Archive for the dramedy film Category

The future is here, but the future is not now

Posted in Cinema One Originals, dramedy film, film students, film teacher mode, indie films, love story, Philippine Cinema, Philippine film industry, romantic comedy films on February 16, 2015 by leaflens

Or in short, a review of that film that made you quote lovelorn quips this love month. Or earlier if you caught this in its festival inception.

312926_10150401822735190_748755189_10316644_525666240_nTHAT THING CALLED TADHANA (2014)

d., s. Tonet Jadaone

dop. Sasha Palomares

sound. Jedd/Bryan Dumaguina

c. Angelica Panganiban, JM De Guzman

Pitch: Great concept. Fresh take on storytelling. More stories like these, please.

Catch: A good story should be realized by good directing. Pulso is the key. Find your original. Leave duplicates at home. Just saying.

That local movie that got people buzzing again is a good one. This is good news for the new darlings of Philippine cinema, and I’m quite glad that I’ve had the privilege of peeking at the early stages of these darlings’ lives back when they were film students and I their film thesis adviser/film teacher. Teaching back then, I’ve always reminded these kids that they are going to be the future of Philippine cinema if they so choose to accept that path. After all, they’re there in our classroom learning about the art and the craft of this form we so love. As a teacher, I’m realistic:  I know that some of them are just there for the 4-year clocktime course while some are there to gain knowledge and move on to other fields, leaving a handful who will actively pursue different aspects of filmmaking in their lives, be it in the mainstream, the alternative, or the indie. And if they so choose to be part of the film future, then they better prepare for it in the present by looking into the past. For we are only doomed to repeat the mistakes of history when we don’t really learn from it. Tama po ba, Sir Teodoro Agoncillo? But I digress.

The year 2014 was a literary one for this film reviewer and I didn’t have the time to peek into what’s happening in cinemas both local and foreign since I chose to focus on the literary world of my huge universe. That at lumablayp muna lola mo hehe, kaya you know. So I kinda missed Direk Tonet’s other efforts, but I’ve been hearing some buzz about a couple of works she’s done in the past. Alas, since indie filmfest skeds conflicted with my work skeds, I missed all screenings of all things. So I was really glad this Cinema One entry had a commercial release, of course picked up by Star Cinema and supported by the same people who were in that ABSCBN-led indie filmfest. Of course, this might also mean that the same “story consultants” that festered sat on panels to revise review scripts/films already shot were also present in this film to give it a few katay directives pointers. Well, you get the drift.

Like what I mentioned in my pitch, the one thing that this film has is a really great concept. And I bet the concept also had a good script that went with it. The thing with Tonet is that she was able to capture the essence of today’s Pinay who undergoes real shitty hindi-ito-pang-romcom-nampotah type of love stories, and heartbreaks. Like I’ve never been so pleased to see a pretty heartbroken girl say Putangina! or Tangina naman! na pagkalutong-lutong mas malutong pa siya sa Lapid’s Chicharon pare, all because her heart is hurting. Totoong ganito ang tao kapag heartbroken at totoong masakit kaya totoong napapamura ka at totoong wala kang class, finesse o anumang kagalang-galang sa hitsura o pagkatao mo minsan kapag brokenhearted ka tangina tulo-uhog habang hagulgol and all. Angelica’s performance of the brokenhearted Pinay was well-captured here, great performance talaga si ati. Ever since I saw a different side of her naman as a non-sitcom type of comedian in HERE COMES THE BRIDE, pak na pak talaga ang acting ni ati.  That’s why I got doubly curious to see this film when I saw her topbill it.

But then here comes JM, once the darling of our business unit sa dos when I was there in my recent past as part of a team conceptualizing teleseryes and helping out in reality shows. I don’t know if it was the way he interpreted the character or if he still had some remnants of his personal troubles that crept into his professional performance, but his acting really appeared so uninspired. As in hindi siya mukhang inspired to shoot, much less to work. But I think this meh mode niya worked to build the character of the meek dude that will contrast with the loud gal character of the film. Kaya lang sana minsan naman, sana in-injection-an nila siya ng caffeine sa katawan man lang, know what I’m saying. Or maybe I’m just nitpicking. Kape pa more!

That-Thing-Called-Taddhana

I felt like some scenes showing the boylet’s characters were axed, therefore reducing his performance into a dedma type of guy that ended up not being realistic. Like towards the end, when he mentioned that he mentioned about a person taking care of him with Biogesic or something, I was like “Nasaan ‘yung eksenang ‘yun?” ganun. Weird limbo scenes pare.

The concept of the film is not entirely new. It’s the usual tossed salad of a formula wherein you throw in elements already familiar to viewers and cook them up to serve something hopefully familiar but also new. As I’ve always said in my scriptwriting classes, you can’t reinvent the wheel but by golly push that wheel into a different direction so we could see new scenery and take us to places only you could see from your unique perspective. And literally, this film took us there: to places where we experience heartache so devastating that we tend to forget who we are or where we come from or, more importantly, where we’re going now, now that the love is gone, ‘ika nga ng kanta diyan somewhere. Not new because we’ve already seen films na strangers on a train/bus/plane/what have you ang peg, and of course my generation — and theirs — had Richard Linklater’s Before series as a default peg. But what’s great about BEFORE SUNRISE is that the long train ride produced a chance encounter of a boy and a girl who had a hell of a time killing time by talking to each other about mundane things and profound things. Here in TADHANA, all we see is a girl bawling her eyes out in a Rome to Manila flight, and their only chance encounter, aside from having met at the airport so boylet can help girlet with her overweight luggage, is seatmates sila and boylet couldn’t care less when girlet was watching the quintessential love-lost-and-love-found-but-sana-ako-na-lang-love-mo-ulit-kasi-tanga-ako-nung-pinakawalan-kita local romantic drama film ONE MORE CHANCE in her laptop. That’s about it. I mean dude, I’ve had more conversations with strangers in a 2-hour trip from Manila to Davao/Dumaguete/wherever Philippines, and this is a Rome to Manila flight ha. Ang dami na dapat nilang napag-usapan, lalo na ang unang crucial thing: na sana nagpakilala muna sila sa isa’t isa, karugtong ng pagpapakilala ni boylet sa sarili kay girlet sa airport. I mean, more convos siguro, since tinulungan siya ng boylet, regardless of her sabaw mode from her mega cryola mode k. Yes, we want to be cinematic but being cinematic works when we try to be more realistic at first.

And speaking of being realistic, it really fell flat on its face when meh boylet just went with the flow and accompanied girlet to wherever the hell she felt like going. I mean, sure, realistic pa rin if you ask a “stranger” to eat in a restaurant with you or go to a videoke so you could sing your broken heart out. But to actually have another life form engage you into going on a 500 pesos+ fare ride (one way) going somewhere (so mga lampas 1k yan if roundtrip) out of Manila is a stretch, especially if there was not enough getting-to-know-you-muna moments between the two of them. What TADHANA lacks is what BEFORE SUNRISE has developed well: exposition. As in, we get to be exposed to the who/why/what/where/how come stuff of the characters, before they decide to jump to a higher plot point to take the exposition to its more interesting rising action, hopefully to take us to the wonders of the plot’s climax and wonder where in the world this climax will take place/happen, and how. Alas, this is where I sort of disengaged with the good concept turned unrealized script, as the directing didn’t lead us to these seemingly simple but really truly important “smaller” scenes. Are they not as cinematic for one’s taste? It should be, since it is in the smaller and simpler scenes that you get the most profound insights, or elicit the most intimate of moments, between characters. Yes, this is realistic, but it could also be cinematic. Think about it. How many films have banked on the simplicity of shots, of a moment, a scene captured not because it has a gazillion things happening at the same time, but only one thing happening at that moment, captured quietly on film, a moment for us to ponder on. Pulso. Pinupulsuhan dapat natin ang panahon, ang eksena, ang detalye ng kuwento. Sadly, the film wanted to hurry up to the climax of things that it forgot to set up these important pulses that could make the film beat more towards its apex. Sayang.

Sa henerasyong ito ng budget travelers, may pera at panahon ka bang mag-up and go nang basta-basta without thinking of your job (na sa later scenes lang nabanggit), your money (yaman nila to be buying bus tickets just like that ha) or your time? Iangkla ang cinematic sa realistic para mas lumipad siya nang husto. #justsaying

Sa henerasyong ito ng budget travelers, may pera at panahon ka bang mag-up and go nang basta-basta without thinking of your job (na sa later scenes lang nabanggit), your money (yaman nila to be buying bus tickets just like that ha) or your time? Iangkla ang cinematic sa realistic para mas lumipad siya nang husto. #justsaying

And speaking of not quiet, cinema has its way of speaking to you without letting you hear anything. A good, quietly captured moment could actually speak for itself, and there’s no need to drown it with melodramatic musical score. The film also suffers from this drowning from time to time that I wonder if the filmmakers or the producers are scared of “not hearing” a scene. If so, then it becomes television fare, where the execs seem to be scared of that thing called dead air. In cinema, there is that thing called pregnant silence. Ang daming laman kahit wala kang naririnig, dahil sa ang nakikita mo ay marami nang sinasabi agad. At ang dami niyang feels! You got a great actor na and a great story to boot, so let them speak for themselves sometimes. Sayang these moments, especially when the girlet was just feeling the moment, kunwari ‘yung nasa Sagada siya and shouted her frustrations amidst the clouds atop Mt. Kiltepan. Her shouting on that quiet scenery could have made a great poignant scene. But again, it was drowned by musical score. Heartache needs to be felt lang sometimes, not heard. Let the scene breathe on its own. I hope they keep this in mind next time.

And this is why I titled this review the way I did. Because no matter how we tout that the future of Philippine cinema is already here, the future that we hopefully want to happen is not quite happening now, at least not yet. Not when the mainstream’s heavy hand is so obvious in shaping the form of these future-leading folks, not when these young ones feel like they have to be or mimic their mainstream mentors in order to be taken to the fold. In a way, if this is the objective — to become one with the fold — then this film has already succeeded. But seeing that the future may also want to have a different take on things, then maybe we still have to see what they will come up with next, in order for us to get excited more about how they could revive the future of this art we so love. But yes, this is indeed a great start.

I could see why so many people like this film, the same reason why I like it: its believability. I mean, sino ba naman kasi ang hindi na-heartbroken sa Pilipinas, at may populasyon nga dito na nagtatangkang maglakbay kapag ganito ang moda. And yes, laging ang default ay bundok: Baguio, Sagada ganyan. Natawa nga ako sa concept na ito, at salamat at may nagtanong nito finally. Puwede rin namang beach ang puntahan, di ba? Bilang archipelago tayo, mas madali ‘yun. Pero siguro dahil love could move mountains dapat ang peg, bundok ng tralala ang inaakyat ng Pinoy para doon hanapin ang sagot sa tanong ng lahat ng heartbroken: huwayyyyy or huwaaaay meeeee. And of course, andiyan ang unending love quotes and love songs to make you cry. Pero sana din naman, nailatag ang characterization ni girlet bilang love-quoting girl, kasi iisang quote lang lagi ang kinu-quote niya, and it kinda gets tiring teh. Quote pa more, girl. Dami pa riyan. Buklat ka ng Eat Pray Love baka makatulong hane? Or Shakespeare. Yes, these are the new things that we want to see in our local films. This believability works. It’s just the delivery that lacks a bit and I find wanting. In Tagalog, tinimbang nguni’t overweight sa ilang bagay at underweight sa iba. Yes, we want a new cinematic recipe indeed, and thanks for this really nice bite. But I hope the cinematic commercial cookie cutter gets challenged more next time. Hashtag just saying.

Again, great story. Loved this film because of the good concept. Witty will truly save the world, to quote Tonet’s other business, but I also hope someday, witty will be brave enough to break out of the mold, to discover her own. Andiyan na naman, eh. And the audiences are ready for it; long overdue, actually. I guess all I’m saying is: talon pa more! 🙂

Good luck with the next one. Looking forward to it.

 

[All images swiped from the internet. Salamat sa mga nag-upload.]

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MMFF 2013: MY LITTLE BOSSINGS

Posted in dramedy film, film festival, MMFF, Philippine Cinema, Philippine film industry, POC Pinoy LGBT channel, queer issues in film on December 31, 2013 by leaflens

Again, I was thinking of making a thorough cinematic review of this film but I deemed it fit to be part of my bunch of MMFF December articles for the Phil. Online Chronicles’ Pinoy LGBT channel instead. That’s because the film serves a double plus plus for the queer community via the character played by Aiza Seguerra and the citation that she received because of it.

Yes, that is a big deal. Because this film has, in my opinion, the best characterization of a lesbian in Philippine cinema in recent history. And we all know that that’s so rare, right? As rare as a butch to butch relationship here. That rare. Basta.

An excerpt:

mylittlebossing lezfamPero kahit ganito pa man kaintriga at kapalasak ang mga napapag-usapan minsan sa taunang MMFF, di natin maikakaila na bahagi na rin siya ng buhay Pinoy ilang dekada na rin. At dahil bahagi siya ng buhay Pinoy, ikinatuwa kong naisama rin ang LGBTQ kahit papaano sa buhay Pinoy na ito. At mas ikinatuwa ko pa lalo nang nakita nating lahat ang suporta sa isang kauri ngayong taon – ang pagpapahalaga sa katauhan at karakter ng isang lesbiyana sa pinilakang tabing at sa labas nito. Ito ang pagbibigay nila ng award bilang Best Supporting Actress kay openly out queer singer-actress Aiza Seguerra para sa ginampanan niyang role sa isa sa mga festival films.

Read the rest of my review here – “Our Little Bossing that could: Isang pahabol na pagpapahalaga sa lesbiyana.”

 

SISTERHOOD OF THE TRAVELING PANTS

Posted in book to film, children-young adult content, dramedy film, women's issues in film on September 15, 2007 by leaflens

[FROM MY OLD MULTIPLY SITE]

originally posted at leaflens.blogspot.com

———–

SISTERHOOD OF THE TRAVELING PANTS
s. from the novel by ann brasshares

since there’s a dvd of this lying around somewhere here, i decided to watch it when i saw that the young adult literature (YAL) novel na pinagbasehan nito ay kasama sa “teens read too” 20-book challenge chuva ng adarna house, sponsor ng barlaya YAL workshop na sinalihan ko. dahil sa YAL at amerikano at mga teeny girlies, parang alam ko na ang mangyayari sa pelikula, at sa libro na rin siyempre.

okay ang naratibo niya, not too exciting yet not too boring either. maganda yung concept na isang pantalon sinusuot ng apat na iba’t ibang personalidad na kababaihan at sa pagsuot nila nito e may nadidiskubre sila sa sarili nila eklavu. siyempre hindi positive lahat, dahil mukhang yan ang thrust ng YAL lately na napapansin ko, na bridge siya sa pagpapaintindi sa mga hindi na gaanong bata sa mga isyu ng mundo na kinakaharap ng mga matatanda at paghahanda ito sa kanila bilang malapit nang maging matanda. something like that. like two of the characters dealt with issues of death here, yung isa, si punk rocker filmmaker nagpapaka-goth outcast e nakakilala ng isang feeling close na bata na may leukemia pala, na nadeds. tapos yung blondinang soccer player na promiscuous e namatayan ng ina. tapos yung dalawa, dilemma ng pamilya at/o pag-ibig, tulad ng karakter ni america ferrer ba yun, herrera something, basta yung si UGLY BETTY, na may race issue dahil puerto rican siya at puti tatay niya na biglang nagkaroon ng ibang pamilyang sobrang WAC ang dating. tapos yung isa e greek naman at napaibig sa isang kaaway ng pamilya niya sa greece a la romeo and juliet na plot pattern.

so mga complex na pinagdaraanan o pagdaraanan ng mga teenager ang kinaharap nila. maganda naman nga ang paglalahad. epektibo siya bilang pelikula rin kasi nakita ko ang ganda ng greece. ang sarap talagang bisitahin ang lugar na iyon. i swear isang araw, i will be there and worship at the palace of my goddess athena hehe.

medyo naging interesante ako sa libro nang napanood ko ito. makes me want to see how the narrative unfolded through the pages. sige basahin ko.

ENDO

Posted in Cinemalaya, digital film, dramedy film, indie films, Philippine Cinema on August 5, 2007 by leaflens

[FROM MY OLD MULTIPLY SITE]

originally posted at leaflens.blogspot.com.

——–

ENDO
d. jade castro

pitch: life of 6-month contractuals, one of the most visible in our work sector these days, as they approach their end of contract deals and begin new ones — in relation to work and love life

catch: anong nangyari sa visual timpla? hm…

anyway, aside from the uneven technicals of the film, maganda siya! best directing? jade should have bagged that. napaka-natural lang ng akting ng mga tao dito. kahit may mushy effect na sa ibang pagkakataon, eg yung pagmamakaawa effect ng main boylet character sa kanyang jowa towards the end, maganda siya kasi wow men, na-capture niya yung totoo! as in, okay, totoong nangyayari ito, nakakatuwa, kasi authentic. authentic sa buhay ng mga tao, maniniwala kang authentic ang buhay at ginagalawan ng mga taong ito sa panahong ito at mga lugar na ito. so maganda ang handling sa materyal at sa akting/karakter, at yan ang dapat kwalipikasyon ng mahusay na directorial job. good work, jade. ganda. now i know why sir nic was raving about it and making kulit sa akin not to miss this one. bet siya.

now only if he could have done something with the visual quality of the film. medyo putik-ish na kasi yung kulay at yung movements minsan hindi akma o keri. well, i guess napaka-mainstream din yung approach. pero i guess di na talaga maaalis sa star cinema peeps ang maimpluwensiyahan ng ganitong approach. sa araw-araw ba namang pagbababad nila sa network e, but i digress…

what he has going for him din is the fact na maganda ang concept. end of contract people sa service sector. marami sila, at maraming makaka-relate dito, much like maraming makaka-relate sa call center life lately. pero mas makulay itong endo life kesa sa call center life e, kung isasapelikula at ikukuwento, kasi mas maraming mapupuntahan at napupuntahan, unless may magaling na matang makagawa rin ng ganito tungkol sa buhay call center. well, maybe next year may ganitong entry.

saka gusto ko yung konsepto na naging analogy ng endo ang end ng relasyon ng bida. na-reflect din ang tunay na sitwasyon ng mga tao ngayon tungkol sa pakikipagrelasyon. may mabilisan, may hinihintay lang matapos para move on na sa next, merong atat ka nang tapusin kasi mas excited ka nang magsimula ng panibago…subtle yet swak. winner.

at saka revelation sa akin yung ina feleo gelay. na di ko alam na anak pala ni laurice guillen at johnny delgado. aba, magaling ang girl, her acting pedigree shows so well here…and in the other films she’s in. she’s not sickeningly sweet or pakyut and she acts for film! aware siya sa sensitivities ng medium. wala rin siyang sampu samperang quality ng stable actor sa isang talent center baga. unique siya. homaygad ay hab a new kras. heheheheh. chos.

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