gonzagaext Reviews

Kubrador (2006)

If a Great Filipino Film Is Made But No One Watches It, Does It Still Exist?

[8/10 · 9 December 2007]

We Filipinos are ashamed of our contemporary national cinema and love to complain about how horrible it is. "It hasn't been the same since the grand old days of Lino Brocka, Ishmael Bernal, and co.," we say. (These 'grand old days' were in the 70's and 80's.) Then we turn around and watch "Chuck and Larry", seriously consider Ashton Kutcher a good actor, and think the world of bubblegum-pop-singer-turned-actress Mandy Moore.

Bear with my bitter(sweet) grumbling. It's just quite frustrating. If a great Filipino film is made but nobody watches it, does it still exist?

Jeffrey Jeturian's "Kubrador" is a landmark film that a lot of Filipinos have probably heard of but few have seen. It garnered a lot of press from traveling the international film festival circuit, albeit not the major ones, and winning some awards both locally and internationally. In fact, it is one of the most-publicized non-commercial films in recent memory, second only to Auraeus Solito's much-beloved "Ang Pagdadalaga ni Maximo Oliveros". Both films, in my opinion, are cornerstones in contemporary Philippine cinema.

While there have been attempts to resuscitate the industry, only a handful have made significant marks. Names like Crisaldo Pablo, Mel Chionglo, Jose Javier Reyes, Michiko Yamamoto, and Lav Diaz and titles like "Dekada 70", "Muro-Ami", "Babae sa Bubungang Lata", Jeturian's own "Pila-Balde", "Jologs", "Panaghoy sa Suba", "Bagong Buwan", and "Batang West Side" come to mind. It really wasn't until 2005's "Maximo" though when things started to get really interesting. For me "Maximo" signaled the possibility that there could be more to this cinema than Brocka and Bernal. "Kubrador" assured me that "Maximo" wasn't just a fluke.

Veteran actress Gina Parreno defines "Kubrador" and I'm not just referring to the fact that she is the titular 'kubrador' here, the bet collector. It's impossible to imagine this film without her. With the histrionics school of acting deeply entrenched in the industry, Parreno defies with a very low-key performance. Tough, caring, emotional yet too busy with life to stop and cry, sociable yet occasionally abrasive, annoyingly stubborn and bossy at times, she plays the typical matriarch, Amy (ah-mee--the Filipino pronunciation). She is endearing because she is real. Jeturian expertly weaves her story amidst the maze of slums. Or is it the other way around? The story of the slums intertwined with hers? Cinema verite style, we follow her as she plies her route as her neighborhood's 'jueteng' (an illegal numbers game favored by the poor) collector. It is the view into another world here that gives "Kubrador" most of its magic. The ordinary is the extraordinary.

The acting is superb and amazingly realistic as to be almost documentary-like, from the leads right down to the extras, with a negligible slip-up or two (which, ironically, includes Johnny Manahan, an occasional actor and one of the main players in ABS-CBN/Star Cinema, one of the 2 biggest film studios in the country). For me, some of the scenes are already instant classics: the apo's (grandchild) 'concert', the funeral, and the last few minutes of the film.

"Kubrador" may be too quiet or too depressing, too poor, too ugly, for some, but exactly why it should be watched by all, Filipinos especially, even if--especially since--this is the farthest thing Ashton Kutcher and Mandy Moore would star in.

Dreamgirls (2006)

Hype Works! Excessively Overrated Movie Screams: 'Wait for the DVD!'

[5/10 · 29 December 2006]

A brief comment on Bill Condon's "Dreamgirls":

The Hollywood Hype Machine has won. With over 100 comments just 4 days after the film's opening, I normally wouldn't care about adding my own. But it's very alarming to see how excessively overrated this movie is. It has a few entertaining moments and one amazing vocal number at best so I seriously question the multiple nominations and critical praises piled on it. Sure, the Golden Globes isn't really Cannes or the New York Film Critics but as the supposed predictor of that American institution called the Oscars it leaves a big question mark on its credibility as an award-giving body. Could it be that some got too carried away by Jennifer Hudson's Cinderella story? Hudson's (as Effie White) number "And I Am Telling You I'm Not Going" is monumental, earth-shattering, but the rest of the movie is so mediocre even this level of greatness barely makes it enough reason to watch the movie. Some of the songs are downright cheesy (in a bad way—a very bad cringe-worthy way, esp. that horrible 'family' song). Hudson is an amazing singer and I've been a fan since "American Idol", too, but does her acting deserve a nomination? A showcase role plus an amazing singer doesn't equal good acting. By 'showcase role' I mean it's good for showing off 'acting' but when you take a close look at it, it's but a 2-dimensional prototype, a caricature: the wronged, occasionally 'crazy', strong black woman. It's not that often we see minority actors shine in big budget Hollywood. Can we at least be original? Charismatic Eddie Murphy, handsome leading man type Keith Robinson, and, yes, even that eye candy named Beyonce occasionally make this film tolerable but there's so much empty hype to swallow neither these three nor Hudson can save it. Don't believe the Publicity Machine, this film doesn't even make it as a good popcorn movie. "Dreamgirls" is middle-of-the-road, likable in parts at best, but ultimately a good example of an over-promoted Hollywood product which doesn't deliver as promised. Five out 10.

Father and Son (2003)

A Strange, Beautiful Meditation on The Paternal Bond

[6/10 · 15 December 2006]

Just a short note: It seems that a lot of people don't know what to make of Aleksandr Sokurov's "Father & Son". Though more accessible than the monumental "Russian Ark", "Father" is still a baffling, hard film to grasp. Looking like an archival photograph from beginning to end and lacking a traditional story, it very much resembles a dream. There's a lot of vague poetic talk about abandonment, security, being saved, and such. Largely abstract, one of the few concrete elements of the film is the fact that both father (Andrej Shetinin) and son (Alexei Nejmyshev) are beautiful. Shetinin especially is stunning. It's not unexpected for people to see some homoerotic angles. When a film is this abstract I guess the tendency is to latch on to the most obvious, most concrete aspect. And we can never underestimate the fear—possibly homophobia?—of seeing men getting emotional with each other, much less 2 attractive ones. It's a taboo so strongly ingrained in some cultures that it surpasses the simple fact that the 2 men in question are father and son. It's rare for me to see explorations of paternal bonds on film, especially one this deep so I had to readjust my mindset. If one can go beyond these obstacles you may just see an intense, poetic look into the relationship of two adult men, father and son.

Krai Thong (2001)

Asian Warrior Slays Giant Croc But Can't Save Monstrosity of a Film

[6/10 · 5 December 2006]

Just because you're a virile Southeast Asian super warrior who demolishes a giant crocodile and saves a village or two while satisfying multiple lovers—not all at the same time—doesn't mean that you can save a monstrously bad film. If you don't know who Winai Kraibutr is, can't appreciate mild soft porn headlined by a giant croc (Cinemax meets Sci-Fi Channel), or don't find the sight of a man in a loincloth the least bit appealing, I strongly suggest skipping Suthat Intaranupakorn's "Krai Thong".

The surge of Thai cinema in the international scene has been spearheaded by directors Nonzee Nimibutr and Apichatpong Weerasethakul and in part by the success of the martial arts phenomenon "Ong-bak", headlined by martial artist Tony Jaa, aka Panom Yeerum. Within this wave, Kraibutr seems to be the most visible symbol of Thai masculinity. Ruggedly handsome yet possessing masculine grace, the dark-skinned actor has portrayed noble warrior protagonists in all the films I've seen him in, the other two being Nimibutr's "Nang Nak" and the over-hyped Oliver Stone-produced "Bang Rajan". Though not free of flaws, these 2 films are far more superior in all aspects than "Krai Thong", except when it comes to gratuitous flesh-baring and sex scenes.

Kraibutr plays the title role, a warrior and crocodile hunter who has gained legendary repute in rural Thailand. Assuming you can get over the cheesy horror, bad acting, and low-grade production values (which are so bad it may be impossible for most to do so), Krai Thong and his women comprise one of the most attractive casts I've ever seen on film. Though the film awkwardly jumps back and forth between action, horror, and soft porn, there's a consistent mood of earthy sensuality which pervades. It really isn't that the sex is blazing hot or there's a lot of flesh bared, the high erotic quotient here is more about watching an alternative, non-Western (I hesitate to use the convenient yet Eurocentric term 'exotic') point of view. Furthermore, from a typically urban cinephile context, the novelty of the warrior stud and his nymphs significantly contributes to the eroticism.

In Philippine mythology, Malakas (meaning strong) is the first man to walk on earth, the idealized form of Southeast Asian manhood, Maganda (beautiful), his female counterpart. Suthat Intaranupakorn's "Krai Thong" may not be the best film ever made but for a select few it's worth watching modern day versions of Malakas and Maganda come to life. A similar film to check out is "Sema: The Warrior from Ayodhaya". A 6 out of 10 stars, easily 2 or 3 without the eye candy.

Happy Together (1997)

Raw, Imperfect, Intense

[9/10 · 14 November 2006]

"Happy Together" is a depressing film. Yet it's one which I keep coming back to when I feel down and heartbroken.

Lost souls, lonely, longing, and lovelorn, are staples in the Wong Kar-Wai universe. His best works uncannily portray the beauty and misery of being struck by love and its multiple variations and illusions. His fluid, script-free, improvisational style of work is now legendary and applies well to the unpredictable nature of this subject matter while giving his works a raw, open-ended quality. "Happy Together" is quite probably his rawest work to date and, as a result, one of the most difficult to watch (this honor goes to "Ashes of Time"). The rawness makes it seem organic. It feels as if it's an ever-evolving creature which hides and exposes its multiple facets with each different viewing.

Argentina sounds like a great romantic escape for most of us but for our couple, Po-wing (Leslie Cheung) and Yiu-fai (Tony Leung), it's a lonely, bleak, melancholic place on the edge of the world. Travelogue film this isn't. Buenos Aires may have initially held romantic promise for them. "Let's start over," Po-wing asks Yiu-fai yet again, and off they go to South America to work things out. Soon, however, the place becomes a physical representation of their relationship. It's claustrophobic and oppressive, something that could've been so beautiful yet one which they now need to escape from. Wong beautifully portrays spectacular Iguazu Falls with mythical significance throughout the film. Initially nothing more than amusing kitsch, it eventually progresses as the defining geographical manifestation of their amorous aspirations. It achieves such heavy, symbolic power, the last time we see it is one of the most memorable scenes in the film.

If the homosexual angle seems downplayed here, it is to parallel the film's treatment. It's so matter-of-fact it's irrelevant and even embarrassing to make an issue out of it. This is a couple who just happens to be gay. Indeed, there is nothing gay-specific about the film, the couple may well have been straight and it wouldn't make a difference at all.

"Happy Together" is such a vivid examination of a relationship, it's occasionally painful to watch. The emotional authenticity, however, makes it quite absorbing. Wong Kar-Wai often aims for the heart and, with the possible exception of "In the Mood for Love", he's never been closer to his target.

Heat (1972)

Endearingly Trashy

[8/10 · 14 November 2006]

The perennially struggling actor, the withering diva, the junkie daughter, and the sleazy motel owner are the main clowns in Paul Morrissey's trash fest, "Heat", famously produced by Andy Warhol. Most are already familiar with the film's plot and the "Sunset Boulevard" connection, as well as the infamous cast including Pat Ast, Andrea Feldman, Sylvia Miles, and, of course, Joe Dallesandro.

The memorable opening theme, the mostly eccentric characters, and the retro vibe of the film are major reasons why "Heat" is so entertaining. Dallesandro helps set the tone right from the beginning in one of my favorite opening scenes on celluloid. I'm not the type to go gaga over theme songs but I can still hear the film's very retro-kitsch opening music. The 70's California vibe is so palpable it's almost a character unto itself. It could be as simple as a pony-tailed Dallesandro lazing around the pool but a lot of the scenes are somehow so definitive there's no mistaking time and place. Opportunistic, predatory, needy, or just plain deranged, these characters form a hodge-podge of amusing characters that would make Jerry Springer proud. There's a lot of sex and fighting going on and they all center on the Dionysian male sex object and Warhol muse, Dallesandro. The film was made certainly just to have an excuse to ogle him on screen for 90 minutes.

"Heat" is among the trashiest films I have seen and my favorite, the most palatable in the famous Warhol trilogy (with "Trash" and "Flesh"), and the quintessential 70's "art"/trash film. There are no grandiose aspirations here, just a sunny, lackadaisical brand of California nostalgia punctuated by one of the era's most prominent male sex symbols.

Happy End (1999)

Sizzling Sex Scenes Need No Further Explanation

[6/10 · 30 October 2006]

Some films need no elaborate critiques so just a brief note on Chung Ji Woo's "Happy End": Yes, it has an ironic title, it may be misogynistic (I personally don't think it is), it's one of the most controversial South Korean films, and it's probably a commentary on gender roles as the country evolves. Or we can just simply say that this film has damn good sex scenes. Period. There are no profound truths, just a hot guy, Il-Beom (Ju Jin-Mo, star of Kim Ki-Duk's "Real Fiction"), and a cute girl, Bora (Jeon Do-Yeon), f%^@#$ each other like there's no tomorrow. The shameless, illicit nature of the sex heightens the eroticism: the adulterer is a woman who sneaks around for sex while her jobless husband sits at home with their infant and watches soap operas. The power b*tch f%@#s around! There's no frontal nudity and there's only 2 sex scenes but 2 things more than make up for it: the first sex scene is done in pretty much 1 (well-done) long take and handsome Ju Jin-Mo's beautiful naturally lean frame (and derrière) in motion is just beautiful.

Memories of Murder (2003)

Atypical Thriller Succeeds on Story, Character, Not Gore

[8/10 · 30 October 2006]

Just a brief comment on Bong Joon-Ho's "Memories of Murder": I typically avoid gory or violent films. Unless it's done in a funny way or it's a legitimate, useful device for storytelling, I see no reason to expose one's self to revolting images. For a film about multiple murders, "Memories" has minimal gore (around 5 brief scenes in a 2-hour film). Bong managed to create a really absorbing character-driven portrayal of a murder investigation, focusing on the investigators rather than the culprit. Nor does it even attempt to analyze the culprit's motives, an annoying pitfall which most similar films can't resist (but which "Silence of Lambs" does so well). It's a pretty straightforward ride along with Detective Park and his fellow small town underdogs, anti-heroes who sometimes employ questionable tactics out of sheer desperation or just because they don't know any better. Even Detective Seo, the big shot from Seoul, isn't the suave city guy, a prototype Bong relishes in squashing right upon Seo's introduction. Thrillers usually are slick, well-made products from the Hollywood factor and slick this isn't. "Memories" is engaging because of its clumsiness, rough-around-the edges small town quality, and even situational humor—things you don't expect from thrillers, much less one based on dead serious real life situations.

Manila in the Claws of Light (1975)

Big City Dreams, Small Town Heroes, in The Best Filipino Film Ever Made

[10/10 · 25 October 2006]

The 'provinciano' (literally someone from the provinces, or small town folk) is one of the most portrayed characters in Philippine cinema. With its sole megalopolis, Metro Manila, dominating the rest of the country, the economy included (with the possible exception of Cebu), the mass urban migration occurs day after day, depleting the agrarian countryside of its promising sons and daughters. The resulting drama is a great source of material for cinema: the evil, exploitative, capitalistic big city sucking the life out of the fresh, naïve, virginal barrio lad or lass. Furthermore, considering the history of Filipino colonial exploitation lasting hundreds of years by the Americans, Japanese, and Spanish, the story of the rich (yet morally lacking) exploiting the poor (yet virtuous) is one of the most enduring stories in Filipino culture.

"Maynila: Sa Mga Kuko Ng Liwanag", directed by Lino Brocka, the most critically respected and well-known filmmaker the Philippines has ever produced, from the novel by another icon, writer Edgardo Reyes, is the embodiment of the great provinciano film and has been hailed as the apex of so-called 'Third World cinema'.

The 'provinciano' in our story is Julio Madiaga, portrayed by film veteran (and later in his life the most famous bald Filipino), Bembol Roco. In this very first (and highly memorable) of his many cinematic collaborations with Brocka, Roco's neophyte status works well on the Madiaga character. He possesses a doe-eyed naivete that stands in harsh contrast with the bitter reality that is Manila. He braves the big bad city in search of his small town sweetheart, the so literally named Ligaya Paraiso (meaning Happy Paradise, as played by Hilda Koronel, at her virginal best), who has mysteriously disappeared after being promised a good job and an education by a woman who looks like a 'baboy' (pig). His maddening search dominates the film. Frustrated and disenfranchised, he gradually sheds this skin of innocence while a quiet sense of anger slowly brews under the surface. The 'provinciano' barely survives. Oppressed and emasculated, our hero is barely able to save himself from the neon clutches of the city, much less save his girl. Ironically, our savior needs to be saved!

Like Mira Nair's masterpiece "Salaam Bombay!", "Maynila" is an excellent portrayal of how man struggles to find his niche in the world or, more interestingly, how he ultimately doesn't fit in, no matter how often and how hard he tries. Julio, on the surface, isn't alone, for he easily gets along with his fellow laborers but, ultimately, he's among fellow misfits, society's disenfranchised poor living on the edge. Depressing as he can be, the perennial misfit is an interesting cinematic figure. It's this feeling of helplessness and the hope that maybe it will get better which fuels the film.

"Maynila: Sa Mga Kuko ng Liwanag", indeed, deserves its place among Filipino cinema's best of the best. Like Ishmael Bernal's "Himala" and another Brocka film, "Tinimbang Ka Ngunit Kulang", it's a celluloid legend that not only meets but surpasses high expectations. (Unfortunately, Brocka's "Insiang" falls short of these same personal expectations.) "Maynila" and "Himala" are most often mentioned as the best Filipino film ever made. Piercing, unforgettable portrayals of the human condition, they beautifully illuminate the story of the Filipino. And like all great films, they contain memorable, iconic scenes: film legend Nora Aunor's "Walang himala!" ("There's no miracle!") scene in "Himala" and, to a lesser degree, Roco's brief but haunting final shot in "Maynila". Between the former's increasing crescendo of Third World desperation, Aunor's tightly controlled performance, and false gods/true celebrities religious fanaticism, versus the latter's dark maze of urban entrapment, Roco's gradual withering of brown 'provinciano' innocence, it's a very close, tough call to make. Still, I have to say that "Maynila" is the more relevant, therefore, more appealing for me personally. As beautifully surreal as the deserts of Paoay are in "Himala", though Bernal's intelligent religious commentary connects with me strongly, ultimately, it's the simple story of the brown 'provinciano' swallowed by his sweetheart's big city dreams which affects me more significantly.

Lady Vengeance (2005)

Another Tour de Force from the Cinema of South Korea

[9/10 · 13 October 2006]

I just can't get over the fact that seemingly from out of nowhere South Korean national cinema has come out into the forefront and is now the most interesting and vibrant in the world. It wasn't that long ago, after all, when the country was a virtual unknown in the field of 'artistic' film-making or just film-making, period. The cinematic output has been overwhelmingly superlative: Lee Chang Dong ("Oasis"), Im Sang Soo ("The President's Last Bang"), Hong Sang Soo ("Woman is the Future of Man"), Park Chan Wook ("Sympathy for Mr. Vengeance", "Oldboy", and "Lady Vengeance"), Bong Jon-Hoo ("Memories of Murder", "The Host"), and, their unofficial flagbearer, Kim Ki Duk ("The Coastguard", "Address Unknown", "Spring, Summer, Fall, Winter … and Spring" and "Bad Guy", among others).

"Lady Vengeance" is a stellar addition to this roster and a satisfying ending to Park's "vengeance trilogy". The film, however, doesn't gain focus and momentum until the last 45 min. when a major confrontation ensues between protagonist Geum-ja and her nemesis, Baek. The preceding 2/3 of the film is a bit choppy and confusing (but tolerable) because of the constantly alternating timeline (before, after, and during prison time). A sub-plot concerning adoption seems awkward and out of place, too. Still, the numerous prison flashbacks were entertaining. (What is it that's so watchable about women in prison movies?)

The last third of the film not only saves "Lady Vengeance", it's so good, so mind blowing, it catapults it to a much higher plane. While the first 2/3 of the film can pretty much rest on its stylishness alone (if you're into that) and isn't mediocre in any way, the themes of vengeance and salvation are explored so deeply and truthfully in the last third, it's piercing. It's so intense I actually found myself crying. Both "Oldboy" and "Lady" delve into the same 2 themes but the former succeeds more on style, the latter on substance. It's a film that goes into really serious territory and I think the people who were disappointed with it expected a fun, violent, stylish ride a la "Oldboy" or a female version of "Mr. Vengeance".

Miracle (1982)

Celebrity, Religion, Poverty, and Fanaticism Collide in Filipino Cinematic Giant

[10/10 · 9 October 2006]

I had the rare pleasure of watching "Himala" by Ishmael Bernal at Imaginasian's NY Filipino Film Festival (2 more screenings are scheduled: Oct. 10 & 15—subtitled, but be forewarned that the print is not that great). It's frankly quite a sad statement for Philippine cinema when audiences flock to watch horrendous films like "Dubai" (destination: Canada!) while a rare classic like "Himala" attracts but a handful of people. (Ironically, both films are written by the same person, writer Ricky Lee.) Like "Tinimbang Ka Ngunit Kulang", "Oro, Plata, Mata", and "Maynila sa Kuko ng Liwanag", "Himala" is a Filipino cinematic giant with a reputation that precedes it yet is, ironically, very hard to find even in the Philippines. For a decade the only version I could get my hands on was a copy of the script but even then it easily became one of my favorites. You can imagine then the high level of expectation I had in anticipation of the film's screening.

It's interesting to finally see Nora Aunor's now legendary performance as Elsa, a simpleton who turns an impoverished village upside down when she claims to have seen the apparition of the Virgin Mary. Aunor is characteristically subtle and holds back for most of the film then lets go a torrent of emotions at the last quarter. Bernal, Lee, and Aunor, legends all, use their cinematic prowess to build crescendo, a frenzy of Third World desperation—poverty, sickness, death—with resulting tension that inevitably explodes in the end. When Elsa gathers her followers near the end of the film we see both Elsa and Aunor as the Chosen Ones in their calling. (Filipinos in the know love to repeat the annoying trivia that she almost won—'She lost by 1 vote!'—the Berlin Film Festival Best Actress award. But since when did almost winning count in any film festival?)

Celebrity, religion, poverty, and fanaticism collide in "Himala", arguably one of the best Filipino films ever made. It is well-made on major counts—acting, writing, and direction—but, more importantly, it asks questions that really matter. In a country overwhelmingly spoon-fed with Catholicism, "Himala" questions the institutions and truths we've created and challenges us to do the same. It's a serious commentary on how myth serves its purpose when truth is too hard to swallow. If you can choose only 1 Filipino film to watch, let it be "Himala".

The Battle of Algiers (1966)

Still Highly Relevant—If Not More So—Iconic Resistance Film Attacks Colonialism

[10/10 · 19 September 2006]

It feels redundant to talk about a film as iconic as Gillo Pontecorvo's "The Battle of Algiers". Still, as a descendant of the colonized (and quite possibly the colonizer, too) it's hard not to get affected by what could very well be the greatest anti-colonialism film ever made. Something as potent and political as this demands a reaction. "Algiers" is among a handful of films that are so exceptional and humanistic they ought to qualify as required viewing for a better humanity: Mira Nair's "Salaam Bombay", Koreeda Hirokazu's "Nobody Knows", Kieslowski's "The Decalogues", and Lee Chang-Dong's "Oasis", to cite a few.

'Two hours' and 'black & white' aren't the most appetizing words even to the most adventurous of cineastes but here the story is quite absorbing, the work paced well, and the mood of resistance so palpable, one barely notices the film's length. Algeria's National Liberation Front (FLN) and one of its top leaders, Ali La Pointe (real name Ali Ammar?), are the obvious protagonists and, despite what some reviewers say, it's very clear that the colonizer, France, is the devil here. It's in the employment of war tactics where it gets blurry. Both parties resort to violence and murder for entirely different reasons, the Algerians' nobler than that of the French, but does purpose supersede the moral dilemma? Does the struggle for freedom justify murder?

Despite the quandary, it's quite easy to root for the Algerians especially when they're led by a reformed petty crook-turned-revolutionary. "Algiers" is a classic underdog film with a heavy dose of historical credibility. In other words, "It happened!" We repeatedly see the Algerian 'rebel' forces getting crushed by France's more superior military forces and it's very commendable and heartbreaking to see them fight back over and over again. And how. It's astonishing to finally witness the film's legendary realism. I actually cried at some point when Ali's situation seemed very bleak.

The history of colonization and oppression is naturally full of fascinating stories of rebels and revolutionaries, loyalties are tested, courage is in high demand, traitors abound, nationalism is in action. Sometimes I wonder how fellow Filipinos and I would've acted back then under Spanish oppression. Books I'm sure barely do justice to these crucial moments in history (not mention distort the truth rampantly) so to see a chunk of it staged in a very realistic manner on film is quite poignant for me. "Battle of Algiers" is easily among the most well-made films I've ever seen, heavy yet accessible, a well-deserved film icon that is still being talked about long after 1966 and will be so well beyond 2006.

Woman Is the Future of Man (2004)

Quietly Engaging, An Authentic, Heartfelt Look at Matters of the Heart

[7/10 · 5 September 2006]

It's been a while since I watched the amusingly titled "Woman is the Future of Man" at the Quad. More than a year and 2 Hong Sang-Soo films later it remains among my favorite films.

While it's always refreshing and welcome to see films depart from the pyrotechnics of the Hollywood school of film-making, some films' subtlety and quietness are rather oppressive (Tsai Ming-Liang immediately comes to mind). I think I have a longer attention span than the average film-goer, however, I have to admit that I can't sit through all kinds of slow films. Some are worth the challenge, others end up embodying the stereotype of the inaccessible art film. Hong's film would've looked like art house snobbery in action if not for the fact that it's made in a very straightforward manner focusing mainly on the most basic of emotions (and the complicated situations emanating from them). The style of film-making is so cinema verite, so unobtrusive, it's a joy to go beyond being a member of the audience and feel like an actual passerby. The best, most memorable celluloid stories stay in your mind as films but "Woman" is a story so well-told it feels more like snippets from somebody's life told by a close friend.

Hong Sang-soo's "Woman is the Future of Man" is yet another great addition to the impressive national cinema of South Korea and one that pushes me to continue exploring more of this body of work. It's raw, naked jealousy, regret, love, lust, and longing. It's a bittersweet reminder for anyone who's ever experienced romantic love and its many variations and deviations. This is it how it happens and somehow Mr. Hong has captured it through the magic of cinema.

Temptation Island (1980)

Beauty Queens, Manly Men, and A Big Old Queen in A Forgotten Filipino Camp Classic

[6/10 · 1 September 2006]

"Temptation Island" is easily one of the funniest, wittiest Filipino films I've seen. Filipino humor, in film at least, automatically means slapstick so to see witty humor by itself is a big deal, much less one done well. Dina Bonnevie, Azenith Briones, and Bambi Arambulo deliciously play catfighting beauty queens ultimately ending up fighting for their survival in, oh yes, baby … Temptation Island! Don't ask how the heck beauty queens end up in a deserted island, just enjoy this deliberately silly early 80's film featuring a very young Dina Bonnevie, still very much active in Philippine cinema and approaching icon status, and her future "love team" partner the late Alfie Anido. The hilarious crowd is completed by two studly studs, including the late Filipino male sex symbol Ricky Belmonte, a highly stereotypical tragicomic screaming queen, and the Filipino film staple, the oppressed house maid (played by actress Debraliz?). Directed by gay fixture Joey Gosiengfiao, the film is definitely not without its faults but it's fun while it lasts. No DVD copies exist as far as I know so good luck finding a decent VHS copy.

The Child (2005)

Agonizingly Slow Film With a Point Somewhere

[4/10 · 31 August 2006]

The Dardenne bros. keep fooling me. Their 1996 film, "La Promesse", is a thoughtful, spare, slow (surprise), and powerful commentary on immigration, familial obligation, and child labor. It also stars a young Jeremie Renier, superb even at a young age, who plays the father, Bruno, in "L'Enfant". I had faintly heard of the Dardenne bros. beforehand and after watching this great work, I decided to see their other films. Unfortunately, "La Promesse" is the apex. When I watched their other films such as "Le Fils" (intolerably slow) and "Rosetta" (agonizingly slow but good) I expected something even just close to the glory of "La Promesse" but always came out disappointed. "L'Enfant" is yet another bad one. I was patient enough to watch the first three but by the fourth film I was pressing fast forward through at least 2/3 of it.

It's not surprising that the Cannes Film Festival awarded this film the Palme d'Or a few years ago. "L'Enfant" is the kind of film people who either are paid to watch or who have lots of time to do so love. It's a socially aware film which chronicles the lives of poor people, one which makes viewers from the upper economic stratum feel more socially responsible. And—let's call a spade a spade—it's not unlikely that critics, mostly old white men, belong to this group.

"L'Enfant" and "La Promesse" are both well-made, socially conscious films, the main difference is that the latter didn't forget the importance of storytelling which is essentially what films are all about. "L'Enfant" is realism pushed to the boring extreme. No matter how well-intentioned you are, no matter how grave the message, it gets lost to a lot of viewers because, especially in this day and age, our attention spans get shorter and shorter. It is the filmmaker's responsibility to grab the viewer's attention and the Dardenne bros. simply haven't.

Ang pagdadalaga ni Maximo Oliveros (2005)

Dark, Campy, Brutally Honest Yet Heartwarming, 'Maximo' is Destined to be a Classic

[10/10 · 29 August 2006]

One can seldom discuss gay Filipino films without mentioning the Lino Brocka classic, "Macho Dancer". For a long time the film lorded over all the others in gay filmdom (or is it 'film gaydom'?). Sure there were competent ones like "Aishite Masu" and "Markova: Comfort Gay" but they were never thisclose to "Macho". Could "Ang Pagdadalaga ni Maximo Oliveros" finally be the one true contender for the throne?

Director Aureus Solito and writer Michiko Yamamoto have crafted a very likable coming of age story. The treatment of Maximo Oliveros' (Nathan Lopez) homosexuality is unique and refreshing for it is never questioned nor made an issue, just a fact as true as the sky is blue. It's a huge credit to the filmmakers for not resorting to easy laughs at the expense of gay characters. Camp is absolutely present but it's never overdone. In fact, I think one of the main reasons why the film works so well is because the whole film isn't overdone. The filmmakers know when to pull back just before a scene turns mushy or heavyhanded. Even something as elaborate as the mini-pageant scene is cut long enough to avoid unnecessary melodrama.

One of the film's most interesting aspects for a lot of viewers is the seemingly astonishing possibility that an effeminate homosexual can exist relatively peacefully in the slums, aka Hoodlum Central. Although I haven't seen this myself, I am convinced that cultural mores make this scenario very possible. Despite the influence of homophobic Roman Catholicism, the general mood in the country is situated somewhere between amusement, acceptance, and tolerance (though not immune to occasional spurts of homophobia). Let us not forget that pre-Spanish Philippine culture respected the 'babaylan', a gay priest(ess) of sorts.

The homoerotic love angle is beautifully handled, in my opinion. To start with, the leads are perfect. Lopez carries the film as Maximo while JR Valentin as the cop is hunky yet brotherly, respectable as necessary but not too antiseptic. You get a sense of hero worship, excessive caring, and strong attraction from the side of Maximo while from the other side you see a fraternal sense of caring, naivete, and a culturally-imbibed politeness that supersedes any possible homophobia. There's also a delicious hint of ambiguity in his sexuality. There are a number of memorable scenes between the two, but a brief, well-handled, but highly erotic one (which, under a weaker filmmaker, could've easily bordered on pedophilia considering Maximo's age) and the emotionally satisfying ending stand out the most.

Despite the fact that Maximo Oliveros is unapologetically gay the film isn't strictly gay-themed unless you consider puppy love, unrequited love, familial obligations, and economic struggles as such.

It was a proud moment to watch a Filipino film in the prestigious Lincoln Center New Films/New Directors series in New York City. It was icing on the cake to see someone from the Univ. of the Philippines do good, in the gay arena, no less. "As good as Hollywood films"? I say better. When did Hollywood ever show us a coming of age story with a gay lead character?

Honeyboy (1982 TV Movie)

Erik Estrada Boxer Vehicle So Bad It's Good, Well, Almost

[4/10 · 28 August 2006]

If the mere thought of Erik Estrada role-playing as a boxer sounds appealing to you, don't even think twice about "Honeyboy". This TV-movie from the 80's shamelessly flaunts the fact that it's all about the brown Latin sex symbol predecessor to Mario Lopez, Wilmer Valderrama (to a certain extent), and even Nicholas Gonzalez of "Resurrection Boulevard". Stereotypes abound, from, of course, the titular blue collar Latino boxer and immigrant family to the white exploiters and saviors of the ghetto. Be smart enough not to expect anything more than a cheesy movie with eye candy highlights and unintentionally funny lines spread out in between. First a cop, now a boxer … any obscure Erik Estrada construction worker movies out there? Relatively hard to find and, even then, only on VHS as far as I know. Morgan Fairchild also stars.

Paradise Now (2005)

One Man's Terrorist is Another Man's Revolutionary

[9/10 · 17 August 2006]

The best thought-provoking films are so much more impressive than the most entertaining ones, in my opinion, and "Paradise Now" certainly deserves to be in the first group. Understandably, a lot has been said about the politics surrounding the film. I connected with it, however, from the perspective of the colonized. 'Palestinian', 'Arab', 'Jew', 'Israel' are heavily loaded words in the general context but here matter less to me than freedom, oppression, conviction, and resistance.

I come from a country of colonized people, 333 years under Spanish occupation and 50 years under the Americans. Decades later, the physical occupation is over but reminders abound—Spanish last names, American first names, the dominance of the English language and Roman Catholicism, and so on. Worse, Filipinos still suffer from a far invasive kind of colonization, that of the mind. Among popular symbols of beauty, for example, one can't find a single dark-skinned young actress thriving or even semi-famous in local media because most still believe that lighter skin and a narrow nose are superior compared to native dark complexion and a broader nose.

Whether "Paradise Now" truly is propaganda I don't know but it's definitely one of the most satisfying films about oppression/resistance I've seen. Looking at it from a colonized person's perspective, it gave this viewer a cinematic rush—a mixture of fear, praise, liberation, disgust, and sadness—to be put in a somewhat 'day in the life of' scenario among regular people turned terrorists. "One man's terrorist is another man's revolutionary" is a truism that constantly puts the viewer on the edge for most of the film and gives it a healthy dose of tension. You badly want to sympathize with them and, let's face it, you do at some point, at varying levels. Are you then rooting for the good guy—or the bad guy?

That there is no right answer to the main dilemma and the manner in which the filmmakers chose to portray violence make the film even more potent. Despite the criticism of the film justifying the acts of violent killing machines, I'm a better person to have glimpsed the human side of an extreme. Far from defending terrorist activities, I think the film, on the contrary, clearly states that there are other non-violent options on fighting back. Yes, the condemnation may not be strong and absolute enough for some people, but it is there. I think the filmmakers purposely didn't take sides so as to leave it open enough to promote dialog.

"Paradise Now" is a good film because it's well-made, the acting is excellent, and it's got a good story. It's a great film because it's highly relevant, important, yet never bores. It's never clear who the bad guy or good guy is but it clearly asks a bold question …

Whose side are you on?