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Showing posts with label Philippines. Show all posts
Showing posts with label Philippines. Show all posts

Friday, July 02, 2021

Lakbayan to Genus Pan

Genus Pan (2020, Philippines, Lav Diaz)

Genus Pan, Courtesy of Sine Olivia Pilipinas

As with any Lav Diaz film, the running time is often mentioned. Anything between 3-4 hours can be considered a Lav Diaz short film. So imagine the surprise that Lav Diaz’s new film Genus Pan is only 157 minutes long. But I came across an even shorter version of this in 2019. To be more precise, you can call it a 35 minute trailer.

In 2019, I was happy to discover Lakbayan (Journey), an omnibus of shorts directed by three Filipino masters, Lav Diaz, Brilliante Mendoza and Kidlat Tahimik, to mark the centennial anniversary of Philippines’ cinema.

Lakbayan
The first segment called “Hugaw" (“Dirt”, directed by Lav Diaz) depicted in luscious black and white is about three coal miners who make the long dangerous journey back home across an unforgiving landscape featuring a sea, mountain and a forest. Along the way, they encounter mystical visions which tests their nerves and sanity.  This 35 minute short is the seed which has grown into the feature film Genus Pan.

The second segment in Lakbayan, Brilliante Mendoza’s “Desfocado” (“Defocused”), tackles topics of corruption and justice by using a real-life story about farmers from Mindanao island who marched over 1000 miles to demand justice for their land. Kidlat Tahimik’s final segment (“Kabunyan’s Journey”) is a touching documentary about his son’s travels in their family camper van across the Philippine countryside.

Genus Pan is available to rent until July 7 via Projectr.tv.

I am not sure where Lakbayan is available to see via legal means. I had programmed this film back in 2019 and gotten the film directly from the distributor in Philippines.

Saturday, December 19, 2020

The Films of Khavn De La Cruz


The camera zips around a small room, then down the stairs, looks around the surroundings and then rises above the building to give a view of the neighbourhood. From the street view to the sky, then back down before settling for a long ride inside a van. The film is Khavn’s Bamboo Dogs (2018) and the van is different from that shown in Brillante Mendoza’s Kinatay yet the air is sinister, not murderous but it feels ominous. What follows is a potent mix of corruption and crime all depicted in cool lighting, a stylish flourish that also lights up Khavn’s earlier film Ruined Heart (2014), shot by master cinematographer Christopher Doyle. 


The lovely cool colours of these two films contrast the black and white images that populate Khavn’s other films. In fact, he isn’t afraid of depicting the ugliness of the world around him, a world where violence is abundant but that violence is cyclical and follows a long history dating back to the barbaric colonial times. This aspect is illustrated by Balangiga: Howling Wilderness which is based on a historical incident involving a colonial massacre.

In just a few films, it is clear that Khavn has his own unique style, one where music plays a key part and that is because Khavn composes the music for a lot of his own films. In fact, it was the music Khavn worked on another director’s film that first drew my attention to him. Khavn worked on the music for John Torres’ award-winning Todo Todo Teros (2006). Torres’ film opened a new path for my journey into the new Philippine cinema that was making the rounds at film festivals during the 2006-2010 time period. During these few years, I sought out as many Filipino films as I could at film festivals and some finds included Jeffrey Jeturian’s brilliant The Bet Collector (2006), Brillante Mendoza’s Tirador and Foster Child (2007), Lav Diaz’s Death in the Land of Encantos (2007), Adolfo Alix Jr.’s Adela (2008), Raya Martin’s Independencia, in addition to Khavn’s Squatterpunk (2007).

Over the last decade, I focused more on the works of Lav Diaz and Mendoza while stopped following the works of Khavn.  As it turns out, Khavn has been incredibly prolific over the last decade and has directed more than a dozen features (fiction and documentaries). A correction was in order so a mini-spotlight of the following features:


Bamboo Dogs (2018)
Balangiga: Howling Wilderness (2017)
Alipato: The Very Brief Life of an Ember (2016)
Ruined Heart (2014)


The availability of digital cameras played a key part in the production of the Filipino movies I encountered in the 2006-2010 time period as the digital medium allowed new directors to make films on a shoe-string budget and get their voices out. A point highlighted by John Torres when he won the VIFF Dragons and Tigers Award for Todo Todo Teros in 2006. When Torres was given his cheque for $5000, he remarked that money would enable him to make 10 more movies! The rise of digital cameras also played a key part in the evolution of Khavn’s cinema, an aspect on display in his Digital Dekalogo” manifesto where he writes:

“But technology has freed us. Digital film, with its qualities of mobility, flexibility, intimacy, and accessibility, is the apt medium for a Third World Country like the Philippines. Ironically, the digital revolution has reduced the emphasis on technology and has reasserted the centrality of the filmmaker, the importance of the human condition over visual junk food.”

When discussing films that show the harsh lives of ordinary Philippine people, I often end up drawing lines back to the works of Lino Brocka. This real or imaginary line to Brocka’s films can be drawn from the works of Lav Diaz and Brilliante Mendoza. I can now drawn this line to Brocka from Khavn’s films. In addition, Khavn’s films overlap with some aspects of Lav Diaz and Raya Martin’s works (Independencia) in their depiction of colonialism’s brutal aspects while having shades of Mendoza's works in highlighting corruption and poverty. However, these references form just a subset of Khavn’s entire arsenal of filmmaking. Ruined Heart is a perfect example of his divergence from other Filipino directors. The film is an immersive musical journey where hardly any dialogue is spoken. The few words that are heard are akin to poetry. 


A love story against the backdrop of a criminal world is depicted in a musical video format. The baggage of dialogue isn’t required because cinema has long fed us enough to know what is happening. Instead, we can get lost in a world of dazzling images and pulsating music. This world is a complete contrast to that of his other films and illustrates that Khavn has a lot of creative variety to offer. This is again emphasized with his 2020 film, Orphea, co-directed with Alexander Kluge. 

Khavn's films won’t be found on the regular streaming options heavily used in 2020 but thankfully, there is a place to view his films legally:

Khavn De La Cruz films on vimeo demand.

Sunday, November 03, 2019

Two films by Lino Brocka

Manila in the Claws of Light (1975, Philippines, Lino Brocka)
Insiang (1976, Philippines, Lino Brocka)

“The film is the same….It’s your eyes that have changed.”Pain and Glory (Pedro Almodóvar)

The above words from Pedro Almodóvar’s Pain and Glory came to my mind recently when I revisited two of Lino Brocka’s essential films. In Almodóvar’s film, the film director Salvador (Antonio Banderas) praises the acting of his lead Alberto (Asier Etxeandia) more than three decades after their movie Sabor came out. Back in the day, Salvador disliked Alberto’s performance in Sabor and stopped talking to him. When a local cinematheque plans to hold a screening of Sabor, Salvador decides to revisit the film and mentions that he appreciates Alberto’s performance and he feels it has gotten better. The above line is the response to Salvador because it is still the same film but Salvador’s life has changed and thereby his ability to critique his own film.

I had a similar reaction when I revisited Brocka’s films after more than a decade. I found my appreciation of these films has increased with time. They are still the same films albeit I saw them in a better print. It is in fact my eyes that have changed and I found it exciting to compare the newer Filipino movies with that of Brocka's and draw a line from his cinema to that of directors he has clearly influenced such as Lav Diaz and Brillante Mendoza. Back in the late 1970’s, Brocka put Philippine cinema on the map and Insiang was the first Philippine film to play at the Cannes Film Festival (1978).

Some reading material on these films:

1. Cinema Scope
2. Culture Trip
3. Ramon Magsaysay Award Foundation
4. Criterion
5. Noel Vera, Insiang
6. Noel Vera, Manila in Claws of Light

Tuesday, December 07, 2010

Around the world in 24 films

Just a brief mention of some worthy newer films from around the world. Some of these films will surely end up in my year end best list.

Note: films arranged as per country.

El Camino du punto (2010, Argentina, Sebastián Díaz Morales)

The title's translation, The Way Between Two Points, perfectly sums the film which is about a character's journey from point A to point B. There are only a few minutes of dialog at the start and these dialogues are the weakest aspect of the film as the words needlessly try to give the story a higher worldly purpose. After the words are delivered, the film settles into a beautiful journey where we get both an overhead shot of the landscape that is to be covered and the ground level footage of the journey. The singular focus of the journey at all costs reminds a bit about The Limits of Control and Birdsong but El Camino du punto is free from any dramatic or religious baggage of those two other films.

Kill the Referee (2009, Belgium, Y.Hinant/E.Cardot/L.Delphine)

This Belgium soccer documentary does not have any narration or title cards to guide the audience but instead dives right into the action. Like the Zidane film, this documentary gives a completely different perspective to what one experiences when watching a soccer game. One gets to see the game from an on-field angle, but instead of a player's point of view, we see the game from a referee's angle.

This film is essential viewing for anyone who has ever seen a soccer game. And since the film is artistically shot and edited, it offers non-soccer fans plenty to chew on as well. The games shown in the film are from Euro 2008 and if a person is familiar with some of the players, then that enhances the experience. This film does an excellent job in showing us the human side of the refs and also some of the egos that operate in the game.

A Simple Rhythm (2010, Canada, Tess Girard)

A poetic and mesmerizing look at simple day to day rhythms that shape our lives. The film artfully layers images with sounds to create a calming and fascinating experiencing. In between the images are thoughtful interviews on a variety of subjects, ranging from music to mathematics.

Viva Riva! (2010, Congo co-production, Djo Munga)

In the TIFF write-up, Cameron Bailey noted:

Finally! An African feature film that merges the pleasures of Nollywood with sleek camerawork, satisfying genre thrills and a rare look inside the very heart of the continent. Viva Riva! is unprecedented: a story set in contemporary Democratic Republic of the Congo full of intrigue, music and a surprisingly frank approach to sex.

That is a perfect description as Viva Riva! molds elements of oil trafficking, corruption, violence and sex into an enjoyable film. In the fashion of Nollywood films, the villain is sinister and over the top while the hero, Riva, is a charming intelligent man who can have any woman he wants. Ofcourse, Riva falls for the one woman who will lead him into trouble but Nora is too seductive to resist. The camera ensures that Nora's beauty and Kinshasa's buzzing street life are captured nicely.

Valhalla Rising (2010, Denmark/UK, Nicolas Winding Refn)

The film starts off in an ancient time when men settled their disputes face to face in a bloody hand to hand combat. However, as the warrior crew enters a new land, the change in warfare tactics ensures that man will have to learn to adapt in order to survive. In the new land, arrows fired from unseen enemies lead to death meaning one could die at the hands of someone they do not even see.

A savage bloody film that is also one of the year's best.

Scheherazade Tell me a Story (2009, Egypt, Yousry Nasrallah)

The film uses a soap opera/talk show format to probe at deeper issues not only within Egyptian society but the rest of the Middle East especially regarding the treatment of women in households and at workplaces. It helps that the film is well acted and packed with more gorgeous women than one would find even in a Pedro Almodovar movie. Overall, a pleasurable film.

Steam of Life (2010, Finland, Joonas Berghäll/Mika Hotakainen)

A beautifully shot contemplative film that places the viewer in an awkward
position of a voyeur observing Finnish men pour their heart out while sitting in a variety of saunas. The film remarkably shows that any enclosed space can be transformed into a sauna, even a phone booth, and the calming effect of the steam is essential to allow men to tackle life's daily burdens.

Win/Win (2010, Holland, Jaap van Heusden)

This Dutch film about a stock exchange manages to find a calm balanced middle ground in between Ben Younger's Boiler Room and Aronofsky's Pi. In fact, the main character in Win/Win Ivan looks like a more laid back version of Max from Pi. Win/Win artfully shows that it is possible to find zen like moments even in a high octane stock market setting.

Gallants (2009, Hong Kong, Clement Sze-Kit Cheng/Chi-kin Kwok)

A homage to the 1970’s Shaw Brothers films, complete with amazing fight sequences, memorable characters and over the top hilarious situations. Even if one is not familiar with older kung-fu movies, this film stands on its own. Knowing about the Shaw Brothers films will just enhance the experience. There are some moments when the action stalls but the film has many high energy moments. The homage would have been perfect if the film title was something which captured the story’s spirit such as “Gates of Law” or if the title used a variation of the words “Dragon”, “Tiger” or “kick”.

Ocean of an Old Man (2008, India, Rajesh Shera)

Simple. Beautiful. Meditative. Haunting. Tragic.

The old man in the title is played by Tom Alter, easily recognizable to Bollywood fans because he always played an evil villain in Indian films, and was almost always an evil British general in period films. In Rajesh Shera's film, Alter's character plays a school teacher who is devastated by the loss of his wife and daughter in 2004's tsunami. Unfortunately, he can never forget his loss as he has to cross the same ocean everyday to teach his students. To make matters worse, he has to listen to the ocean waves crashing onto the shore and rocks every night while in the day, his students paintings and stories revolve only around the ocean.

There isn’t much dialogue in the film but that does not matter because the beautiful images and fascinating sounds convey the tragedy and gravity of the situation. Also, the sound track is smartly turned off when the sounds of the ocean fill the screen. The minimalist style might frustrate some viewers but patient viewers will be rewarded with an absolute gem of a film.

Peepli Live (2010, India, Anusha Rizvi)

A smart satire that uses the real life story about farmer suicides to poke fun at the mercenary Indian satellite tv channels preoccupied with ratings. However, Peepli Live does feel like two films in one. The film starts off in the village but then lets the media circus take things over. At times, the two stories (farmer suicide, tv ratings circus) compete with each other and eventually the farmer story is brushed aside. Also, there are some moments where the film un-necessarily goes over the top (such as the mention of Saif Ali Khan's grade 8 kiss) when a more subtle approach would have sufficed.

Overall, it does feel like a lost opportunity to make a truly great film. That being said, the ending is perfect when the camera shows us images without any words.

Gorbaciòf (2010, Italy, Stefano Incerti)

The sound of Gorbaciòf's proud walk on the streets and the sound of money stay long in the memory after the film ends. Many films show bundles of money but not many films actually let the sound of crisp notes being counted filter through to the audience. Gorbaciòf counts money everyday both in his day job and at night with his bribe money. The dangerous combination of taking bribes and gambling is never a safe bet for a trouble free life but Gorbaciòf's problems multiply when he falls for a Chinese woman who does not speak any Italian. Gorbaciòf wants to be the woman's knight in shining armour and in order to ensure a better life for her, he needs more money. That need leads him down a slippery yet predictable slope. The love angle is the film's weakest aspect and if it were not for the love story, Incerti's film would be one of the year's best films.

On another note: the male leads in The American, Gorbaciòf and The Robber are all related with their dangerous ways of life. It is not surprizing that the ending of all three films finds these three very different men (an American, Austrian and an Italian) in the exact same situation looking through the glass towards a better future.

The Tiger Factory (2010, Malaysia/Japan, Woo Ming Jin)

The film follows a young girl, Ping, in her attempt to gather money to illegally leave Malaysia for Japan. Ping's life is controlled by her aunt who witholds her passport and pays for men to get Ping pregnant so that the aunt can sell the baby. The story sounds bleak but thanks to the cinematography and lighting, the film does not feel gloomy and instead makes for a fascinating viewing. The style evokes the Dardennes, albeit with a bit of lightness.

Woman on Fire Looks for Water (2009, Malaysia/South Korea, Woo Ming Jin)

This is one of the most visually beautiful films of the year!! The film is about two love tales on opposite ends of the age spectrum. One story shows how a young boy is forced to take his family's fortune into account before deciding upon marriage while the other story shows if love is not truly acknowledged, then even at old age, it continues to torment and bite. In between these two stories, there are many remakarable shots which show the fishing business and every day life, plus there is plenty of humor shown in a subtle manner.

Kinatay (2009, Philippines, Brillante Mendoza)

The first 20-30 min of Kinatay perfectly capture the sights and sounds of the street life. After that, the camera moves inside a van and this is where the negative publicity regarding the film starts. Although it is hard to understand what all the fuss is about because there is nothing graphic or gory that is shown but instead we mostly listen to sounds of the horrible butchering and only see a tiny glimpse of the murder weapon. The briefly lit scenes allows viewers to fill in the horror themselves using the audio cues. Maybe in a theater, these audio cues are magnified thereby causing a claustorphobic effect.

Still, the film is powerful in how it goes about showing what it does and it is hard to be not shook up by the ending. I can see why Mendoza was awarded the best director for this film in Cannes 2009.

Lola (2009, Philippines, Brillante Mendoza)

Lola is a touching film regarding two grandmothers and how they go about dealing with their lives while finding themselves as opponents in a criminal case. One woman is seeking justice for her grandson’s murder, while the other is trying to save her grandson from going to jail for murdering the other woman’s grandson. The film switches perspective from one grandmother to the other and this method highlights many relevant points such as the true price of justice for people who are trying to make ends meet.

Manilla Skies (2009, Philippines/USA, Raymond Red)

The start gives a false impression of being another film depicting the frustration of being jobless in a major Asian city but the story then takes a dramatic turn towards a heist and an even more unexpected turn towards a plane hijacking. The cyclic nature of the ending, when one of the final scenes is neatly tied with the opening shot, depicts a beautiful pattern to the story. The lead performance is amazing and the film grows in strength as it moves along. Also, the dark/grayish visuals perfectly echo the gloomy mood of the character's situation. Amazingly, the film is inspired by a true story.

Essential Killing (2010, Poland co-production, Jerzy Skolimowski)

Like in Valhalla Rising, the male lead in Essential Killing never speaks a single word. Yet, Vincent Gallo's character does not need to talk as his expressions of pain and anguish perfectly convey his inner feelings. Gallo plays a taliban fighter who is captured in Afghanistan but finds himself on the run in a frozen European country side after a series of events lead to his escape. From then on, the film alternates between chase scenarios as the dogs/soldiers close down on Gallo's character and survival scenes where his character does anything just to survive in the brutal cold. It is understandable to see why Gallo won best actor in Venice for this film as his raw performance shows how much can be conveyed without needless dramatic dialogues.

Between Two Worlds (2009, Sri Lanka, Vimukthi Jayasundara)

This Sri Lankan film is a good example of what Bresson mentioned in his book, Notes on the Cinematographer, in the Sight and Hearing section:

”What is for the eye must not duplicate what is for the ear."

”If the eye is entirely won, give nothing or almost nothing to the ear. (And vice versa, if the ear is entirely won, give nothing to the eye.) One cannot be at the same time all eye and all ear.

”If a sound is the obligatory complement of an image, give preponderance either to the sound, or to the image. If equal, they damage or kill each other, as we say of colours.


Between Two Worlds has a beautiful visual and aural language while the story has a nice fable and mythical element to it. There are some scenes which fluidly mesh the imagined and real with a smooth easy manner. The only minor complaint is that some scenes appear staged, drawing attention to themselves and thereby weakening the dramatic effect of the situation. Two such examples are the youthful mob at the film's start and the dance by the river near the end.

Guest (2010, Spain, José Luis Guerín)

Guest is José Luis Guerín's travelogue of his year long film festival circuit tour from September 2007 till September 2008 with his film In the City of Sylvia. Even though Guest starts and ends at the Venice Film Festival, Guest is not a documentary about film festivals. Instead, it is a truly global film that gives a glimpse into everyday life in open public squares in various places such as Bolivia, Columbia, Peru, Brazil, Mexico, Cuba and Hong Kong. Places that do not have open squares are not covered by his film which naturally means that Canada and the US are not shown on the screen. For example, Guerín was in Vancouver in 2007 to premier In the City of Sylvia but Vancouver does not get a single shot in the film. Basically, any place that did not have adequate public space would not have allowed Guerín to interact with the locals and get their views. Guerín freely filmed everything around him and was not shy to keep his camera rolling. As a result, we get to witness some fascinating parallels regarding religion in diverse places such as Brazil and Hong Kong. Guest takes about 20 minutes to spring to life but once it awakens, it has plenty of interesting stories to share.

Woman without a Piano (2009, Spain, Javier Rebollo)

A sublime film that uses a low key treatment in depicting a single night's events. The camera quietly follows Carmen around and the events that unfold around her are hilarious and sad at the same time. The film is set in Madrid and in some alleys we see situations which Pedro Almovodar uses in his films but Woman without a Piano is an art film through and through, with a pinch of comedy.

Uncle Boonmee Who Can Recall His Past Lives (2010, Thailand co-production, Apichatpong Weerasethakul)

Joe's film is a visual treat like his previous works but instead of the two part structure found in Tropical Malady and Syndromes and a Century, Uncle Boonmee is a single flowing work that manages to blend the two worlds of humans and spirits. This is his most accessible work and also his most openly political. In Blissfully Yours one could faintly hear the tank fire going on in the distance but the soldiers were not shown. However, in Uncle Boonmee we get to see futuristic pictures (really the present) of army actions. As enchanting as the film is, it pales slightly to the hypnotic beauty of Tropical Malady and Syndromes... Still even a Joe lite work is better than most current world cinema.

Four Lions (2010, UK, Christopher Morris)

A well made and acted film from the two writers of the witty In the Loop. Four Lions tries to use the same humour style of In the Loop with mixed results. The humour style of In the Loop made sense because it dealt with the circus like world of politics where a single sentence can be endlessly interpreted and rehashed. However, that style is more difficult to pull off with a topic of terrorism and suicide bombers. In that regard, one can watch Four Lions in a state of shocked horror and find it entirely offensive. The film is also brave in its treatment of the subject, especially since neither of the writers or director is Muslim.

Spoiler note:*****

Credit must go to the film-makers for remarkably maintaining the same consistent tone throughout even after the characters start dying whereas it would have been easier for the film to have taken on a more serious tone after the first accidental death.

Monogamy (2010, USA, Dana Adam Shapiro)

A fascinating modern day treatment of Antonioni’s Blow Up. Blow Up was made during the free love decade where the main character had no problem getting any woman he wanted so solving the murder mystery became a more important challenge for him. But in modern times, free love isn’t that readily available. And the presence of email and text messaging has changed the nature of relationships by limiting face to face hook ups. As a result, Theo’s (Chris Messina) “free love” is reduced to a voyeuristic kick. Things are complicated by the fact that Theo is on the verge of getting married and already he feels the walls closing in on him.

The acting is stellar, especially in the scene where Theo’s fiancée catches him looking at pics of another girl. The ending is not as dramatic as we are led to believe. The true identity of Theo's subject is quite clear but maybe the ending was supposed to emphasize that Theo was so blinded by the little details in the photos he took that he missed the obvious bigger picture.

Top 5 in order of preference:

1) Kill the Referee
2) Ocean of an Old Man
3) Woman on Fire Looks for Water
4) Valhalla Rising
5) Uncle Boonmee Who Can Recall His Past Lives

I cannot praise Kill the Referee enough. The fact that the film is about soccer is also its biggest handicap because that would mean limited release and certainly no press coverage in North America. I have read rumours that UEFA might have had the final say on what could make the final cut but regardless of the truth, what is presented on screen is fascinating enough. The footage allows the audience to identify some of the egos, heroes and villains that operate in the game.

Thursday, October 29, 2009

(East + South East) Asia Spotlight

Ten films covering four countries:

China -- Fujian Blue, Fish Eyes
South Korea -- Rough Cut, Daytime Drinking, My Love Yurie
Malaysia -- Call If You Need Me, Karaoke, This Longing
Philippines -- Independencia, Adela

Call If You Need Me, Karaoke, Daytime Drinking, Rough Cut and Fish Eyes were mentioned previously in CIFF previews I & III. These five films are included here with shorter comments.

So in order of preference:

Call If You Need Me (2009, Malaysia, James Lee)

A visually sharp film that combines the style of diverse film-makers such as Hou Hsiao-Hsien, Pen-Ek Ratanaruang and Quentin Tarantino while still retaining a unique Malaysian flavour. Hou Hsiao-Hsien elevated a gangster film to an art form with Goodbye South Goodbye and James Lee does a very job in carrying on that tradition. Call If You Need Me is about gangsters and kidnappings but there isn’t a single gun or drop of blood to be found on screen. All the violence is kept out of the frame and we are instead shown events that precede or succeed a violent act. Because there is no violence shown on screen, we can instead focus on the characters and their day to day lives, including their love interests and their choice of food and drugs.

Karaoke (2009, Malaysia, Chris Chong Chan Fui)

This beautifully shot film attains a level of beauty normally associated with the cinema of Thai film-maker Apichatpong Weerasethakul, especially Tropical Malady. While the images are mesmerizing, one must also pay careful attention to all the sounds that can be heard. The lyrics of the Karaoke videos are also important as they provide a clue to the film’s three act structure.

This Longing (2008, Malaysia, Azharr Rudin)
Original title: Punggok rindukan bulan

The minimalist style of This Longing will frustrate some viewers but patient viewers will be rewarded with moments of beauty spread throughout the film. There are two stories here which are loosely tied and both show the gradual decline of an apartment complex in Johor Baru which is slated for destruction. The 90 minute long first segment is about the relationship between a young boy (Sidi) and his father. The second segment (about 30 minutes) features a completely different character, Riza, who returns home to have another look at the place where she grew up. After she arrives, Riza finds that the complex is almost empty as most of the residents have been relocated. Her walks through the same halls that Sidi passed through makes one question all the scenes in the first segment and whether Sidi and a younger Riza had crossed paths.

This Longing blurs the line between documentary and fiction not only because of its style but also because it was shot in a real apartment complex which was about to be destroyed. Seeing the cranes crunching away at the building at the film’s end (without any background sound) lends a haunting perspective to the story.

Fish Eyes (2009, Korea/China, Zheng Wei)

Zheng Wei makes an impressive debut with this well shot film that does not burden the screen with needless dialogue. The minimalist style works to perfection here as we witness the everyday events of a father and his son. Their daily routines are altered when a mysteriously girl shows up. While the father cares for the girl, the son sees the girl as someone who can be used to gain an advantage with the local gang.

Fujian Blue (2007, China, Weng Shou Ming)

The film takes place in the Fujian province and observes a slice of the human trafficking operation. On one hand we witness the methods of the local gangs seeking to profit from people wanting to leave China and on the other, we see the reasons for these people’s departure. Leaving one’s country illegally isn't easy and not without danger, but it isn't any easier to carve out a respectable living at home when crime and poverty are close-by. In this aspect, the film shares sentiments of Italian films set in the port cities during the 30's-50's when Italians sought to leave for America.

The vibrant look of Fujian Blue makes for a very calm watching experience despite the negative characters and situations on display. Overall, a worthy debut film and it is easy to see why it won the 2007 VIFF Dragons and Tigers award.

Independencia (2009, Philippines co-production, Raya Martin)

Raya Martin has certainly carved a unique style for this film with the studio sets, black and white film mixed with some staged newsreel shots. The controlled set environment allows Martin to play with the lightning (example, a studio light serves as the shining sun) and sound, thereby providing some of the film's best moments. The story spanning two generations is set against the backdrop of the island's historical aspects between the departure of the Spanish and the arrival of the Americans, with the American involvement in the Philippines growing steadily during the course of the film. The film's title proclaims Independence but that is an elusive concept as depicted by the film. Even at the film's end, we get a clue to impending blood shed that will take place on the islands when two foreign countries (America and Japan) will go to war.

It took me two viewings to appreciate the beauty of Independencia but I still missed out on some of the symbolism on the second viewing. When I saw the film the first time, the controlled set surroundings didn't produce a natural reaction in me because I could not bounce any emotional resonance off the stage settings. Only after the news reel appeared around the 30 minute mark, did I being to appreciate the film's humour and pokes at history. The second viewing was far more rewarding and allowed me to observe things with a different perspective.

Independencia could form an interesting double-bill with Kon Ichikawa's Fires on the Plain. While Independencia ends with the Japanese yet to arrive on the Philippines, Fires on the Plain shows the American and Japanese soldiers locked in brutal war on the islands. Atleast, in Independencia we see the local Filipinos but the locals are hard to come by in Ichikawa's masterful work.

Daytime Drinking (2008, Korea, Noh Young-seok)

A delightful film that provides plenty of laughs with its sincere tale of love, friends, alcohol and good food. When I was not busy laughing, I was craving hot ramen noodles with cold beer just like the characters in the film.

Rough Cut (2008, Korea, Hun Jang)

Rough Cut is a fascinating no holds barred action film that puts a new spin on the traditional gangster genre. Some aspects of the film within a film story are similar to the extraordinary Korean film Dirty Carnival but Rough Cut has gone in a far more gritty direction with good effect. Kim Ki-duk's screenplay is different from anything he done before, and that includes the gangster film Bad Guy that he directed early in his career.

Adela (2008, Philippines, Adolfo Alix Jr.)

The film resides on quite an emotional and powerful performance from the 85 year old actress Anita Linda. The usage of the slum location adds to the film's realism and invites a glimpse into the character's lives. In this regard, the film is similar to other recent fascinating Filipino films set in real slum/shanty town locales such as The Bet Collector (directed by Jeffrey Jeturian) and Foster Child, Slingshot (Brillante Mendoza).

My Love Yurie (2008, South Korea, Ko Eun-Ki)

Donga falls for his neighbour Yurie but he can't have her because of one tiny problem -- Yurie’s father is the devil! To complicate things, Yurie's father forces his daughter into prostitution, something which further torments Donga. Desperate to gain Yurie's love, Donga has no choice but to make a deal with the devil. After the deal is made, Donga is happy but his happiness has restrictions because a deal with the devil always has consequences.

The film has a creative take on Goethe's Faust tale and the interesting set-up of two houses in the middle of nowhere is a great idea as it gives the film a timeless look. After a very good opening, the film goes off track around the point when Donga makes a deal with Yurie's father. As part of the deal, Yurie's father gives Donga a picture book which shows his future with Yurie. The scenes that follow do not sit in the film's previously developed ideas of the purity of love that Donga wants and the devilish nature of the trade that Yurie is involved in thanks to her father. Instead, these picture book scenes halt the film's flow and grind the story to a halt.

Tuesday, April 29, 2008

Cinema of the Philippines, Part I

Asian Spotlight, Filipino Films

Two years I had not seen a single film from the Philippines. Then at VIFF 2006, I came across Jeffrey Jeturian's Kubrador (The Bet Collector) and was left in awe. Kubrador, shot on digital camera, followed the lead character Amy (played by Gina Pareño) as she went around a shanty town slum collecting money from her neighborhood to place on a local numbers game (Jeuteng). We watch Amy move from street to street, gossiping along the way, and honestly talking people out of their hard earned money. The people Amy hits for money are already poor and winning the Jeuteng lottery is their ticket to a better life. I enjoyed the verite style and liked how the camera invited us to spend some time in Amy's life. Also at VIFF 2006, John Torres won the Dragons and Tiger Award for his debut feature Todo Todo Teros, a film that I saw shortly after VIFF. Torres' film was an interesting blend of video journal, fiction, documentary, improvised dialogue and poetry.

I was looking forward to seeing some Filipino films at VIFF 2007 and I was not disappointed -- I loved Brillante Mendoza's two films Slingshot & Foster Child. But I was still woefully shy of knowing much about Filipino cinema and had not gotten anywhere near a list of some well known films.

Part I features 4 titles:

  • A good personal starting point for a Filipino spotlight had to be with the earlier films of Brillante Mendoza. And luckily I managed to find his first two features Masahista (The Masseur) and Kaleldo (Summer Heat).


  • Macho Dancer -- I wanted to pick a film by a Lino Brocka, a film-maker I had read about quite a bit but not seen anything from until last week. Interestingly last week, Mendoza's new film Serbis was selected in the Cannes 2008 competition category. The last time a Filipino film was selected for the Cannes competition was one by Lino Brocka.


  • Naglalayag (The Silent Passage) directed by Maryo J. De los Reyes


  • Earning a living in the dark:

    It turns out that Mendoza's The Masseur & Brocka's Macho Dancer form an appropriate double bill as both are about men who leave their small town and head to the city where they sell their bodies to earn a living. In The Masseur, the lead character has to leave his home to work in a massage parlour while the main character in Macho Dancer works in a nightclub, pleasuring men and dancing his way to their hearts. Both films show a slice of the harsh reality in the Philippines but differ in their technique and intention -- The Masseur splices scenes from the character's present with his past and draws parallels between sexuality and certain rituals (funeral rites), while Macho Dancer is a linear narrative that is more interested in depicting the story of the main characters.

    Relationships:

    In Kaleldo (Summer Heat) Mendoza shows the lives of three sisters and their affairs and relationships. The film is divided into three sections (Wind, Earth and Fire) with each element representing the different personalities of the women. Hot, sultry, emotional and an engaging drama.

    The core story of Naglalayag is about the relationship between an older woman and a young man but the love story is surrounded by topics of class difference, crime and poverty.

    Film (Year, Director): Rating out of 10

    The Masseur (2005, Brillante Mendoza): 6
    Kaleldo (2004, Brillante Mendoza): 8
    Macho Dancer (1988, Lino Brocka): 6.5
    Naglalayag (2004, Maryo J. De los Reyes): 7

    Saturday, January 27, 2007

    Notes on recent films & emerging voices in Asian cinema

    United 93 (Writer, Director: Paul Greengrass): Rating 9/10


    I had avoided seeing this movie until now because I didn’t see a need for making a movie about the most televised event in recent history. Surely, an event that had gotten way too much press coverage and had resulted in more violence around the world didn’t need to be glorified by a movie? I held my belief despite all the positive film reviews. In the end, I changed my mind and I am glad I saw this film. The movie attempts to recreate that morning, first from the point of view in the air-traffic control center and then from events on United 93. The opening hour is spent mostly on the confusion in the air traffic control center when the two planes hit their target. The next 40-50 minutes showcase how an attempted hijacking of United 93 was thwarted. How true are the events shown in the movie? How accurate is the confusion in the air-traffic control center and army facility? We won’t know the true answer but that does not take away from this film’s efforts.

    It is a gripping movie that moves at a fact pace. Shot in documentary style, the film does not attempt to judge or glorify anything. It tries to show events as they might have unfolded. And the fact that we know what is going to happen next only adds to the film’s tension. No matter what the reason, or which side is correct, killing of innocent people is not justified. Man is a devilish beast and if he continues his violent ways, then eventually everything will be destroyed. History might show events that started out with United 93 will eventually end with the future shown in Children of Men.

    Calvaire, The Ordeal (Director, Fabrice Du Welz): Rating 8/10


    I knew nothing of this movie when I picked it up. But what a film it is! The DVD cover is in bloody red indicating scenes of horror. However, the horror is not what I expected.

    Marc Stevens (Laurent Lucas) is a traveling music performer who performs at a range of venues like senior homes. At a particular senior home, he attracts the affection of an elderly woman. He finds that inappropriate and quickly tries to leave when he finds that even the nurse there has feelings for him. On route through lonely and desolate Belgian country side, his vans breaks down. He finds Boris who takes him to Bartel’s Inn, about 3 km away. Boris’s words to Bartel are an indication of things to come. As opposed to merely saying that he has brought Bartel a tenant, Boris shouts "I have brought you someone." From then on starts Marc’s hell in a village populated by only older men. The movie is jam packed with odes and references to several films that director Fabrice clearly admires (Psycho to name just one). And the centre piece of all these references is Marc himself, a confused character who is hard to read. At the start of the film, he was the fancy of older women and then later on, in a mysterious village, he becomes the cause of feuding among the men. And the audience is left to wonder, why Marc is so helpless and weak at all this obvious insanity? De Welz has certainly made a unique first feature despite including quite a few horror film clichéd scenes.

    Talladega Nights: The Ballad of Ricky Bobby (Director, Adam McKay)

    How can one rate this movie? It is one of those films that one either hates or one loves. But I seem to fall somewhere in the middle. I didn’t entirely dislike the film but was not convinced by everything shown. Adam McKay and Will Ferrell are certainly creating a different kind of humour genre in Hollywood. On a positive side, their dry humour with a few touches of satire is refreshing to see compared to all the brain-dead clichéd Hollywood films. Overall, I enjoyed moments of the film and did laugh out loud at quite a few scenes. At other scenes I either smiled or shook my head at the stupidity of the situation. The introduction of Sacha Baron Cohen as the French driver adds to the film’s bizarre energy. Now I want to see a film with Will Ferrell, Ben Stiller, Sacha Baron Cohen and Adam Sandler! Rating 6/10

    Emerging Voices in Asian cinema…


    I was fortunate enough to preview these film as part of the Pan-Asian film festival.

    Todo Todo Torres (Philippines, Director John Torres)


    I was in Vancouver last year when John Torres picked up his prestigious “Dragons and Tigers Award for Young Cinema” at VIFF. The series programmer Tony Rayns mentioned that Torres’s film proves that home video can be captivating to watch. John’s feature is certainly an interesting blend of home video footage, video diary entries and scripted film. It gives a glimpse into the turbulent life of Manila where teenage angst combined with a police state can lead to acts of terrorism.

    The next 6 films are part of Andy Lau’s production company, Focus Films, which is trying to give new talent an opportunity to make movies.

    After this our exile (Hong Kong, Director, Patrick Tam)


    This was the best of the six films with a lot of raw emotion. The story dives into the life of a troubled couple and how their breaking marriage impacts their child. The wife eventually leaves the husband who is forced to look after the child. Unemployed and having to pay off his gambling debts, the father teaches his son to steal so as to survive. This leads to an emotional ending which I don't want to give away. I felt this film is 20-30 minutes longer than it should be, but the emotional ending gives a nice soothing feel for the movie. Also, the movie contains a beautiful passionate love scene between the father and his girl-friend which is tenderly shot (shades of Wai-Kar Wong).

    Joni's Promise (Indonesia, Director Joko Anwar)


    This is a cute romantic comedy about a film reel delivery man who is responsible for shuttling film reels in between theatres because each theatre can’t afford to rent its own print. It starts off nicely but after a while, the overdrawn idea wears thin and some substandard acting ruins the movie.

    Mukhsin (Malaysia, Director, Yasmin Ahmad)


    I have to admit that I am starting to like Yasmin Ahmad’s refreshing approach to families and love stories. I adored her 2005 film Sepet which was just wonderful. Mukhsin is not as good as Sepet but contains enough wonderful moments to warrant interest. Also, some of the some characters from Sepet can be found in Mukhsin , including a touching cameo from the love-struck Sepet couple. Also, the name Orked is used for the leading love interests in both films.

    Rain Dogs (Malaysia, Director Yuhang Ho)


    Yasmin Ahmad makes a starring role in this film which really feels inspired from Hou Hsiao-hsien's Goodbye South, Goodbye. It is a movie that requires quite a bit of patience as the pace is very relaxed.

    Crazy Stone (Hong Kong, Director Hao Ning)


    A gangster heist comedy that has taken its inspiration from quite a few Hollywood films like Snatch. Even though at times the acting feels substandard, it is a well shot film.

    Love Conquers All (Holland/Malaysia, Director Tan Chui Mui)


    Made with partial fund from Holland, this is another independent film that I felt tried to imitate HHH's style, especially in the closing scenes. The main story follows the love-affair of a young woman who falls for the wrong man, despite all the warning signs (which includes a story narrated by the man about a scam where men trap girls like her). Despite the slow start, there is always a shade of darkness underneath the film which starts to unfold when we realize that the woman’s affair has gone all wrong. And we watch her sink into trouble, slowly and slowly.