Cinekatipunan presents Ato Bautista's Sa Aking Pagkagising Mula sa Kamulatan on February 24, 2009, Tuesday. Screening starts at 4:30 PM. Free admission. Cinekatipunan is held at the 2nd Floor of Mag:net Cafe Katipunan
335 Katipunan Avenue
Loyola Heights Quezon City 1105
For inquiries call KV at (63) 929-3191 or 09175395284
Free Admission.
SA AKING PAGKAGISING MULA SA KAMULATAN
2005
95 minutes, Color
Filipino/Tagalog with English Subtitles
Contains scenes not suitable for young audiences
Director: Ato Bautista
Screenplay: Shugo Praico
Cinematography: Odyssey Flores
Production Design: Dante Nico Garcia
Cast
Carlo Aquino
Cholo Barretto
Luane Dy
Ketchup Eusebio
Julius "Empoy" Marquez
Bodjie Pascua
Lito Pimentel
335 Katipunan Avenue
Loyola Heights Quezon City 1105
For inquiries call KV at (63) 929-3191 or 09175395284
Free Admission.
SA AKING PAGKAGISING MULA SA KAMULATAN
2005
95 minutes, Color
Filipino/Tagalog with English Subtitles
Contains scenes not suitable for young audiences
Director: Ato Bautista
Screenplay: Shugo Praico
Cinematography: Odyssey Flores
Production Design: Dante Nico Garcia
Cast
Carlo Aquino
Cholo Barretto
Luane Dy
Ketchup Eusebio
Julius "Empoy" Marquez
Bodjie Pascua
Lito Pimentel
REALITY BITES - SOMETIMES IT BEATS YOU UNCONSCIOUS, TOO
from REVIEW By Elvira Mata, Nice Rodriguez
Inquirer News Service, page A2-2
Philippine Daily Inquirer, May 8, 2005
Sa Aking Pagkakagising Mula Sa Kamulatan Directed by Ato M. Bautista
OUR TWO reviewers finish a large bag of popcorn 10 minutes into this in-your-face movie. Sometimes reality doesn't just bite; it beats you unconscious.
ELVIRA: If you want to know the kind of men you shouldn't bring home to mom and dad, see this movie because they're all here. Pogi (Ketchup Eusebio) swears, smokes, gets drunk and lives off his mom, who probably works as a domestic helper or a caregiver abroad. Taba (Hector Macaso) dropped out of school a semester shy of graduation and spends his days drinking beside this sari-sari store. Jopet (Cholo Barreto) has been sexually abused by a policeman named Lakay (Lito Pimentel) but he's too scared and too dumb to do anything. Kahoy (Empoy Marquez) is a jeepney barker/cellphone snatcher. Rey (Carlo Aquino) has a girlfriend but he's too weak and too unsure of himself to do anything about the relationship.
NICE: This film is dirty. If you were to compile all the repulsive Filipino words ever uttered, they would add up to the screenplay. For such a superb listing of obscene and foul words alone, this film would stand the test of time. It's a linguist's find.
ELVIRA: Although it has a longish title like "Pirates of the Caribbean: The Curse of the Black Pearl," this is a far cry from Disney. It's one of those movies you should see but, in parts where it gets too violent, you have to look away.
NICE: Metro Manila renders so well on digital video. The medium is portable; thus, it can quietly penetrate the city's tight interior streets. Also, its ability to shoot in dark places helps capture the city's texture so well. The movie is like an unobtrusive tour, with a tanod, of an underprivileged barangay. Owing to its digital format, the film exposes a pixilated and grainy metropolis-subject and technique effortlessly merge. Because of this compatibility, I wouldn't be surprised if we produce more films of this genre and become the toast of international independent film fest circuits. This is filmmaking straight from the gut; the market will extract more gore, more violence, more sex and more perversion from us. Question: If we do find an audience, are these all that we can tell?
ELVIRA: If government officials want to know what's out there, they should see this movie.
NICE: Pogi, bragging about his sexual exploits, sets the pace. The flood of cursing and rude talk is excessive and seems endless. The movie is narrated by the nerdy student Rey. He is self-conscious, plain and boring-is he really the main character? Then he is beaten unconscious and waxes philosophical. He shines doing kung fu with a bread knife, though. Pogi's gang mates include Jopet, Kahoy and Taba This movie reeks of testosterone: the gang calls each other Betlog (slang for testicle).
ELVIRA: ... not Pare, Brod or Igan.
NICE: The men try to upstage each other in alcohol-guzzling, rage, passion, wit and brutality. A fight ensues during basketball practice and even the ball becomes a weapon! There is only one main female character, Angel (Luanne Dy), who plays a superficially virginal, but secretly promiscuous, student. There is an interesting sub-plot that translates to a mini-thriller, about two she-males. The whole movie appears disjointed but, like "Pulp Fiction," miraculously comes together in the end.
ELVIRA: Yeah, my insides felt like they were going through the wringer and beaten to a pulp watching this movie. It's just too real. Maybe they should film "Survivor," not in Boracay or Bohol, but in this neighborhood.
NICE: Much credit should go to videographer Odyssey Flores and his lighting crew. Although his cigarette smoke effect becomes redundant throughout the movie, it appears like smog at night. His distant low light shots, as well as his back-lighted scenes, are excellent. Like a slide show, his series of external shots- framed by the jeepney's entrance-pulsate, making the holdup scene very powerful. While the concept of a holdupper being held up himself is hilarious, the image of the helpless victims beside a lamp post is so pathetic, I wanted to cry. I have been robbed once.
ELVIRA: I was once robbed, too, at the plasticware section of SM. I love plastic! The thief got my decoy wallet, the one with only P100. My real wallet was buried deep inside my bag.
NICE: Other remarkable characters are the eight-year-old Rugby-sniffing streetboy and Angel's God-fearing father (Bodgie Pascua), her implied abuser. The movie's musical score is austere but effective. This is not a movie for the faint-hearted. The tension will make you eat more popcorn than usual, but it is a movie you carry back home and think about later.
ELVIRA: I can't get over the title, "Sa Aking Pagkakagising Mula Sa Kamulatan." In English, awakening from consciousness. In common speech, consciousness is being awake and responsive to one's environment, which contrasts with being asleep, being in a coma, being dead drunk or, in the case of Rey, being in denial about his environment, himself, what he wants and where he is going. In the end, his environment and past experiences come to a head. He is beaten unconscious and when he comes to, he finally understands. He has achieved the state of knowingness-gets na niya!- and proceeds to get even.
from REVIEW By Elvira Mata, Nice Rodriguez
Inquirer News Service, page A2-2
Philippine Daily Inquirer, May 8, 2005
Sa Aking Pagkakagising Mula Sa Kamulatan Directed by Ato M. Bautista
OUR TWO reviewers finish a large bag of popcorn 10 minutes into this in-your-face movie. Sometimes reality doesn't just bite; it beats you unconscious.
ELVIRA: If you want to know the kind of men you shouldn't bring home to mom and dad, see this movie because they're all here. Pogi (Ketchup Eusebio) swears, smokes, gets drunk and lives off his mom, who probably works as a domestic helper or a caregiver abroad. Taba (Hector Macaso) dropped out of school a semester shy of graduation and spends his days drinking beside this sari-sari store. Jopet (Cholo Barreto) has been sexually abused by a policeman named Lakay (Lito Pimentel) but he's too scared and too dumb to do anything. Kahoy (Empoy Marquez) is a jeepney barker/cellphone snatcher. Rey (Carlo Aquino) has a girlfriend but he's too weak and too unsure of himself to do anything about the relationship.
NICE: This film is dirty. If you were to compile all the repulsive Filipino words ever uttered, they would add up to the screenplay. For such a superb listing of obscene and foul words alone, this film would stand the test of time. It's a linguist's find.
ELVIRA: Although it has a longish title like "Pirates of the Caribbean: The Curse of the Black Pearl," this is a far cry from Disney. It's one of those movies you should see but, in parts where it gets too violent, you have to look away.
NICE: Metro Manila renders so well on digital video. The medium is portable; thus, it can quietly penetrate the city's tight interior streets. Also, its ability to shoot in dark places helps capture the city's texture so well. The movie is like an unobtrusive tour, with a tanod, of an underprivileged barangay. Owing to its digital format, the film exposes a pixilated and grainy metropolis-subject and technique effortlessly merge. Because of this compatibility, I wouldn't be surprised if we produce more films of this genre and become the toast of international independent film fest circuits. This is filmmaking straight from the gut; the market will extract more gore, more violence, more sex and more perversion from us. Question: If we do find an audience, are these all that we can tell?
ELVIRA: If government officials want to know what's out there, they should see this movie.
NICE: Pogi, bragging about his sexual exploits, sets the pace. The flood of cursing and rude talk is excessive and seems endless. The movie is narrated by the nerdy student Rey. He is self-conscious, plain and boring-is he really the main character? Then he is beaten unconscious and waxes philosophical. He shines doing kung fu with a bread knife, though. Pogi's gang mates include Jopet, Kahoy and Taba This movie reeks of testosterone: the gang calls each other Betlog (slang for testicle).
ELVIRA: ... not Pare, Brod or Igan.
NICE: The men try to upstage each other in alcohol-guzzling, rage, passion, wit and brutality. A fight ensues during basketball practice and even the ball becomes a weapon! There is only one main female character, Angel (Luanne Dy), who plays a superficially virginal, but secretly promiscuous, student. There is an interesting sub-plot that translates to a mini-thriller, about two she-males. The whole movie appears disjointed but, like "Pulp Fiction," miraculously comes together in the end.
ELVIRA: Yeah, my insides felt like they were going through the wringer and beaten to a pulp watching this movie. It's just too real. Maybe they should film "Survivor," not in Boracay or Bohol, but in this neighborhood.
NICE: Much credit should go to videographer Odyssey Flores and his lighting crew. Although his cigarette smoke effect becomes redundant throughout the movie, it appears like smog at night. His distant low light shots, as well as his back-lighted scenes, are excellent. Like a slide show, his series of external shots- framed by the jeepney's entrance-pulsate, making the holdup scene very powerful. While the concept of a holdupper being held up himself is hilarious, the image of the helpless victims beside a lamp post is so pathetic, I wanted to cry. I have been robbed once.
ELVIRA: I was once robbed, too, at the plasticware section of SM. I love plastic! The thief got my decoy wallet, the one with only P100. My real wallet was buried deep inside my bag.
NICE: Other remarkable characters are the eight-year-old Rugby-sniffing streetboy and Angel's God-fearing father (Bodgie Pascua), her implied abuser. The movie's musical score is austere but effective. This is not a movie for the faint-hearted. The tension will make you eat more popcorn than usual, but it is a movie you carry back home and think about later.
ELVIRA: I can't get over the title, "Sa Aking Pagkakagising Mula Sa Kamulatan." In English, awakening from consciousness. In common speech, consciousness is being awake and responsive to one's environment, which contrasts with being asleep, being in a coma, being dead drunk or, in the case of Rey, being in denial about his environment, himself, what he wants and where he is going. In the end, his environment and past experiences come to a head. He is beaten unconscious and when he comes to, he finally understands. He has achieved the state of knowingness-gets na niya!- and proceeds to get even.
