film per category.
Registered users view and vote, winners becoming finalists.
Bloggers react and critique, interacting with online forum participants to create a web-based environment dedicated to healthy cinema discourse.

NOW OPEN FOR SUBMISSIONS.
Deadlines: 26 July / 26 August / 26 September
info@180cinema.netsubmissions@180cinema.net

CINEMALAYA CINCO AT THE CCP

2009-06-07T00:00:00.000-07:00

The 2009 Cinemalaya independent film festival and competition, now on its fifth year and billed Cinemalaya Cinco, will unveil 20 new digital films that will compete on July 17-26, 2009 at the Cultural Center of the Philippines. Some 25 new independent films will also be premiered during the Festival.

Ten films will compete in the full length category. These are 24K by Ana Agabin, Ang Panggagahasa kay Fe by Alvin B. Yapan; Astig by GB Sampedro; Colorum by Jon Steffan Ballesteros; Dinig Sana Kita by Mike E. Sandejas; Engkwentro by Pepe Diokno; Last Supper No. 3 by Veronica Velasco and Jinky Laurel; Mangatyanan by Jerrold Tarog, Nerseri by Vic Acedillo, Jr. and Sanglaan by Milo Sogueco.

Competing in the short film category are: Behind Closed Doors by Mark Philipp Espina, BLOGOG by Rommel “Milo” Tolentino, Bonsai by Alfonso “Borgy” K. Torre III, Hulagpos by Maita Lirra Lupac, Latus by John Paul S. Seniel, Musa by Dexter B. Cayanes, Si Bok at ang Trumpo by Hubert Tibi, Tatang by Jean Paolo “Nico” Hernandez, Ugat sa Lupa by Ariel Reyes and Wat Floor Ma’am by Mike Sandejas and Robert Seña.

Winners of each category will be announced during the awarding ceremonies on July 26 at the CCP. The winner of the full length feature category will receive the Cinemalaya Balanghai trophy and an additional grant of P200,000. Each full length feature category finalist was given an initial P500,000 production grant. The winner of the short feature category will receive P100,000 and Cinemalaya Balanghai Trophy.

Cinemalaya Cinco, which is being tagged as the “big, small film festival”, is featuring the following sections, namely, Competition, World Premieres and NetPac films, Lino Brocka Retrospective, Kids’ Treats, Gay/Lesbian films, The City in Focus, Women in Indies, Off Center, Documentary and Ani: Best of Last Year.

In the Brocka Retrospective, among the films to be screened are Wanted: Perfect Mother, Tubog sa Ginto, Stardoom, Tinimbang Ka Ngunit Kulang, Tatlo Dalawa Isa, Maynila sa Mga Kuko ng Liwanag, Insiang, Bona, Bayan Ko, and Macho Dancer.

Another major event of Cinemalaya Cinco is the Cinemalaya Film Congress on July 21-22 at the CCP Little Theater. With the theme Linking Digital Highways, the Cinemalaya Film Congress aims to discover the major centers of independent filmmaking in the country, assess the artistic achievement of cinematic works produced in the last five years, to invite indie filmmakers from the different regions to speak about the state of indie filmmaking in their areas, and to establish a network of indie filmmaking centers to consolidate all efforts to create, promote and market indie films both here and abroad.

A new advertising campaign for Cinemalaya Cinco was created by Black Pencil Advertising Inc. The ad campaign celebrates the fifth year of Cinemalaya which has become a major event in local filmmaking today. The ad campaign tags Cinemalaya as the “big, small film festival”, conveying the importance and impact of Cinemalaya on Filipino independent cinema.

Cinemalaya opens on July 17 and runs until July 26, 2009. Films will be shown at all CCP venues, namely the Main Theater, the Little Theater, Dream Theater, Tanghalang Huseng Batute, Silangan Hall and the MKP Hall.

Cinemalaya Cinco is presented by the Cinemalaya Foundation, Cultural Center of the Philippines, the Film Development Council of the Philippines and Econolink Investments Inc. Cinemalaya is an all-digital film competition aimed at discovering new Filipino filmmakers.

For ticket information, please call the CCP Marketing Department at 551-7930 or 832-1125 local 1800 to 1808 and the CCP Box Office at 832-3704 or 832-1125 local 1409.

GIDEON'S FLAME FESTIVAL

2009-06-06T00:00:00.000-07:00

Gideon's Flame Festival AKA Metro Manila Christian Film Festival

The Union Church of Manila (UCM) is pleased to extend an open invitation to Filmmakers to submit their Christian films to the 2nd Metro Manila Christian Film Festival (MMCFF).

The Festival is seeking films which express our Christian faith through focusing on at least one of the persons of the Trinity (i.e., God the Father, God the Son, God the Holy Spirit).

About the Festival

The Metro Manila Christian Film Festival (MMCFF) will be held on November 3-7, 2009. This event will showcase educational, inspirational and empowering films.

This Festival seeks to honor Jesus Christ, our Lord and Savior, and in the process, recognize filmmakers whose projects expound on Christian teachings and advancing Christian values and integrity through the medium of film. The Festival will be a celebration of the artistic gifts of Christian filmmakers not only in the Philippines, but possibly in other parts of the world.

Throughout the Festival, participants and other attendees may watch the films submitted. This will be a special opportunity to share with those who have not yet heard the Gospel. This also will be a celebration for Christians who, through the films, experience the greatness of God and His love for His children.

Who may join?

The Festival encourages independent filmmakers, as well as students and amateurs to submit their films and video productions to the Festival and be given the opportunity to be specially recognized through the "Gideon's Flame Award".
The attendees of the Festival will also have an opportunity to interact with and meet other filmmakers and producers. Participants may present their films in person if possible. (Not required).

What is the "Gideon's Flame Award"?

The "Gideon's Flame Award" is a recognition given to the winning entry at the Metro Manila Christian Film Festival. The award is based on Judges 7:20 which tells the story of Gideon's faith and of God's great power in defeating the enemies of Israel. He was a farmer whom God calls "a mighty man of valor" (6:12). He defeated the enemies with only 300 soldiers to follow God's plan. Of all the fifteen men who ruled as Judges of Israel, Gideon, the fifth Judge, was the greatest, in courage, in wisdom, and in faith in God.

For more details on the Festival, please go to www.mmcff.ws for the full guidelines and online application form {mmcff_form} .Please send the application form with all the requirements not later than July 31, 2009

We look forward to your participation in and support of this Festival.

In His Name,

Ms. Rhona Bautista
MMCFF
Coordinator
Union Church of Manila
rbautista@unionchur ch.ph or library@unionchurch .ph
www.mmcff.ws

CINEMALAYA BATCH 2009 NOW IN PRODUCTION

2009-06-05T00:01:00.000-07:00

The ten finalists in the full-length feature category of the Cinemalaya Independent Film Festival and Competition 2009 are all set to shoot this month.

The finalists in the full length feature category are: 24K by Ana Agabin, Ang Nerseri (The Nursery) by Vic Acedillo, Jr.; Ang Panggagahasa kay Fe by Alvin B. Yapan; Astig (Mga Batang Kalye) by GB Sampedro; Colorum by Jon Steffan Ballesteros; Dinig Sana Kita by Mike E. Sandejas; Engkwentro by Pepe Diokno; Last Supper No. 3 by Veronica Velasco and Jinky Laurel; Mangatyanan (The Blood Trail) by Jerrold Tarog and Sanglaan by Milo Sogueco.

Each of the finalists are receiving, in four tranches, a seed investment of P500,000 from Econolink Investments. The finished works will be exhibited in a nine-day festival from 17 to 26 July at six major venues of the Cultural Center of the Philippines. At the awards night slated on 27 July, the best film of the crop will be given an additional grant of P200,000 plus the Balanghai Trophy for Best Cinemalaya Film 2009. Aside from the ten titles, ten competing shorts as well as an exciting programme of exhibition films will be screened in Cinemalaya’s fifth edition.

Cinemalaya is a project of the Cinemalaya Foundation, CCP, Econolink Investments Inc. and the Film Development Council of the Philippines. The all-digital film festival and competition seeks to discover, encourage and honor cinematic works of Filipino indie filmmakers –works that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity.

The finalists in the short feature category will be announced in May 2009.

For more information, please call the CCP Media Arts Division at tel. No. 832-1125 local 1704-05.

THE 14TH FRENCH FILM FESTIVAL IN MANILA

2009-06-04T00:01:00.001-07:00

The 14th French Film Festival in Manila (June 5-14, 2009)

The festival opens on Friday, June 5, 2009 at 6:30 p.m. at the Grand Atrium Level 2 of Shangri-La Plaza

The 62nd Cannes film festival marks a milestone in the history of Philippine cinema as Brillante “Dante” Mendoza becomes the first Filipino to be awarded the “Best Director” prize for his film “Kinatay.” 2009 will also be remembered as the year that saw five Filipino films in the different sections of the festival: “Kinatay” in the Official Competition, “Independencia” by Raya Martin in Un Certain Regard, “Manila” by Adolfo Alix, Jr and Raya Martin in the Special Screening, “Sabongero” by Janice Perez and “Manong Maong” by Aissa Peñafiel and Miguel Ocampo in the Short Film Corner.

In celebration of this event, the 14th French Film Festival in Manila will be held from June 5-14, 2009 at the Shang Cineplex of Shangri-La Plaza. It will feature a retrospective of 14 French films which have been presented at the Cannes film festival, as well as a sneak preview of the Filipino film “Independencia”, which premiered at Cannes earlier this month.

The festival will open on June 5 with the film “Home” by the famous French photographer Yann Arthus Bertrand. Shot entirely from the sky in high definition, “Home” is a documentary about the stunning beauty of our planet and the alarming danger it faces. It will also be the first movie to be released simultaneously on all media (theatre, TV, DVD and Internet) across 5 continents, as part of World Environment Day, which also be celebrated worldwide on June 5 (www.goodplanet.org).

On June 12, Independence Day, the festival will present a sneak preview of “Independencia”. Produced by Arleen Cuevas, the film has received assistance from the French government through the Fonds Sud Cinema, a grant offered by the French Ministry of Culture and the Ministry of Foreign and European Affairs.

There will be four screenings each day of the festival. All films are open to the public with free admission on a first-come, first-served basis. The French films that will be screened include François Truffaut’s “Les 400 Coups” (1959), André Téchiné’s “Ma Saison Préférée” (1993), Michael Haneke’s “La Pianiste” (2001) and Benoît Jaquot’s “A tout de suite” (2004). For screening schedules, you may call 633-2277 or visit www.spot.ph.

For Filipino cinephiles who will not be able to attend the Manila screenings, there will also be a French Film Festival in Cebu which will run from June 19-21 at the Ayala Center Cebu. This event will feature many of the same films that will be shown in Manila.

The French Film Festival is organized by the French Embassy to the Philippines, together with CulturesFrance and Alliance Française de Manille, with the generous support of Shangri-La Plaza, the Shang Cineplex, Pioneer Films and Spot.ph. The French Film Festival in Cebu is organized through the efforts of Les Amis de la France and with the cooperation of the Arts Council of Cebu, and Ayala Center Cebu.

The logo of the festival shows the intertwined laurel branch of the Cannes Film Festival and a coconut branch to symbolize the strong cultural ties between France and the Philippines through cinema.

FRENCH SPRING FEST FILMS

2009-06-04T00:01:00.000-07:00

French Spring Fest Films

This year’s French Film Festival, which opens on June 6 at the Shang features everything from a Van Gogh biopic to the amorous affairs of a pianist.

The Shangri-La Plaza presents avid moviegoers the chance to experience the magic of France with the French Film Festival. To be held from June 6 to 14 at Shang Cineplex Cinema 3, the event features 15 poignant films that capture the beauty and essence of the country.

Ca Brule follows the thrilling love story of a 15-year-old adolescent girl living in Var. Her summer becomes a much more exciting and exultant one as she embarks on a relationship with a 37-year-old teacher, voluntary fireman, and married father of two.

In À Tout De Suite, a 19-year-old woman living in the ’70s experiences a rude awakening as she runs away from her parents’ apartment for a whirlwind adventure that takes her to Spain, Morocco, and Greece. Even worse, she gets deeper into a relationship with a lover who is a thief and who has committed a hold-up that led to several people’s deaths.

La Pianiste is about respectable piano teacher Erika Kohut, who tests the heart and affections of her younger student, while Marie-Jo Et Ses Deux Amours tells the story of Marie-Jo, a woman torn between two lovers — her husband and another man.

Get caught up in the mystery and thrill of Un Secret, as young 15-year-old Francois, who has created for himself an imaginary brother, is told a massive family secret that will change his life forever.

Dix-Sept Fois Cècile Cassard portrays the unforgettable journey of a woman who attempts to rebuild her life.

L’Esquive is the story of a boy named Krimo, a troublemaker who falls in love with a girl and is incapable of declaring his feelings for her.

Home is a stunning film about our home planet through footages from fifty different countries — how humans have treated it, the consequences we reap, and how we can rebuild it.

Go back in time, to the morning of Sept. 5, 1661 in Jean de la Fontaine, which follows the brave journey of poet La Fontaine as he stands up for the destitute in the thick of a dangerously despotic regime in France.

Flandres tells the remarkable story of Demester, who enlists in the army along with other men. He becomes a warrior in battle — but his young love Barbie struggles as she is far away from the man she loves.

Van Gogh relives the famous artist’s journey during the most productive time of his life — from the moment he arrived in Auvers-sur-Oise in 1890 to the events leading up to his death.

Les Quatre Cents Coups, part of the Antoine Doinel saga, tells the story of young Antoine, a boy with a troubled childhood and who eventually gets entangled with the police.

A story of a brother and sister unfolds in Ma Saison Préférée. Emily and Bruno are reunited as they set out to care for their slowly-deterioratin g mother.

Ridicule takes us back to the royal courts of Louis XVI through the eyes of Grégoire Ponceludon de Malavoy, who comes from a family with a history of nobility and bankruptcy.

Last, but not the least is Zim & Co. Zim attempts to get his life in order by trying to find a job — it’s that or he goes to jail. The only problem is, the one job he finds requires him to have a driver’s license, which he has to acquire in 10 days.

For film schedules and other inquiries, call 633-7851 loc.113 or log on to www.shangrila- plaza.com.

REPEAL MARCOSIAN MTRCB LAW

2009-06-03T00:01:00.000-07:00

Maza, Progressive Solons File Bill to Repeal Marcosian MTRCB Law
Press Release Posted on May 26th, 2009.

“It is high time to replace a Martial Law relic that is the MTRCB that has long been used as an instrument to curtail the right to freedom of expression especially socially-relevant and creative works critical of the administration in power.”

This is the statement of Gabriela Women’s Party Rep.Liza Maza today as she together with Bayan Muna Rep.Teodoro Casiño and Kabataan Party Rep.Raymond Palatino filed House Bill 6425 also known as the Movie and Television Classification Board Act of 2009, that seeks to repeal and replace Presidential Decree No.1986. The said PD has given the MTRCB the authority to ban films with critical political and social content.

House Bill 6425 shall establish a Movie and Television Classification Board (MTCB) which shall replace the existing MTRCB. The MTCB shall be confined only to the classification of motion pictures and television programs, and other related materials. The MTCB shall not be authorized to censor or modify or absolutely ban any motion picture.

“There have been a number of complaints from filmmakers regarding censorship over the years and films showing critical political and social content are arbitrarily slapped with an “X” rating. Ironically, most of these films earn awards from prestigious international film festivals. In this light, MTRCB has been widely seen as a repressive tool such that it violates the right to freedom of expression,” Maza said.

“There is a need to upgrade the standards and implement clear, specific and reasonable guidelines,” Maza said.

The “X” rating will be replaced by a “Certified Not For Regular Theatrical Release” rating in this proposed measure. It provides a clear and specific criteria regarding what is considered obscene or violent or inimical to public interest which shall be considered illegal.

Section 15 of MTCB Act of 2009 specifies how a motion picture or material can be considered obscene, violent or inimical to public interest. It states that a motion picture or material shall be considered obscene only when the same clearly meets all the following elements:

• The average person, applying contemporary community standards, would find the work, taken as a whole, appealing to prurient interest and satisfying only the market for gratuitius sex and violence.
• The work depicts or describes sexual conduct in a patently offensive way
• The work taken as a whole, and viewed within its context, manner of presentation, intention and culture, lacks serious literary, artistic, political or scientific value.

Furthermore, the proposed measure shall ensure that those who have qualifications, expertise and skills shall be the ones responsible in the classsifcation of motion pictures and television programs.

The progressive solons were accompanied by distinguished directors and filmmakers under the Task Force Free The Artists. They include Lav Diaz, Carlitos Siguion-Reyna, Auraeus Solito, Kiri Dalena, Jowee Morell, JP Carpio, Vives Anunciacion, Mario Guzman, Hai Balbuena, Keith Sicat, Sari Dalena, Emmanuel dela Cruz, Alexis Tioseco, Teta Tulay, Nonoy Lauzon, Free Expression Philippines led by Dino Manrique, and the Concerned Artists of the Philippines (CAP).

For Reference:
Rep.Liza Maza (0920-9134540)
Francis Uyanguren (0915-9329407)

Attachment
explanatory_note HB 6425.doc
HB 6425 MTCB ACT of 2009.doc

INDIE HD

2009-06-02T00:02:00.000-07:00

Gateway Digital Cinema Supports the Premiere of 2 Independent Short Films

It is an acknowledged fact that the lack of financial resources and government support tend to put the development of Philippine cinema some step backwards. But this should not stop filmmakers, producers, and film industry institutions, companies, and entertainment- related businesses from helping one another for the improvement of our film industry.

Gateway Cineplex 10, National Commission for Culture and the Arts (NCCA), and Colorwheel Media Studios present “Indie HD: Premiere of the Filipino and Korean Independent Short Films ˜Pera-perahang Lata” and “Technophilia” in HD Format and a Discussion On Digital Technology in Indie Films Today. Directed by Rianne Hill Soriano, the two films will be projected in HD format at the Cinema 1 of Gateway Cineplex 10 (Dolby Super Digital Cinema) on June 3, 2009, 6:30 p. m.

The two independent films share a common theme and treatment on factories the normal factory setting reflecting various aspects of life for “Pera-perahang Lata” and the human factory effect of technology on people for “Technophilia.”

The films are privileged to be shown in HD format, not via low resolution DVD projection, courtesy of Gateway Cineplex 10, home of two of the four digital cinemas in the country today. Within the premiere of the said films is a full program entitled "Indie HD" which incorporates a brief discussion on how independent filmmakers can maximize the filmmaking process: Gateway providing information on how digital cinema is starting to shape the future of film theaters; Christie giving basic details about the HD projection on digital cinemas; Optima Digital discussing the post-production workflows available for filmmakers; and the NCCA imparting information about their grant system for independent filmmakers.

The digital technology of today can now provide more technically competent productions with decent finances. The lower cost of production puts a distinct advantage in maximizing resources for a more effective production workflow. The high resolution and mostly file-based filming in HD cameras make it easier and faster for the footages to be utilized for post-production.

For the future of films and even cinema advertisements, the file-based showing of films becomes a real advantage to film theaters and advertisers alike as there are no more scratches and noises due to wear and tear of a 35mm or 16mm print and there are no more possibilities for human error in rewinding and queuing up prints. A feature film normally has around four to six prints changed every 20 minutes (variable) of the film’s running time. Now, having things digital, the programming can even be automated accordingly. And what the future can further bring is the easier transportation/ sending of film, trailer, and cinema ad files online, via satellite, through less bulky parcels, and other more convenient means instead of providing hundreds and thousands of film prints for a film that is now showing (where every theater in the whole city, the country, or even the world should have a physical copy of the prints). File-based systems in 2K and 4K resolutions and surround sound systems also provide quality visuals and audio in par with what standard 35mm film projections can bring and even easily put the right subtitles for films of worldwide release. All these, in the long-term, entails lower cost for producers; thus, making it more feasible for the Philippines to catch up with the technology in the global arena.

"Indie HD" is a testament to how independent artists and commercial studios can work together for artistic and cultural projects. The thrust of the event is to inspire aspiring filmmakers, struggling filmmakers, and renowned filmmakers, that no matter how tough it is to come up with non-commercial and/or art films due to budget constraints, there are people and institutions, including the prime movers of the film and similar entertainment industries, who are willing to help and support such artistic endeavors. It is wonderful to note how the collaboration among passionate artists, dedicated talents, and supportive sponsors have transpired to this kind of event telling stories and inspiring people that Filipinos, amateur or professional, can work together to come up with quality projects that help enrich the Philippines' arts and culture. This may be a non-profitable project, but various people and companies still work together to make it possible.

"Pera-perahang Lata," a film that explores the many facets of a struggling life in a world that is full of unpredictable moments, is made possible through various institutions’ help including the National Commission for Culture and the Arts, Unitel Productions, FILMEX, Optima Digital, Outpost Digital Frontier, Engine Room, city government of Marikina, Marikina Riverbanks, St. Francis Xavier Parish Church, Streetpark Productions, and Brass Knuckles. The cast is led by Von Arroyo and Arnold Reyes.

"Technophilia, " a Korean-Filipino- Iraqi film production, shows how technology can shape people’s lifestyles, affect their relationships, and make their interactions as mechanistic as their gadgets. It stars fresh Korean, Japanese, American, and Filipino talents. The film is shot in 16mm film with screening format in HD through the help of the Korean Film Council, Korean Academy of Film Arts, and Korea University during the filmmaker's 6-month stay in Korea for the Asian Filmmakers Training Program 2008.

The event is also made possible by the Gateway Cineplex 10, NCCA, Colorwheel Media Studios, Outpost Digital Frontier, Innovasia, Korean Embassy, Marikina Cultural Affairs Office, Mamma Mia, Jingleman, IFC, NU 107, and the official music channel MTV Philippines.

METHOD TO MADNESS

2009-06-02T00:01:00.000-07:00

Method To Madness
The morality of Sen. Bong Revilla
By Patricia Evangelista
Philippine Daily Inquirer
First Posted 06:29:00 05/31/2009

ACTOR Ramon “Bong” Revilla Jr. – Star of “Alyas Pogi” (1990) “Alyas Pogi 2” (1992) and “Alyas Pogi: The Return” (1999) – has a penchant for roles that demand bandanas, screaming half-naked females and paint-by-number tattoos. The boyish superman with the plastic M14 can take on a gang of mustached and bearded hoods – hoods, we assume, by virtue of the mustaches – all while heroically sucking in the gut under the tucked-in T-shirt. This is the man whose defining moment in his role as Leon in the 2000 film “Ang Kilabot at ang Kembot” has three women accusing him (accurately) of pretending loyalty to each of them, while all the while attempting to get a virgin into bed. And so the women stride in, big brothers in tow, all of whom launch themselves at the man with a hand on another woman’s behind. And then the action starts, elbow to gut, fist to face, a knee to the groin, the whining Casanova suddenly Zorro. The men fall bleeding at his feet, and so do the women, all four trying to squirm their half-naked selves into his arms while Leon rolls his eyes. Another day in the life of a real man.

This is Bong Revilla, whose contribution to culture is in large part the image of the Filipino macho man in a country where film and television offer the public the most accessible set of social standards. In the celluloid world of Bong Revilla, women are either sluts or virgins, wives are forgiving, and a real man is someone with a gun in one hand and a breast in the other. This is Bong Revilla, whose various love affairs while married to his wife and former screen partner Lani Mercado has provided fodder for entertainment news, and whose final acknowledgement of a love child has even his father – who himself fathered illegitimate offspring at the age of 75 – lecturing him on the value of a good marriage. This is Bong Revilla, senator of the Republic, wire-rimmed glasses in place, pounding the lectern in a privilege speech demanding morality from a “maniac” and a “pervert” who he cannot believe is a real man.

There is little doubt as to the guilt of one Doctor Hayden Kho, erstwhile lover of plastic surgery queen Dr. Vicki Belo – he of the red bandanna, gyrating hips, and unfathomable love for George Michael. He has admitted to filming a number of women without their consent during sex, and whether he was responsible for the distribution of those videos, the act of filming alone was enough to toss him behind bars.

What is perhaps stunning about the entire Hayden Kho-Katrina Halili scenario is the level of attention it is getting from the national government. The Senate claims an investigation in aid of legislation is vital to ensure that instances like this will not happen again. Senator Revilla, in a GMA7 interview, claims there is no existing law that will hold Kho responsible, with the exception of perhaps a case of child abuse (Revilla says he has unsubstantiated evidence that Kho did film a minor) or civil damages. It is this “toothless” legislation that Revilla wants to change with his playing knight in shining armor, forgetting perhaps that Kho can be held liable under the Violence Against Women and Children Act.

It is difficult to understand why the senators seem to feel the need to waste national funds on pitting Kho and Halili against each other. Kho does not deny his responsibility, Halili has done little but weep and rail, and while the cameras are trained on the tears rolling down her cheek, the Comelec chief approves of a much-questioned automation, a landslide slips completely off the front page, and the GDP dips lower than conservative estimates. When the story first exploded, Executive Secretary Eduardo Ermita urged all the women in Dr. Kho’s sex videos to press charges, saying that “anything that is offensive to public morals must be sanctioned,” on the same day brushing off a United Nations report on torture violations in the Philippines. Perhaps rape and strangulation are not offensive compared to a sex video. Allegations of Filipina rapes in Subic did not instigate privilege speeches by Bong Revilla. Charges of torture did not make Justice Secretary Raul Gonzalez demand the blacklisting of now Partylist Representative Jovito Palparan.

And this is where morality again walks into the limelight and demurely crosses its legs. All of a sudden every man is a puritan, even the gentlemen of the Senate who “just happened” to view the sex videos. There is suddenly talk again about the evils of sex among the new generation, and a law, authored by Alyas Pogi himself, seeking to “safeguard the interest of the State against the menace” of “pornographic materials” that “disrupt the peace and order of the country.” Pornography, he calls it, anything that represents by whatever means a person (whether minor or an adult) “engaged in real or simulated explicit sexual activities or any other representation of the sexual parts of a person for primarily sexual purpose that is intended to stimulate erotic rather than aesthetic or emotional feeling.”

It is a law that has nothing to do with the Hayden Kho case, whose main issue is essentially a conceded lack of consent. Neither does this explain why Revilla and other senators insisted on keeping the investigation public, when aiding legislation could work whether or not senators have a venue to grandstand. And yet this national outrage can very well justify the passing of a law whose definition can give Manoling Morato a reason to kick out another “Schindler’s List.” And so it would mean a farewell to films from “Orapronobis” to “Scorpio Nights” to “Burlesque Queen” to Ai-Ai de las Alas’ “Tanging Ina Mo.” It would mean the possibility of canning “Star Trek” and “Kill Bill” and National Geographic features. It can knock out half the bookshelves of Fully Booked. Brillante Mendoza, recent Cannes best director, will find himself behind bars for producing last year’s critically acclaimed “Serbis.” I do not trust the gentlemen of the Senate to define what is aesthetic, what is emotional, and what is crude, as they do not recognize crudeness in themselves.

It is unnecessary to argue that it is the height of hypocrisy for such a man to propose such a bill, the only added value of this law would perhaps be the banning of Bong Revilla films from the shelves of Video City.

YES, THE PINOY ‘CANNES’

2009-06-01T00:01:00.000-07:00

Lino Brocka must be applauding in his grave. The trail he had blazed in Cannes has just produced a star in the person of indie director Brillante “Dante” Mendoza who won Best Director (for Kinatay) at the just-concluded 62nd Cannes Film Festival, the most prestigious film event in the world, beating such Goliaths (previous winners) as Ang Lee (Taiwan), Pedro Almodovar (Spain), Jane Campion (New Zealand), Lars von Trier (Denmark) and Quentin Tarantino (USA).

A UST Fine Arts graduate (major in Advertising), Dante, 49, is the first Filipino to win perhaps the most prestigious and most coveted award in the film world. Kinatay (literally meaning “massacre”), a gritty look at the slow “chop-chopping” of a prostitute with blunt kitchen knives, was his second entry at the festival’s Main Competition, following Serbis (about a family who lives in and operates a rundown porno theater) last year. Both films drew mixed reactions — you know, you either love them or hate them.

Brocka paved the way to Cannes for Filipino directors, first by joining the Directors Fortnight in 1978 with Insiang, starring Mona Lisa and Hilda Koronel as mother and daughter involved with the same man (Ruel Vernal), and then two years later in the Main Competition with Jaguar (starring Phillip Salvador), followed by Bayan Ko: Kapit sa Patalim (also with Phillip) in 1984. No other director broke into the Main Competition until Dante came along.

Dante is the latest addition to the roster of Cannes Filmfest Best Directors including, among others, Francois Truffaut, Terence Malick, Werner Herzog, Julian Schnabel, Ingmar Bergman, Luis Bunuel, Robert Bresson, Costa Gavras, Nagisa Oshima, Bertrand Tavernier, Martin Scorsese, Wim Wenders, Joel Coen, Robert Altman, Mike Leigh, Wong Kar-Wai, David Lynch, Gus Van Sant and Michael Haneke.

Loosely based on a true story, Kinatay is Dante’s seventh indie, following Masahista, The Teacher, Kaleldo (Summer Heat), Foster Child, Tirador and Serbis.

If it was panned by critics, why did Kinatay run away with the Best Director plum?

Some of the mostly-female nine-member jury headed by French actress Isabelle Huppert defended their verdict.

Nuri Bilge Ceylan, a filmmaker from Turkey: “It’s the most powerful film in the selection. It’s one of the most original...It created (its own) style for the subject matter.”

Hanif Kureishi, a screenwriter from the United Kingdom: “It’s not a date movie. I wouldn’t suggest that you bring your lover to watch it. It’s not a film I would see again. But good art is something hard.”

And Huppert (who told Dante that she couldn’t take her eyes off the film from start to finish): “We found ourselves being attracted to the same films...movies that deserve to get the world’s attention.”

It’s sad that the Philippine government didn’t give Dante the same reception it has accorded Manny Pacquiao and other Pinoys who have won for the country international honors. Dante’s Cannes triumph is the same as winning a Pulitzer Prize, a singular achievement that boggles the mind, including that of Dante’s.

“It hasn’t sunk in yet,” admitted Dante. “I still keep on pinching myself.”

Thank heavens that Mandaluyong City Mayor Benhur Abalos “surprised” Dante with a band that welcomed him upon his arrival at the airport last Tuesday (May 26). Dante is a Mandaluyong resident.

Meanwhile, now that we know him as a prize-winning director, let’s get to know more about Brillante “Dante” Mendoza the man.

What kind of films did you grow up with?

(Laughs) “Tony Ferrer’s Tony Falcon movies. I was a kid then, in the late ’60s. My father was fond of action films and everytime he watched movies in the moviehouse in San Fernando (Pampanga), I would go with him. I think I watched all of Tony Ferrer’s movies with my father.”

What’s one movie that had a great impact on you?

“Ironically, it was a drama, not action — Ishmael Bernal’s Broken Marriage and Relasyon (both starring Christopher de Leon and Vilma Santos). I love the scene in Broken Marriage where Christopher and Vilma are quarreling in bed. Very realistic! Nagduduruan sila; away mag-asawa, you know. Ganda ng eksenang ‘yon. Very memorable sa akin ‘yon.”

From who else did you get your passion for film?

“From directors whom I worked with, like Chito Roño for whose films, one of them Private Show (starring Julio Diaz and Jaclyn Jose), I worked as the production designer. I won a Best Production Design(er) award. I also worked with (directors) Peque Gallaga, Celso Ad. Castillo, (the late) Tata Esteban and William Pascual. They are passionate directors; their works are visually exciting.”

So you really started with Chito, huh.

“Ang galing ni Chito mag-kuwento, ang galing ng visuals niya! One of his recent films that really struck me was La Vida Rosa (with Rosanna Roces and Diether Ocampo).”

I notice that your films are very lyrical, very poetic. You tell your story more in visuals than in dialogues.

“When I edit my films, I turn the sound to ‘mute.’ I want to see na kaya mag-kuwento ng aking visuals. Remember, film is a visual medium. The sound and music should only help enhance the story-telling. If you notice, there’s not so much musical background in my films.”

Any other directors that you look up to?

“Mike de Leon. I love two of his films, Itim and Kisapmata. Some people say that Kinatay reminds them of Kisapmata. You remember Vic Silayan in Kisapmata as the controlling father of Charo Santos? Natatakot siya even when he’s not doing anything; he can sow fear even with just his eyes. Ganyan daw sa Kinatay. Matatakot ka even if nothing fearful is shown on the screen; you just feel it. And, of course, there was Lino Brocka. I worked with him not as a production designer but as an extra in one of his films. I don’t remember which one. We were visiting the set as observers and Lino needed extras to play reporters. I was one of them.”

You said you also worked with Peque Gallaga (who started as a production designer)?

“Yes, as a production designer...in Virgin Forest. And then, Takaw, Private Show, Salamangkero, Great American Dream, etc. I worked as a production designer in the movies until the early ’90s then I switched to doing commercials for an advertising agency, also as an art director.”

And then, of course, in 2005 you ventured into directing indies.

“I was making good money in commercials. But then, I really wanted to direct movies.”

By producing your own films, I understand. What did you have to sacrifice for that dream?

“Well, mostly financial. In the beginning, I was spending my own money. It was only later that I got co-financing from foreign partners.”

Your background is production design, not acting. So how do you motivate your actors? Is it true that you are not “script-oriented”?

“Of course, I work with a scriptwriter; in Kinatay, my scriptwriter was (Armando) Bing (Lao) who has been working with me in several projects. Bing is my mentor; he’s responsible for what and where I am now. My actors usually don’t know what the story is or what the ending would be. I don’t let them read the whole script. I just give them copies of the portions na nandoon ang characters nila. My stars in Kinatay didn’t know what the ending was until they saw the final copy. Coco (Martin) and Mercedes (Cabral who was also in the cast of the South Korean entry, Thirst, by Park Chan-wook who won a Special Jury Prize along with Britain’s Andrea Arnold for Fish Tank) saw the movie only in Cannes. Coco plays the chop-chopped cop and Mercedes, his wife.”

Why are your films, especially Kinatay, very violent?

“I am not a violent person; I’m just very passionate. Kinatay is not really that violent. People think it’s violent maybe only because I lead them into thinking that it is. There’s not so much blood; the violence is more felt than seen. Remember the shower scene (with Janet Leigh and Anthony Perkins) in (Alfred Hitchcock’s) Psycho? You don’t see Anthony’s knife touching Janet’s body; you see only Janet’s facial reaction. The editing is brilliant, so you feel the violence of the scene even if there isn’t that much ‘visual’ violence on screen. In Kinatay, the audience becomes captive witnesses to the crime. I intended it to be that way.”

With Kinatay, either you like it or you hate it. No grey area.

“I welcome that kind of reaction. Extremes. Walang in-between. That kind of reaction generates discussion and I like it. It means that people are interested and involved enough in your film to say what they feel, whether negative or positive. Both are valid reactions. You know what people like in your film and what they don’t like.”

Weren’t you intimidated by the A-lister directors in competition — you know, the Goliaths of international cinema?

“Of course, I was! Hehehehehe! Ang liit-liit ko compared to them; isa lang akong yagit. Ako lang ang walang pangalan, so it was intimidating. I saw all of them but it was only Quentin (Tarantino) na talagang naka-usap ko face-to-face.”

After your victory in Cannes, how can you top yourself? You are being compared to Brian de Palma.

“It’s scary! Honestly, I don’t know yet what I will do next.”

(E-mail reactions at rickylo@philstar.net.ph or at entphilstar@yahoo.com) - CONVERSATIONS With Ricky Lo (Philstar News Service, www.philstar.com)

BABY ANGELO

2009-06-01T00:00:00.000-07:00

Intrigue and suspicion at IndieSine throughout June

Cinemalaya winner Baby Angelo is IndieSine’s offering for the entire month of June. The award-winning indie film starring Katherine Luna, Ces Quesada, Jojit Lorenzo, Mark Gil and Archie Alemania will be shown at Robinson’s Galleria IndieSine beginning June 3.

A story on the curiosities of tenement life and the unraveling of relationships and emotions, Baby Angelo raises issues as relevant as today’s topics. When a dead fetus is found in an apartment dumpster, intrigue and suspicion quickly spread among the tenants, prompting its landlady to start an investigation.

A winner in last year’s Cinemalaya Independent Film Fest and an official selection at the 2008 Pusan International Film Festival, Baby Angelo is directed by award-winning filmmaker Joel Ruiz and produced by production house Arkeofilms. The screenings of Baby Angelo coincides with Arkeofilms’ 9th anniversary celebration.

Baby Angelo can be seen this whole month of June at Robinson's Galleria IndieSine, in whole day screenings from June 3-9 and 1pm screenings for the rest of the month. For block screenings and bulk sale discounts, email mildred@arkeofilms. com or call 899-4504.

8TH THIRD EYE FESTIVAL CALL FOR ENTRIES

2009-05-31T00:00:00.000-07:00

Short Film News (SFN) - Third Eye Asian Film Festival invited filmmakers to submit their films for its 8th edition which will run October 8-15, 2009 at Mumbai.

The event has two competitive sections: First / Second Film Competition which dedicates to the films made by Asian director, and Short Film Competition.

Short fiction films which made two years before the festival are eligible for Short Film Competition. Duration should be up to 30 minutes. Running time of more than 30 minutes will be at the discretion of Festival Director.

The Festival aims to establish interaction between Asian film fraternities and create a dialogue with the West. The deadline for submission is August 15.

For regulations and entry form visit festival website: www.affmumbai.com.

WORLDEAF CINEMA FESTIVAL

2009-05-25T00:00:00.000-07:00

The Gallaudet University WORLDEAF Cinema Festival will showcase competitive short films, feature films, videos and vlogs created by deaf and hard of hearing filmmakers. The festival will take place November 4-7, 2009 at Gallaudet University in Washington, D.C.. Academy Award-winning actress, Marlee Matlin, is the festival’s honorary chair. The festival seeks to increase awareness of deaf cinema within the greater film and media industry, and provide international deaf filmmakers with unique professional networking opportunities. Hearing filmmakers are also invited to submit their visual media products that include the deaf experience. For additional information, view the website at http://wdcf.gallaudet.edu.

Dates: November 4 – 7, 2009

Welcome from
Honorary Chair
Marlee Matlin

Welcome to the Gallaudet WORLDEAF Cinema Festival website! This international festival will take place November 4-7, 2009 in Washington, D.C., and I hope to see you there.

Pioneer Deaf filmmaker George W. Veditz said “As long as we have our films, we can preserve signs in their old purity.” That means Deaf Cinema is indeed here to stay! I invite you to join us as we celebrate the work of deaf, hard-of-hearing, and hearing filmmakers of the past, the present, and the future. The WORLDEAF Cinema Festival offers unique opportunities to network with motion picture industry leaders, and you’ll also have opportunities to participate in discussion forums on production, marketing,and distribution issues. Daily screenings of films and videos will showcase new and classic works. Deaf, hard-of-hearing, and hearing filmmakers who produce films with or about deaf or hard-of-hearing people are invited to submit works to the competition.

This will be a truly significant milestone in the history of deaf filmmaking so be sure to mark your calendar to attend this exciting event. I’m looking forward to seeing you there.

Marlee Matlin

12TH UNITED NATIONS ASSOCIATION FILM FESTIVAL

2009-05-20T00:00:00.000-07:00

Mission

We are delighted to announce the 12th United Nations Association Film Festival (UNAFF), which was originally conceived to celebrate the 50th anniversary of the signing of the Universal Declaration of Human Rights. It was created with the help of members of the Stanford Film Society and United Nations Association Midpeninsula Chapter, a grassroots, community-based, nonprofit organization. The 12th UNAFF will be held from October 17-25, 2009 in Palo Alto, Stanford University, East Palo Alto and San Francisco. The theme for this year is “ENERGY AND THE WORLD.”

UNAFF celebrates the power of films and videos dealing with human rights, environmental themes, women’s issues, protection of refugees, homelessness, racism, children, disease control, universal education, war and peace. In the past eleven years, UNAFF has screened some exceptional documentaries, many of which went on to win prestigious awards, among them ten films that received Oscar nominations and five that won the Academy Award for Best Documentary. These films often elicit a very personal and emotional response that encourages dialogue and action, by humanizing global and local problems. Last year UNAFF jurors reviewed over four hundred and forty submissions. Our final program consisted of forty-one films related to issues from Afghanistan, Argentina, Bolivia, Bosnia and Herzegovina, Brazil, Canada, Chile, China, Congo, Croatia, Ecuador, Egypt, Kenya, France, Germany, India, Iraq, Israel, Italy, Lebanon, Liberia, Mexico, Namibia, Netherlands, North Korea, Norway, Pakistan, Palestine, Peru, Russia, Rwanda, Serbia, Somalia, South Africa, South Korea, Sri Lanka, Sudan, Switzerland, the UK, the US and Vietnam.

Encouraged by the overwhelmingly positive response from our audience and the media, we established in 2000 a Traveling Film Festival (TFF) which is typically organized with universities, UNA Chapters and community organizations across the US and internationally. So far the UNAFF TFF has taken place in San Francisco, Berkeley, Monterey, Santa Cruz, Davis, Saratoga, Sonoma, Sebastopol, San Diego, Las Vegas, Los Angeles, Salt Lake City, Honolulu, Philadelphia, Chicago, Washington DC, New York, Burlington at University of Vermont, New Hampshire, Bellevue, Durham at Duke University, New Haven at Yale University, Waukesha at University of Wisconsin, La Crosse, Boston and Cambridge at Harvard University and internationally in Paris, Venice, Belgrade and Phnom Penh.

UNAFF gives four awards—the Stanford Video Award for Cinematography and the Stanford Video Award for Editing (sponsored by Stanford Video), as well as the UNAFF Grand Jury Award for the Best Short Documentary and Best Long Documentary. Our relentless efforts in promoting awareness of global issues have been rewarded at the annual UNA Convention in New York, where UNAFF received the prestigious Earl W. Eames Award for innovatively combining new technologies with traditional media. We are also proud that UNAFF has twice won WAVE Awards for the best trailer.

UNAFF is an independent project of the UNA-USA, a nonprofit organization. We welcome your support, financial or otherwise, in helping us put together a festival that promotes documentary filmmaking as a tool for social and political understanding and which facilitates community participation in effecting international change. By making a tax-deductible donation to UNAFF you will directly give a chance to tens of thousands of people to see these important documentaries that bring us together as a diverse community. Please send your gift (check payable to UNAFF) to: UNAFF, P.O. Box 19369, Stanford, CA 94309. All donations are tax deductible.

Warmest regards,
Jasmina Bojic
Founder and Executive Director, UNAFF/UNAFF Traveling Film Festival

October 17-25, 2009 Palo Alto, East Palo Alto, San Francisco and Stanford University celebrates the power of international documentary films dealing with human rights issues, environmental themes, protection of refugees, famine, homelessness, racism, disease control, women’s issues, children, universal education, war and peace. Celebrating the Universal Declaration of Human Rights, we have chosen the theme: ENERGY & THE WORLD

Formats: 16mm and 35mm film; Beta SP, DVD (NTSC)
Preview: on 1/2″ VHS (PAL/NTSC), DVD (NTSC region 0 or 1)
All lengths are eligible

Entry fee: $25 for films up to 30 min. (late deadline $35)
and $35 for films longer than 30 min. (late deadline is $45)
Please send a check or money order payable to UNAFF or use PayPal using UNAFF web site www.unaff.org
Early Deadline – May 25, 2009
Regular Deadline – JUNE 1, 2009
Late deadline – June 9, 2009

Entry Form: Print from www.unaff.org or www.withoutabox.com

Awards:
* UNAFF Grand Jury Award for Best Long Documentary
* UNAFF Grand Jury Award for Best Short Documentary
* Stanford Video Award for Cinematography
* Stanford Video Award for Editing

Please submit screening materials and background info to:
UNAFF 2009
Stanford University
10 Alvarado Row – CERAS/CFLP, Room 125
Stanford, CA 94305-3084
Questions/comments: Email info@unaff.org or call (650) 724-5544

5TH ASIAN FILM ACADEMY

2009-05-13T00:00:00.000-07:00

Pusan International Film Festival in Korea holds its 5th Asian Film Academy (AFA2009) this year.Having its fifth edition this year, AFA has helped young talents find their identity as Asian filmmakers. AFA has provided meeting ground such as workshop, master class, mentoring, short-film production for young and established filmmakers to work together as well as to exchange their thoughts and visions. And it is such a special experiences for them to make own their film under the direction of the prominent Asian directors and talented faculty staffs.AFA has grown into the center of the Asian Film Network where the talented young Asian filmmakers dream of their future together.

Dongseo University, Korean Film Council Korean Academy of Film Arts, and Pusan International Film Festival are the co-host of AFA.

AFA 2009 will be held for 17 days from October 1 to 17. Application period will be from April 14 to May 30, 2009. Applicants for the program should summit application form, other requested documents and portfolio to AFA office (T. 82-2-3675-5097, F. 82-2-3675-5098, afa@piff.org). Please see the detailed information in guideline at AFA website (http://afa.piff.org).

1. Eligibility
 Who has an UN defined Asian nationality (18 years old or older) seeking one's dream and future in film
 Who has professional experience in directing, cinematography, editing or sound design at least for two short films or has worked as a main staff more than one feature film
 Who can communicate in English
 Who submits all required documents and supporting materials
 Who can diligently attend all programs during the 17 days session
 Who has never attended AFA before

2. How to Apply
AFA 2009 will be held for 17 days from October 1 to 17.
Application period will be from April 1 to May 30, 2009.

Applicants should mail their application package including a completed application form to AFA office with address below.
The application form is available at http://afa.piff.org
After mailing your application, please notify AFA in e-mail that you have done so. (afa@piff.org)

 - A completed application
 - Personal statement should be up to 2 pages in A4. Your statement should have;
. introduction of yourself in relation to film work
. why you wish to attend AFA
. your future plans in film work
 - A letter of recommendation: A letter from someone who can certify the applicant's ability and enthusiasm for filmmaking.
(including the recommender's phone number and e-mail address)
 - Portfolio: VHS or DVD format of your film that you worked as a director, cinematographer or a main member of film crew.

* Please let us know if it is NTSC or PAL before you submit your portfolio
* If the language of your portfolio is not English, please send us English subtitled version or summit with English script.

KODAK FILM SCHOOL COMPETITION 2009

2009-05-10T00:00:00.000-07:00

KODAK FilmSchool Competition 2009

Cinematography that best serves the story

Win a trip to Clermont-Ferrand International Short Film Festival in France inclusive of airfare and accommodation. Contact your local Kodak Office for more information.

The focus of the Kodak Filmschool Competition is on the film's cinematography and the innovative use of available resources to create the images that complement the story.

The Kodak Filmschool Competition will be conducted in various participating countries and film schools. The winning film from each National Competition will then be judged at a regional level to select the overall competition winner. Eligible participants are invited to submit original films on the following conditions:

CONDITIONS OF ENTRY
1. Each entry must be submitted by the cinematographer. Only one film and only one cinematographer per entry is permitted.
2. A short synopsis and production crew list must be attached to each entry form.
3. Entries must be originated on Super 8, 16mm or 35mm KODAK motion picture film.
4. The cinematographer and crew members must be either (a) currently enrolled in a full time film or related production training program, or (b) graduated from a full time film or related production training program within the last 12 months of the competition closing date.
5. Animation is accepted if originated on film.
6. All judge's decisions are final.
7. A copy of the winning National Competition film must be made available by August 30,2009 for Regional Competition judging.
8. Kodak will be responsible for freighting the winning National Competition films to and from the Regional Competition judging venue.
9. The winner of the Regional Competition will receive a trip to Clermont-Ferrand International Short Film Festival during January 2010. The prize includes a single round trip economy ticket to Clermont-Ferrand and accommodation.
10. Optional for the Regional winner, should they wish to participate in the Kodak Short Film Showcase at Clermont-Ferrand they need to supply a 35mm print of their film.

KEY DATES
August 07, 2009 deadline for the National Competition.
National Competition winners will be determined by August 30, 2009.
The Regional Competition results will be announced by November 1, 2009.

HOW TO REGISTER YOUR FILM
completed entry form and attached securely to your entry.

BIANCA IRENE B FUSANA Account Manager Entertainment Imaging
Kodak Philippines Ltd Unit 2901 88 Corporate Center Valero Cor. Sedeño Sts. Salcedo Village Makati City 1227
biancairene.b.fusana@kodak.com
+63(2) 810-0331 ext 409 Office +63(2) 840-1956 Fax +63(917) 873-9409 Mobile 6688-409 KNet
www.kodak.com/go/motion

1st PANDAYANG LINO BROCKA POLITICAL FILM AND NEW MEDIA FESTIVAL

2009-05-04T00:00:00.000-07:00

TUDLA Productions
in cooperation with
National Commission for Culture and the Arts present the

1st PANDAYANG LINO BROCKA Political Film and New Media Festival

The Pandayang Lino Brocka Political Film and New Media Festival is a cultural gathering that aims to inspire the creation and popularization of truthful, artistic and relevant audiovisual works to enlighten and cultivate critical consciousness of the mass audience. This maiden launch of this festival in 2009 aims to be an aggregate of efforts in political cinema production and distribution in the first decade of the 21st century, a time of worsening economic crisis aggravating the poor people’s plight.

This affair hails the daring of the late Lino Brocka, whose works earned local and international acclaim for political cinema and whose untimely death saw a decline in political cinema in the mainstream. While critical of the government and the prevailing system, even the government recognized his talent and contribution, as he was given the posthumous distinction of National Artist for Film in 1997.

It is Lino Brocka’s strong conviction that artists are first and foremost citizens, and must address the issues confronting the country. That’s why in his practice, his films 'look with sympathy on the common man and the human condition' and were situated in their dwellings and thoughts. Lino Brocka firmly believes that films and politics cannot be dissociated. His desire is to develop what he calls "the Great Filipino Audience" which for him is more important than creating "the Great Filipino Movie."

Films of political and progressive content are deemed to be not widely patronized or are thought to be not commercial successes. But if the audience is the common people and the works speak of their lives, no political film shall ever be unpopular and immaterial. They will always find audience among the millions of poor and oppressed people in society, as the films of Lino Brocka.

There is a battleground in the field of filmmaking and artistic production—the struggle for the hearts and minds of the people. This festival engages itself in this battle, as it campaigns for artists and audience to revert from the dominant practice of local mainstream and Hollywood entertainment production and consumption to film as a platform for social and political commentary.

Truly, film is a powerful tool to shape mind and consciousness. Artists are here challenged to use film as a vehicle for socio-cultural reflection and as an ideological weapon to liberate the minds of the people. For films as art that exposes, identifies and defies the oppressors in society leads the way for the realization of the democratic aspirations of the people.

Call for entries: April 25 - June 30, 2009

Calling all students, independent and amateur filmmakers and film/media collectives to submit entries.
Full length or short works

Any style: documentary, narrative, animation, experimental, PSAs, motion graphics, etc.

Themes: people's issues and struggles, human rights, war and peace, gender, etc. Special attention to films on children's situation and participatory media production

Works produced from 2000 onwards are accepted.

More than one entry from one group or individual is allowed.

Works from Luzon, Visayas, MIndanao and NCR will have representation in the screenings.

Film Festival Date: August 5-9, 2009

For queries, contact tudla_productions@ yahoo.com
or 0921-6020007 and 0935-1092750.

MENDOZA TOP COMPETE AGAIN IN CANNES

2009-05-02T06:40:00.000-07:00

Mendoza to Compete AGAIN in Cannes

Brillante Mendoza (Masahista, Foster Child) is back at the most prestigious film festival in the world, the Cannes Film Festival. His foray into bagging the festival’s top plum, the Palme d’Or, did not stop with last year’s “Serbis” amid the mixed reviews and intrigues that surrounded it. He is once again invited to participate in the Main Competition where he is joined by celebrated auteurs such as Lars Von Trier (Dancer in the Dark, Breaking the Waves, Dogville), Michael Haneke (Funny Games, Cache), Park Chan-Wook (Oldboy), Pedro Almodovar (Volver, All About My Mother), Johnnie To (Sparrow), Quentin Tarantino (Pulp Fiction, Kill Bill), and Ang Lee (Brokeback Mountain). Now, that is some serious competition right there.

Just by the title alone of Mendoza’s new film, you will know that his penchant for graphic and gritty storytelling does not stop with highly sexual, rundown moviehouse film “Serbis”. His new film entitled “Kinatay (The Execution of P)” is about hitmen who dismember their victims. Sounds like a Haneke or Chan-Wook film to me. “Kinatay” stars Coco Martin, John Regala, Julio Diaz, Jhong Hilario, Lauren Novero, and Maria Isabel Lopez.

Aside from Mendoza, two other Filipino filmmakers will grace the coastal city of France, namely: Raya Martin (Now Showing, Autohystoria) and Adolfo Alix, Jr. (Adela, Donsol). Their collaborative work, “Manila”, is said to be a tribute to two of the country’s greatest directors: Lino Brocka and Ishmael Bernal. It’s a two-part movie divided into day and night starring Piolo Pascual (Yes, Piolo, I’m not kidding!).

Meanwhile, Martin’s solo effort entitled “Independencia” will be screened in the Un Certain Regard section, a parallel competition dedicated to “young talent, innovative, and audacious works”. This period film shot in stark black and white is topbilled by Sid Lucero, Alessandra de Rossi, and Tetchie Agbayani.

Also to watch out for is the opening film of the festival, Pixar’s “Up”. In addition, Heath Ledger’s final film (not “The Dark Knight”) will also make its premiere at Cannes. “The Imaginarium of Doctor Parnassus” also stars Johnny Depp, Colin Farrell, and Jude Law. Other notable filmmakers who will be in exhibition include Cristian Mungiu (4 Weeks, 3 Days, and 2 Days), Sam Raimi (Spider Man), and Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep).

http://failed.multiply.com/journal/item/163/Mendoza_to_Compete_AGAIN_in_Cannes

BROCKAMANIA

2009-04-30T00:00:00.000-07:00

Cinekatipunan.MOV presents
"BROCKAMANIA!"

This whole month of May is BROCKA MONTH.
In celebration of Lino Brocka's 18th death anniversary (21 May 1991).

26 of his best films, Mondays to Saturdays,
Mag:net Katipunan. Screening starts at 4:30pm

BROCKALENDARYO (Screening starts at 4:30pm):
1 May, Fri: Santiago (1970)
2 May, Sat: P/X (1982)
4 May, Mon: Palipat-Lipat, Papalit-Palit / Keep On Changing, Keep On Moving (1982)
5 May, Tue: Pasan Ko Ang Daigdig / I Carry The World (1987)
6 May, Wed: Babangon Ako't Dudurugin Kita / I Will Rise And Crush You (1989)
7 May, Thu: Lucia (1992)
8 May, Fri: Hayop Sa Hayop / Beast To Beast (1978)
9 May, Sat: Kontrobersiyal / Controversial (1981)
10 May, Mon: Gumapang Ka Sa Lusak / Dirty Affair (1990)
12 May, Tue: Tubog Sa Ginto / Dipped In Gold (1971)
13 May, Wed: Cain & Abel (1982)
14 May, Thu: Miguelito, Ang Batang Rebelde / Miguelito, The Rebel Boy (1985)
15 May, Fri: Ina, Kapatid, Anak / Mother, Sister, Daughter (1979)
16 May, Sat: Macho Dancer (1989)
18 May, Mon: Stardoom (1971)
19 May, Tue: Ina Ka Ng Anak Mo / You’re The Mother Of Your Child (1979)
20 May, Wed: Angela Markado (1980) BROCKA NIGHT (9:30pm-1am): featuring The Brockas, Los Chupacabras, Us 2 Evil 0, Live Tilapia
21 May, Thu: Tatlo, Dalawa, Isa / Three, Two, One (1974)
22 May, Fri: Ang Tatay Kong Nanay / My Father Is My Mother (1978)
23 May, Sat: Jaguar (1979)
25 May, Mon: Orapronobis (1989)
26 May, Tue: Bona (1980)
27 May, Wed: Bayan Ko: Kapit Sa Patalim / My Country: In Desperate Straits (1984)
28 May, Thu: Tinimbang Ka Ngunit Kulang / Weighed But Found Wanting (1974)
29 May, Fri: Insiang (1976)
30 May, Sat: Maynila: Sa Mga Kuko Ng Liwanag / Manila: In The Claws Of Light (1975)

Brought to you by
.MOV International Digital Film Festival.

INDEPENDENCIA

2009-04-27T00:00:00.000-07:00

Independencia
Written by Raya Martin & Ramon Sarmiento, directed by Raya Martin
78' feature film in co-production with Cinematografica (the Philippines), Atopic (France), Razor Film (Germany), Arte Cinéma (France) and RoadRunner

At the beginning of American rule in the Philippines, a mother and her son run off to the mountains to live in peace and isolation. One day the son finds a pregnant woman in the woods and brings her home. His mother disapproves and distances herself from them, eventually growing old and passing on. In the meantime, the son develops a relationship with the pregnant woman, who gives birth to a baby boy.

Years later, the boy believes to have seen a sign of the Saviour. Father and son set out to the woods to find an amulet that would save their lives. As the monsoon rains threaten the landscape, the entire family faces their individual battles for survival; the father's growing blindness, the mother's loneliness, and the son's curiousity of the world beyond the mountains.

As the harsh weather claims both parents' lives, and the American troops discover him, the boy is forced to face his true identity.

WITH 2 CANNES ENTRIES
Only in Hollywood : Raya Martin makes RP cinema history

By Ruben V. Nepales
LA Correspondent
Philippine Daily Inquirer

Posted date: April 24, 2009

LOS ANGELES—As we reported Thursday, Raya Martin’s “Independencia” is the first Filipino film to be selected to the Un Certain Regard section of the Cannes Film Festival.

Now, as we write this, we just heard the great news that Raya’s twin-bill film with Adolfo Alix Jr., “Manila,” is going to be shown in Cannes, as well. So, Raya scored another first for Philippine cinema by having two entries at the world’s premier film fest next month. And, with Dante Mendoza back in Cannes main competition with his “Kinatay (The Execution of P),” it’s a great period for Philippine cinema. (Dante’s “Serbis” was in the main competition last year.) As we write this, there’s buzz that two more films might be added to the Philippines’ official entries to the festival.

Ambitious project

“Manila,” which will be shown out of competition, is an ambitious project. It’s a tribute to Lino Brocka’s “Jaguar” and Ishmael Bernal’s “Manila By Night.” Raya, in an e-mail interview, described the film this way: “‘Manila’ is a reimagining of the two Filipino classics about the city and its inhabitants.

“Piolo Pascual plays both lead roles in the two episodes. I worked on the ‘Manila By Night’ episode, which stars Piolo as William Martinez’s character in the original film. It’s an update and a continuation of that movie. Personally, I think Bernal’s ‘Manila By Night’ is the best Filipino film ever. No other director can best portray the Filipino psyche onscreen.”

Adolf shared his reaction about “Manila’s” selection via e-mail: “We’re very happy with the news. It was unexpected because we got the invitation at the last minute. God is good. We’re very excited.”

Arleen Cuevas, who coproduced both “Manila” and “Independencia,” also via e-mail, exclaimed: “I’m happy to have two films in Cannes!”

Vilma Santos could have been one of the film’s key cast members who will walk on the red carpet when “Independencia” premieres at the Palais des Festivals. But, Tetchie Agbayani gets that opportunity, instead.

We first approached Vilma to play the mother role in the film, and we had several meetings with her,” Arleen informed us. “She told us she really liked the script, but she was in a dilemma whether to accept it or not, since she had obligations in her work as governor of Batangas, and she already said yes to a Star Cinema project for this year. In the end, the schedules didn’t permit us to work together, but hopefully, we will have a chance to work with her in our future projects.”

Playing the mother in Raya’s early 20th century family drama that was shot in black and white, Tetchie looks striking in her “baro at saya” costume in the stills. What’s also remarkable about the film’s visual style, based on those stills, is that, all the sets were built indoors from scratch.

As disclosed by Raya, “Independencia,” which also stars Sid Lucero and Alessandra de Rossi, is the second in his planned series of movies depicting different periods of struggle in the Philippines, each using a style that was evocative of the film’s period. “Short Film About the Indio Nacional (Or the Prolonged Sorrow of the Filipinos)” is his first feature film and his initial salvo in this series.

The young filmmaker explained, “Since the first installment in the trilogy was a silent feature, because it was in the beginning of cinema (during the Spanish occupation), the following project about the American era was attributed to the Hollywood influence that eventually became the stronger roots of Philippine cinema. The studio film refers to the way those early movies were made, reconstructing the location indoors. We created a forest inside a studio, mixing painted backdrops and live elements. Almost all of it was shot indoors.”

“Nobody makes this kind of film anymore,” he added. “Aside from the fact that it’s more expensive than traveling to a real forest, which we have almost everywhere in the Philippines, our audiences are used to realism in the movies. What made it easier for everyone was our child-like fascination. We were like kids reconstructing a lost world. I had a great production designer (Digo Ricio) who knew exactly how to set up the plan. It was very systematic.”

True account

Arleen revealed the challenge of shooting almost the entire film in a studio, something that hasn’t been done in the Philippines in a long while. She recounted: “Actually, the hard part was finding a studio we could use for 15 straight days. Luckily, we found a studio at Scenema Concepts in Marikina.

“Afterward, the actual shooting was relatively easier than doing a location shoot. We were inside a controlled environment. Everything we needed was there.”

Raya, who cowrote the script with Ramon Sarmiento, satisfied our curiosity about this newsreel by saying that “the film is ’interrupted’ by a newsreel of a true account during the American occupation.”

The UP film school alumnus showed old-studio photos of his ancestors to his French cinematographer, Jeanne Lapoirie, as a guide to the movie’s look. “I also showed her different studio pictures from the turn of the century,” he explained. “She was already familiar with the look of ‘Indio Nacional,’ which was mostly based on colonial postcards. We also talked about silent films like Murnau’s ‘Sunrise’ and ‘Faust.’ “Jeanne would suggest her own ideas, and I was happy that she understood the project completely. I was very honored to have worked with her, since she has already worked with some of the most interesting filmmakers in the world, like Pedro Costa and Francois Ozon.”

Asked if he already has ideas for the next film in his series (which he said could go past three), Raya replied, “Yes, I’ve been working on some ideas in the past couple of months. But, it will probably take as long as ’Independencia’ to put together. So, it should be ready in a few years’ time. I’m not in a hurry.”

Prolific output

That last statement is ironic, considering Raya’s prolific output in just a span of a few years. A parallel story to Raya’s tale of recent triumphs is his coproducer’s own success in the international film circuit. In a seemingly short period of time, Arleen, who also produced “Manila,” has racked up impressive producing credits on films by Raya and Adolfo. Also a product of UP’s Film Institute, Arleen coproduced “The Amazing Truth About Queen Raquela,” a movie directed by Icelandic filmmaker, Olaf Johannesson, which won the Teddy Award for Best Film at the Berlin Film Festival last year.

Arleen was one of the young Filipino filmmakers selected to participate in the Berlinale Talent Campus and Produire au Sud Workshop. She recently represented Filipino projects in the CineMart and Hong Kong Asian Film Financing Forum, which are coproduction markets for new projects looking for international coproduction and financing.

BAMBOO LAKE

2009-04-21T00:00:00.000-07:00

EARTH DAY 2009

Snatch Media Production
and Fusion Arts Production
in cooperation with
Laguna Lake Development Authority
And
Cream Productions
cordially invites you to watch

“ BAMBOO LAKE ”
(Kawayang Lawa)

Can the bamboos save the Laguna de bay? Can the bamboos lessen the effect of the global warming?

Plant a bamboo for the better future of the next generation.

Plant a bamboo lake.

Staff and Crew:
Director/Writer/Producer: Donnie Sacueza
Cinematographer: Jeyow Evangelista
Asst. Cinematographer: Marvin Reyes
Still Photographer: Gerry Carandang
Production staff: Justin Correa
Editor: Paolo Lualhati

Finalist, Ateneo Video Open 2009
Finalist, Moonrise Film Festival 2008
Nominated for: Best Documentary, Best Director, Best in Cinematography, Best in Thematic Story

April 22, 2009
CCP Dream Theater, Cultural Center of the Philippines, CCP Complex, Pasay City
Admission is free
Screenings will start by 1 P.M.

REMEMBERING BROCKA: Realities / Rarities

2009-04-20T00:01:00.000-07:00

The Cultural Center of the Philippines invites filmmakers, cineastes and Brockaphiles to

REMEMBERING BROCKA: Realities / Rarities
Saturday, April 25 at CCP Tanghalang Manuel Conde

In commemoration of the 70th birthday of National Artist for Cinema Lino Brocka (b. April 3, 1939 )

The free all-day event will be highlighted by screenings of three of his earliest and rarely-seen masterworks:

WANTED: PERFECT MOTHER (1969)
SANTIAGO (1970)
and
TUBOG SA GINTO (1971)

Each screening will be followed by a Q&A forum, featuring cast members and collaborators from his movies, along with other distinguished guests.

There will be a cocktail reception at 6:30pm , marking Brocka’s 70th birthday as well as the death anniversary of critic Agustin ‘Hammy’ Sotto (d. April 24, 2001) who was an early champion of Brocka’s works, not to mention, a staunch archivist who helped give birth to SOFIA (Society of Film Archivists).

The screenings of these rarely shown titles underscores the need and urgency for an archival system that will help preserve this legacy in order for future generations to appreciate these cinematic treasures. There are no surviving 35mm prints available on all three titles. What’s there to be screened are mere digital/dvd dubs of old, battered VHS copies. (What if “Mona Lisa” can only be seen as a digital reproduction on paper rather than as the original work on canvas?)

These early works—WANTED: PERFECT MOTHER, SANTIAGO and TUBOG SA GINTO—illustrate Brocka’s ability to forge his own signature, even while working within the commercial parameters of the studio system (the now-defunct Lea Productions produced these films as well as many of his other works in the 70s).

WANTED: PERFECT MOTHER may seem like a blatant re-working of “The Sound of Music” but Brocka worked magic with his cast (Dante Rivero, Boots Anson Roa, Liza Lorena, Gina Alajar, and Snooky in her first role) and turned the film into first-rate entertainment.

And SANTIAGO may seem like a rehash of another FPJ outing in the mold of his folk-superhero status where he mows down scores of enemies in a single rat-tat-tat shot. Instead, Brocka transformed what might have been a formulaic action movie into a thoughtful World War II about guilt and heroism, with Fernando Poe Jr. giving what is considered to be one of this best performances (perhaps side by side with “Asedillo”).

As for Lino Brocka’s TUBOG SA GINTO, this is perhaps the Filipino film that should be dubbed as “the mother of all Filipino gay movies” (especially now that it seems like some new, gay indie movie opens week after week). From its opening montage of Eddie Garcia lasciviously sucking the icing off his fingers as he ogles the crotch of two boys in their swimsuits to its graphic depiction of gay sex (yes, not even Heath and Jake in “Brokeback” can match the naked honesty onscreen by Eddie Garcia and Mario O’Hara), TUBOG was clearly way ahead of its time. Perhaps an anomaly by being a by-product of the “bomba” days in the late 60s/early 70s, TUBOG obviously benefitted from Brocka’s open homosexuality as well as from an era not yet marred by strict censorship.

Breakthroughs and all, Lino Brocka showed, even early in his career, that it was possible to rise above mediocre material by steering the film closer to his own personal sensibilities and by never condescending to his audience. (You could hear him say “let’s give them what they deserve” rather than “let’s give them what they want). Even in those days when the word “independent” wasn’t born yet, Brocka thought independently and acted independently. WANTED, SANTIAGO , and TUBOG might have been forgettable commercial, komiks-style fare, but they are not. In time, Brocka’s auteurist bent to shape his films his way later gave birth to his future masterpieces: “Maynila Sa Kuko Ng Liwanag,” “Insiang” and “Bayan Ko” among them. Those gritty neo-realist dramas share something with his early rarities: the stubborn will and tenacity of a true independent filmmaker.

Schedule:
10:00am
WANTED PERFECT MOTHER
(followed by a forum at 1:30PM)

3:00pm
SANTIAGO
(a forum follows immediately)

7:00Ppm
TUBOG SA GINTO
(followed by a forum)

Since the CCP Tanghalang Manuel Conde can only accommodate 100 persons, the screenings/fora will be on a first come, first served basis.

For more info, please call CCP Media Arts at 832 1125 locals 1702 & 1704.

(Thank you Ting Nebrida for the excellent write-up above!)

GOLDEN SCREEN AWARDS’ SIXTH YEAR HARVEST

2009-04-13T00:00:00.000-07:00

Golden Screen Awards’ sixth year harvest

On its sixth year, the Golden Screen Awards handed out annually by the Entertainment Press Society Incorporated continues its pursuit of giving recognition to last year’s best productions and performances. The awards night will be held on April 30, Thursday, at Metro Bar in West Avenue, Quezon City.

This year’s lineup of nominees contains a few early favorites and a number of fine surprises.. For Best Motion Picture Drama, the slate is dominated by indie productions like Cinemalaya 2008 entries Boses, Brutus, Concerto, Jay, and 100, the Judy Ann Santos-starrer Ploning and the Cinema One Originals horror-drama standout Yanggaw.

Meanwhile, three high-spirited comedies battle it out for Best Motion Picture – Musical or Comedy: the mammoth hit A Very Special Love, the comedy about an elderly woman with two husbands Fuschia, and the sparkling romantic comedy My Bestfriend’s Girlfriend.

A welcome addition to the existing categories is Best Motion Picture – Animation that yielded two nominees – the exhilirating adventure Dayo and the period romance Urduja.

The acting categories are expectedly as hotly-contested. Nominated for Best Performance by an Actress in a Leading Role – Drama are the glorious Anita Linda as the former radio talent reduced to living in the slums in Adela, Dawn Zulueta as the supportive wife of a dying man in Magkaibigan, Jodi Santamaria as the demented heroine in Sisa, Mylene Dizon as the woman with a bucket list in 100, Sharon Cuneta as the beleaguered OFW wife and mother in Caregiver and Judy Ann Santos as the quiet, mysterious spinster in Ploning.

The Best Actor in a Leading Role – Drama category is a tight race among the Baron Geisler as the gay documentarist in Jay, Carlo Aquino for Carnivore, Christopher de Leon as the cancer-stricken friend in Magkaibigan, Jericho Rosales as the romantic hero in Baler, Ronnie Lazaro as the father of a vampire daughter in Yanggaw, Yul Servo as the cuckolded husband in Torotot and Jay Aquitania in a refreshing turn as the young man coming of age at a time of war in Concerto.

Industry veteran Anita Linda is this year’s recipient of the Gawad Lino Brocka Lifetime Achievement award.

Below are the nominees in the other categories.

*Best Performance by an Actress in a Leading Role - Musical or Comedy
Ai Ai de las Alas (“Ang Tanging Ina Nyong Lahat”)
Boots Anson Roa (“Love Birds”)
Gloria Romero (“Fuschia”)
Marian Rivera (“My Bestfriend’s Girlfriend”)
Ruffa Gutierrez (“My Monster Mom”)
Sarah Geronimo (“A Very Special Love”)
Toni Gonzaga (“My Only U”)

*BEST PERFORMANCE BY AN ACTOR IN LEADING ROLE
– Musical or Comedy
Eddie Garcia (“Fuschia”)
John Lloyd Cruz (“A Very Special Love”)
Robert Arevalo (“Fuschia”)
Sam Milby (“My Big Love”)

*BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
– Drama, Musical or Comedy
Cherry Pie Picache (“Boses”)
Eugene Domingo (“100”)
Flor Salanga (“Jay”)
Mylene Dizon (“Ploning”)
Tessie Tomas (“Ploning”)
Tetchie Agbayani (“Yanggaw”)

*BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
– Drama, Musical or Comedy
Coco Martin (“Jay”)
Emilio Garcia (“Walang Kawala”)
John Estrada (“Caregiver”)
Ricky Davao (“Boses”)
Yul Servo (“Brutus”)

*BREAKTHROUGH PERFORMANCE BY AN ACTRESS
KC Concepcion (“For The First Time”)
Rhea Medina (“Brutus”)
Chariz Solomon (My Bestfriend’s Girlfriend”)
Yna Asistio (“Concerto”)

*BREAKTHROUGH PERFORMANCE BY AN ACTOR
Timothy Mabalot (“Brutus”)
Bojong Fernandez (“Ploning”)
Cedric Amit (“Ploning”)
Coke Bolipata (“Boses”)
Fritz Arvhie (“Dose”)
Kenjie Garcia (“Ang Lihim Ni Antonio”)
Julian Duque (“Boses”)

*BEST DIRECTION
Ellen Ongkeko Marfil (“Boses”)
Tara Illenberger (“Brutus”)
Chris Martinez (“100”)
Francis Passion (“Jay”)
Dante Nico Garcia (“Ploning”)
Cathy Garcia Molina (“A Very Special Love”)
Richard Somes (“Yanggaw”)

*BEST ORIGINAL SCREENPLAY
Froilan Medina, Rody Vera (“Boses”)
Dante Nico Garcia, Benjamin Lingan (“Ploning”)
Chris Martinez (“100”)
Richard Somes, Dwight Gaston (“Yanggaw”)
Ricky Lee (“Fuschia”)
Francis Pasion (“Jay”)

*BEST SCREENPLAY ADAPTATION
Ramon Entienza (“Urduja”)
Frank Rivera (“Sisa”)
Roy Iglesias (“Baler”)
Paul Alexander Morales (“Concerto”)

*BEST CINEMATOGRAPHY
Charlie Peralta (“Ploning”)
Joey Abello (“Brutus”)
Regiben Romana (“Concerto”)
Hermann Claravall, Lyle Sacris (“Yanggaw”)
Carlo Mendoza (“Jay”)
Nap Jamir II (“Boses”)

*BEST EDITING
Danny Anonuevo (“Ploning”)
Fiona Borres, Tara Illenberger (“Brutus”)
Ike Veneracion (“100”)
Laz Andre/ Arthmael (“Concerto”)
Orlean Joseph Tan (“Boses”)
Francis Pasion, Kats Serraon, Chuck Gutierrez (“Jay”)
Borgy Torre (“Yanggaw”)

*BEST PRODUCTION DESIGN
Raymund George Fernandez (“Ploning”)
Michael Espanol, Donald Camon, Rashim Gumacal (“Yanggaw”)
Fritz Silorio (“Brutus”)
Gerry Santos (“Concerto”)
Aby Jamnague-Rivera (“100”)
Bianca Gonzales (“Boses”)

*BEST SOUND
Mike Lim (“Brutus”)
Allan Marcelo Hidalgo, Orlean Joseph Tan (“Boses”)
Jethro Joquin, Ronald de Asis (“Concerto”)
Mac Vasquez (“100”)
Mike Idioma (“Ploning”)
Joey Santos (“Yanggaw”)

*BEST MUSICAL SCORE
Jed Balsamo (“Concerto”)
Jessie Lasaten (“Ploning”)
Mon Faustino, Noel Zarate (“Urduja”)
Jourdann Petalver (“Boses”)
Von de Guzman (“Yanggaw”)
Joey Ayala (“Brutus”)

*BEST VISUAL EFFECTS
Roadrunner Network, Inc. (“Kulam”)
Ramon Entienza, Amelia Fortes (“Urduja”)
Robert Quilao (“Dayo”)

*BEST ORIGINAL SONG

“Babae Ako” from the movie “Urduja”
Written and Composed by Joey de Leon and Ogie Alcasid
Performed by Regine Velasquez

“Lipad” from the movie “Dayo”
Music by Jessie Lasaten, Lyrics by Temi Abad, Jr.
Performed by Ms. Lea Salonga

“Ngayon, Bukas at Kailanman” from the movie “Baler”
Music by Louie Ocampo, Lyrics by Edith Gallardo
Sung by Sarah Geronimo

“Hardest Part” from the movie “100”
Composed and interpreted by Ricci Chan

“Naroon Ka” from the movie “Fuschia”

THE AMAZING TRUTH ABOUT QUEEN RAQUELA

2009-04-09T00:01:00.000-07:00

"The Amazing Truth About Queen Raquela"
Opens April 11 (Saturday), exclusively at Robinson's Galleria, Ortigas, Philippines

Winner!
Best Feature Film, Teddy Awards, Berlin Film Festival, Germany
Grand Jury Prize, Cinemanila Film Festival, Philippines
Best Feature Fiction, Zinegoak Film Festival, Spain
Best International Feature, New York LGBT Film Festival, USA
Showtime Vanguard Award, New York LGBT Film Festival, USA
Jury Award, Cinema City, Serbia

Directed by Olaf Johannesson
Produced by Arleen Cuevas, Olaf Johannesson , Stefan Schaeffer, Helgi Sverisson
Cinematography by Butch Maddul
Starring Raquela Rios, Brax Villa, Olivia Galudo

Shot in Cebu, Philippines, Iceland, France, U.S.A.
Cebuano with English Subtitles

Synopsis:
Raquela is a transsexual - or ladyboy - from the Philippines who dreams of escaping the streets of Cebu City for a fairy tale life in Paris. In order to make her dreams come true, she turns from prostitution toward the more lucrative business of Internet porn. Her success as a porn star brings new friends, including Valerie, a ladyboy in Iceland, and Michael, the owner of the website Raquela works for. Valerie helps Raquela get as far as Iceland. From there, Michael offers her a rendezvous in Paris. Will Paris be everything she dreamed of? And will Michael turn out to be her Prince Charming?

PARIS CINEMA IFF / PARIS PROJECT 2009

2009-04-01T00:01:00.001-07:00

CALL FOR ENTRY

PARIS PROJECT, 7th edition
The Paris Cinema IFF’s co-production and development platform
July 6 to 9, 2009
MK2 Bibliothèque (Paris, 13e), Bibliothèque Nationale de France (Paris, 13e)

The ambition of Paris Project is to bring together key players in the French and European film industry, around international production projects that are not yet finalised. In 2008, more than 220 professionals (24 countries represented) attended Paris Project and 350 meetings were scheduled...
Information and registration: Click here

PARIS PROJECT MEETINGS

Paris Project invites the foreign filmmakers and producers of the selected projects in development to spend 4 days in Paris: personalised appointments and meetings are organized with French and European professionals who are likely to be interested in those selected projects and to bring them financial support through co-production or presales.Deadline for projects application: April 30, 2009 (please note that projects have to be submitted by a production company and projects submitted should not have French partners attached)
Information and registration: Click here

PARIS PROJECT SCREENINGS

For the third time in 2009, Paris Project will organise Screenings of films in postproduction seeking partners such as sales agents and/or distributors to achieve completion.Deadline for films in post-production application: Mai 22, 2009 (please note that projects have to be submitted by a production company and projects submitted should not have French partners attached)
Information and registration: Click here

SEMINARS & WORKSHOPS

Paris Project will hold seminars and workshops on distribution issues (in collaboration with Europa Distribution) and co-production between Europe and Asia.With the participation of experts, producers, sales agents, official representatives, etc...In 2009, a special focus will be put on Catalonia, South-Korea and Turkey.

Some of the projects selected for Paris Project Meetings in the previous years:
Adela by Adolfo Alix Junior / Philippines (Screenings 2008)
Bitch (Biao Zi) by Lou Ye / China - France (Paris Project 2007)
Can Go Through Skin by Esther Rots / Netherlands (Screenings 2008)
The Drummer by Kenneth Bi / Hong-Kong (Paris Project 2003)
Egg (Yumurta) by Semih Kaplanoglu / Turkey – France - Germany (Paris Project 2006)
La Fine del Mare by Nora Hoppe / Germany – France (Paris Project 2003)
Love and Other Crimes by Stefan Arsenijevic / Serbia (Paris Project 2006)
I Am From Titov Veles byTeona Strugar Mitevska / Macedonia (Paris Project 2005)
Khadak by Peter Brosens, Jessica Woodworth / Belgium - Mongolia (Paris Project 2003)
River People by He Jianjun / China (Screenings 2007)
Salt of This Sea by Annemarie Jacir / France – Palestine – Netherlands – USA - Spain (Paris Project 2005)
The Silent Wedding by Horatiu Malaele / Romania - France (Paris Project 2007)
Zion And His Brother by Eran Merav / Israel – France (Paris Project 2005)

Information & Registration
Paris Cinema IFF / Paris Project
155 rue de Charonne, 75011 Paris, Francetel: 33 (0)1 55 25 55 25fax: 33 (0)1 43 67 09 50
www.pariscinema.org

Head of Paris Cinema IFF: Aude Hesbert
Head of Paris Project: Lucas Rosant / Coordination: Thibaut Bracq
parisproject@pariscinema.org

14 OURENSE INTERNATIONAL FILM FESTIVAL

2009-04-01T00:01:00.000-07:00

In 2008, 1,533 films from 83 countries were submitted to the 13 Ourense International Film Festival. For 8 days, 301 films were screened in 10 venues (115 in the competition section and 203 out of competition).

The 14 Ourense International Film Festival, which take place from October 10th to 17th 2009, has opened its call for entries to films in 35mm or video that have been produced in 2008 and 2009.

The 14 Festival's International Competition is composed of 5 Official Sections:

1. Fiction Feature Films (60 minutes or longer)
2. Documentaries (any running time)
3. Fiction Short Films (less than 60 minutes)
4. Animated Films (any running time)
5. New Media (audiovisual productions, installations, video-art creations, films for mobile phones, TDT, etc. of any running time which, using non-traditional formats and/or techniques, explore new creative and communicative ways)

We are pleased to announce you the Festival's interest in having your works submitted to our competition.

Please follow this instructions in order to submit your film:

1. Fill in the digital entry form on the website www.ouff.org, and submit it online to the Festival.
2. In order to complete the registration, send a printed copy of this entry form properly filled in and signed to the Festival headquarters, enclosing in the envelope a DVD copy of the film, stills, the list of the dialogues and a director's photo.

Submission deadline will be May 15th 2009.

We are at your disposal for any additional information you would require.

Looking forward to receive your submission, kind regards from Ourense

Antonio P. Ginori
Festival Coordinator
coordinador@ ouff.org

14 Festival de Cine Internacional de Ourense (10 - 17 Outubro/Octubre 2009)
14 Ourense International Film Festival (10 - 17 October 2009)

Praza do Auditorio Municipal
Rúa Canle Nº 2, esquina con Rúa Nuño de Ousende
C.P. 32004, Ourense España (Spain)

Apartado Postal (P.O. Box) 664, 32080 Ourense España (Spain)

Tel: + 34 988 22 41 27
Fax: + 34 988 26 96 19
Web: www.ouff.org
E-mail: coordinador@ ouff.org

ASIAN HOT SHOTS FESTIVAL AT MOGWAI CINEMATHEQUE

2009-03-30T00:01:00.000-07:00

For two years now, the Asian Hot Shots Festival has been bringing a wide berth of independent Asian cinema to Berlin. The festival has served as a platform for cultural exchange between Germany and Asia in the fields of film and video art. On March 30, Monday, starting at 7 PM, the Asian Hot Shots festival will be making a brief stop at Mogwai Cinematheque. In its first ever foray outside Germany, the festival will be exhibiting its unique brand of eclectic Asian cinema to the Filipino people.

The festival will be showing two features and a program of short films. The schedule is as follows:

7 PM
THE LEGEND OF SHIVA AND PARVATI
Germany/India 2008, Krishna Saraswati, 85 min
Tracing back the Indian legend of Shiva and Parvati, this movie recounts a powerful love story written by life, which takes us from a small German village into the rough landscape of the Himalayas. Far away from the beach towns populated by hippies, a young Western woman meets an Indian ascetic and falls in love with him. 30 years later, their son seeks their traces. This film won the first ever Manfred Durniok prize, an award given to a film for outstanding achievement is biculturalism in film.

9 PM
Shorts Programme

HOOLAHOOP SOUNDINGS - Winner 2nd Prize Green Chilies Audience Award 2009
Indonesia 2008, Edwin, 7 min
It is a story of a girl who hula-hoops to let customers of phone sex hear the noise. It is a remade film of a graduate work by Joel Coen in college.
SUKRIT’S SUNDAYS
India 2008, Vasant Nath, 8 min
The magic of a simple ritual used to bring him and his grandfather together every Sunday for as long as he can remember.

EVOLVING IDENTITIES POST-INDEPENDENCE
India 2008, Elvis D’Silva, 1min
Using animated text, photographs and dynamic music, the film generates imagery from the lives of people that represent different facets of India. As characters appear in the frame, icons and images distinct to them highlight their evolving identities.

LAINER
Germany/China 2007, Dana Löffelholz & Anna Intemann, 8 min
Out of the heat into the frying pan. Long-term unemployed Rainer from Berlin tries to find a lucky new life in Beijing. However, this culture is completely alien to him.

SAVING MOM AND DAD
India 2007, Kartik Singh, 14 min
Eight-year- old Ravi learns at school that non-believers in Christ will go to hell. Knowing his parents are not Christian, his challenge is “Saving Mom and Dad.”

SHOPPING CART BOY
Taiwan 2007, Hou Chi-jan, 21 min
A love story between a supermarket employee and a shopping cart, the film tells a post-industrial allegory set on the fringes of an urban jungle of mega-marts.

A VERY SLOW BREAKFAST
Indonesia 2002, Edwin, 6 min
The film explores feelings about individuality and the loss of family values. An attempt to redefine the meaning of family in the changing realm of modernity.

KARA: THE DAUGHTER OF A TREE
Indonesia 2005, Edwin, 7 min
Kara’s mother has been killed and her father has disappeared. The intrusion of a journalist into her isolated life prompts her to seek her mother’s killer and an ultimate answer.

GANDHI AT THE BAT
USA 2006, Stephanie Argy & Alec Boehm, 11 min
In 1933 Gandhi made a top-secret trip to the United States. Now at last, newly unearthed newsreel footage proves the wild rumors true? And does it show? Gandhi is playing Baseball!

11 PM
HELL’S GROUND – ZIBAHKHANA
Pakistan 2007, Omar Ali Khan, 78 min
Zibahkhana is the first modern horror film to be shot in Pakistan. It breaks all of the rules of local productions and was made entirely independently. In the spirit of horror comics, the film tells the story of five teens who get lost on their way to a rock concert and then fall into the clutches of a family of backwoods killers. It includes a splattering of social commentary and several slices of dark humor, viewed from a distinctly Pakistani perspective.

So stop by Mogwai Cinematheque on March 30, and experience a branch of Asian cinema that you’ve never seen before.

13TH THAI SHORT FILM AND VIDEO FESTIVAL

2009-03-20T00:01:00.000-07:00

Call for Entries for the 13th Thai Short Film and Video Festival

We are pleased to announce the call for entries for the 13th Thai Short Film and Video Festival held on 13-23 August 2009. The submission can be any genre, less than 30 minutes (in exception, documentary has no length limit) and completed after 1st January 2008. No entry fee.

Please submit your film on DVD format only to;

The 13th Thai Short Film and Video Festival
P.O. Box6, Phuttamonthon, Nakorn Pathom, Thailand 73170

Submissions deadline: May 31, 2009

Any inquiries, please feel free to contact us at thaishortfilmfestival@gmail.com

PUNDAQUIT FILM WEEK

2009-03-19T00:01:00.000-07:00

Pundaquit Film Week
Start: March 21, 2009 09:00am
End: March 26, 2009
Location: Casa San Miguel, San Antonio Zambales

Casa San Miguel foundation would like to invite you to the Opening of Pundaquit Film Week on March 21, 2009 at Casa San Miguel Corpus Hall.

Screenings for community schools on March 23-26.

Screening schedule:
9:00 am DOON SA KABILA NG BULKAN
9:30 BOSES
11:00 PUTING PAALAM
Open forum
1:00pm CONCERTO
3:00 HOMING
3:30 THE GIFT OF BARONG
Open Forum

Films and Synopses:

BOSES
Philippines/2008/Fiction/90'00
Ellen Ongkeko-Marfil

Boses (Voices) is the story of a musician named Ariel (played by Coke Bolipata) who offers violin lessons to a child of the slums (played by Julian Duque). Through the violin, the abused child Onyok is able to get back his voice from a mute, desensitized existence. A violin teacher and his student, a mute 7-year old abused child in a shelter, develop a friendship stemming from their love of music. Ariel discovers the immense talent of Onyok hiding behind a veneer of silence and pain caused by an unhappy and cruel father. In the developing relationship of teacher and student, both characters reveal more of themselves that otherwise may have remained unspoken. They discover each other's strengths and failures through the violin lessons.

CONCERTO
Philippines/2008/Fiction/115'00
Paul Alexander Morales

Concerto is about how, in the last part of World War II, a special piano concert is held in the forest outside Davao City, in Mindanao. In these boondocks, a displaced Filipino family, lead by Military Commander Ricardo and his wife Julia, become acquainted with a group of Japanese officers, similarly camped nearby. Their son Joselito, a Japanese speaker, becomes the conduit with the neighboring Japanese. Their daughters Niña, an aspiring concert pianist and the musically gifted, Maria, who is able to play by ear, are alternately repulsed and intrigued by the officers. Family values are questioned as the family treads the thin line between enmity and friendship with the occupying Japanese. Based on true stories from the director's own family history, Concerto celebrates a family whose reverence for life, expressed through their love of music and friendship, can survive even war, and shows how beauty and compassion does grow in even the harshest of conditions.

THE GIFT OF BARONG
USA/2006/Documentary
Benito Bautista

The Gift of Barong is a story of two generations of Filipino-American surfers as they travel to the Philippines for the first time to experience first-hand how it is to be Filipino. Dan Moreno and Jon Villar are the two surfers who never find value in their own heritage, until now. Their trip to the Philippines is a total immersion in a unfamiliar culture, which they have relied on hearsay and written articles. At the end of their trip, both surfers will provide us with highlights of their physical, emotional and spiritual experiences. The Gift of Barong is not only a surfing odyssey, but also a journey of culture reconnection, identity crisis and personal healing.

Short Films:
PUTING PAALAM (The White Funeral)
Philippines/1997/Experimental/30'00
Sari Raissa Lluch Dalena

A bride walks on the desert and symbolically dances for a new heaven and earth to take place.

DOON SA KABILA NG BULKAN (The Other Side of the Volcano)
Philippines/1997/Animation/10'00
Ellen Ramos

A colorful and graceful animation about a tribe that is compensated in a strange way after a volcano erupts in their village.

HOMING
Philippines/2008/Experimental/5'00
Ruelo Lozendo

San Antonio locals release pawikan (sea turtle) hatchlings toward the sea. The Camera slowly moves like a rotisserie.

FREE ENTRANCE TO SCREENINGS
GATE FEE: P200 PER VAN, 100 PER CAR
http://www.pundaquitfestival.com/

SISTER STELLA L @ 25

2009-03-18T00:01:00.000-07:00

SISTER STELLA L @ 25: Tuloy ang Pakikibaka!

Quarter of a century later, the rage of Sister Stella L remains as pertinent as when it was released in 1984. The proof, alas, is in the death toll. To date, 850 mainstream journalists and other public figures have been killed in the name of the Philippine government’s 2001 "War on Terrorism" campaign. Human rights violations number to 169,530 individuals, 18,515 families, 71 communities, and 196 households. One person is killed every three days.

The terror of Sister Stella L knows no boundaries, not even the four corners of the silver-screen. It is real and present. And we live it.

Thus, with urgency, the University Film Institute of the Philippines and the Vilma Santos Solid International celebrates the 25th anniversary of Sister Stella L with a screening in the UP Cine Adarna on March 20, 5pm. The event will also feature an exhibition of production memorabilias and a forum with the esteemed cast and crew, including Governor Vilma Santos.

Directed by Mike De Leon and written by Pete Lacaba and Jose Almojuela, Sister Stella L tells of the socio-political awakening of a nun (Vilma Santos) as she helped workers on strike against an oil factory in Barrio Agoho ran by an abusive administration. Cautious, Sister Stella’s enlightenment was hastened upon witnessing the torture of political leader Ka Dencio (Tony Santos).

The strength of the film Sister Stella L lies in the nuanced study of the transformation of a common citizen. Beyond the blatant display of rarara activism, it reveals and resolves layers of conflict of Sister Stella: as a nun committed to serving God, as a woman struggling to reconcile feelings for an ex-lover, and as a citizen slowly seeing the truths of a brutal system.

Simply put, Sister Stella is everyone of us, in various shades of restlessness from living in a system that has consistently let its people down. Mike De Leon’s masterpiece is not so much an invitation to see a well-crafted film but a call to action. For really, the film is just a mirror of our realities. And Sister Stella L makes us turn the other way around, so we can start seeing, from reel to real, with eyes wide open.

25TH YEAR COMMEMORATION OF SISTER STELLA L. AT UP FILM INSTITUTE

The year was 1984 when director Mike de Leon made one of the most important films in Philippine Cinema. It was Sister Stella L., the Vilma Santos starrer that showcased the latter’s acting versatility. It was just the turn of the decade when she made a daring transformation in Burlesk Queen, and her turnaround debut this time in a nun’s role proved to be one of her finest.

Sister Stella L. defied certain taboos during the last years of the Marcos regime by dealing with explosive issues like labor unrest and repression of the media. Mike de Leon’s first explicitly political film done after Benigno Aquino’s assasination, was also Regal Films’ first and last serious political film to date. It eventually served as an impetus for the 1986 EDSA uprising.

The film won 10 Urians for the year 1984, including best picture, director, screenplay, actor (Jay Ilagan), actress (Vilma Santos), supporting actor (Tony Santos), supporting actress (Laurice Guillen), music, editing and sound. It was chosen as one of Urian’s 10 best films of the 1980s. It also won best picture and director awards from the Film Academy of the Philippines and Star Awards and was in competition at the Venice Film Festival.

Catch the rare chance of seeing Sister Stella L. again on the big screen on March 20, 2009, 5pm at the Cine Adarna in UP Diliman. There will also be a forum with the cast and crew (with 2005 Gawad Plaridel Awardee Vilma Santos-Recto in attendance) and an exhibit of priceless film memorabilia. Tickets for the event is sold at 50 pesos each. For inquries, you may call or text Ramil at 0918-8071978.

CINEKATIPUNAN : CO-DIRECTION / OMNIBUS WEEK

2009-03-17T00:01:00.000-07:00

CINEKATIPUNAN : MANORO

2009-03-16T00:01:00.000-07:00

Manoro (Brillante Mendoza, 2006)
English Title: The Teacher

Against the stylized eroticism of Masahista (The Masseur, 2005), and the glossy artfulness of Kaleldo (Summer Heat, 2006), Brillante Mendoza's third feature Manoro (The Teacher) feels out of place. Shot in cinema verite style, opening with the confused madness of an elementary school graduation where mothers try to silence their crying babies as little children march towards the principal to get their diplomas, Manoro looks and feels definitively all over the place. The paradox of both cinematic restraint and excesses that dominated Mendoza's last two features is absent from this delightfully heartfelt piece, something I hardly expected from a director who pushes artistic style over human emotions.

The opening titles summarize the premise of the plot: The mountain-dwelling Aetas have been forced to settle in the lowlands by the sudden eruption of Mt. Pinatubo. With their settlements being closer to the government-funded schools of the Kapampangan townships, the Aeta children now have the opportunity to study. Jonalyn, one of the elementary school graduates of the ceremony depicted in the confused introduction and an Aeta, seeks to teach her elders to read and write a day before the National Elections. With Jonalyn's effort, the Aetas, for the very first time, have participated in the democratic process that has existed in the Philippines since the early part of the 20th century.

From the graduation, Jonalyn proceeds to the Aeta settlement to begin her mission of literacy. She brings sample ballots to aid her task. However, upon reaching the settlement, she notices that her grandfather is missing. Along with her father, she treks towards the forest to look for her grandfather. Half of the film details the father and the daughter's hike up the mountain. It gives Mendoza an opportunity to visualize the untouched natural vistas of the Aeta settlement. Up the mountain, Jonalyn begins to review some of the elders how to write the names of the presidential candidates (GMA - FPJ - Lacson) by showing the older Aetas the geometric designs of the alphabet rather than actually educating her tribes members the rigors of reading and writing. Jonalyn's efforts are certainly skin-deep; her purpose is only to train the Aetas for the election day tomorrow, rather than the long term benefits of actual literacy. Nevertheless, the story is indeed heroic, something that, if handled by a more opportunistic director, might turn out to be a tearjerking tale of exaggerated realism. In Mendoza's hand, with the help of Ralston Jover's appropriately detached screenplay, the heroic tale transforms into an examination of the minority group's psyche and their sad but accepted place in national politics.

The fact that most of the film concentrates on Jonalyn and her father's hike, and on Jonalyn's persistent plea to the Aetas to vote the next day (only a few got to vote as most of the Aetas weren't registered voters; and probably only a few of those who actually voted have made valid ballots --- one of the Aeta grandmothers voted GMA-FPJ for president not knowing that GMA and FPJ are two different candidates; the consequences of Jonalyn's shallow re-educating of the Aetas), and the side plot of Jonalyn's missing grandfather, instead of the more conventional tale of the struggle of education against the Aeta's insistent rejection convinces me that Mendoza merely took the real story as a backdrop for his more ambitious designs. It certainly works. There's a feel of ancient tradition whenever the father-daughter tandem walks past the beautiful landscapes of the Pampanga wilderness. At certain points, Mendoza allows us to listen to the Aeta songs which are absolutely delightful; both in their melodic simplicity and the fact that the lyrics depict a sense of centuries-old aching and religion. More painful is when the father relies on his daughter's literacy to obtain a job from a passing Korean (he practices writing his name when his daughter sleeps during the night); Mendoza and Jover seems to acknowledge that the traditions of wilderness survival, of ancient paganist religion, and of all those songs equating the Aetas with the rest of humanity (the Aetas have been discriminated against as being the less civilized Filipinos) aren't enough to keep the minority group from surviving against the 21st century reliance on Western-imposed literacy; that the election the next day is an acknowledged step for the Aetas to pass to modernity.

Probably the most touching moment of the film is when Jonalyn waits for her grandfather outside the polling station. Her grandfather arrives carrying his traditional bows and arrows and a dead wild boar atop his strong shoulders. The grandfather doesn't vote but merely fetches Jonalyn, her eyes tell us a sense of failure on her part. The grandfather and Jonalyn return to their settlement to celebrate the day. The tribe feasts on the wild boar and starts to dance. One of the Aetas asks the grandfather why he didn't vote. He replies with the same pride that has gotten him standing strong against decades of discrimination and minority treatment, "that doesn't make me less of a man."

http://oggsmoggs.blogspot.com/2006/11/manoro-2006.html

CINEKATIPUNAN : TIRADOR

2009-03-15T00:01:00.000-07:00

Dancing Dynamites in Brillante Mendoza’s Tirador (2007) July 17, 2008
English Title: Slingshot
Directed by Brillante Mendoza
Cast: Coco Martin, Jiro Manio, Nathan Lopez, Kristoffer King

Provocative, gritty, and reckless, Tirador marks the first time that Mendoza has achieved inimitable completeness. After a foray of haphazard features that gained him substantial fame and following from the international circuit, he now holds this proof of esteemed mastery for all his non-believers like myself to see. Sitting through from start to finish, it feels like Mendoza has randomly placed hydrogen bombs in every corner of the street, every rundown house in sight, and in every character’s body, exploding and swiveling in squalid kaleidoscope, until the seismic pressure is strong enough to melt ideologies and annihilate fluid identities, carving integrity in his name that previously suffers from unfounded fanaticism.

Filth is omnipresent - - it’s as if every frame is shot in dirt, in mud, in despicable squalor. Tirador is a glorious depiction of life on the run, filled with remorseless characters trapped in dog-eat-dog situations thinking only of a way to survive in the city that is both manic and morbid, that gulps them down mercilessly. Unlike Libiran’s Tribu, there is neither insistence to deliver a clear-cut narrative nor sentimentality to justify the horrific and horrified lives of its characters. The shapeless narrative fits right into the eye of the target - - the result is magnanimous filmmaking: rabid, relentless, pounding with deafening force, a brisk style that succeeds greatly in every aspect. Here, no frame is wasted; every shot complements one another. Even particular scenes that probably account for Mendoza’s hasty eloquence are done maturely enough not to affect the brilliance of its treatment - - the worst they can do is stretch the running time, but even that increases the volume of its effective nihilism.

In Tirador, violence is not criminal; it is a way of life. The amoral lives of the marginalized members of its community are reflective of the constant degeneration of Filipino urban culture that once became a paragon of modernity but now drowns itself in the abyss of nomadic living. The ubiquitous faces of shameless politicians that the film subtly shows add to the bewilderment and self-pity that any local moviegoer would feel upon realizing the extent of what these characters would need to go through to support themselves and their families. There is pain in Mendoza’s comic delivery of some scenes - - like when that woman accidentally leaves her denture in the sink, where it falls in the tube and eventually into the adjacent gutter, it shows not caricature but a piteous boundary of emotions, the hopelessness mixed with desperation, the hopefulness mixed with lowly vanity, but the pain is there, waiting to be exhumed. Same goes with those thieves in the appliance store who plead for their lives after getting caught - - and doing it again just a minute afterward - - it captures both the absurd and the profound.

The raid in the beginning is depictive - - dark, stark, and unapologetic; the political assembly in the end is revelatory - - nonsense, nonsense, nonsense. It’s this lack of responsibility from our statesmen and lack of trust from our people that inhibit the progress of our land. This small film, edited in such intense playfulness and accompanied by Barrozo’s haunting score, is a display of a nation’s fall into pieces, slowly swimming along the molten lava of global hegemony and unforgiving political misanthropy. Now I wonder what our history books will tell us fifty years from now.

http://lilokpelikula.wordpress.com/2008/07/17/dancing-dynamites-in-brillante-mendozas-tirador-2007/

CINEKATIPUNAN : KUBRADOR

2009-03-14T00:01:00.000-07:00

Kubrador / The Bet Collector
September 25, 2008 @ 05:09 pm by Beth Accomando

As with the San Diego Latino Film Festival's Cinema en tu Idioma, the San Diego Asian Film Festival tries to keep films playing in the community year round. SDAFF's Philippine Cinema Showcase runs in the South Bay at the UltraStar Chula Vista Cinemas, and it brings new films to serve the Filipino community. This week you can catch the San Diego County premiere of the realistic drama Kubrador/The Bet Collector (opening September 26 at UltraStar Chula Vista for one week only), directed by Jeffrey Jeturian. The film has racked up a number of international awards including an armload of Philippine critics awards.

Arnold Marquez runs the Philippine Cinema Showcase, and he says "the main goal is to exhibit films that both the San Diego's Filipino community and mainstream audiences can enjoy. To the extent non-Filipino audience members take advantage of this opportunity to discover a national cinema nearly unknown in the U.S., the Showcase will better acquaint them with the Philippines and lend them an appreciation of some recent, very interesting developments in that country's motion picture industry."

Kubrador opens with a title card informing us of something known as "jueteng," an illegal numbers game rampant throughout the Philippines. It's widespread popularity gives power to those at the top who run it but there are a far greater number of lowly neighborhood bet collectors that are just struggling to get by. One such collector is Amy (Gina Pareño), a family matriarch who runs a small convenience store out of her home. With an unemployed husband and pregnant daughter, she is the only provider for her family and times are tough. So she starts supplementing her meager income by collecting bets. It turns out to be a tough job as many of her customers are not much better off than her. Director Jeffrey Jeturian follows her around as she travels the streets urging and cajoling as many as she can into parting with a few coins for a bet. She's persistent and also something of a gossip as she chats it up with each customer.

Jeturian opens the film with a police raid that sends dozens of people in a numbers racket fleeing through the cramped and crowded streets of Manila. These opening scenes convey a sense of life in the narrow, cluttered alleys of a Quezon City slum. In this world poverty and corruption are constant presences. Jeturian invests the film with energy upfront but then doesn't seem sure where to go from there. So Pareño, with her compelling performance, ends up carrying the film.

Kubrador has enough going for it that it could find some crossover appeal. But Arnold Marquez says trying to quickly (the program only started last month) create a program with crossover appeal is tough. "The series started much sooner than we'd have preferred, so in turn we've simply responded by working correspondingly that much harder. Creating awareness is our chief challenge, followed by budget, as well as many people's conceptual barrier against the concept of having Philippine film available every day, several times a day, for a projected yearlong program."

While the crossover challenge was one to be expected, Marquez also faced challenges in appealing to an increasingly diverse Filipino community: "The generational difference between members of our community is a challenge. The film my parents remember from the 40s and 50s is not the film immigrants from the 70s and 80s remember, all of which is different from the Philippine film of today. Our programming currently deals with such audience segmentation by offering a different type of film each week."

Marquez is hopeful about the future of this program as contemporary independent Philippine filmmaking gains attention around the world. For more information, you can visit their website www.philippinecinemashowcase.org where trailers for upcoming films can often be found. They are also starting an enewsletter that you can sign up for. And Marquez also welcomes emails at arnold@sdaff.org.

Kubrador is unrated and is in Tagalog with English subtitles.

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