#marilou diaz-abaya

[roseillith]

MORAL (1982) dir. MARILOU DIAZ-ABAYA

[andquietrollsthedawn]

Karnal (Marilou Diaz-Abaya, 1983)

[ukiyaseed]

After watching Karnal, I really need to watch the rest of Marilou Diaz-Abaya's so called Feminist Trilogy. Karnal was the last entry and it's a damn great film. Love the parallels in some of the shots in this film.

[nuovocparadiso]

Moral (1982).

Directed by Marilou Diaz-Abaya / dop: Manolo R. Abaya.

[linobrocka]

Karnal (1983)

direksyon ni Marilou Diaz-Abaya

[importantwomensbirthdays]

Marilou Diaz-Abaya

Marilou Diaz-Abaya was born in 1955 in Quezon City, Philippines. Diaz-Abaya was a director who was part of the Second Golden Age of Philippine Cinema. Her first feature film, Chains, was released in 1980, and she went on to make about 17 more features. Her 1988 film Jose Rizal is considered her masterpiece. Diaz-Abaya won many awards for her work, including the Arts and Culture Prize of the Fukuoka Asian Culture Prize. She also founded a film school, the Marilou Diaz-Abaya Film Institute and Arts Center. In 2022, Diaz-Abaya was posthumously named National Artist for Cinema.

Marilou Diaz-Abaya died in 2012 at the age of 57.

[b0chi]

Nabasa ko yung screenplay ng Brutal, Moral, at Karnal (al trilogy) sa librong screenplay ni Ricky Lee volume 1 nang hindi pa napapanood yung pelikula. Miski kasi torrent, mahirap humanap ng kopya, bukod sa Moral na paminsan-minsang inuupload sa youtube ng ABS-CBN. Mahala yung pagbabasa ng screenplay, sa wari ko, sa tulad kong nangangarap maging mamemelikula, direktor sana, kahit isang pelikula lang, bago ako mamatay. Dahil vision ang trabaho ng direktor, mahalagang maitranslate niya sa imahinasyon niya yung script, kung hindi man siya ang nagsulat nito. Tanggap ko sa paggawa ng kwento dahil hirap akong humanap ng motibasyon mag research sa buhay ng maliliit. Kaya ito, isang volume, ng mga screenplay ng isang batikang manunulat, ng isang pelikula na hindi ko pa napapanood, ay papanoorin ko sa utak ko, sa imahinasyon ko.

Kahapon, sa programang cineicon, may pinalabas na short film at itong Brutal. Maganda yung short film. Binasag nito lahat ng preconceived notion ko sa estado ng isang progresibong pelikula, na kesyo nakakulong pa rin ang malabnaw na diskurso sa kontemporaryong aesthetic. Sakit yon ng mga indie-indie filmmakers ng henerasyon ko, ng ka edad ko, dahil atat silang magpamulat e gayong hindi pa naman nila, marahil kasama ako, batid kung paano sila namulat. Dahil namulat kami subconsciously, kailangan namin imbistigahan yung sarili namin kung ano, paano, kelan, bakit kami namulat. Pero itong short film, Lingkis ang title, malalim ang diskurso, na binalutan ng makabagong aesthetic audience, poetics ng artist, talagang experimental, pero hindi nito pinalabo ang mensahe, o itinago ang kabobohan ng mamemelikula kung meron man. Dahil don naluha ako, gusti ko ulit gumawa ng pelikula.

Tapos yung Brutal. Ang ganda. Napakaganda ng mga shot, may meaning lahat, intelektwal, pero tulad ng Lingkis, hindi nagtatago sa pagka artsy ang kabobohan kung meron man. Lantad na naiintindihan ng mga mamemelikula, mula direktor na si Marilou Diaz Abaya hanggang actor hanggang cinematographer hanggang editing hanggang set design etc, etc. Na humble ako. Hindi ko napanood yon sa imahinasyon ko nung binasa ko ang screenplay. Bigla kong naramdaman na makitid pa nga talaga ang imahinasyon ko. Na napakalaki ng potensyal nung script, hindi ko lang nakita — nahigitan ng pelikula yung script ni Ricky Lee.

At nandon si Ricky Lee, punong-puno ng anecdotes. Ayaw niyang gumamit ng malalalim na salita. Ang nilalaro niya'y konsepto, yon ang pinapahirap niya, ang puzzle na jbinibigay niya sa taga pakinig, hindi ang mabulaklak na salita at jargons. Hindi lenggwahe ang kailangan i-decypher sa mensahe ng mga tulad ni Ricky Lee, mas mataas na antaa, kailangan i-decypher sa kanila'y konseptong sinusubukan nilang ilahad, ipabatid sa atin. Sobrang nahiya ako, na humble, kaya siguro nung kaharap ko na siya, di man lang ako nakapag "magandang hapon po, papirma po" kahit nag-hi na siya sa akin. Pumunta ako sa likod niya para magpapicture pero hindi ko matandaan na nagsalita ako, pero alam na niya na ganun na nga, papapicture ako. Ni hindi ako nakapagpasalamat man lang. Napipi ako. Yun ang hamon e, ang magpakahusay, ang naging matapang na maglabas ng obra sa paligid ng maraming mahuhusay. May mas mahusay na sakin bago pa ako ipinanganak, ngayong nabubuhay ako, hanggang sa mawala na uli ako. Nakakatakot, kaya ko ba to? Hindi ako makikipagsabayan, gusto ko rin kalabanin ang kasaysayan, gusto kong kalabanin ang sarili, ang pagtibayin ang mga diskurso ko, ang mga teorya ko, pagyabungin ang praktika ko, alam kong kaya ko, ang kinakatakot ko talaga'y ang sarili ko, hindi ang iba.

[gisud]

[gael-garcia]

Jose Rizal (1998, Marilou Diaz-Abaya)

[bookwormlily]

ABS-CBN Film Restoration of Marilou Diaz-Abaya's Karnal (1983)

[roseillith]

MORAL (1982) dir. MARILOU DIAZ-ABAYA

[thebaronmunchausen]

Joel Torre as Goryo

Karnal, 1983

dir. Marilou Diaz-Abaya

[ukiyaseed]

[hibiscusbabyboy]

José Rizal (1998, dir. Marilou Diaz-Abaya)

[treethymes]

april 2021 watchlist

*favorite rewatch

sara (1993, dir. dariush mehrjui) the ascent (1977, dir. larisa shepitko)* daisies (1966, dir. věra chytilová) teorema (1968, dir. pier paolo pasolini) tongues untied (1989, dir. marlon riggs) kagemusha (1980, dir. akira kurosawa)* 7 p., cuis., s. de b. . . . (à saisir) (1984, dir. agnès varda) dersu uzala (1975, dir. akira kurosawa) patlabor: the movie (1989, dir. mamoru oshii) vampire hunter d: bloodlust (2000, dir. yoshiaki kawajiri)* urusei yatsura 2: beautiful dreamer (1984, dir. mamoru oshii) neon genesis evangelion: death & rebirth (1997, dir. hideaki anno, masayuki, kazuya tsurumaki) our time, our story (2002, dir. hsiao chu-chen) rushmore (1998, dir. wes anderson) the fourth dimension (2001, dir. trinh t. minh-ha) chizuko's younger sister (1991, dir. nobuhiko obayashi) marriage of the blessed (1989, dir. mohsen makhmalbaf) the inheritance or fuckoffguysgoodday (1992, dir. věra chytilová) rouge (1988, dir. stanley kwan) atman (1975, dir. toshio matsumoto) everything visible is empty (1975, dir. toshio matsumoto) metastasis (1971, dir. toshio matsumoto) man push cart (2005, dir. ramin bahrani) mandabi (1968, dir. ousmane sembène)* the song of stone (1963, dir. toshio matsumoto) sudden rain (1956, dir. mikio naruse) josé rizal (1998, dir. marilou diaz-abaya) independencia (2009, dir. raya martin) punks (2000, dir. patrik-ian polk)* tsugumi (1990, dir. jun ichikawa) golgo 13: the professional (1983, dir. osamu dezaki)

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kagemusha was pristine. ive read that kurosawa wanted a later, shorter cut to be the definitive one and indeed some shots seemed to linger uncharacteristically long. but i imagine the difference is not so great.

i didn't realize that i had already seen our time, our story (a documentary on the new taiwan cinema) when i was watching it. ive definitely seen it before because it is a special feature on the criterion release of a brighter summer day. when i was watching it there were familiar scenes but i thought maybe i'd seen them in tumblr caps lol. i looked up the movie and saw a couple of letterboxd reviews that said it's too dry and inaccessible to the casual viewer who doesn't know much about new taiwan cinema and my experience affirms this. the first time i saw the documentary, though i was already very interested in taiwanese film and enjoyed the documentary, i clearly retained very little information from that viewing. this time i enjoyed it very much because i now know much too much about new taiwan cinema.

watching man push cart and mandabi back to back was interesting bc they're both stories about poverty. but man push cart felt significantly flatter.

coincidentally, both chizuko's little sister and tsugumi starred tomoko nakajima.

what makes a movie good or great? all i ever find is the smallness of my mind.

[linobrocka]

Muro-ami (1999)

direksyon: Marilou Diaz-Abaya