A maritime lawyer by profession, sometimes called Frog Prince of the Philippines with currently more than a thousand of collectible frog items. Like the frogs with a reputation for leaping that is well deserved, jump with me to my froglandia as we travel and explore the world seeking symbols of divine powers of love, fertility, regeneration, rebirth, immortality, and transformation.
photo taken duiring the Cinemalaya party july 23, 2011
The above picture could have been one of Ely Buendia's last picture. I chanced upon him at around 3:00 a.m. of July 24, 2011 at the Cinemalaya Party in Harborview CCP complex. Just last Friday, his band Pupil launched their video for their single 20/20. On Saturday, they played at the after party of Quark Henares' Rakenrol film premiere at Cinemalaya.
A rumor circulated through SMS announcing the death of one of Filipino music legends and Pupils’ lead vocalist, Ely Buendia. The rumor of Buendia's death spread like wildfire. . The rumor reached the internet via social networks, Twitter and Facebook. The message which says “We Love You Ely.. Ely Buendia pass away, at exactly 12:17am july 26, 2011 due to cardiac arrest bcoz of ruptured aneurysm. He arrived critical in St. Lukes, emergency department, E. Rodriguez Ave. QC. After a Gig party for an advertisement of a bottling company. Pls. Pass to all fans.” quickly upset fans, sending their condolences to his family and friends.
But contrary to what has been spreading, Ely Buendia is still alive.Apparently this rumor is false. This was confirmed by Ely himself in his Twitter account. “Next time na may magkalat pa na patay na ‘ko di na talaga ‘ko maniniwala.” A message was also posted on the official Facebook website of Pupil, saying that he is still alive.
my only photo wiith my roomates buddy and raymund during college days
I know Ely even before they became the infamous Eraserheads. Buddy Zabala and Raimund Marasigan were my roommates for two years at the Molave Dorm during my last college years at the UP Diliman (1989 to 1991) before I was booted out from the dorm since I already finished my B.S. Economics in March 1991. Our room was identified as “AS 101”, with high ceiling and huge windows, which was at the end of the second floor of the Molave boys’ wing. Ely Buendia’s room was also at the second floor, a few steps away from AS 101 I think in front of the shower room. Marcus Adoro was a regular “visitor” at our room, who was staying at the Narra dorm, and sleeps in an extra cushion being pulled out underneath Raimund’s bed. During my birthday in 1990, I did not go home to Las Pinas and instead celebrated my birthday with Buddy over ice cream while watching an old film at the TV room. Buddy is a bookworm who loves to stay inside our room in contrast to Raimund’s gimikero character who usually arrives late in the evening and misses the breakfast as he wakes up late. Too late for breakfast and too early for lunch. Everytime they made our room as their “practice area” I usually go out since I can not study due to the “noise” they are creating. It was beyond my comprehension that the “noise” that I tried to avoid made them known as one of the most successful, critically-acclaimed, and significant bands in the OPM history earning them the accolade, "The Beatles of the Philippines”Moral of the story: never downplay small things, however annoying they can be. Guys that are noisemakers can reverberate through history as musical icons.
The first reunion concert was cut short when Buendia collapsed backstage after the first set.
Rumors of his death also circulated following the concert, but Buendia was alive and well, despite having undergone his third angioplasty since 2007.
It seems it is indeed just a bad joke, although it is unclear who started it, or why it was started in the first place.
Pregnant woman: "Ayoko magpatali. ayaw ng asawa ko."
Nurse: "Bakit? ang asawa mo ba ang manganganak nitong 13th anak mo? sya ba ang nahihirapan? eh baka sa susunod mamatay ka na?
Thus, one of the opening dialogues inside the delivery room of the Cinemalaya 2011 entry Bahay Bata
Gabriela party-list, a party-list organization fighting for the rights of women has lauded the indie film 'Bahay Bata' enrty in Cinemalaya 2011 featuring Diana Zubiri and hopes that the public watch the film and learn about poor women's lack of access to reproductive health services.
"This film has to see the light of day as it tackles a very relevant and hotly debated issue of reproductive health," said Gabriela party-list Rep. Emerciana de Jesus in a recent statement."the fact that it focused on the conditions of pregnant women and that most of the scenes were shot mainly at the Dr. Jose Fabella Memorial Hospital is something everyone should appreciate," according to the lawmaker.
"What you will witness, as I have, in many of our public hospitals, is the continuing neglect of our public health system, starting with a measly 2011 General Appropriations Act budget of only P0.96 centavos per day per person. How can our pregnant women receive any substantial and quality health service out of this?” said De Jesus.
“I just hope that the movie does not singularly focus on the population question as the main reason why poor women are poor. In so many Third World countries such as ours, a big chunk of the population is hungry, jobless, sickly, and dies very young," she added.
Moreover, De Jesus is hoping that movie would send the message that "poverty stems largely from joblessness and the very exploitative conditions of labor, such as the much depressed minimum wage that cannot even provide for a decent quality of life for a family of six persons."
"Poverty is allowed to fester when national policies run in favor of big business interests. And secondly, the situation of so many poor and marginalized women is compounded when they have little or no access to information, services, and programs that will allow them to claim their right to basic reproductive health,” De Jesus said.
Patikul tells the story of Kan-Ague Elementary School in Patikul, Sulu. Two of Kan-Ague's best students are chosen to compete in the region's quiz bee. Determined to grab the top prize, the students prepare for the quiz bee with the help of the school's supportive principal (Marvin Agustin) and teachers. However, the students get caught in the middle of the hostilities between the government and the terrorists..The story of a dedicated principal abducted and beheaded by the bandits (credibly played by Marvin Agustin) is based on a true account of the tragedy that befell Gabriel Canizares, principal of Kan-ague Elementary School. He was beheaded when his family failed to raise the ransom money. Patikul” shows that most Filipinos put premium on education. The plot tells of the plight of Amman (Allen Dizon) who leads a group of fighting farmers/parents to keep their children in school.
Patikul has its heart in the right place. It is a heart that hungers for an education system that actually works. It is a heart that hopes for peace in Mindanao. It is a heart that hates the prevailing injustice, especially in the most far-flung locations in the Philippines.
The entire premise of Nono is in itself, simple but also complex just like its characters: A young willful and charming boy with a cleft palate who wants to join a declamation contest, a gregarious lovelorn mother who raised her son the best that she can, a teacher who means well but is cautious, a bully, a young deaf boy, a flamboyant godfather and a well meaning Ilonggo.
I read a good review from another cinemalaya afficionado and i decided to repost it in my blog. so here it goes:
"Despite his speech impediment, Toto is not backing down as he strives to prove that he can do it. It may sound like your typical 'underdog' movie but this film does not emotionally manipulate the viewers to root for the kid because the script does not really put him under emotional torture. Sure his classmates laughs when he attempted to sing, sure there are kids who mocked him and yes there's even a bully (that became a friend later on) but they are all pretty harmless. Plus, Toto was never portrayed as a victim, he showed wisdom beyond his age but you could still the kid in him, a determined kid that will win your heart. Another thing I like about this film is the friendship Toto had with his deaf friend Ogoy and frienemy Badong. You could feel the children's innocence in every scene that these kids are in. Seeing them will make you remember of your childhood friends and classmates. I was particularly moved with Ogoy's story and how Toto & Badong looked after him. There's a scene in the film that really got me when former tormentor Badong carried Ogoy who fell asleep outside the school waiting for Toto to come out (Ogoy is an out-of-school-youth who sneaks in the school to help Toto but he got caught at that time).. Major kudos for finding these terrific kid actors. The adult actors also did fine, they gave great support to the kids especially Toto's wise-cracking supportive single mom Glenda. She had great rapport with the kids and his scenes with Toto felt natural and you would feel the love & support of a mom who motivates his son to never let his disability stop him from living the life he wants."
Poetry in motion. This is how best to describe the movie “Ang Sayaw ng Dalawang Kaliwang Paa” (The Dance of Two Left Feet) from Director Alvin Yapan who also directed the “Ang Panggagahasa kay Fe” (The Rapture of Fe) last year. The story revolves around a teacher, an infatuated student and a talented dancer. More than featuring all kinds of dances, Ang Sayaw ng Dalawang Paa goes further by exploring themes about sexuality.
According to the Cinemalaya website, the synopsis is:
Ang Sayaw ng Dalawang Kaliwang Paa explores the intersection and divergence between feminist and gay concerns in the third world context,.When Marlon, a college student, stalks Karen, his literature professor, he finds out that she moonlights as a choreographer and dance teacher in a dance studio. Frustrated over his performance in her literature class, he plans to impress her instead by learning to poeticize his body movements and enroll in her dance class. He hires his classmate to teach him the basics of dancing. As Dennis, his tutor, teaches him how his body should move, Marlon begins to understand the intersections between the art of poetry and dance. This opens up his world to new insights about the life of Karen as s single woman who chose to live the life of an artist in a third world setting. Marlon begins to understand how the poems being discussed by Karen in class are testaments to her choice to stand by her art. Karen eventually finds out, through Dennis, that Marlon only enrolled in her class to be near her. She confronts Marlon about this and wishes that his interest for dance would survive his infatuation for her. Marlon feels betrayed over Dennis telling Karen. But it is also this sense of betrayal that tells him that he has already become close to Dennis, whom he now considers a friend. Up until then, Marlon and Dennis have become inseparable as they both tackled the complexities of poetry and dance. Sensing the coldness between the two, Karen set them up to help her train a group of dancers for a cotillion dance. Eventually, Karen trains both Marlon and Dennis to star in her dance adaptation of the epic Humadapnon, when she bags a grant. Marlon will play the lead role of Humadapnon, who becomes trapped in a cave full of women. Dennis’ character now has to rescue Marlon from the women, as he plays the role of Sunmasakay, the male incarnation of the goddess Nagmalitong Yawa. On the eve of their performance, in a drunken conversation, Marlon confronts Karen how he could not understand her poetry. Karen, in response, assures Marlon that he does understand her poetry. His mind is just unwilling to, unlike his body which already understands. Karen invites Marlon to dance with her, but in the middle of her dance, she passes him onto Dennis. Their drunken dance culminates with Marlon and Dennis taking on the roles of Humadapnon and Sunmasakay on stage."
paolo avelino
rocco nacino
In a bold step to celebrate literature and present it in dance form, the producers picked literary poems of Merlinda Bobis, Ruth Elynia Mabanglo, Joi Barrios, Rebecca Anonuevo, Benilda Santos and Ophelia Dimalanta.and interpreted them through a cadence of motion. It was just amazing how poetry was seamlessly woven into the story.
jean garcia
Watching the movie brought back memories of literature classes in college. Flashback memories of me struggling in my freshman year at UP Diliman is inevitable, particularly the triumph in the Filipino lit classes. I guess I did understand and appreciate the written Filipino word than the written English word.
I was actually drawn into the story and the symbolism that each scene portrays. I find it refreshing to watch a movie where the theme is not in your face. As a viewer - you would have to pay attention to what the characters are saying. You have have to pay attention to each movement - to piece them all together.
Sayaw is about dance, is about love, is about poetry, is about music, is about gay love? Is it? If the last part is all you are going to take away from that movie, I’m not so sure if you get it. This movie was beautifully vague yet at the same time quite deliberate. Who loved who? And did they love each other in first place? And what kind of love was it? That is what makes this film delicious because it leaves so much to interpretation without being indecisive.
The casting of the three main characters is certainly a triumph for Director Yapan. They all fit their roles to a T. Jean Garcia, Paulo Avelino and Rocco Nacino should be able to convincingly portray Karen, Marlon and Dennis, respectively. Add to that the special participation of the Company of Dance Artists (CODA) and they all harmonize into a fluid and powerful interpretation of a slice of life through dance.Incidentally,one of the producers is a good friend of mine, Martin Lopez, who is the resident artistic director of FEU.
Perhaps. the producers are successful in their attempt to immortalize poetry as a moving art.
And now, i have three bets for the best film in Cinemalaya 2011: Nino (Fides Cuyugan, Sharmaine Buencamino), Amok (Garry Lim, Spanky Manikan) and Sayaw.
1993 Ramon Magsaysay Awardee for Journalism, Literature and Creative Communication Arts from the Philippines. Bienvenido Lumbera is widely acknowledged as one of the pillars of contemporary Philippine literature, cultural studies and film, having written and edited numerous books on literary history, literary criticism, and film. He restored the poems and stories of vernacular writers to an esteemed place in the Philippine literary canon. He composed librettos for musical dramas such as "Tales of the Manuvu", "Rama Hari", and "Bayani". He published three award-winning books of criticism and an anthology of Philippine literature. He moved actively in literary circles and organizations, edited journals, and contributed introductions to dozens of books written by his friends and former students. As a teacher he mentored a new generation of literary scholars imbued with his own love for the country's rich artistic traditions and languages
These aesthetic choices are due to a confluence of a number of factors, not just production constraints, as has been mentioned earlier. Another is the venue and audience that film festivals and local universities provide, instead of the usual local popular audience. Being mainstream, the gloss is intended for the popular audience who buy tickets in commercial cinema houses. Independent cinema however has a different audience. It targets more the studentry being required by their professors to watch, therefore the academe, and also the art film enthusiasts. While mainstream cinema mainly functions as entertainment, independent cinema derives its function from being socially relevant. Thus the predilection of independent cinema for topics on poverty and social concerns not usually palatable to the popular audience. Topics that could spur debate in classes and other venues.
Thus the ending shot of AMOK, the Cinemalaya 2011 entry directed by Lawrence Fajardo.This film looks to be the closest to day-to-day urban reality in terms of feel and visuals.
The synopsis as lifted from the Cinemalaya website states "The bustling and sweltering rugged intersection of Pasay Rotonda serves as the main setting for this story of interconnected fate and destiny. As a raging man’s bullets strays into different directions, the fate of several different characters are sealed and determined. As the temperature rises, the tension escalates and the story unravels with unforgiving immediacy and explodes in the end as each one struggles to survive and escape their inevitable end. "
That location is part of my daily life since i pass by that intersection on my way to work to Makati from my house in Las Pinas.Vehicles usually slow down since this part of EDSA is considered as a bottle neck for travellers from the south (Las Pinas, Paranaque, Cavite, Batangas) .After watching the film, aside from slowing down, i am now more observant of the place as i recall the various scenes depicted in the movie. Every movement, every frame–everything had meaning. And all of them seemed painstakingly done to ensure that no other meaning would be taken from the context, other than what the director intended. Each shot conveyed meaning that was clear
AMOK is a term for a killing spree perpetrated by an individual out of rage or resentment over perceived mistreatment. The phrase is often used in a less serious manner in relation to someone or something that is out of control and causing trouble (e.g., a dog tearing up the living room furniture might be said to be running amok). Such usage does not imply murderous actions, and any emotional implications (e.g., rage, fear, excitement) must be gleaned from context.
Amok originated from the Malay word mengamok, which roughly defined means “to make a furious and desperate charge” much like the ancient Norse berserker warriors practiced before going into battle.According to Malay culture, amok was rooted in a deep spiritual belief. They believed that amok was caused by the hantu belian, which was an evil tiger spirit that entered one’s body and caused the heinous act, as a result of the belief, those in Malaysian culture tolerated amok and dealt with the after effects with no ill will towards the assailant.
“Amok” has a big cast of some of the more underrated movie, stage and TV performers in the country today. Names such as Mark Gil, Nonie Buencamino, Garry Lim, Efren Reyes Jr., Spanky Manikan, Dido Delapaz, Archi Adamos, Ermie Concepcion, Lui Manansala, Patricia Ismael, Tuxs Rutaquio, John Arceo, Ku Aquino, Roli Inocencio, Acey Aguilar, Amante Pulido, Nico Antonio, Lowell Conales, Ivy Rivero, Xavi Hemady, Wovi Villanueva, Bryan Cabase, Akira Sapla, and Michelle Nollora converge to make an intense movie that is both raw and jarring. Lawrence Fajardo directs from a screenplay by John Bedia.
"Gigising si Gaspar! Gigising si Gaspar!" Thus the dreamish words classical music legend Fides Cuyugan-Asensio in the Cinemalaya indie film “Nino” by Director Loy Arcenas.
Cinemalaya has always been my favorite venue for watching excellent acting, especially from veteran film and stage performers who effortlessly shine in their meticulous characterization of roles. Such is the case of “Nino” by Director Loy Arcenas. His casting boasts of the ever-regal but acting-reclusive Fides Cuyugan-Asensio who pits acting bravura with equally talented but always accessible (you always see them in GMA-7 teleseryes) Shamaine Centenera-Buencamino, Raquel Villavicencio and Tony Mabesa. Here’s the sysnopsis:
The Villa Los Reyes Magos, the decaying mansion of the Lopez-Aranzas, is the only remaining emblem of the once illustrious family of Gaspar and his sister Celia. When former congressman Gaspar slips into a coma, his opera doyenne sister Celia waits for a miracle through her grandson Antony, who she clads in Sto. Niño garb. But harsh reality in the figures of their children, Merced, Mombic, and Raquel, pushes the inevitable: the impending sale of the mansion to give way to a commercial venture. Celia wages her last battle to regain the glory of the past by hosting a splendid tertulla, her final eulogy to her own moribund class.
I believe the role of Celia was tailor-made for Fides Cuyugan-Asensio, what with the character’s penchant for opera singing and the like. I also like the representation of the Sto. Nino in child performer Jhiz Deocareza while he is running around the old house with a wood sword and caped/crowned just like the Child Jesus. And in a family drama like this, you can’t help but be engrossed not only with the story, but with how differing personalities are fleshed out on the big screen. I like the scene of the gathering of old friends who sang to Gaspar serenading him as if it is a grand opera night before he died.
Tony Mabesa's role playing of a person in coma is somewhat a replication of our family experience. My father fell into coma for almost eight months before he died in November 2003. A year and six months after mama’s death, my father, Papa Ponching to many, died November 16, 2003 a Sunday, due to pneumonia after being bedridden for almost eight months brought about by complications arising from an operation on his brain (hydrocephalus). I have told relatives and friends that Papa could have been dead during the second week of April due to the gravity of the hydrocephalus if not for that incident when he fell from our stairs. Maybe Mama pushed him so that the hydrocephalus and tumor could be detected. '
Music is papa's world and passion. He will always sing to us old songs of his generations. He brags that he always won during competitions and his fond memories with his guitars and choirs. I vividly remember when i was a child is his penchant to singing of lullabyes for us to sleep. Then on weekends our house will be filled with reverberating music from his collection of long playing albums of old songs.
During the early days of his coma, we were given the option to remove the (breathing) tubes since they said that he will not wake up. But we held on our faith. Then one day, he started to talk though soft and slow until he became normal for only a short period. We asked him what he remembered during the time that he was in coma. He said that he just remembered the voice of Beng-Beng or Bro.Stephen. Since Beng-Beng was based in Australia and he could come home due to his religious obligations there, I just I asked him to send us a cassette tape which recorded his recitation of the Holy Rosary, songs of praise and words of wisdom.It is said that when a person is in coma, or he is in the brink of death, the last sense that he will lose is the sense of hearing. Thus, the popular superstition that if someone is going to die, whisper to his ears words of love and kindness which will he will bring in his journey to the afterlife.
When we were growing up, I remember times when Mama scolded us, “Buti nga kayo di nyo naranasan ang magtinda ng kamatis sa palengke.” Then she would cry. Perhaps, this was her way of saying that whatever the benefits we were enjoying then were due to their hard work..This is something that children have to realize: that parents will sacrifice a lot for the future of the kids. If mama would say the “kamatis” story, Papa, on the other hand, would tell us stories when he was still a security guard in a government agency before they got married in July 1968. Papa was a security guard by day and a student by night taking up library science. When he graduated, he proceeded to be a librarian in the same office until he retired in early 1990s.
"Gigising si Papa! Gigisng si Papa!" perhaps will be my version of Fides Cuyugan's lines. Faith is always the best weapon.
Saturday, July 16, 2011 CCP 3: 30pmTeoriya (Father’s Way) by Alistaire Christian E. Chan.
6: 15pm Nino by Loy Arcenas
9:00 p.m. Paglipad ng Isang Anghel
Sunday,July 17, 2011 CCP 3:30pm Bisperas (Eve) by Jeffrey Jeturian
6:15pm Shorts A Nino Bonito by Rommel “Milo” Tolentino, Oliver’s Apartment by Misha Balangue, Samarito by Rafael L. Santos, Un Diutay Mundo by Ana Carlyn V. Lim and Walang Katapusang Kwarto by Emerson Reyes.
9:00 a.m. Amok (Amok) by Lawrence Fajardo;
I-libings: Your Loss, Our Luck (E-funerals) by Rommel Andreo Sales;
;Isda (Fable of the Fish) by Adolfo Alix Jr.;;
Tuesday July 19, 2011 CCP 6:15pm, Ang Babae sa Septic Tank by Marlon Rivera and Chris Martinez
9:00p.m. Cuchera by Joseph Israel M. Laban Thursday July 21, 2011 CCP 6:15pm. Shorts B Debut by Pamela Llanes Reyes, Every Other Time by Gino M. Santos, Hanapbuhay by Henry Frejas, Hazard by Mikhail Red, Immanuel by Gabriel “Gio” Puyat
9:00p.m. Ligo na U, Lapit Na Me by Noel Ferrer, Jerry Gracio and Erick Salud Friday July 22, 2011 CCP 6:15pm San Lazaro
9:00 p.m. Busong (Palawan Fate) by Auraeus Solito Saturday July 23, 2011 CCP Patikul by Joel C. Lamangan.
6:15pm Bahay Bata by Eduardo W. Roy, Jr. and Jerome Zamora
9:00pm Rakenrol
The other films i will watch in Greenbelt: Monday July 18, 2011Greenbelt Nono by Milo Tolentino; Ang Sayaw ng Dalawang Kaliwang Paa (The Dance of Two Left Feet) by Alemberg Ang and Alvin Yapan; ; Wednesday July 20, 2011Greenbelt; Huling Halik by Zig Dulay
"So ano best film mo?". the question tossed to me from actress Tessie Tomas, the same question she usually ask to me during the annual cinemalaya screenings. "Lagi ka naman dito eh." Cinemalaya is an all-digital film festival and competition that aims to discover, encourage and honor the cinematic works of Filipino filmmakers that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity.
Now on its Seventh (7th) year, my scoreboard for total films watched during the
2011 Cinemalaya filmfest is a staggering twenty one (21) films, mostly at the Main Theater of Cultural Center of the Philippines (CCP) . This year i chose not to buy the festival pass since I was planning to watch other films in Greenbelt but i ended watching them all in CCP.The pass is not applicable in Greenbelt screenings.FYI, I watched eighteen films last year during ten-day 6th Cinemalaya run from July9-18, 2010.
My marathon schedule for the 21 films during the Cinemalaya 2011 period from July 15 to July 23 was as follows:
Friday, July 15 - 7:00 p/m. Maskara Saturday, July 16 - 3: 30pmTeoriya (Father’s Way) 6: 15pm Nino; 9:00 p.m. - Paglipad ng Isang Anghel Sunday,July 17 - 3:30pm Bisperas (Eve) ; 6:15pm Shorts A (Nino Bonito , Oliver’s Apartment , Samarito , Un Diutay Mundo and Walang Katapusang Kwarto); 9:00 a.m. Amok (Amok) ; Monday , July 18. 6:15pm I-libings: Your Loss, Our Luck (E-funerals); 9:00p.m.- Isda (Fable of the Fish) Tuesday July 19 - 3:30 p.m. Busong (Palawan Fate);6:15pm, Ang Babae sa Septic Tank; 9:00p.m. Cuchera
Thursday July 21 - 6:15pm. Shorts B (Debut Every Other Time;Hanapbuhay ; Hazard, Immanuel)
9:00p.m. Ligo na U, Lapit Na Me
Friday July 22 - 6:15pmAng Sayaw ng Dalawang Kaliwang Paa; 9:00p.m Nono 11:45 Ombre Saturday July 23- 3:30 p.m. Patikul; 6:15pm Bahay Bata; 9:00pm Rakenrol; 11:45 Zombadings 1 Patayin sa Shokot si Remington
Here's the list of winners of the Cinemalaya 2011:
FULL LENGTH (NEW BREED OF DIRECTORS) CATEGORY:
Best Feature: "Nino" Special Jury Prize: "Nino" Audience Choice: "Ang Babae sa Septic Tank" Best Director: Marlon Rivera ("Ang Babae Sa Septic Tank") Best Actress: Eugene Domingo ("Ang Babae Sa Septic Tank") Best Actor: Edgar Allan Guzman ("Ligo Na U, Lapit Na Me") Best Supporting Actress: Shamaine Buencamino ("Nino") Best Supporting Actor: Art Acuna ("Nino") Best Screenplay: Chris Martinez ("Ang Babae Sa Septic Tank") Best Cinematography: "Ang Sayaw ng Dalawang Kaliwang Paa" Best Production Design: Laida Lim ("Nino") Best Editing: Lawrence Fajardo ("Amok") Best Original Music Score: Christine Muyco and Gemma Pamintuan ("Ang Sayaw ng Dalawang Kaliwang Paa") Best Sound Recording: Mike Idioma ("Amok")
Cinemalaya 2011 Winners List compiled by Noypistuff
DIRECTORS SHOWCASE CATEGORY:
Best Film - "Bisperas" Audience Choice: "Patikul" Best Director: Aureaus Solito ("Busong") Best Actress: Raquel Villavicencio ("Bisperas") Best Actor : Bembol Roco ("Isda") Best Supporting Actress: Julia Clarete ("Bisperas") Best Supporting Actor: Jaime Pebangco ("Patikul") Best Screenplay: No winner Best Cinematography: Roberto Yniguez ("Bisperas") Best Production Design: Rodrigo Riccio ("Bisperas") Best Editing: Benjamin Tolentino ("Isda") Best Original Musical Score: Diwa de Leon ("Busong") Best Sound: Diwa de Leon ("Busong") Kids Treat Best Film for Children: "Patikul
SHORT FILMS CATEGORY:
Best Film: "Walang Katapusang Kuwarto" Special Jury Prize: "Hanap Buhay" Audience Choice: "Walang Katapusang Kwarto" Best Director: Rommel Tolentino ("Nino Bonito")
I wrote blog stuff on some of the films, to wit Bahay Bata, Sayaw ng Dalawang Kaliwang P:aa, Nino, Patikul, Nono, and Amok. Nothling was written on Bisperas since it was not in my list for besat film in director's showcase. But it turned out that was given tghe balanghai trophy . As some say "Kanya kanyang opinion yan" The judges have their way of seeing the film, obviously we do not have the same perspective.These films were considered as the embodiments of what Competition director and award-winning filmmaker Laurice Guillen said Cinemalaya's promise of "artistic freedom" — the freedom for the director to choose his subject matter and the freedom to shoot it the way he wants to shoot it.
Last year, i wrote a blog on the common observation on the decrease in the number of viewers in yearly's Cinemalaya. One reason that could have effect on the turnout is the increase in the ticket prices. Unlike that of 100 pesos per film in 2009, now it is 150 pesos since 2010. For students, even at discounted rate of 75 pesos per film, it is still higher compared to 50 pesos of 2009.
Festival pass hiked from 1000 pesos to 1500 pesos in 2010. Now, the pass has further increased depending on groupings of films covered: . Festival Pass ( P2,000) all competition films ; Flexi-pass (P3000) all competition films and eight others films and Premium Pass ( P5,000) for all Cinemalaya films and VIP access to a special lounge where you can use the computers and Wifi, and relax while having some coffee and pastry. exclusive invites to special events and festival parties.This year, for the Festival Pass, you can see only fifteen (15) films, nine for the New Breed , two sets for the Short Films and four for the Dirrectors' Showcase. This is in contrast to the previous year's festival pass that entitles one to see ALL films irregardless of its category. Of course, their marketing slogan is "Buy pass now, Bypass the long line." Another problem with the pass is that it is applicable only in CCP and not in the other venue, Greenbelt Makati.Since i earlier plan to watch some of the films in greenbelt, i decided to buy tickets on a per film basis.I even asked my nieces to buy some of the tickets on students price.
As a fan of various film festivals here (Cinemalaya, Cinemanila, Fiesta), I guess ticket prices has a great impact in audience turnout. In 2009, it was a blockbuster due to the influx of students who paid 50 pesos per film. The increase of Twenty five pesos in 2010 is quite already high per student standard. And one comment I heard is that “if I will pay 150 pesos for a movie, I would rather go to the movies shown in the commercial cinemas.” On one hand, fanatics say that it is the price for good quality films under the cliche "For Art's Sake". Perhaps, increasing cost of the festival is the primordial reason behind the changing pricing scheme.
I think, ticket prices is one of the reasons why moviegoers are being more selective.The economic downturn might be affecting people too. It's a bad time for anything, any kind of activity. A basic economics principle of demand and supply: an increase in the price of non-essential goods will have a drastic effect in the consumption pattern, to wit the higher the cost the less will be the consumption.
However, the audience turnout for Cinemalaya 2011 debunked my earlier commentaries. There was an early shortage of tickets as most of the films during the first few days of the festival are already in their "SOLD OUT" status. There goes down the drain my criticism.
In 2009, I was very vocal that I consider three films” DINIG”,” Last Supper No. 3and ” Mangatyanan.
that can be classified as authentic “independent films”. Unlike other entries wherein real screen actors/ actresses have played major roles in the film, these three films have showcased the talents of newbies.This observation, perhaps, is still holding for this year's festival. I have this sort of apprehension that there are Cinemalaya films that have deviated from my idea of an independent film, as i have been a Cinemalaya fan since the "Ang Pagdadalaga ni Maximo Olveros" days. For example, film “ASTIG" in 2009 has quite big stars (Dennis Trillo for example) and seemed to have been using the "powers" of boy abunda as one of its producers.In one website, it was quoted that "the organizers hope that through the festival, young filmmakers will be able to "express their own concepts freely and not be limited by the industry's present condition, where artistic integrity is sacrificed in the pursuit of commercial success."Perhaps, i have to re-orient myself on the .character of indie films based on the recent types of films being shown.
What makes Cinemalaya one of the most awaited event is the fact that many become part of the species called "Paparazzi (singular: Paparazzo)" - an Italian term used to refer to photojournalists who specialize in candid photography of celebrities, politicians, and other prominent people. I, do solemnly swear, that i am a true-blue paparazzi ...My photos as a paparazzi during Cinemalaya screenings can be seen in my Facebook album "Feeling Sikat"
I know Ely even before they became the infamous Eraserheads. Buddy Zabala and Raimund Marasigan were my roommates for two years at the Molave Dorm during my last college years at the UP Diliman (1989 to 1991) before I was booted out from the dorm since I already finished my B.S. Economics in March 1991. Our room was identified as “AS 101”, with high ceiling and huge windows, which was at the end of the second floor of the Molave boys’ wing. Ely Buendia’s room was also at the second floor, a few steps away from AS 101 I think in front of the shower room. Marcus Adoro was a regular “visitor” at our room, who was staying at the Narra dorm, and sleeps in an extra cushion being pulled out underneath Raimund’s bed. During my birthday in 1990, I did not go home to Las Pinas and instead celebrated my birthday with Buddy over ice cream while watching an old film at the TV room. Buddy is a bookworm who loves to stay inside our room in contrast to Raimund’s gimikero character who usually arrives late in the evening and misses the breakfast as he wakes up late. Too late for breakfast and too early for lunch. Everytime they made our room as their “practice area” I usually go out since I can not study due to the “noise” they are creating. It was beyond my comprehension that the “noise” that I tried to avoid made them known as one of the most successful, critically-acclaimed, and significant bands in the OPM history earning them the accolade, "The Beatles of the Philippines”Moral of the story: never downplay small things, however annoying they can be. Guys that are noisemakers can reverberate through history as musical icons.
