Archive for September, 2013

in the works (-in-progress)

Posted in action crime film, Cannes Film Festival, Philippine Cinema, Philippine film industry on September 27, 2013 by leaflens

Just because a film reached the shores of Cannes doesn’t mean that it’s all that. But we commend it for reaching there, of course. Gujab for Pinoys itetch. But it still doesn’t make it easier to overlook some glaring things that you wish were fixed before they flew this, no? Hmm. Basta.

ojt 0OTJ (2013)

d. Erik Matti

p. Star Cinema and Reality Entertainment

s. Michiko Yamamoto, Erik Matti

m. Erwin Romulo

dop. Francis Ricardo Buhay III

e. Jay Halili

c. Piolo Pascual, Gerald Anderson, Joel Torre and a bunch of talented actors na nakiki-anniv film mode hehe

Pitch: Prisoners inside a prison are sometimes taken outside to do hitman jobs until it gets complicated because of some souls trying to enforce the law and their conscience chenelyns, among other things.

Catch: Uneven story flow, plot holes act as speed bumps for the narrative to truly progress. Plus ang linis tignan ni Gerald. Kulang sa dumi teh.

This film ought to be good since it’s part of the Star Cinema anniversary hype chenelyn daw this year. The trailer also promised a good premise and a promising technical feast. I wasn’t disappointed in the tech aspect. There are many things in this film that I’m glad I saw — again — in Philippine cinema. For starters, I like it that the night lighting is true to what Manila nights look like. Lagi kong tanong sa mga estudyante ko yan, e: ano ang kulay ng ilaw sa gabi kapag naglakad ka sa labas? Sometime they can’t answer properly but if you’re a very observant person, you would immediately know the answer (Hala, di mo knows noh! Tingin sa labas ng bintana, dali! LOL) and I’m always amused by their answers of uncertainty. Lighting is always motivated in a scene so that means we should know where the light is coming from when you’re staging a shot. Kung sa lamp post, ipakita mong parang lamp post nga. Kung buwan, anong kulay yun, blue ba o puti? Ayan, mga basic trivia na dapat master mo agad if you really are a true disciple of cinema hehe. Charut!

And it’s fine if sometimes Gerald or Joel acts in the dark (although aliw yung isang habulan eksena where madilim ang eskinita pero pagtama kay Papa Piolo, fez lang niya ang may ilaw hehe genius! Umo-Orson Welles lang ang peg hehe.). This is because the film is kind of a noir film, given its subject matter of crime, police work, syndicate chenelyns and stuff like that, which are all elements of film noir. Hm I just realized that they didn’t have a femme fatale image here pala, but they certainly had the beefcakes! Aba, noir na, queer pa hehe. Charut! And no, Shaina Magdayao’s sexy back scenes not included, not enough to be fatale teh sorry. Hm, Vivian Velez as the operator of the syndicate chuva? Hindi rin, not enough skin hehe. Puro bibig ni ati ang nasilayan natin. Pero bet rin iyon.

ojt 1

Kulang sa dumi si koya. Ulingan pa mukha niyan! LOL. Not too convincing as a streetwise thug, this dude. PD dept couldn’t do anything to save his role as well. Hm. Balik sa bahay ni kuya yan, workshop pa.

The musical score is also funky cool in that gritty Manila noir type of way. Bagay at swak sa mga eksena at sa beat ng editing at bagay sa mood ng iniilawan and such. So see, it’s possible pala to have a film from Star Cinema that could play around with such technicalities and shiz. For once, isantabi muna ang typical glossy look ng mga well-polished-appearing dramas. This one’s technically good in my book.

Now for the tricky part. I know Michiko’s such a talented writer and I actually know how sometimes, talent is not enough to have your films made in this industry. That’s why compromises had to be done sometimes, and it certainly felt like it in the storytelling here. I don’t know if it’s direk’s handiwork or if it’s the usual lupon of “creative consultants” they have that scrutinize a film each step of the way. The main premise of the film is actually good — that there’s this syndicate that operates in the city where prisoners are taken out of prison to commit crimes they cannot be convicted with, since they’re already in jail and it’s the perfect crime. Then throw in the classic plot pattern of the wise old man-contender/trainee structure and you have Joel Torre’s older hitman training younger hitman Gerald Anderson as his replacement. Easy. Then foil it with idealistic police officers and NBI agents who try to get the bottom of things even if it will cost them their lives, for conflict. And then add a dash of the usual Philippine government officials and their corruption and yeh, pang-best picture nga siya teh!

Is it me or does it feel like sometimes Papa P's depiction is two-dimensional at times? I know he could flesh out emotions better than this, teh. So hmm ewan na...

Is it me or does it feel like sometimes Papa P’s depiction is two-dimensional at times? I know he could flesh out emotions better than this, teh. I’ve seen it in other films. So hmm ewan na…

But no. There were times when the story sometimes tries too hard to be all that, you know. Too hard to be “street gritty” that it seems like some characters have this necessary quota of saying “Putangina!” several times in one sequence. And it doesn’t help that Gerald can’t say it properly (kulang sa workshop!); it’s like those actors who need to smoke cigarettes in a scene but they don’t even know how to hold a cigarette properly, much more blow smoke. There are also several twists and turns where the politico father-in-law of Papa Piolo appears too good to be true in that “I’m a dirty politico trying hard to be dignified” chenes especially towards the last third of the film where all hell breaks loose and Piolo as the NBI agent is hot on their corrupt tail already. Scenes in this part appear contrived na, like they don’t really know how to end the film yet they know they want a “grand pang-award ending” you know what I mean? Some scenes appeared unrealistic as a result, notably that chase scene where Joey Marquez as the straight cop madly chases the car of the corrupt general behind this whole operation (Leo Martinez) and his security guys don’t bat an eyelash, until the cop asks the entourage to pull over, and then they have this grand majestic Hollywood action film level-shootout (yung hindi nauubusan ng bala ng baril type), in the middle of a quiet (!) intersection in Manila (where where where may ganitong lugar teh)? Eyes, roll, now nah. Lekat. Not to mention that information seems to be handed to the “proper” hands too conveniently, or data is exchanged that comfortably sometimes, like when NBI agent Papa P sniffs out possible leads that could corroborate with the preliminary info they already have, stuff like that. Pero dahil madadala ka nga ng acting, editing, music and lighting, parang ang dali na ring i-shrug off itong mga ganitong detalyeng obvious naman na produkto ng “too many cooks made the broth cuckoo” brainstorming slash consulting. Yes, folks, it happens. Trust me.

Ayun. So sayang, promising nga siya, the elements at least, but it wasn’t enough to deliver the film in full. But it’s a big step for direk ha. I remember earlier works and eyes rolled more often back then, so hmmm… Here, hm… Itinawid naman ako ng baon kong popcorn kaya sige, kumeri na rin kahit papaano heheh. A good work-in-progress, and here’s hoping the next ones could be polished even better. Push mo yan beks! Gow.

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Have a gay day the “indie film” way yey!

Posted in children-young adult content, Cine Filipino, digital film, indie films, Philippine Cinema, queer cinema, queer issues in film, women's issues in film on September 26, 2013 by leaflens

September was a happy time for new film releases that are not made under the auspices of film production companies that either mangle brilliant scripts by letting them “be critiqued” by their lupon of creative consultants or don’t touch inanely written “template films” (read: nagawa mo na ‘yan last year direk and the year before and the year before…) by writer-directors who think they’re god’s gift to Philippine Cinema (I don’t know which god, though. Lucifer? God ba siya? Bad angel pala. Basta, kung sinuman boss niya, ‘yun.).

The first thing I’m talking about is this:

allmasters

The Film Development Council of the Philippines (FDCP) had a fest called Sineng Pambansa National Film Festival All Masters Edition where our living legends were given the greenlight to make films they wanted with concepts they believed in. I just wish these films could have ran longer since people had to catch different screening times and it’s difficult to sync that with one’s life. So I’m reviewing one film from that batch muna for now.

The second thing I’m talking about is this:

cine filipino

Yet another digital film festival grant-giving venture, this time from PLDT Smart Foundation and Unitel, a.k.a. Mr. Manny Pangilinan dude. Again, I wish they didn’t just screen for a week in select theaters where you will make habol the screening times again which, again, is hard to sync with one’s life. Just saying, hey. And I’m reviewing one film from that batch here din.

Queer focus for now.

lihisposterLIHIS (2013)

d. Joel Lamangan

s. Ricky Lee

dop. Mo Zee

c. Jake Cuenca, Joem Bascon, Lovi Poe, Isabelle Daza, Gloria Diaz

Pitch: Two male members of the New People’s Army (NPA) reinterpret norms and ideals by fighting for the country’s democracy while maintaining a sexual-romantic relationship. Gives new color to the chant “Maki-beki! ‘Wag ma-shokot!” we sometimes shout during pride marches hmm.

Catch: Not enough alindog shots of Lovi Poe my lust. I’m a lesbian eh — wrong market Jake and Joem! Just saying lol.

What I like about this film is the pumping scene. Scenes pala, plural. Malilibog ang mga neps na ‘to, pare. As in teh, wala pang 5 minutes into the film/exposition/Act I, may mega-pumping nang nagaganap sa dalawang boylet na matapang! You never know what happens in them boondocks, now, do you? Now we kinda do. Kidding.

What I really like about this film is that there’s some kind of tightness in the way the material was handled — well, overall, maybe, but there are a few kinks here and there, of course. The story is tight enough to stand, tight enough for the premise to be believable — that there could indeed be two “ordinary-looking” men with communist ideals and guns to have strong desires for each other. It was also presented in a matter-of-fact way, like the way other storylines could be presented — that hey, there’s this rebel dude and there’s this rebel guy and they want to fight for the country side by side while loving each other. Indeed, the treatment of the relationship was tender and loving, and none of that “I’m not gay” disclaimer shiz that was present in BROKEBACK MOUNTAIN before. In here, the gayness need not be spelled out by the people who have homosexual desires  because they were obviously comfortable in their skins about their sexualities. In short, hindi issue sa kanila ang pagiging beki, teh. Mas isyu pa ‘yung baka matagpuan ng kalaban at mabaril sa engkuwentro.

Pagtapos ng barilan, espadahan naman! Yehessss LOL. Salamat sa mabait na nilalang na gumawa ng montage na ito. Pahiram ha.

Pagtapos ng barilan, espadahan naman! Yehessss LOL. Salamat sa mabait na nilalang na gumawa ng montage na ito. Pahiram ha.

But the heterosexual girl had an issue about the homosexuality, and this is where the first story kink comes in. Lovi Poe as that strong female NPA character had quite a few undeveloped angst storylines that got carried over in the adult version of her (read: When Lovi Poe grows up, she becomes Gloria Diaz pala. Puwede na rin; same kalidad ng alindog, once upon a time.) particularly her angst about “finding out” if her NPA crushie-turned-hubby (Joem’s NPA writer-intellectual character) is indeed gay or at least bi, and then having a fuss about it later in life. There were times when it seemed that her character was clueless about the relationship but then later on, it was also revealed that she knew about it in the first place. So why harbor the gay hate attitude later on, girl? That was kinda confusing for me, man. In the end, i just chalked it up to the character being proud, as in “nakukuha ko ang lahat ng gusto ko” kind of proud — including getting the man she desires, the gay man she desires pala. Ewan, labo ni ateh.

And then there’s another issue of having a kind of “cover-up” in the death of the two gay rebels. Her older version seemed to have some angst about people not knowing the real score about how the two died, or her doing a cover-up of the real story and shiz. This was tied up to her older version’s grown-up daughter’s (Isabelle Daza) quest of finding the real facts about what happened to that seemingly buried history of a massacre in a small town — the town where the two gay rebels supposedly died, and no one supposedly survived save for this kid who grew up and got stuck in a mental institution. Uh, yeah, if I lost you, sorry I got lost, too. These are the other kinks that needed to be ironed out in the film because I think it’s predominantly the gay storyline that got brainstormed better than the rest.

And yes, why wouldn’t it? It’s a quaint and novel premise that’s not seen in many popular culture forms. Gay NPAs, sankapa teh! That in itself sells the story without effort. Then pepper it with bits and pieces of historical situations then (Marcos era) and now (Noynoy era), and you got a political film, easy. And then show many pumping scenes and kilitian moments between the two handsome gay dues and weh, umupo ka na lang and let the film sell like beefcakes er hotcakes pala. Appeal to prurient interests? Check! Appeal to lovey-dovey marriage equality romantics? Check! Ma-appeal na leading men kissing each other? Check! Pasok sa banga na lahat. And never mind na lang if the pretty Miss Universe-looking (or former Miss Universe title holder) women are also in this film. I guess they’re the eye candy naman for the straights and the lezzies. And I admire them three women because they also gave good acting performances here, sans being framed in a maalindog way (which I still protest BTW but hey…).

Kinilig naman ako sa eksenang ito ng lambutchingan mode. Pero kelangan talagang naka-topless si Jake? Sige na nga...

Kinilig naman ako sa eksenang ito ng lambutchingan mode. Pero kelangan talagang naka-topless si Jake? Sige na nga…

Overall, it’s still a good quality queer film. The lighting was okay naman (except for my eternal angst about blue/uber-liwanag lighting in night scenes in Philippine cinema, but that’s another discourse) and the editing was also good. The directing is surprisingly good as well. Direk Joel is kind of a hit-and-miss director for me, depending on the material he’s handling. But this was surprisingly okay. Ricky’s script was also okay in his ang-bawa’t-karakter-ay-may-bubog kind of way (yet another discourse, saka na lang) which works well here, save for the kinks I mentioned na nga.

If this gets shown somewhere else, it’s still worth catching. So go catch.

*

chacha2ANG HULING CHA-CHA NI ANITA (2013)

d., s. Sigrid Bernardo

dop. Alma Dela Pena

c. Angel Aquino, Teri Malvar and a bunch of talented actors of all ages

Pitch: Tween girl from the province falls in crush with a returning pretty kababayan who has her own secrets to unravel.

Catch: A few kinks in the way some subplots introduced are ended or woven in the main narrative but we overlook it because Angel Aquino is so pretty to look at. Yes we’re biased that way, hey.

What I like about this film is that Angel Aquino is very pretty to look at. In a non-male gaze kind of way. Meaning I am a lesbian and I could look at the film and the shot makes me desire her. If you’re a man and you’re straight then you will also obviously lust after her because that is the default mode of the male gaze. If you’re gay and you like pretty things then you will like the way she was shot because she looked pretty. And if you’re a straight woman then you’ll probably look at her and wonder how she does her hair because it’s so pretty and you want yours to be that pretty, too. All angles — or gazes — covered pare, sankapa hihi. But of course there’s a good motivation behind the perspective, and it’s largely hinged at the main story it’s telling: the teen girl Anita’s developing crush on the prettiest girl in their town. So yes, the way she was shot, it works! Kudos to Alma for this. Plus the overall cinematography na rin, while we’re at it.

Alindog, thy name is Angel. Mas sexy if may itak, bow. LOL

Alindog, thy name is Angel. Mas sexy if may itak, bow. LOL

And I’m glad to see that their tandem is still alive, Alma and Sigrid. Together, they work well cinematically and it shows.  Sigrid’s handling of her own material is also good because it shows that she cares as a director how the scenes should come alive. This is evident in the way the children’s scenes were shot. Anita has two best friends and their barkada trio is a hoot to watch. Although sometimes, having written children’s narratives and directed children’s TV shows, I somehow lose my grip on my disbelief that these kids are real kids. I mean sure, we have bibo kids and we have bibo wunderkinds (like TV’s Ryzza Mae), but some of the dialogues of the kids are too bibo to be true for me. It’s one thing to keep it real in a bibo way, but it’s another to overdo it na kasi. Some are overdone in my opinion, but it’s still a small kink that could get shrugged off anyway.

The main narrative is okay naman. The main story is framed by the present time where we see Anita as a drill sergeant ba or something, basta someone who commands a platoon inside a military base or camp. A package of her mother’s main source of business, the tahong chips (Aha! Tahong talaga ha! I see what ya did there, ya dykes lol!) catapults the whole film into flashback mode to introduce us to Anita during her childhood, back when she was merely a typical teen rebel who misses her dead soldier father so much until she smartened up to win the attention of the love of her little life, Pilar. The whole film’s journey is hinged at the unraveling of why Pilar came back (supposedly to start over a life with an ex-bf who turns out to be Anita’s uncle) and what she does in the meantime (a former OFW physical therapist turned local hilot/massage person) and what she does towards the end of her own narrative (revealing plot dump after plot dump regarding her supposed pregnancy-cum-abortion or her supposed “skills” to “abort” and her main reason for leaving — which was being pregnant and surprise surprise kung sino pala ang nakajontis kay ati and such). Her narrative becomes a bit convoluted and confusing towards the end, which wasn’t helped very much by the dream-like interpretation of the ending sequence with the grown-up Anita coming back and passing by Pilar’s now-abandoned house (of course the cinematic clues lead us to conclude our own conclusions, mainly choosing whether Pilar left or died or whatnot, meaning kayo na bahala kung ano ang nais niyong kinahinatnan ng byuti ni Angel ditey).

So Pilar’s journey is being unraveled together with Anita’s own narrative about having a crush on her and making things work in order to get her little objectives met (mainly to earn enough money to afford a full body massage from Pilar and changing the way she looks to be more impressive). So in this part, we see this Ang Pagbibinata Ni Anita mode which was a happy development in the beginning since the discussion of sexuality was, once again, presented in a matter-of-fact way, meaning it’s okay to Anita and her friends and family that she is developing a crush on another woman. In short, hindi na naman isyu ang pagiging biyaning ni ati. Mas isyu pa ‘yung dapat makasali siya sa sagala at makasama sa pamilya niya sa kanilang yearly visit sa sayaw sa Obando thingie sa Bulacan, their province.

Ang Pagbibinata Ni Anita-batumbakal na taga-frisco. Charut! Kung may kapitbahay din ba akong ganyang kaganda eh di sana mas maaga tayong namulat sa katotohanan ng life, aney? LOL.

Ang Pagbibinata Ni Anita-batumbakal na taga-frisco. Charut! Kung may kapitbahay din ba akong ganyang kaganda eh di sana mas maaga tayong namulat sa katotohanan ng life, aney? But no. LOL.

And that treatment of queerness is what’s formidable in this material. I like the way that the film treats being a lesbian here, that’s it’s a non-issue — which is how it should be treated in real life anyway, hey. And this is what gives the film heart: to see Anita struggling with her crush, trying to court Anita in her own innocent adolescent way (culminating to a funny scene where she tries to pedal the bike where Pilar was riding in its sidecar — hilarous!) and trying to balance her crush and her family/friend “duties” and such. I could see why this kid won the best actress award for this festival since her portrayal is so real and honest, probably a refreshing thing on the big screen lately, huh. So never mind if she knocked out the Superstar in this category. Give chance to others, as we usually say when we played during our youth. Devah?

I just wish that the film was tightened more in terms of its other elements. Like the element of the dance and the cha-cha. While they were running motifs in the film, sometimes they pop out from out of nowhere just to be in that sequence, you know what I’m saying? Like that cha-cha scene in the market as Anita passes by to collect money for her mom’s business, and then she imagines Pilar appearing there and dancing with her. The other dance scenes were okay, like the one in the beginning where two secret lovers were canoodling with each other or even the way Anita’s mother was trying to exercise via dancing. But I’m still trying to figure out the main symbolism of the Obando dance since, in our culture, this is where you go to dance so that the heavens will grant you a child. I’m not sure why Pilar was spotted there towards the end or what’s the meaning of little Anita’s participation in this fertility dance fiesta. But if it’s in the general category of “dance-ask and you shall receive” then okay, I buy that, but what exactly did Anita want to achieve or ask for? As an adult, we see her commanding an army platoon in the beginning and in the end we see her reminiscing about Pilar which culminates into a dream-like sequence nga of adult Anita kissing Pilar (or at least a whiff of her image, an imagined image perhaps).  Is that what’s being asked — an imagined kiss, an imagined closure with a past crush-love? Not very clear, this. And it’s left at that.

The ending left me hanging, even if I loved 80 percent of the film. I wish it could have had more oomph since it gave the feeling of having loose ends towards the end. Perhaps give the adult Anita a lover, a happy support for her life, to maybe conclude and tie it up with the lessons she learned — if any — in the whole teenage flashback regarding her crush with Pilar.

Still, it’s a good film to watch overall. The acting, cinematography and directing will carry you well into the end. It’s also easier to forgive those few narrative lapses in such queer-positive films, actually. So I’m cool with that.

Congrats to the team for pulling this through, though. I wish there were more materials like this one. I’m glad this festival was supportive of queer-positive love-crush things, unlike other festivals we know. But that’s another plot altogether hihi.

Hashtag alam na!

 

 

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