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Sunday, 24 November 2024

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Bayan o Sarili: Heneral Luna Film Review

Sa pagbukas ng pelikulang Heneral Luna ni Jerrold Tarog, muling balikan at buksan ang kwento ng kagitingan ng isang heneral at ng iba pang kontrobersyal na bahagi ng kasaysayan.

Hindi lubos na mauunawaan ang kasalukuyan kung hindi babalikan ang kasaysayan. Kaya sa pagbukas ng pelikulang Heneral Luna ni Jerrold Tarog noong Setyembre 9, 2015, nabuksan sa madla ang kwento ng kagitingan ng isang heneral at ng iba pang kontrobersyal na bahagi ng kasaysayan. Naging usap-usapan ng mga netizens ang pelikula at mistulang naging viral pa ang posibleng maagang pagkakatanggal nito sa mga sinehan. Muli nating hawiin ang kurtina at tanawin ang kasaysayan sa likod ni Heneral Luna.

Mapangahas at puno ng tapang ang grupo ni Direk Jerrold Tarog sa pagnanais na ibunyag ang madilim na bahagi ng kasaysayan. Ang kasaysayang kinagisnan nating mga bayani ay may kinalaman din sa kontroberysyal na krimen ng pagpatay sa kapwa Pilipino. Umiikot ang istorya sa panahon ng pananakop ng mga Amerikano at kung paano lumaban ang mga Pilipino upang hindi tuluyang masakop ng mga dayuhan at makamit ang soberanya.

Pilipino Laban sa Pilipino

“Mayroon tayong mas malaking kaaway kaysa mga Amerikano, ang ating sarili,” isa sa mga matalinhagang linyang binitawan sa pelikula na sumasalamin sa madilim na lihim ng kasaysayan. Hindi man direktang ipinakita ay tila palaisipan ang matagal nang isyu na si Presidente Emilio Aguinaldo rin ang nagpapatay kay Heneral Luna gaya nang nangyari kay Andres Bonifacio. Naging tahasan din ang pagsasalaysay ng totoong kaganapan sa pagitan ng mga Pilipino noong panahon ng mga Amerikano. Kahit sa pagitan ng mga miyembro ng militar o pulitika ay hindi nagkaroon ng kasunduan ang mga Pilipino sa pagdedesisyon.

Napapanahon Kahit Kahapon

Maikukumpara na magpahanggang ngayon ay nangyayari pa rin ang pagsisiraan sa pagitan ng mga Pilipino lalo na sa ating gobyerno. Kung sa pelikula ay makikitang pinatay si Heneral Luna ng kapwa Pilipino, ngayon ay wala pa ring nababago gaya nang patuloy nating nakikita sa mga balita at maging sa pulitika. Ang mga salitang ginamit ay nababagay rin sa modernong panahon lalo na ang mga punchline upang lagyan ng bahagyang komedya ang timpla. Bagaman makabago ang salita ay hindi nasakripisyo ang kwento at takbo ng istorya dahil sa katunayan, maging ang paggamit ng f imbes na p sa salitang familia ay kapansin-pansin din. Maging ang mga linya ay sadyang may laman na mas pinatindi pa ng batuhan ng mga dekalibreng artista gaya ni John Arcilla .

Atensyon para sa Suhestiyon

Talagang isa ang pelikulang ito sa mga maituturing na masterpiece sa larangan ng Philippine Movie, hindi lang dahil sa magandang storyline kundi maging ang cinematography . Makakakonekta ang lahat ng uri ng manonood sa ganitong klaseng pelikula dahil sa pagkakatalakay nito sa ating mga paaralan simula nang tayo ay nasa elementarya. Sadyang iba ang nakikita sa nababasa mula sa nilalaman ng libro kaya mas mainam kung sa susunod ay ipapalabas ito nang may subtitle upang masundan din ng mga manonood ang mga linyang tumatatak sa puso. Bagaman mayroon nang mga naunang pelikula patungkol sa ating mga bayani, maganda rin kung ang mga susunod na pelikulang tungkol sa kasaysayan ay gawing sequel style o tahiin ang mga istorya ayon sa pagkakasunod-sunod sa kasaysayan upang hindi nakalilito at mas madaling magamit bilang material sa pagtuturo sa mga paaralan. Noon pa man ay may kakaiba nang alab ang puso nating mga Pilipino gaya nang ipinakita ng isa sa ating mga bayani. Nakakalungkot lamang na isiping tila nakakalimot tayo at pati sa simpleng pagsuporta ng sariling atin ay mistulang mabibigo pa tayo. Sa bawat pagkakataon na iniisip natin ang ating kapakanan, isaalang-alang din natin ang ating bayan. Wala mang kapa o anumang costume gaya ng mga superheroes ang ating mga bayani ay umukit sa kasaysayan ang dugong kanilang ibinuwis. Sana’y huwag tayong magbulag-bulagan sa nagaganap sa ating bansa at gaya ng sinabi sa pelikula, “hindi panlalait ang pagsasabi ng totoo.” Kaya sa mga pulitiko, pulis, estudyante at maging pedicab driver , “negosyo o kalayaan, bayan o sarili, mamili ka.”

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Ikaw (Filipino) Movie Review

January 27, 2022

Ikaw (You) is one of the newly added Filipino movie on Netflix. It’s about a Manila-based real estate broker who returned to her town in Bulusan, Sorgsogon for her grandmother’s 80th birthday celebration. She gets reacquinted with her elementary schoolmate, Edong, a coconut farmer.

Basically when I watched this movie, I have no clue what’s the plot of the movie, I just watched the trailer on Netflix and then proceeded to hit the play button.

Here’s my 3 thoughts about the movie:

Wow. The plot twist was unexpected . Since I don’t look at how many minutes are left in the movie, the plot twist took me by surprise. Yup. I really thought the movie was done, and they were already wrapping up. Since I don’t want to spoil you with the plot twist, I will not elaborate more on this thought.
I didn’t cry that much . I’m a big cry baby! And so when I tell you I didn’t cry that much, tears did fell, but wasn’t enough. They kind of missed on the chance of making their audience bawl their eyes out. Maybe it’s the song choice or the scene was just lacking. For me, instead on focusing on the character crying, they could have shown a few seconds of flash backs.
It’s not a happy ending . If you like movies that ends in happy ever after, then this movie is not for you. But don’t let this stop you. This movie is still worth watching. I enjoyed and I didn’t feel like I wasted my time.

Have you seen Ikaw? What do you think about the movie? Let me know in the comments!

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Movie reviews: Pista ng Pelikulang Pilipino 2019 films part 1

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Movie reviews: Pista ng Pelikulang Pilipino 2019 films part 1

Watch Me Kill review: Mood and atmosphere

There is a lot to admire about Tyrone Acierto’s Watch Me Kill .

First, the movie, shot entirely on film, has a look and feel that aims for bleak and barren beauty rather than just artless coverage. Mood is clearly a primary aspiration here. The film is painstakingly slow and purposefully deliberate, all to service the atmosphere of an alternate universe where the bare boondocks of the Philippines are bereft of the rule of law and brimming with all sorts of unsavory characters. Acierto successfully creates an immersive backdrop for what could be a timeless tale of grave vices and fractured virtues that a very specific local culture can conjure.

Sadly, the story that Watch Me Kill puts into motion in this overwhelming setting is underwhelming.

It works best in the beginning where everything is shrouded in mystery; where the motivations for the relentless murders committed by brooding assassin Luciana (Jean Garcia) are indecipherable, or how the sudden fortune of a relentless treasure hunter will make a dent in Luciana’s journey. The set-up, coupled with the irresistible ambience of endless wilderness and cruel humanity, is exquisite. However, as soon as the film sets its focus on putting to fruition a plot twist that is as old as time, the creases start becoming more apparent. The elegance of the storytelling falls apart just to service the ending, with Luciana never really evolving into a character with enough humanity to root for. The brutality becomes repetitive. The artifice reverberates.

Still, Acierto’s film is a wonder to behold. It is impressive in terms of both risk-taking and crafting.

LSS review: Singing your heart out

A girl (Gabbi Garcia) has just been told that she is better in administrative work than in making music. A boy (Khalil Ramos) has just found out that the girl he has long adored is getting back with her ex. Tearfully listening to a song from a band they both adore, the two defeated characters see each other and end up sharing a passionate kiss. It’s illogical. It couldn’t happen. She’s professionally distraught. He’s irreversibly heartbroken. In our normal world, a heartfelt kiss would be the farthest thing from happening.

However, in Jade Castro’s LSS – a film that aspires to translate the magic of music bringing people together – the scene, amidst all the illogic and incredibility, is not just beautiful, it is poignant.

LSS is far from perfect. The love story it peddles unfolds far too conveniently. There are also certain details that feel too removed from reality for comfort, details that the film’s affinity with music cannot even be an excuse for. These are all writing problems, problems that the film’s very many precious moments can cover for, problems that the team of screenwriters who’ve shaped the characters to have more pressing concerns other than the need for a happy love story, can ultimately be forgiven for.

LSS can be categorized as a musical, except that when its characters burst into song, they do so not out of the filmmakers’ conceit but out of their connection to the music. They sing imperfectly like most music fans sing like, with Castro putting an effort to weave this communal adoration for songs and a particular band into dazzling sequences that seamlessly converge, translating something specific and possibly alienating into something as universal as love.

I’m Ellenya L. review: Cheek and ridicule

The biggest misstep of Boy2 Quizon’s I’m Ellenya L . is that it projects its disdain for millennials too overtly.

Ellenya (Maris Racal) is nothing more than a glaring stereotype, an aspiring influencer who forgoes traditional work for her ambition to make money from making all kinds of videos for the internet. Quizon’s film dutifully navigates her efforts and eventual comeuppance, sprinkling an afterthought of a love story into the mix. The film never really struggles to understand the character or the generation that gave rise to such a mentality. In the film’s world, she is stooge, the clichéd core of a parable about the pitfalls of indulging in the gross conveniences of this social media generation.

It’s all very elementary. Thankfully, Quizon is far from being elementary in tackling what could possibly be a rudimentary morality tale. I’m Ellenya L . is dominated by all sorts of humor, ranging from the drably inoffensive to the adamantly vulgar. The film is staunchly current, with its best and most irreverent gags clinging on the current flavors of the month. While this might hurt the film’s probably inexistent bid for immortality, it improves its chances at squeezing out every bit of chuckle from its audience. The film is truly funny. It is also wistful when it intends to be, with Ellenya’s dad (Gio Alvarez) and grandmother (Nova Villa) balancing the cheek and ridicule with traces of very relatable humanity.

Lola Igna review: Long life and levity

Eduardo Roy, Jr.’s Lola Igna is an absolute charmer.

Buoyed by the captivating and compelling turn of legendary Angie Ferro as the titular grandmother, the film diligently observes the ironic suffering of a woman unable to die with uncharacteristic but delightful levity. It is colorful, with the film making most of all the bright and striking hues the farmland setting can afford, to enunciate the abundance of life that the main character is trying her best to abandon. The music is spritely. The events that ensue never swell to the point of distracting melodrama. Everything is kept within a very intimate package, almost as if Roy intends his audience to witness the life of the main character first as intruders (like the many tourists who force themselves into her humble hut) and later on as friends or family who, little by little, acknowledge both the beauty and cruelty of Igna’s fate as a woman who wants to die but can’t.

Sure, the film’s focus is the titular character’s unique and fantastic dilemma. However, Roy can’t also avoid but tackle pertinent issues that accompany it. He conjures a believable world where a human being whose sufferings are unknown to the public is turned into a tourist commodity, converted not just by the community but also by her family into a living.

Society still plays a crucial part in this otherwise private concern, and Roy doesn’t just understand that, he fully comprehends that everything is interconnected. The film instinctively balances the inhumanity of being a world record and the profoundness of the pleasures of death after living a life fully lived, resulting in a truly tender portrait of this world’s most subtle and mysterious injustices.

Open review: Modern but old-fashioned

Andoy Ranay’s Open opens in the middle of a relationship that is already doomed to fail. Rome (Arci Munoz) and Ethan (JC Santos) are in a bakery choosing cakes to bring to a potluck. A simple argument on what kind of cake to bring is closed with a compromise that is not exactly amicable, as it involves a lot of emotional leveraging.

The clever opening telegraphs the kind of manipulation Ethan does to introduce to Rome the idea of open relationships, wherein while the two are emotionally loyal to each other, they can have physical relationships with strangers. Predictably, the set-up only forces their already troubled relationship into a deeper pit.

What is most unfortunate about Open is how it utilizes a modern and untested relationship set-up, one that is ripe enough to be brought into more mainstream consciousness, to serve as the fulcrum of another old-fashioned morality tale about the dangers of infidelity. Strip the film of all the trappings of innovation and currency and it remains to be the same tale as old as time where a relationship becomes embattled by the allures of a third party. What truly drives the film is the stirring performance of Munoz who intuitively humanizes a character who right from the start is made captive by a truly despicable man. The film isn’t really memorable because of the supposed novelty it brings to the table, but because of its fevered and oftentimes very elegant attempt to approximate the nuances of a torturously lopsided romance.

Francis Joseph Cruz litigates for a living and writes about cinema for fun. The first Filipino movie he saw in the theaters was Carlo J. Caparas’ Tirad Pass.

Since then, he’s been on a mission to find better memories with Philippine cinema.

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