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benefits1986 · 1 year ago

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Living Legends are Made of Shattered Bones & Finely Crushed Ego

South to Katips Station na ba talaga tayo? Thank you, Vito Cruz Station and Ikot-Toki. HUY. LUH.

As a side note agad: Ang first ever subok ko sa screenwriting as a non-technical writer ng scripts for movie and film with dyslexia na may gingko biloba and fucking grammar problems ay tinawag ng prof ko sa grad school for my elective? Akala ko, babaralin ako e. Ready naman ako... always. Sabi niya, for pitching na raw ito sa mainstream media na hindi malapit sa puso ko. Go figure. Hahahaha. I was dumbfounded and hindi ko tinapos kasi nga gusto ko sa Netflix or other online streaming platforms tulad ng IWantTV (hahaha) siya i-pitch. Arte ko talaga. Hahahaha. Got it from mom, I guess. Super nagulat ako e. Not bad for a first timer, right? Hihi. Huhu. Haha. Hehe. Hoho. Probably my most "lakas maka-ego and hypothalamus" boost in my existence levels 'tong bit na 'to. :p KILIG LEVELS: 1000000000000 Also me rn: Magkano ba isang full-length and short film script ngayon? DM slide please. CHOZ. Wala talaga akong idea pa kasi ayokong ma-corrupt ang WIP files ko. Charaught.

________

It's so excruciating to go from the South all the way to Diliman and beyond. While driving is an option, the truth is that I can leave the house at 5:30 AM, ride the train going to Q Ave. then ride an Ikot. Minimum travel time is around 1 hour, 45 minutes when I don't brisk walk. If I'm going to Katips, that would take me around the same time. This is how I hustled back in 2015. This is not the case anymore these days, though. Apart from being frailer than usual, Manila's public transport is too painful to watch and conquer. Another option would be driving to Boni or Shaw and parking there to somehow avoid the hassle of commuting from my tiny home. Guada and Kapitolyo are the main bitch roads. These are the type of roads that will make you pray and surrender, traffic-wise.

However, it's funny how my time and motion version of my dream (turned harsh reality) school, Diliman brings me to Katips area. Alam ko lang talaga kasi Philcoa, Maginhawa at Krus na Ligas e.

LOL. As a Southie for life, the roads here are too busy, too wide and too densely populated. I can not unsee. I'm always bothered and curious because I keep stumbling upon stuff that has derivatives from the sedated South. I abhor all kinds of foot bridges because it means I have to walk a lot while overthinking about the thought of me tripping or falling down the merciless road on my way to carnage. Ang lala 'di ba?

The first time I told mother dragon that I got accepted in Diliman, she was RBF but I can sense that she is crying so badly deep inside. HAHAHAHAHA. Later, she told me during our three-hour morning routine that she was so sorry that she didn't allow me to go after my dreams. And that she wasted my time even more. Of course, I retorted with a huge lump in my throat. I told her flatly that it's okay because I'm trained to wait even when I'm totally impatient. What's more important is that while I wasted time in Vito Cruz, she got her dream; hence, win-win... at my expense.

I think her next lines were probably my salvation after a long damnation, an Exodus: Anak, sorry talaga. Akala ko mapipigilan kita sa pangarap mo. Hindi pala. Sorry. Siguro kung sinuportahan kita noon, wala ka dito ngayon. Proud ako sa'yo, anak, mula noon hanggang ngayon. Me: Ma, eto lang kasi 'yan. Kung nakuha ko na pangarap ko noon, e 'di sana wala akong time at pake na alagaan ka ngayon 'di ba? Syempre, dream ko 'yun e. Ibang usapan na 'yun. LUH. Mom teared up. HAHAHAHAHAHAHA. That feeling of seeing her actually being apologetic is what made me euphoric; however, I knew that my other dream was to let her live vicariously through my Vito Cruz days. What I realized during countless days, hours and minutes of choosing to be at home with mom was that, time is but a bloody social construct. Syempre, hindi pa at its peak itong realization na 'to because I'm a newbie adult then. I held on to one of my favorite Psalms: God is faithful to the brokenhearted with so much fervor meets delulu levels. I was an agnostic, then. But, I think cool off phase ko lang talaga 'to with the church life. Hindi naman ako officially nakipag-break sa Katolisismo, because I knew that apart from breaking mom's bones and heart again, my faith is my refuge.

And so, I finished off some important work stuff and while I'm yet to finish the mega working file that would spell 2024, especially Q1, I braved my way to my first ever face to face meet up with the living legend (aka National Artist, baby) Ricky Lee and friends. HUHUHUHUHUHU. What took me this long? Here we go!

27 MARCH 2020. Syempre, sagad deadline tayo sa pag-submit ng "what if + this would matter 1 year from now" letter of intent + author's bio to Ricky Lee and his team. This involved his first ever online writing workshop. I was in legit spiral mode and still thankful that I have steady work, at home pa. Might be because I tried to recover from the high turned crash of my Japan dream. Might be because I was shackled and I'd like to dress in laces. Arte. Might be because I was bored to death and ready to not give a fuck anymore. I revisited my letter of intent. Intense. Two pages. LOL. It read "Digital Story Binder" pala. Ang angas. Ang feeling. :D CHOZ. Kahihiyan. Hahahaha.

Dinaan natin sa listicle ang mga reasons why I need and want a spot because mas madali siyang basahin and digest ng kung sino mang babasa. And syempre, may kalakip na author's bio. Shemay. May linyahan pang: I am not a storyteller. I'm but a story binder. Rationale: Andami ng kwento sa mundo. OPAK. Reading this ka-shemayan is very curious lalo 2023 is ending soon.

Anyway, I'd most likely do a more focused dive on this bit since may tatapusin pa ako today. :)

To cut the story short, I purposefully flaked and skipped all meet ups IRL with Ricky Lee and friends because I was not ready to face this dream then. I felt like I was never enough and that my drama, my dirty linen, my frailty is not worth their time and mine, too. OPAK. Diesel girl kasi talaga ako e. I want it to brew the right way even when it had to take years pero bawi na tayo bilang road to 14 going 40 na ang peg natin sa life.

Last night, I met the living legend with akbay pa from him in his humble home. HUHUHU. Sobrang grounded. Sobrang wapakels. Sobrang organic niya. I don't like mainstream movies that much, honestly. But mom likes Anak a lot. I didn't know nga that Ricky Lee wrote it e. Hahahaha. But, when I did my research, all the mainstream films I like are penned by him. Muro Ami, Himala, Moral, and syempre, Anak. Hahahaha. Hindi naman ako super pasaway pero feel na feel ng nanay kong pakitong-kitong na suwail ako and kahit hindi naman siya OFW, feel na feel niya ang lahat ng dayukdok as a stay at home mother na selfless to the highest level.

I'd most likely squeeze in more time for finishing my scripts, finally. Why now lang? 'Di ako handa noon e. 'Di ako in to terms sa what I have and what I don't have pa. Sa pagsusulat kasi, sabi nga ni Bob Ong, 'yung rejection dito, malala. 'Di tulad nung pagbabalik ng Size 8 na sapatos sa SM via sales lady. Pero, sanay naman akong pagalitan, makarne, malambast. So eto na tayo. Eto na tayo sa exciting part as a saling kitkit kahit bano akong mag-ten-twenty since birth.

Baka sumubok muna tayo sa Vivamax kasi 'di umano, doon maraming budget. Pero syempre, ang subtext ay tungkol sa gender equality and mala-social commentary in the light of L meaning landi to the max. LUH. Confirmed nung isang writer kagabi. LUH. Shemay. Choz. Tawang-tawa ako sa mga usapan as in. Para akong isang Avatar na getting to know Pandora: Third World x Highway to Hell Edition. Abangan!

Kidding aside kahit jokes are half meant... these days, ang pinaka optimal route ng writers is script for... digital content aka content creators' hell and heaven. Ola. Ola. Ola. Olalalalala. Stumbled upon this the past months pero obvious naman kasi noh. Duh.

PS: Gusto kong i-optimize ang website ni Ricky Lee. UGH. How po ba i-pitch ito? Leads gen po bitbit ko, Sir. Baka naman. In black and white lang kasi dapat 'tong palette to begin with plus... okay, back to reality muna. Laters!

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object-at-noon · 2 years ago

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Two by Dwein Baltazar down

#filipino cinema #asian cinema #dwein baltazar #gusto kita with all my hypothalamus

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zzarizzaristore · 5 years ago

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Last night was another session of our #relationshipgrowthdiaries charaught. Muntik pang hindi namin masolve kagabi agad agad kase heto nanaman ako sa "out na rin me good nightt" lines ko. Mayghad self kelan ka mag-go-grow??? HAHAHAHAA

Lagi kong sinasabi sa kanya na magsabi sakin kung ano yung nararamdaman niya. Kung nahehurt ba siya, kung sumusobra na ba ako, kase baka isip nang isip kung san nagkamali pero ako naman pala talaga yung mali. Na nasa akin ang mali.

Nasabi na niya finally. Well sinasabi naman niya lagi HAHAHAHAA I mean those exact words.

"Hindi ako open kase close ka."

And yes, aware ako run. And na yun nga, lagi naman niya yun sinasabi sakin XD Na hindi niya masabi sakin side niya, thoughts niya, kase alam niyang hindi naman ako maniniwala. Kase alam niyang kung ano ang isang tama para sa akin, yun na yun. Wala nang makakapagbago nun. Na kahit paulit ulit niyang sabihin, kung ano na yung para sakin, yun na talaga.

Bakit hindi ako mag grow? Hindi ko rin alam HAHAHAHAHA Bakit siya lang ang laging nag-a-adjust? Eh dalawa naman kayo sa relationship diba? Yes. Alam ko. Hindi ko na e-explain side ko kase bakit pa ko mag-e-explain mali naman ako HAHAHAHA And hindi na yun explanation. Excuse na yun.

Last night nag-request siya kung pwede bang hindi na muna kami mag-usap. And made decisions na alam niyang magulo pa ang utak. So we cleared things up. And talked about things na we think lacking to the both of us. After the talk, okay na. Na we just need to clear our minds. Na we can do this both at the same time. Na hindi naman laging "out na rin me good nightt" ang sagot then next morning okay na.

Hindi ko talaga alam anong magandang ginawa ko sa past life ko, or sa present life ko, to deserve a partner like her. Sobrang important to have someone who always understands your storms. Sobrang important na laging may magsasabi sayo na "Alam ko na yan. Naiintindihan naman kita." Sobrang important na you know that that someone you are in a relationship with ay tanggap ka wholeheartedly. Na all your flaws and imperfections ay wala lang. All your insecurities are kissed out kase hindi naman mahalaga yung mga yun. Most importantly, sobrang halaga na you are loved. Dearly.

Babe, thank you for alwaysssss understanding me. Ikaw na lang laging nag-a-adjust noh? Hahaha. Sorry if I am in the middle (i think HAHAHA) ng mature and immature sa relationship. Hehe. Thank you for always saying those tons of I love yous, and I miss yous and see you soon messages. And those maraming maraming mahal na mahal (binibilang ko kung ilang mahal yun actually HAHAHAHAHAAHAHAH) at even random times. Kase gusto mo lang magsabi hahaha. Then magtatanong ako why HAHAHAHAA CRAZY I KNOWWWWW HAHAHAHAHAHAHA

Thank you babe!!! Again, from the buttom of my hypothalamus, I wav yuuu!!! 🤟��

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arkibero · 6 years ago

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Dal’wang araw pa lang nang matapos ang Cinemalaya kaya medyo groggy nang um-attack sa opening ng 2nd Pista ng Pelikulang Pilipino (PPP). Bago ‘to, maagap na nag-imbita ‘yung isang official entry kaya pito na lang ang pinaglaanan ng badyet. Hindi ko kasi ugaling mag-ulit nampelikula. Masakit sa bulsa.

Biglaan lang na nakapunta ako sa opening ng PPP dahil sa imbitasyon ng isang kakilala na nagkataon namang ginanap sa Samsung Hall ng SM Aura. Ilang hakbang lang ang mall sa opis namin kaya dumiretso ako ro’n nang mag-uwian.

Konti (na) lang ang tao nang dumating ako. Weekday kasi? At nakakapanghinayang na ‘di halos naibalita ang opening film. Invitational man o hindi, wala man lang post maski sa Facebook page ng PPP na ampelikula pala ng National Artist nating si Lino Brocka ang magbubukas ng festival.

OPENING FILM:

1. White Slavery – 9️⃣ 1985 🇵🇭 Lino Brocka

Ampalabas ay mistulang dokumentasyon ng pwersahang prostitusyon sa tatlong probinsyanang iniluwas pa-Maynila na premyadong ginampanan nina Jaclyn Jose, Sarsi Emanuelle at Emily Loren. Naka-angkla ampelikula sa Maynila sa mga Kuko ng Liwanag na sumentro naman ang kwento sa binatang nakipagsapalaran sa Maynila upang hanapin ang kasintahan na biktima ng white slavery.

Pinalabas na no’ng 2017 ‘yong anim na premyadong pelikula sa espesyal na seksyon ng PPP. Galing at nanalo ang mga pelikula sa iba’t ibang filmfest sa Pilipinas kaya sobrang nakakapagtaka na binigyan ng Cinema Evaluation Board (CEB) ng Zero Rating ang dalawang pelikula sa seksyong ito. Nagmuk’a ring saling-kitkit ang mga pelikula dahil sa ‘di maayos na distribusyon kung sa’n literal na siksikan sila sa isang sinehan lang ng mall hanggang sa unti-unti nang mawala sa ibang lugar nang tumatakbo na ang festival.

SPECIAL SECTION:

1. Kiko Boksingero – 9️⃣ 2017 🇵🇭 Thop Nazareno

Payak pero tiyak. Suntok sa dibdib ampelikula sa mga ulila na o may isyu sa pamilya. Mabisa kahit pahapyaw na naisingit sa aralin ng mga bata ang tungkol sa kolonyalismo at sa linya nambatang bidang si Noel Comia Jr. na pangarap n’yang maging boksingero pero hindi maging isang senador.

2. Balangiga: Howling Wilderness – 9️⃣ 2017 🇵🇭 Khavn Dela Cruz

Bangungot ang pagtulog at paggising sa gitna ng gera. Mata ng batang si Kulas ang nagsisilbing paragos ng kwento na markadong ginampanan ni Justine Samson kasama ang lolo (Pio del Rio) at napulot niyang bata (Warren Tuano) habang umeeskapo sa mga kolonyalistang Kano dahil sa “Kill & Burn” order ni Heneral Smith sa Samar no’ng taong 1901. Sirang plaka ampelikula ng kasaysayan bilang kalakhan ng populasyon ng Pilipinas sa kasalukuyan ay binubuo ng bata na isa pinakabulnerableng sektor ng lipunan.

3. Gusto Kita With All My Hypothalamus – 8️⃣ 2017 🇵🇭 Dwein Baltazar

The science of love. Ramdam ang mga lukot at lungkot sa mga pasikot-sikot ng Maynila dahil sa mabisang sinematograpiya ni Neil Daza habang dinadalaw-dalaw ang apat na lalaki ng misteryosang musa ng pagnanasa.

4. High Tide – 7️⃣ 2017 🇵🇭 Tara Illenberger

Hibas (low tide) papuntang taib (high tide) ang timpla nampelikula habang nakalutang ang importansya ng bakawan dahil sa isyu ng pagbabago sa klima.

https://vimeo.com/224476808

4. Tu Pug Imatuy / The Right to Kill – 7️⃣ 2017 🇵🇭 Arnel Barbarona

Eksaminasyon ampelikula sa iba’t ibang porma nang pagpatay mula hayop hanggang tao. Hanggang ngayon, napapanahon ampelikula bilang nagpatuloy ang inhustisya sa mga kapatid nating Lumad sa Mindanao at ang kultura ng impunidad sa kalakhan dahil sa ‘di maitatangging sabwatan ng estado, dambuhalang merkado at sunud-sunurang mga unipormado.

6. Paki – 6️⃣ 2017 🇵🇭 Giancarlo Abrahan

May mga seryosong eksenang bigla kang matatawa ta’s bigla kang hihinto, mahihiya dahil simpatiya at ‘di tawa ang kelangan ng mga karakter, partikular sa ginagampanan nina Dexter Doria at Noel Trinidad. Kabaligtaran ng Dagitab ng direktor na nagustuhan ko, resolbado naman ako sa kabuuan nampelikula pero hindi ko lang talaga natipuhan.

Walo ang opisyal na entries ngayong taon base sa hindi malinaw na biglaang pagbabago ng ruling ng PPP kung saan bawal na ang mga pelikulang naipalabas na sa ibang festival. Samantala, tulad ng nakaraang taon, palabas pa rin ang mga banyagang pelikula taliwas sa mandato ng PPP na tanging mga pelikulang Pinoy lang ang palabas sa kasagsagan ng festival.

OFFICIAL ENTRIES:

1. Signal Rock – 8️⃣ 2018 🇵🇭 Chito Roño

Napaka-grounded nampelikula pero iba pa rin ‘yung epek ng Badil ng direktor. Mahirap kalimutan si Barbs sa Die Beautiful pero epektibong nagampanan ni Christian Bables ang karakter ni Intoy bilang tropa ng buong taga-isla kung sa’n sentral ang gasangan, (batuhan sa may dagat) sa naratibo nampelikula dahil dun lang sila nakakagamit ng selpon. Natatangi ang karakter ng Ate Vicky ni Intoy na interesanteng binosesan ni Judy Ann Santos.

2. Bakwit Boys – 7️⃣ 2018 🇵🇭 Jason Paul Laxamana

Isa sa dalawang entries ng direktor sa Pista ng Pelikulang Pilipino kung sa’n sumentro ang kuwento sa magkakapatid na nag-bakwit (evacuate) sa bahay ng Lolo nila sa Pampanga dahil sa matinding bagyong tumama sa Isabela. Medyo baguhang artista ang mga pangunahing tauhan pero maayos naman ang pagganap, lalo na nina Vance Larena at Devon Seron. Na-turn off lang talaga ako sa revolutionary tax scene.

3. The Day After Valentine’s – 7️⃣ 2018 🇵🇭 Jason Paul Laxamana

Kinuha agad ang atensyon ko nampelikula dahil sa absurdong eksena sa simula na parang may pampasiglang bilang si Lani (Bela Padilla). Sugat ambuong pelikula na laging nasasagi, kumikirot, umaantak, lalo na sa parteng nakaharap na n’ya ang kapatid n’ya (Jordan Castillo).

4. Madilim ang Gabi – 6️⃣ 2017 🇵🇭 Adolfo Alix Jr.

Nasa POV ng mga durugista ampelikula. Ang mahabang eksena nang paulit-ulit na paghahanap ng mag-asawa (Gina Alajar at Philip Salvador) sa anak nilang si Alan (Felix Roco) ay alegorya nang paulit-ulit ding patayan sa Pilipinas dahil sa mas pinatinding Oplan Tokhang ng pasistang rehimen ni Digong. Ekselente ang papel ng ibinebentang trapo (cleaning rag) ng mag-asawa na nagsisilbing casing ng mga sachet ng droga na maihahambing sa tradisyonal na politiko (trapo) at mga nasa kapangyarihan bilang mga protektor. Mapapansin din ang “Duterte” wristband ni Alajar na premonisyon ng tokhang o posas ng malagim na kamatayan.

5. Ang Babaeng Allergic sa Wifi – 5️⃣ 2018 🇵🇭 Jun Lana

Mahina ang naging pagkonek ko sa kwento maliban sa signipikanteng karakter ni Margaux (Adrianna So) na nagpapakalat ng fake news tungkol kay Norma (Sue Ramirez). ‘Yan kasi ang totoong first name ni Mocha Uson.

6. Pinay Beauty: She’s No White – 4️⃣ 2018 🇵🇭 Jay Abello

Eto ‘yung pinaka-inaabangan ko sa festival dahil sa impresibong title, trailer at poster. Sayang lang na hindi yata maayos ang eksekyusyon ng kwento at biswalisyasyon ng konsepto tungkol sa pagiging kontento.

7. We Will Not Die Tonight – 4️⃣ 2018 🇵🇭 Richard Somes

Hindi kami nag-swak ngayon ni Somes. Ok sa ‘kin ‘yung huli n’yang dalawang pelikula na El Peste at Historiographika Errata (‘di ko napanood ‘yung Cry No Fear) na kabaligtaran nitong pelikula dahil hindi ko matanggap ‘yong ideya na dahil lang hindi sumama ‘yung grupo ni Alex Medina sa grupo ni Paolo Paraiso; e, magpapatayan na sila at dun na lang iikot ang malaking porsyento nampelikula.

8. Unli Life – 3️⃣ 2018 🇵🇭 Miko Livelo

Ayronikong inantok-antok ako dahil komedi ampelikula. Ang luma naman yata ng mga linya. Buti na lang, bawi naman sa disenyong pamproduksyon.

DIRECTOR 1. Chito Roño (Signal Rock) 2. Jason Paul Laxamana (Bakwit Boys) 3. Jun Lana (Ang Babaeng Allergic sa Wifi)

SCREENWRITER 1. Rody Vera (Signal Rock) 2. Jason Paul Laxamana (Bakwit Boys) 3. Jun Lana (Ang Babaeng Allergic sa Wifi)

ACTRESS 1. Bela Padilla (The Day After Valentines) 2. Gina Alajar (Madilim ang Gabi) 3. Sue Ramirez (Ang Babaeng Allergic sa Wifi)

ACTOR 1. Christian Bables (Signal Rock) 2. Philip Salvador (Madilim ang Gabi) 3. Vance Larena (Bakwit Boys)

SUPPORTING ACTRESS 1. Devon Seron (Bakwit Boys) 2. Daria Ramirez (Signal Rock) 3. Angelie Sanoy (Ang Babaeng Allergic sa Wifi)

SUPPORTING ACTOR 1. Nanding Josef (Bakwit Boys) 2. Joel Saracho (Signal Rock) 3. Nanding Josef (Signal Rock)

EDITOR 1. Carlo Manatad (Signal Rock) 2. Mai Calapardo (Bakwit Boys) 3. Maynard Pattaui (Ang Babaeng Allergic sa Wifi)

CINEMATOGRAPHER 1. Neil Daza (Signal Rock) 2. Tey Clamor (Ang Babaeng Allergic sa Wifi) 3. Alex Spartero (We Will Not Die Tonight)

PRODUCTION DESIGNER 1. Ericson Navarro (Unli Life) 2. Donald Russ Camon, Julius Somers, Richard Somes (We Will Not Die Tonight) 3. Maulen Fadul (Ang Babaeng Allergic sa Wifi)

SOUND DESIGNER 1. Albert Michael Idioma (Signal Rock) 2. Andrew Millalos (Pinay Beauty) 3. Albert Michael Idioma (The Day After Valentine’s)

MUSICAL SCORER 1. Paulo Protacio (Bakwit Boys) 2. Emerzon Texon (Ang Babaeng Allergic sa Wifi) 3. Francis de Veyra (We Will Not Die Tonight)

POSTER 1. Justin Besana (Bakwit Boys) 2. Justin Besana (Signal Rock) 3. Justin Besana (Unli Life)

TRAILER 1. Pinay Beauty: She’s No White 2. The Day After Valentine’s 3. Madilim ang Gabi

TITLE 1. Pinay Beauty: She’s No White 2. Bakwit Boys 3. Madilim ang Gabi

Masarap manood nampelikulang Filipino kahit magastos manood sa sinehan lalo na kung idadagdag sa presyo ng tiket, ang pamasahe (buti, tamad ako mag-Grab) at pagkain (buti, iniisip kong dapat mag-diet.). Tsamba lang na may pultaym akong day job kung kaya medyo nakakaya pa namang tustusan ‘yung droga kong manood.

Kapista ang pinausong tawag ngayon ng mga taga-Film Development Council of the Philippines (FDCP) sa mga manonood ng PPP. Masarap sa tenga. Tipong imbitado ka, hindi gatecrasher. Pero hindi pwedeng kalimutan na ang biglaang pagsulpot ng unang PPP no’ng 2017 ay kasabay rin ng pagbabalik ulit ng mas komersyalidong tipo ng Metro Manila Film Festival (MMFF) no’ng 2017 na maaalalang nagbagong-bihis na no’ng 2016.

Huling araw na ngayon ng festival at sana humabol kayong manood dahil babalik na ulit bukas ang malaking porsyento ng mga komersyal na pelikulang banyaga o galing sa mga dambuhalang studio/producer dahil ito ang dikta ng mga kapitalista. Naalala ko na naman tuloy ‘yung isa pang PPP o Public-Private Partnership na una ko nang nabanggit sa personal kong seleksyon ng 27 Pinoy Best Pinoy Films of 2017.

Malaki pa rin amproblema natin sa aksesibilidad ng mga pelikulang lokal, lalo na ‘yung pinondohan ng mga maliliit na prodyuser. Mahalagang itanong kung ano ba talaga ang esensya ng eksistensya ng PPP at kung kaninong interes ba talaga naglilingkod ang FDCP: Sa mga kapista ba o sa mga kapitalista?

May dapat na panigan sa pagitan ng tunggalian.

Longlib!

⊗⊗⊗

KLIK TAYO:

Ang mga larawan ay kuha ni Ronald Rios.

Maliban sa unang larawan na dekwat sa Twitter ni Manuel Pangaruy.

May komprehensibo nga palang argumento si Arnel Mardoquio sa PPP.

At alamin kumbakit iláng makipista si Gian Carlo Abrahan.

S’yempre, basahin din ang love letter ni Khavn De La Cruz sa CEB.

Kapista o Kapitalista?: Lagom ng Pista ng Pelikulang Pilipino 2018 Dal'wang araw pa lang nang matapos ang Cinemalaya kaya medyo groggy nang um-attack sa opening ng 2nd Pista ng Pelikulang Pilipino (PPP).

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sowhatisthisfor · 6 years ago

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Cinemalaya 2018

The complete list of full-length movies (I’ve seen) at this year’s Cinemalaya Independent Film Festival (updated daily until the end of the festival):

Opening film:

1. BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 10/10

Full-length in competition:

2. Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10

3. ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and mastreful filmmaking, it's suspense too relevant for anyone to miss. 10/10

4. Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9.5/10

5. Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

6. Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7.5/10

7. Mamang [Denise O'hara, 2018 Philippines] I like its concept overall, but its treatment is somehow apathetic. 7/10

8. Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 7/10

9. Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10

10. School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn't concrete enough to be decently executed. 2/10

11. The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10

Best of the Festivals/Indie Nation:

12. Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 9/10

13. Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10

14. Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7.5/10

15. Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 7/10

16. Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

17. Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10

Documentaries:

18. Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 8/10

19. Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10

20. Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10

21. A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

22. Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10

Visions of Asia:

23. Bad Genius [Nattawut Poonpiriya, 2017, Thailand] Brimming with excellent editing and direction, it is a thriller and an ingenius commentary on how social class inequalities lead to inevitable corruption. Brilliant. 9.5/10

24. Beti [P. Sheshadri, 2017] manages to oppose patriarchy in Indian culture in such an innocent yet intelligable perspective. 9/10

25. Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10

26. Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10

Other special screenings:

27. Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

28. Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9/10

29. Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10

Related links:

Cinemalaya 2017: My picks

Cinemalaya Must Haves: Your movie marathon survival kit

#cinemalaya #movies #films

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pinoyartist · 4 years ago

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Dwein Baltazar is known for the films that she directed and wrote, which are "Oda sa Wala" (2018), "Gusto Kita With All My Hypothalamus" (2018), and "Mamay Umeng" (2012) "Oda Sa Wala," which is co-produced by Black Sheep, has won top prizes at the QCinema International Film Festival, including Best Director, Best Actress for Marietta Sumbong and Best Screenplay in 2018. Dwein Baltazar is also known for writing the box office hit "Exes Baggage" and co-writing "Open," which is an entry to the 3rd Pista ng Pelikulang Pilipino. She has also written and directed the iWant series "Past, Perfect Future." PinoyArtist.com aims to help the Filipino culture and arts community by highlighting your struggles to turn isolation to inspiration. How do you keep yourself inspired during pandemic? Feel free to email us at [email protected] to get a chance to be featured! #DweinBaltazar #OdaSaWala #Blacksheep #QCinemaInternationalFilmFestival #BestDirector #BestActress #BestScreenplay #PistangPelikulangPilipino #Exesbaggage #Pinoyartist

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keepmnemosyne · 4 years ago

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PPP 2020

SHORT FILMS:

1. She’s Perfect, 2020

2. Night Shift, 2020

FEATURE/FULL-LENGTH FILMS:

1. Star Na Si Van Damme Stallone

2. He Who Is Without Sin

3. Ang Huling Chacha ni Anita

4. Edward

5. Sakaling Hindi Makarating

6. Billie & Emma

7. Mga Mister ni Rosario

8. Sila-Sila

9. Gusto Kita With All My Hypothalamus

10. Ulan

11. Never Not Love You

12. Rainbow’s Sunset

13. Transit

14. Paglipay

15. Cleaners

16. Insiang

#movies #ppp #watched

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jplorapa · 5 years ago

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QCINEMA 2019 FILMS IN REVIEW PART 1

BY THE GRACE OF GOD

Napakaganda ng pelikulang ‘By the Grace of God” na dinirek ni Francois Ozon.

Ang pelikulang “By the Grace of God” ay tungkol sa tatlong lalaking inabuso ng pari na pinagbuklod ng isang adhikain na mabigyang hustisya ang pang-aabusong ginawa sa kanila ng pinagkatiwalaan nilang pari noong bata pa sila. Mabibigyan pa ba sila ng hustisya makalipas ang ilang dekada? Mapapaalis ba nila ang pari sa kanyang ministeryo para hindi na ito gawin sa ibang bata?

Maaari siyang maikumpara sa Academy Award-winning film na "Spotlight" (2015).

Matapang na tinalakay sa pelikula ang epekto ng pang-aabuso ng pari sa mga kabataan at kung paano naapektuhan ang mga buhay nila na dala-dala nila hanggang sa kanilang pagtanda. Mahusay ang ensemble of actors.

Gustong gusto ko ang eksena na inamin ng isang biktima sa harap ng pamilya niya na minolestiya siya ng pari. Kahit ang eksenang nagalit ang kapatid ng isang biktima dahil parang nakatutok lang sa kanya ang lahat dahil sa nangyari sa kanyang pang-aabuso.

Maski ang closing scene na tinanong ng anak sa tatay niya kung naniniwala pa siya sa Diyos. Nakakagalit ang eksena na nagharap ang isang biktima ng pangmomolestiya at ang pari mismo na gumawa ng pang-aabuso. Nakakalungkot ang sinabi ng isang biktima na sinira ng pari ang imahe ng pagiging ama sa kanya.

Nakakagalit din ang eksena na mismong ang cardinal ay gusto pang palitan ang term na "pedophile" na "pedosexual".

Habang pinapanood ko ang pelikula, napapaisip ako na hindi natin masisisi kung bakit ang mga naging biktima ng pang-aabuso ay nawawala ng pananampalataya sa Diyos.

Ang simbahan ang naging sandigan ng pananampalataya na inaasahan nating magbibigay gabay sa atin. Kung ang mga pinuno ng simbahan tulad ng mga pari ang siya pang magiging dahilan para mapalayo tayo sa Diyos dahil sa kanilang pang-aabuso, paano pa tayo o maski ang iba ay maniniwala sa kredibilidad at integridad ng tagapalaganap ng salita ng Diyos?

Ngayon ulit ako nakaramdam ng galit sa panonood ng pelikula dahil sa mga dinanas na pang-momolestiya sa mga biktima at aksyon ng simbahan.

Bilang manonood, engaged ako sa mga tauhan. Hanga din ako sa pagdirek ni Francois Ozon.

BABAE AT BARIL

Isang gabi, isang mahiyaing saleslady (Janine Gutierrez) ang nakakita ng baril na babago sa kanyang buhay.

Opening scene at opening credit pa lang plus napakagandang soundtrack ay nakuha na ang interes ko. Tarantino-esque ang style at fast-paced ito. Idagdag pa ang mahusay na cinematography ni Tey Clamor.

Magaling si Janine Gutierrez sa pelikulang ito. Hanga ako na dalawang magandang pelikula ang nagawa niya ngayong taon. Nauna muna ang Elise (2019). Maaaring maihalintulad sa character ni Michael Douglas sa pelikulang Falling Down (1993) ang character na ginampanan ni Janine Gutierrez dito sa pelikula. Kumbaga, siya ang female version.

Mahalaga ang paggamit ng plant and pay-off device sa pelikula. Dito natin natuklasan kung paano napasakamay kay Janine ang baril.

Isa na naman itong pelikula na may #MeToo Movement na tema. Ang baril ang nagsilbing kapangyarihan ng bida laban sa mga nang-aapi sa kanya.

Sana tumutok na lang talaga ang kwento sa karakter ni Janine kasi hindi ako interested sa ibang kwento na connected kahit sa ibang character kung bakit at paano nakuha ang baril.

Kung ang “Gusto Kita With All My Hypothalamus” ay ipinakita ang Quiapo at Recto, sa “Babae at Baril” naman ay pinakita ang Cubao.

KABUL, CITY IN THE WIND

"Kabul, City in the Wind" somewhat reminds me of "The Kite Runner". Mabuti na rin na nabasa at napanood ko ang "The Kite Runner" kasi nabigyan ako ng idea regarding Afghanistan.

Ito ang docu na sinundan ang buhay ng isang amang bus driver at mga batang lumaki at naninirahan sa mapanganib na sitwasyon sa Afghanistan.

Ito ang maganda sa mga docu dahil kahit hindi tayo nakakapunta sa mga lugar tulad ng Afghanistan ay nabibigyan tayo ng realidad sa mga pinagdadaanan ng mamamayan ng kanilang bansa.

Sa bawat tunog ng putok ng baril o pagsabog ng bomba, nandoon ang takot kung makakaligtas ba ang mga case studies sa docu.

Nakakatuwa ang 2 old couple na nasa likuran ko kasi apektado sila sa mga bata sa docu. Mga walang takot ang mga bata na naglalaro sa ruins.

Tulad ng kasabay ko manood, nakuha ng docu ang aking simpatiya sa mga case study ng docu na ito sa Afghanistan.

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katgonzales · 6 years ago

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Gusto Kita With All My Hypothalamus x Taumbayan

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filmpolicereviews · 6 years ago

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Episode 33 - Podcast Kita With All My Hypothalamus

Episode 33 – Podcast Kita With All My Hypothalamus

3WCC with the cast and director: Dwein Baltazar, Iana Bernardez, Nicco Manalo and Dylan Ray Talon. Not in picture: Anthony Falcon

Dwein Baltazar’s Gusto Kita With All My Hypothalamus recently won FAMAS Best Picture, and it’s not hard to see why. Her love letter to Manila is haunting and beautiful in more ways than one. In celebration of the film’s first anniversary since hitting Cinefilipino…

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benefits1986 · 6 years ago

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Still, Your Heartaches Bend

Research shows that the Christmas season is the same season where hearts break and relationships come to an end. For some weird reasons, I have been in contact with 7 people who have ended their relationships which are considered to be long-term. Of course, I exert much effort to hear out their heartbreak stories that usually end up in monologues wherein they are often too caught up with the pain --whether it be real or the phantom kind of pain.

Ang daming reasons why. Both walang kwenta at magagandang kwentong ang sarap gawing katha. But, the thing is, there are more heartbreaking stories that make my resting bitch face move. The past months, I made a pact to go beyond the screens I have been trying to marry into my routine thinking I’m all green and go on this battlefield. Mali pala all the while. I ache for real things that allow me to see beyond what is always quantified. That said, here are the things that to me, put any “oh-gosh-my-relationship-with-so-and-so-came-to-an-end” stories to shame, shame, shame: ARAY NA ‘KO STORY 01 At the ever-kainis Multi stoplight at the area of C-5 extension, I handed over a carrot muffin to a random beggar. I was extremely hungry but decided to give it away because I found it too sweet plus the fact that sabi nga, when it hurts (as in ang sakit ng tiyan ko because I had to rush to QC before rush hour that time), that’s the time when giving is real kahit ang babaw lang. The beggar got it and she took out a bottle of water and immediately ate the muffin. Medyo nagalangan pa ako that time kasi I had two bites na sa muffin. Inisip ko pa sana hindi siya laway-conscious kasi nakakahiya. Though I can barely see her facial expression because she shielded her face with a shirt due to the bipolar weather, I froze on the spot. ‘Yung simpleng dahilan na super sweet lang ng carrot muffin na halagang Php 13.00 sa hypermarket, ang layo ng tinawid. Random things can lead you to see things that you often overlook or choose not to look at.

ARAY NA ‘KO STORY 02 In a world where using a landline causes neck strain and that “ang-init-na-ng-pakiramdam-ng-ears-ko” feeling, had to talk to an elderly lady to update her regarding something involving an emergency. After giving her a rundown of the things she wants to know and the things she needs to know, she shared how sad it is to be regarded as a pabigat and a villain in a complicated story. She kept on saying that she feels like contrary to people who’d want to live and see their old age, here she is, being attacked because she’s not as strong, not as lucrative and not as sharp as before. Beshiekeyk, napatigil ako pero hindi ako sumuko, so I joked her, “’Nay, akin na lang lupa mo para tapos ang usapan. Walang gulo. Everybody happy?” She laughed out loud and told me na loko raw talaga ako. And I replied naman that at least I made her laugh the laugh that made me swallow a little harder than usual. She told me she missed having me around.

ARAY NA ‘KO STORY 03 It was 9:30 AM in an island in Siargao and while my tummy grumbled while waiting for brunch that took forever to arrive, Red Horse Litro muna and rum Coke on the side. I was talking to a local there and he shared that Manila made him leave the best place on earth thinking that there’s something better than this paradise. He talked about his expectation and how those expectations burn to ground as soon as his plane landed in Manila. To many, this may seem so petty, but when you look at him really well, beshiekeyk, seryoso talaga siya. He thought he’d finally have the big leap in the city, instead, he found himself questioning how city dwellers are able to live in such kind of situations and conditions. Nausog naman ‘yung ego at puso ko sa remark niya na ‘yun. I asked him what his goal is now that he’s back and he smiled, stretched out his arms and legs, chugged another glass of Red Horse and said that he wants to see the best reviews of his work in TripAdvisor. I told him that he won’t be able to get decent sleep if that’s his goal. He laughed and said, oo nga raw. He checks it every single day before he sleeps kaya ‘dina siya makatulog.

ARAY NA ‘KO STORY 04 “I want to go home because I can’t afford to see my kids living this kind of life,” he said. I asked, “Are you sure you won’t walk out again?”. He replied,”Kung pride, marami ako niyan, pero sasairin ko na. Hindi ko kaya pala talaga.” And they lived happily ever after...not. He had to start from nothing because he basically had nothing. I reminded him that while family stories can go really dark, crazy and hazy, it will come through. The dad gave him a really, really tough time. Daig pa HIIT bootcamp in all levels, literally and figuratively. At first, he almost walked out again, but he’s no longer the kid. He realized that there’s something way bigger than his ego pala much to his surprise and the rest of the world. It was and still is a struggle, but I guess, the best ever part is that just a few months ago, his dad commended him. Proud father daw siya sa anak niya. Nadapa. Natuto. At bumabangon. Lumalaban. For a dad who is too stern to the point that his definition of “gabi na” is the moment the sun is literally out, this is a legit achievement unlocked.

ARAY NA ‘KO STORY 05 “'Nak, masama ba ako?”, the dad asked out of the blue. “Dad, Netflix and chill day tayo. Ano ‘yan?”, the daughter replied. She can clearly see that his father misses his wife who passed away six years ago. The daughter who loves sarcasm to bits tried to save the ball as she teased him, “Pakasal ka lang ulit. Wala na e. Finish na.” The dad said,”Hindi naman kasi ganun ‘yun.” The kid who is to grow up replied,”Touch move na kasi, dad. We have to move forward otherwise, ano na lang tayo?” The daughter made a beeline to the restroom and breathed heavily. The dad stared into the TV. The end of antoher Big Bang rerun came.

ARAY NA ‘KO STORY 06 “Wala naman kasi akong pupuntahan after nito. Ang tagal ko na ring nag-invest dito hindi lang ng oras pati ‘yung pagkatao ko,” sabi niya. Hearing this from someone who has made an obvious stride career-wise, beshiekeyks, parang napapatid ‘yung hearstrings ko. I cannot imagine how one job title can actually strip someone off their confidence and worse, their self-concept. Naging alipin na lang sila hindi ng pangarap nila, pero ng kung ano mang na-absorb nilang toxicity sa workspace nila. Having the wrong career choice is much like having a toxic romantic relationship. You can always choose to stay in it, but you find yourself drowning and feeling so dead inside it. You can always say that you have someone, that you belong to something you’ve worked so hard for, but you also know that you’ve been punishing yourself too much. You’re often caught in between thinling if you’re too entitled or that you’re simply being human.

These kinds of heartaches are the most toxic, I think because truth be told, you waste your time most in going after whatever that you define as a success in your career. Kakaloka these kinds of stories and sharings talaga. Everytime I go to Makati van terminal or BGC bus stop area, I can’t help but see a sea of walking dead people instead of the lifeblood of the economy. Chararat lang talaga e.

ARAY NA ‘KO STORY 07 “Bakit single ka pa rin?” I asked over a dinner featuring Vietnamese food in Maginhawa. My friend replied, “Magulang ko nga ‘di ako tanggap e, aasa pa ba ako sa iba?”. I was taken aback so I followed up with, “Ha? Alam na nila? Paano? Kelan? Saan?”. Naloka ako, beshiekeyks because the parents are super legit devout of a church-I-would-not-choose-to-name. “Ang hirap-hirap. Hindi ko naman kasi ito ginusto tapos sabi sa akin, bakit hindi ko raw kasi pinigalan. Bakit daw ‘yung iba, kaya namang itama ‘yung pagkatao nila,” he shared as fat tears fell down his puffy cheeks. I joked, “Nakakaiyak ba ‘yung pagka-miss natin sa Hanoi pati sa food trip doon? ‘Di ba legit ‘yung resto na ito, kaya ka ganyan?”. He smiled and said, “Kaya ikaw gusto ko sinasabihan ng ganito, gago ka lang lagi.” I told him that naiiyak kasi ako so I had to skidaddle my way out. He retorted na obvious naman and that he can see my tears which are welling up na in my eye.

I was fighting back the tears because I felt so bad for him PLUS it also hit me that I am extremely lucky to have friends and family who don’t force me to be straight as hell. While I get the ocassional lines saying that I should be this and not that, they’re pretty much very accepting of who I am which is way, way more than my gender preference. Grabe lang talaga makakita ng mga tao na rejected mismo ng pamilya nila lalo na ‘pag kitang-kita mong mahal na mahal nila ‘yung pamilya nila.

After a long pause, he told me, “Kaya ako single ng ganito katagal, dahil sa kanila. Ayoko silang ma-disappoint na naman sa akin. I tried naman talgang pigilan. Desenteng tao ako, alam mo ‘yan. I don’t fuck around. Pero ‘yung mga ganitong bagay, ‘di talaga napipigilan e.”

Shucks. My hypothalamus is off to the heartbreak ER. I need Greys Anatomy level of care because I died inside at that very moment.

To be continued...

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kaelco · 6 years ago

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Hi there! I just watched Mahal Kita with All My Hypothalamus. In the scene with Pam reciting your poem, I was wondering- did you write it for the movie itself? (also where can I read more of your works lmao)

Oy.

Wrote the poem several years back. Dwein is an old friend; she got in touch while making Gusto Kita With All My Hypothalamus. She had a certain tone/texture in mind and asked if I had a poem lying around that might work. Sent her a couple, she thought Panawagan was a good fit. I think it was, yeah.

Ateneo Press should still have copies of What Passes for Answers, my first book of poetry in English. Vagabond Press in Australia I think also ships a chapbook of mine, Canopy. As for a book of poetry in Filipino– some day, some day.

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sowhatisthisfor · 7 years ago

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Movies 2018

List of films I watched in 2018 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Women of the Weeping River [Dayoc, 2016, Philippines] A film about a generational blood feud, and also a metaphoric portrayal of the unending armed conflicts in Mindanao where the vulnerable is the most at risk, and the strong isn’t really unbreakable. 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can't help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I'm already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that's more alive than the living and to the living that's more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10

Dogman [Matteo Garrone, 2018, Italy] Examines a man's need to be recognized as a chihuahua in a shepherd's world. 9.5/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 9.5/10

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Sunday's Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn't feel like a movie at all, it's brilliant. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone's becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it's interestingly very human that I'm completely captured by it. 9/10

ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10

Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

The Square [Ruben Ostland, 2017, Sweden, Denmark] An ironic and satiric take on elitism, privilege, and humanity. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don't match Marguerite Duras's poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying "this is my kind of humour" is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10

Coco [Lee Unkrich, 2017, United States] Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Don’t Breathe [Fede Alvarez, 2016, United States] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist's delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don't match. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it's actually hypnotic. 7.5/10

Revenge [Coralie Fargeat, 2018, France] Caution: explicit cursing while watching and cheering to this. 7.5/10

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Billie & Emma [Samantha Lee, 2018, Philippines] There's magic in its production design and an amusing chemistry that would remind you of what it's like to fall in love the first time. It is everyone's teenage romance, the kind that buries heteronormativity. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Saving Sally [Avid Liongoren, 2016, Philippines] Is the freshest and has the most creative visual style I’ve seen in a long long time. I want more of it. 7,5/10

One Week Friends [Masanori Murakami, 2017, Japan] There’s a good reason for my sunken eyes right now, right? 7.5/10

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Black Panther [Ryan Coogler, 2018, United States]

Hintayan ng Langit [Villegas, 2018] I'm not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one. 7.5/10

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

Cam [Daniel Goldhaber, 2018, United States] Pushing its flaws aside, this is actually quite an accomplished thriller of a possible near future. It didn't end with an impactful resolution though. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that's just it for me. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7/10

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people's tendency to miscommunicate emotions. 7/10

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn't lead to what you think. It's black comedy of my liking. 7/10

Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10

Hearts Beat Loud [Brett Haley, 2018, United States] Magical in its little ways. 6.5/10

Me Casé Con Un Boludo [Juan Taratuto, 2016, Argentina] Nothing much in here but laughter after laughter. 6.5/10

Delinquent [Kieran Valla, 2016, United States] a small-town thriller with a set location that breathes on its own. 6.5/10

Ang Babaeng Allergic sa Wifi [Jun Lana, 2018, Philippines] I thought it was just a cutesy take on appreciating moments and living life in the present, but heck no, prepare to find your tears falling. 6.5/10

Bakwit Boys [Jason Paul Laxamana, 2018, Philippines] a warm and light-hearted family drama with beautiful original songs to brag about. 6.5/10

Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 6.5 /10

What If It Works [Romi Trower, 2018, Australia] Delightfully charming amidst the chaos of mental disorders. Works quite well. 6.5 /10

Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 6.5 /10

Love, Simon [Greg Berlanti. 2018, United States] It’s a very familiar coming-of-age romance, but that familiarity is what made it stand out. 6.5 /10

Blockers [Kay Cannon, 2018, United States] Definitely my kind of humour. The sarcastic wit is overflowing. 6.5 /10

Alex Strangelove [CraigJohnson, 2018, United States] Nothing too new but isn't short of likeable. 6.5/10

Lobster Cop [Li Xinyun, 2018, China] Hilarious. I’d like it to be more brutal with its action scenes but it’s already otherwise quite entertaining. 6.5/10

Ant-man and the Wasp [Peyton Reed, 2018, United States] Funny as always, but I'm in love with Paul Rudd so I must be biased. 6.5/10

Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10

To All the Boys I've Loved Before [Susan Johnson, 2018, United States] There's substance in its shallowness, it's charming. 6.5/10

The Snow White Murder Case [Yoshihiro Nakamura, 2014, Japan] It’s a little too long to keep it entirely interesting. 6.5/10

Cardinals [Grayson Moore, Aidan Shipley, 2018, Canada] It was burning slowly until it was shot to the head. Could have been more painful if not for its loose ending. 6.5/10

Unli Life [Miko Livelo, 2018, Philippines] Not a fan of its comedic banters but I find its rare seriousness quite a gem. 6.5/10

The Cured [David Freyne, 2018, United Kingdom]

Sympathy for Mr Vengeance [Park Chan-wook, 2002, South Korea]

Berlin Syndrome [Cate Shortland, 2017, Australia, Germany] Cold and riveting with a third act that would push you to the edge. 6.5/10

Wonder [Stephen Chbosky, 2018, United States]

12 Strong [Nicolai Fuglsig, 2018, United States] All that technical expertise and still end up saying nothing. 6/10

Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10

Deadpool 2 [David Leitch, 2018, United States] Started off fun, ended up exhausting. 6/10

Bird Box [Susanne Bier, 2018, United States] a film with no emotional connection, no proper climax, and therefore no sensical resolution. 6/10

Madilim Ang Gabi [Adolf Alix, 2018, Philippines] seems like a show-off of stars after stars after stars playing bit roles to the point that it already feels unauthentic. 6/10

Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10

A Million Happy Nows [Albert Alarr, 2017, United States] Despite the smallness of this film, it actually hits big. 6/10

Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 6/10

Oceans 8 [Gary Ross, 2018, United States] Slow and mediocre, quite a waste of powerhouse cast. 6/10

Koxa [Ekrem Engizek, 2018, Turkey, Germany] Uninteresting for the kind of fact it exposes. 6/10

2 Cool 2 be Forgotten [Petersen Vargas, 2017, Philippines]

Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10

Dedma Walking [Julius Alfonso, 2017, Philippines]

Can We Still Be Friends [Prime Cruz, 2017, Philippines]

The Belko Experiment [Greg McLean, 2017, United States] The experiment and the film are both pointless, but pointless sometimes is entertaining. 6/10

Hooked [Max Emerson, 2018, United States]

Sierra Burgess is a Loser [Ian Samuels, 2018, United States] I was enjoying it until its last act which felt rushed and unnatural. 5/10

Skyscraper [Rawson Marshall Thurber, 2018, United States] Plot after plot of action-packed impossibilities. 5/10

Glorious [Connie Macatuno, 2018, Philippines] Watching it is like riding a taxi cab with a clutch driver, it’s making me dizzy. 5/10

Rampage [Brad Peyton, 2018, United States] Feels like a bargain with nothing much to offer but cool CGI. 5/10

Je Ne Suis Pas Un Homme Facile [Eleonore Pourriat, 2018, France]

Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

Carrie [Kimberly Peirce, 2014, United States] Is quite an urban myth version of a school shooting. 5/10

Rough Night [Lucia Aniello, 2017, United States] Watched it on a plane, not sure if it's as fun if landed. 5/10

Bomba [Rolston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10

Avengers: Age of Ultron [Joss Whedon, 2015, United States] Boring with a capital B. 5/10

The Meg [Jon Turteltaub, 2018, United States] Mediocre. Very mediocre. 5/10

Final Score [Scott Mann, 2018, United States] It has potential but didn't quite scored a goal. 5/10

Uncle Drew [Charles Stone III, 2018, United States] I can't force myself to get comfortable watching this. 5/10

A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

Happy Death Day [Christopher Landon, 2018, United States]

The Flu [Kim Sung-soo, 2013, South Korea] Stupid but fun. It's the kind of silly you enjoy. 5/10

Ali and Nino [Asif Kapadia, 2017, Azerbaijan, Georgia] Badly-acted, badly-designed production. Offers nothing much of excitement. 4/10

Unexpectedly Yours [Cathy Garcia-Molina, Philippines, 2017] Fun at times. Corny at most. 4/10

Forget About Nick [Margarethe von Trotta, 2017, Germany] is as if made as an example of movies that failed the Bechdel test from supposed to be feminist directors. 4/10

I Love You, Hater [Giselle Andres, 2018, Philippines] I find its main plot gender insensitive so it’s a nope nope for me. 4/10

The Mumbai Siege: 4 Days of Terror (One Less God) [Lliam Worthington, 2018, Australia, India] That’s an annoying take on a siege that marked world history. 4/10

Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10

We Will Not Die Tonight [Richard Somes, 2018, Philippines] If you're looking for brutal action and relentless stabbing where blood and sweat are like fireworks, go see it. If you're looking for sense or better fight choreographies, go somewhere else. 3/10

Bleeding Steel [Leo Zhang, 2018, Hong Kong] Feels like switching between channels. 3/10

Citizen Jake [Mike de Leon, 2018, Philippines] Is like a collection of everything de Leon wants to try. Not effective at that. 3/10

On Again Off Again [Arsalan Shirazi, 2017, Canada, India] Undesirable characters in undesirable performances. 3/10

Jigsaw [Spirieg brothers, 2017, United States]

Tomb Raider [Roar Uthaug, 2018, United States] Impossible but fun. 3/10

Insidious (The Last Key) [Adam Robitel, 2018, United States]

Pitch Perfect 3: Last Call Pitches [Trish Sie, 2018, United States] The worst of them all pitches. 3/10

When We First Met [Ari Sandel, 2018, United States]

Attack on Titan: Part 1 [Shinji Higuchi, 2015, Japan] Lacks character development, lacks plot continuity, it’s the movie adaptation disappointment of the decade. 3/10

Alright Now [Jamie Adams, 2018, United States] is said to be a feel-good movie but more like a feel-regretful for the time wasted watching this. 3/10

Hostel [Eli Roth, 2006, United States] Nothing here is pleasing. Not its concept, not its execution, and not even its gore. Down to the trash bin. 3/10

One More Chance [Cathy Garcia-Molina, 2007, Philippines] I’m sorry, I really can’t stand this movie. 3/10

Slumber [Jonathan Hopkins, 2018, United States] Is a snoozefest as simple as that. 3/10

In Un Giorno La Fine (The End?) [Daniele Misischia, 2018, Italy] Is funny in a bad way. 3/10

Peter Rabbit [Will Gluck, 2018, United States] RBF the entire freaking time. 3/10

You, Me and Him [ Daisy Aitkens, 2018, United Kingdom] Just one of those films that pass you by. 3/10

The Dawnseeker [Justin Price, 2018, United States] With that kind of premise, I honestly wanted it to be at least a decent watch. It isn’t. 2/10

Mara [Clive Tonge, 2018, United States] Generic. Mediocre. Forgettable. 2/10

Office Uprising [Lin Oeding, 2018, United States] Dumb. 2/10

School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn’t concrete enough to be decently executed. 2/10

The Strangers: Prey at Night [Johannes Roberts, 2018, United States] What a freaking stupid family that was. I could go on and on and on with my disgust towards this movie, but the bacon is cooked and bacon is more important. 1/10

The Matchmaker's Playbook [Tosca Musk, 2018, United States] a misogynist piece of bullcrap. 1/10

The Do-Over [Steven Brill, 2016, United States] Wow. That was boring. 1/10

Aswang [Michael Laurin, 2018, United States] a film perfect for when you can’t sleep. 1/10

The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10

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