2011 SINENG PAMBANSA SA NEW YORK

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Sa pakikipagtulungan ng Film Development Council Of The Philippines at New York FIlipino Film Festival inihahandog ang kauna-unahang Sineng Pambansa simula Biyernes, ika-17 ng Hunyo sa Producer's Club 348 West 44th St. Between 8th & 9th Avenues New York, NY. Tampok ang mga pelkulang likha nina Sheron Dayoc, Ralston Jover, Mario O'Hara, Chito Rono, Gil Portes, Jim Libiran, Alvin Yapan, Remton Siega Zuasola at Mike de Leon.

Huwag palampasin!

Sineng Pambansa
Bumisita lamang sa www.producersclub.com at www.sinengpambansa.ph para sa karagdagang impormasyon.

Mga Pelikula:

HALAW / Ways of the Sea

Directed by Sheron R. Dayoc

Produced by Sheron Dayoc and Lilit Reyes

Written by Sheron Dayoc

Starring John Arcilla, Maria Isabel Lopez

This powerful film exposes the human trafficking operation and journey through the seas of Southern Philippines to neighboring Malaysia. Based on research and interviews, the dramatic narrative provides a kaleidoscope of characters hoping for a better life in Sabah, despite the difficulty and dubiousness of the process, and the uncertainty of a true job in Malaysia. It also represents a microcosm of the multi-cultural groupings of Mindanao whose diversity is bound by a common goal, an opportunity to earn a living, as they take that illegal small boat ride from their homeland to that foreign "Promised Land."

Winner, Netpac Award, Jury Prize, Berlin International Film Festival

Winner, Best Picture, Best Director, Best Actor, Best Editing, Cinemalaya Film Festival

Winner, 9 nominations including Best Picture, Best Director, URIAN awards


BAKAL BOYS / The Children Metal Divers

Directed by Ralston Jover

Produced by Bessie Badilla and Albert Almendralejo

Written by Ralston Jover and Henry Burgos

Starring Gina Pareno, Jess Evardone, Meljon Guinto, Vincent Olano, Edgardo Olano Jr.

A realistic docudrama, BAKAL BOYS tells the heartrending story of children who scavenge for metal scraps from old sunken ships in the murky waters of Manila Bay, often risking their lives in the process. Known locally as BAKAL BOYS, they sell their harvest to the owner of a junkshop who exploits them by bidding the lowest price. The burdensome plight brings the boys together, as depicted by the camaraderie of 9-year-old Utoy and 12-year-old Bungal. When one of them goes suddenly missing, the other swims through the dark waters, determinedly  and bravely, as an act of supreme sacrifice and true friendship. While always brimming with hope, the film reveals the deep chasm between life that is painful, and death that may not just be relief, but salvation.

Winner, Netpac Award, Cinemalaya Film Festival

Winner, 6 Urian nominations, including Best Picture, Best Director

Winner, Special Jury Prize, Thessaloniki International Film Festival

Winner, Cipputi Award, Torino International Film Festival

Winner, Special Citation, Vancouver International Film Festival

Winner, Best Picture, Best Editing, Best Screenplay, Young Critics Circle Awards


TWO FUNERALS

Directed by Gil M. Portes

Written by Gil Portes and Enrique Ramos

Starring Tessie Tomas, Robert Arevalo, Xian Lim

TWO FUNERALS is a black comedy cum road movie about a grieving mother's journey to recover her daughter's body, after a funeral mix-up caused it to be accidentally switched with a stranger's corpse. The journey from Tuguegarao, Cagayan in the north to Matnog, Sorsogon in the south is actually a journey to the heart of the country during Holy Week in the heat of the election season.

Winner, Audience Award, Best Film, Cinemalaya Independent Film Festival

Winner, Special Jury Prize, Best Director, Cinemalaya Independent Film Festival

BAYANING THIRD WORLD / Third World Hero

Directed by Mike De Leon

Written by Clodualdo ‘Doy’ Del Mundo Jr. and Mike De Leon

Starring Joel Torre, Ricky Davao, Cherry Pie Picache, Rio Locsin, Daria Ramirez, Lara Fabregas, Cris Villanueva, Joonee Gamboa

A complex film within a film that attempts to explore the myth of Philippine national hero Jose Rizal, director Mike De Leon’s study in manufactured mythology attempts to explore the life of Rizal while simultaneously investigating his influence on modern Philippine society. It seems that the culture has embraced the idea of a nation icon rather than the physical reality of the man behind the myth, and director De Leon begins to study the historical accounts of Rizal's life while attempting to contact the family and friends that were closest to him. Confounded by the controversial letter of retraction that Rizal signed in his later days, the filmmakers attempt to uncover the motivation of the legend in renouncing all he stood for and opting for and embracing the society that he so vehemently denounced. Soon coming to the end of their search for facts and unable to solve the mystery of the letter, the filmmakers, at odds with their belief of recorded history, find that discovering the ultimate truth to the legend may be an unattainable goal.

Nominee, Best Picture, Best Director, Best Actor, Best Screenplay, URIAN awards

ANG PAGLILITIS NI ANDRES BONIFACIO / The Trial of Andres Bonifacio

Directed by Mario O’ Hara

Written by Mario O’Hara

Starring Alfred Vargas, Miles Canapi, Danielle Castano, Lance Raymundo

 ANG PAGLILITIS NI ANDRES BONIFACIO is the untold story of the trial of Andres Bonifacio under the Revolutionary Government of President Emilio Aguinaldo.  Two leaders, Andres Bonifacio, Supremo of the Katipuneros, and Emilio Aguinaldo, president of the Revolutionary Government, made their way to fight for freedom for the Filipinos against the dominant rule, fought for a cause, and for a reason to be one nation.  Yet only one should rule.  This was the start of Philippine politics.  Ang Paglilitis ni Andres Bonifacio is a film documentation of Philippine history put to screen and megged by Mario O’Hara.  And now, let the people be the judge whether Andres Bonifacio is guilty or not guilty of treason

Nominee, Best Picture, Cinemalaya Independent Film Festival 2010

ANG DAMGO NI ELEUTERIA / Eleuteria’s Dream

Directed by Remton Siega Zuasola

Written by Maria Victoria Beltran and Remton Siega Zuasola

Starring Donna Gimeno, Gregg Tecson, Lucia Juezan, Emelda Mabusay

In this acclaimed comedy-drama, Terya, a simple island girl, is about to leave her home to marry a foreigner. Her journey ignites a series of events and introduces certain characters that affect her eventual decision to stay or go. The story takes place in the scenic Olango Island in the midst of the Baliw-Baliw Festival that holds parallel to Terya’s state of mind, as she walks the path towards her destiny.

Winner, Best Picture, Best Director, Urian Awards 2011

Winner, 6 nominations, including Best Picture, Golden Screen Awards 2011

HAPPYLAND

Directed by Jim Libiran

Written by Jim Libiran, Alfredo Lazarate

Starring China Cojuangco, Mohammed Ibrahim, Joseph Anthony Cerdena, Peter Amores

Fr. Jose, an aging missionary priest, hires Brother Pedro, a young seminarian, to start an unthinkable project in Tondo—to put together and develop a sports team for a forthcoming football tournament.  They recruit the most unlikely group of young men—Ismail, the local basketball star, Ramil, a skilled pickpocket, Totoy, a gang leader, David, a pedicab driver, Ian, a rapper wannabe, and Ompong and Konyat, the drug-sniffing borthers who live off the Tondo garbage dump.  And so begins this uplifting coming-of-age story—based on real life events—about poor young kids who learn to dream and dare to fight for a common goal. The cruel irony of its title is not lost on the kids and Tondo’s other residents; they named their community ‘happyland’ which comes from the Visayan term ‘hapilan,’ a word that means garbage dump.

Nominee, Best Picture, Cinemanila International Film Festival

ANG PANGGAGAHASA KAY FE / The Rapture of Fe

Directed by Alvin Yapan

Written by Alvin Yapan

Starring Irma Adlawan, TJ Trinidad, Mercedes Cabral, Nonie Buencamino

Each morning, baskets of black fruits mysteriously appear by the front yard of Fe. Thinking that it was a reconciliatory gesture from her abusive husband Dante, Fe tells him about it. This only confirms Dante's suspicions that she might be entertaining an adulterous relationship. Fearing her husband's jealousy, Fe grows even more scared as the fruits keep coming, a step closer to her front door. She keeps everything to herself until she turns to a former suitor, Arturo. When Fe urges Arturo to elope, she finds out that the young man has far more binding commitments with his family.  Caught between an abusive husband and an impotent lover, Fe has to decide.  Will she escape with her elusive suitor who could very well be just a figment of her imagination or stay trapped with the men in her real life who could never protect nor satisfy her? Caught in a sexually-charged society where violence still remains unimaginably real and covertly present, could the imagined be real enough for a woman to assure her own survival?

Winner, Special Jury Prize, Best Picture, Cinemalaya Independent Film Festival

Winner, 5 Urian nominations, including Best Picture, Best Director, Best Actress

Winner, Golden Jury Prize, Cairo International Film Festival

EMIR

Directed by Chito S. Rono

Produced by Digna H. Santiago

Executive Produced by Nestor Jardin, Rolando S. Atienza

Written by Jerry Gracio

Starring Frencheska Farr, Sid Lucero, Dulce, Jhong Hilario, Bayang Barrios, Gigi Escalante, Bodjie Pascua, Julia Clarete, Mahdi Yazdian, and Chris Millado

A full-feature original musical that’s partly based on the true story of a crown prince of an Arab nation who can fluently speak both Tagalog and Ilokano, EMIR tells the story of Amelia (Frencheska Farr), the daughter of poor farmers who travels toYememeni, a fictional oil-rich Arab nation on the verge of being invaded by its neighbors.  Like many OFWs who wish to aid the fortunes of their families back home, she is employed in the household of a sheik and assigned to be the nanny of the sheik's only son. True to her job, she rears the child not only to be appreciative of Filipino culture but to treat that heritage as his very own.  While not tending to her ward, she either swoons for a half-Arabic half-Filipino man (Sid Lucero) or entangles herself with the issues of her co-workers, until circumstances force her to return to the Philippines.  But will she or will she not? Set in the most picturesque locations in the Philippines, from the grandiose Banaue Rice Terraces to the rustic Paoay Church, and Morocco, the film is lovely to look at, exactly like moving musical postcards from one tourist destination to another.

Winner, 10 Golden Screen Awards, including Best Picture, Best Director /  Winner, 12 Star Award nominations, including Best Picture, Best Director/ Winner, 2 Urian nominations

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INA KA NG ANAK MO... Salimuot Ng Relasyong Ina At Anak

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Ina Ka Ng Anak Mo

Pinaksa ng Ina Ka Ng Anak Mo (Movie Masters Film Patterns International, Inc.) ang isa sa pinakamasalimuot na yugto sa pagitan ng relasyong ina at anak. Sa pagtatangka pa lamang na halughugin ang lalim ng bigkis na nagbubuklod dito, isang mabigat na atas na agad ang ipinatong ng pelikula sa sarili at manonood nito. Isa ang Ina Ka Ng Anak Mo sa mga likhang sining ni Lino Brocka noong taong 1979 kabilang ang Ina, Kapatid, Anak at Jaguar. Isinalin ang materyal sa isang mala-kolektibong proseso ng paglikha. Sa una, kontrolado ng manunulat ang bawat diyalago, sa ikalawa, walang iisang puwersang maaring magdikta ng direksiyon. Itinuturing na mala-kolektibo ang paglikha ng pelikula sapagkat kawangis ng proseso ang kolektibong pagdesisyon ng isang pangkat ng mga indibidwal na nakatuon sa isang produksiyon. Mayaman sa alusyon ukol sa pamilyang Pilipino ang pelikula. Pinagsikapan nitong isabuhay ang pangkalahatang suliraning nakabalot sa relasyon ng ina sa anak at anak sa asawa. Tumatahi dito ang mga pangyayari sa pang-araw-araw na pamumuhay nina Renata (Lolita Rodriguez), ang anak nitong si Ester (Nora Aunor) at asawang si Luis (Raul Aragon). Sa pagnanasang umasenso, nais subukan ni Luis na magtungo sa Saudi Arabia upang mabigyan ng magandang kinabukasan ang sariling pamilya ngunit labag ito sa kalooban ni Ester. Nang nagkaroon ng di pagkakaunawaan ang mag-ina, labis itong dinamdam ni Renata. Minsa'y naibuhos niya kay Luis ang hinanakit sa anak na naging sanhi ng kanilang panandaliang pagkalimot sa sarili. Ang rebelasyon sa kanilang pagtataksil ang nagpatahip sa dibdib ni Ester at nagpatingkad sa tunggalian nila ni Renata.

Ibang loob ang pinagkaabalahan ng pelikula taliwas sa tradisyong Brocka dahil hindi nito tinangka ang pagdalumat ng loob ng looban, inilugar ng direktor ang mga pangunahing tauhan ng pelikula sa looban upang tingnan rin ang kani-kanilang mga loob na nasangkot sa tunggalian sa pagpanig sa kasinungalingan o panlilinlang. Sa simple subalit di simplistiko nitong paggalugad sa personal na loob ng mga tauhan tungo sa kompleksidad ng mga nag-aagawang puwersang kinapapalooban ng mga tauhan. Magaganap ang resolusyon sa mga pansariling loob, subalit kinakailangang ihayag ito sa labas ng sarili tungo sa isang resolusyong panlipunan. Nararapat banggitin ang kontribusyon ng Ina Ka Ng Anak Mo sa larangan ng pagganap na pumainlalang sa kaganapan ng sining. Dramatikong isinakonkreto ito ng mahusay na pagganap ni Lolita Rodriguez. Bilang tradisyunal na ina, pinapanood natin siya habang dumaraan sa proseso ng lumbay, pagkabigo at pagtanggap samantalang magiting na binubuo ang nadurog na mga piraso ng sarili at dignidad bunga ng kanyang kahinaan. Sa sensitibong paglikha ni Nora Aunor, isang representasyon si Ester ng karaniwang maybahay na nakatuklas sa pangangaliwa ng kanyang asawa. Hinatak niya tayong damhin ang kanyang mga dilemma habang nakikibaka siyang matanggap ang pagtataksil ng kanyang asawa. Sa prosesong ito napilitan siyang lumikha ng mga bagong paraan ng pagharap hindi lamang sa kanyang mga sariling satanas at pagdurusa kundi kasama rin ang kanyang pamilyang may basag na ngayon at may lamat. Dumaloy man ang buong kuwento ng pelikula sa kamalayan ni Ester, nagtapos naman ito sa rekompigurasyon ng relasyong ina, anak at asawa habang patuloy ding nagbabago ang materyal na kondisyon ng mga pangunahing tauhan.

Direksiyon: Lino Brocka
Dulang Pampelikula: Jose Dalisay, Jr.
Hango sa Kuwento Ni Leticia Farinas
Sinematograpiya: Conrado Baltazar
Musika: Ed Pagayon
Editing: Edgardo "Boy" Vinarao
Disenyo: Joey Luna
Produksiyon: Movie Masters Film Patterns International, Inc.
Release Date: December 25, 1979

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SUMMER LOVE... Isang Natatanging Pagtatanghal

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Summer Love 
Inihahandog ng Regal Films, Inc. at SOFIA (Samahan Ng Mga Filipinong Arkivista Para Sa Pelikula, Inc.) ang isang natatanging pagtatanghal ng romantikong pelikulang Summer Love (1981) na pinagungunahan ng dalawa sa pinakatanyag na tambalan ng dekada '80 sina Snooky at Gabby Concepcion kasama sina Maricel Soriano at William Martinez. Ginamit ni direktor Elwood Perez sa Summer Love ang kapangyarihan ng pelikula bilang biswal na midyum at kinasangkapan ang pamamaraan at estratehiya ng sinematograpiya upang gawing pelikula ito ng mga karakter at lunan, ng tao at espasyo. Hinuli ng masinop at mahusay na sinematograpiya hindi lamang ang salaysay ng pag-iibigan ng mga magsing-irog kundi pati ang makasaysayan at lumilikha ng kasaysayang espasyo ng Taal, Batangas. Sa situwasyong ito, ang espasyo ay hindi lamang lugar na tinatayuan, nilalakaran o pinapasyalan kundi mga lunan kung saan ang mga tao ay pinagtatagpo at ang mga ugnayan ay binubuo. Ipinakikita sa pelikula na ang mga pampublikong espasyo ay mga bukas na lugar na may buhay at kasaysayan na hindi hiwalay sa buhay at kasaysayan ng mga taong dito ay nanahan. Ang pagtatanghal ng Summer Love ay isang fund-raising event ng SOFIA upang maisakatuparan ang layuning maitaguyod ang film preservation at archiving sa bansa.

Mapapanood ang SUMMER LOVE sa CCP Dream Theater, ika-11 ng Hunyo, 5:30 ng hapon

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KAPAG NAPAGOD ANG PUSO... Kani-Kaniyang Depinisyon Ng Pag-Ibig At Pagmamahal

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Kapag Napagod Ang Puso
Umiikot ang Kapag Napagod Ang Puso (V.H. Films, Inc.) sa isang mag-asawa at ang kanilang mga naghihikahos na damdamin. Ang sentro ng aksiyon ay umiinog kina Rosalie (Snooky Serna) at Adrian (Christopher de Leon) na kapwa napapagitna sa kanilang mga nagtutunggaling mga ina (Gloria Romero at Caridad Sanchez) na siyang manipestasyon ng mga unos ng emosyon. Lilikha ng sugat ang mga pangyayaring ito. Sugat na animo'y maghihilom sa paglipas ng panahon. Ngunit sa pagbubukas ng pelikula, makikitang ang sugat ay natabunan lamang ng mga kagyat na pangangailangang pang-araw-araw. Sa pagiging mainitin ng ulo at pambubugbog ni Adrian, ang pagmamalupit ng ina nito sa kanya na kung tutuusin ay eksternal na manipestasyon ng mga internal na pagkabagabag ni Rosalie. Ang natabunang sugat ay sasambulat nang sumulpot ang usapin ng pagiging ampon ni Adrian. Sa paglala ng sugat at pagkaubos ng kanyang mga opsiyon, mapapabayaan ni Adrian ang sarili at kadalasa'y si Rosalie ang mapagbubuntunan nito ng galit at sama ng loob. Ang landas tungo sa paghilom ng sugat ay mag-uumpisa sa isang krisis. Sa unang sulyap, tila mga pribadong pasakit at dalamhati ang dinaranas ng mga tauhan. Ngunit sa kabilang banda, ang pagtatalo ng mag-asawa, ang tila hindi matapos-tapos na suliraning pinansiyal ni ang pagpilit ni iwan ng anak ang asawa. Ang sinulid na nagtatahi sa dalawa ay ang kani-kaniyang depinisyon ng pag-ibig at pagmamahal. Halimbawa, napagtanto ni Rosalie kung gaano nito kamahal si Adrian. Ito ay dahil ang pagmamahal sa asawa ay kakabit at katumbas ng pagmamahal sa sarili, dahil hindi sila iba at bahagi ng isa't-isa. "Sa hirap at ginhawa, habang panahon" wika ni Adrian.

Sa isang banda rin, maaring magbigay ang pelikula ng maling mga akala. Tila ba sinasabing mareresolba ang masasalimuot na bagabag at mga kongkretong pang-araw-araw na suliranin ng buhay mag-asawa kung sila ay nagmamahalan. Ngunit sa kabilang banda, ikinakatuwiran ng pelikua na hindi kailangang maging pasibo ang mga tauhan dahil may opsiyon silang galugarin ang kanilang kakayahan bilang tao. Ngunit may limitasyon ang kilos ng tao, ang kailangan lamang ay lubos na pagtitiwala sa taong iniibig at minamahal. Mahirap ang paksa at tema ng pelikula at mapangahas ang direktor. Sa ibang kamay, marahil naging hungkag ang mensahe. Ngunit naiwasan at nalagpasan ng pelikula ang mga kababawan sa pamamagitan ng maingat at sensitibong pagsasadula ng direktor sa premis ng pelikula, sa pamamagitan ng masinop na paglinang sa screenplay sinematograpiya, editing at tunog, sa matimpi at sensitibong pagganap ni Snooky Serna bilang babaeng ipinaglaban ang kanyang puso at ni Christopher de Leon bilang lalaking nagkait ng panahon at pag-unawa sa babaeng kanyang pinakasalan kasama na ang kolektibong kontribusyon ng buong kast. Sa pinagsama-samang lakas ng bawat tauhan at kanilang tagapagganap, matagumpay na naisapelikula ang pakikipagtunggali at pag-igpaw sa mga sakit at pasakit ng pag-ibig sa pamamagitan ng lubos na pag-unawa sa taong pinagbubuhusan ng atensiyon at pagmamahal.

Direksiyon: Maryo J. de los Reyes
Dulang Pampelikula: Jake Tordesillas
Sinematograpiya: Ely Cruz
Musika: Mon del Rosario
Editing: Edgardo (Boy) Vinarao
Disenyo: Lea Locsin
Produksiyon: V.H. Films, Inc.
Release Date: June 30, 1988

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The Gay Stereotype In LEROY-LEROY SINTA

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Leroy Leroy Sinta
A homosexual in Philippine cinema is overly sensitive, loud, confused and exaggeratedly feminine. More often, a homosexual character preferably in drag is a filmic device meant to draw laughter from spectators. In Leroy Leroy Sinta (Seiko Films, Inc.) Leroy / Liwayway 's (Roderick Paulate) issue of homosexuality triggers the film's plot and subplot. Consequently, the warped resolution of Leroy's homosexuality guarantees safe narrative closure in consonance with masculine-sexist standards. Homosexuals are reduced to the marginal. Stereotypes of their image, professions included are reproduced to ensure marginality. This is where masculinity derives its privileging status. Homosexuals are pseudo female, dressed in feminine fashion, wanting sex change. The constant bombardment of this image contains homosexuality to the peripheral with masculinity as center. Boys will be reared as male heterosexuals, to choose otherwise is to invite ostracism. Leroy as a character provides two gender qualities in one person. Leroy on the masculine side tries to win his grandfather Don Agaton's (Ike Lozada) affection by acting all too macho. Liwayway on the feminine side is the all too good daughter to her adoptive mother Diding (Nova Villa) and younger brother Toto (Romnick Sarmenta). However, unlike gay readings of Superman and Batman where sexual dichotomies of superheroes and normal characters are obvious, Leroy assimilates both masculine and feminine qualities.

The narrative catapults Liwayway's feminine side and obscures Leroy. Liwayway becomes Leroy in drag and even worse, Liwayway becomes the feminine hero. This licenses the male to represent the normal in female. All hell breaks loose in a climactic build-up and anti-climactic ending. In one scene, Leroy acts overly feminine while applying for a job as a cook in a restaurant, in a later scene, Leroy is seen furiously kicking in the air, teasing spectators with what's under his skirt. In fashion and decorum, male represents female. So potent in this technique that in one scene, Greggy (Jestoni Alarcon) dresses in drag to duplicate Liwayway's garb. But symbolically, the duplication of Liwayway's image  is the duplication of Leroy's symbols, the power to dominate  and power to duplicate this domination. In the intertext of film and reality, homosexuality and feminism are threats to male ideology and are therefore contained. In corollary function, homosexuals and women are used to represent the male and capitalist systems of values and practices. In Leroy Leroy Sinta, the purity of the hearts of the poor is made supreme over wealth and power. The male ideology dominates in the perpetuation of male and capitalist hierarchies. Films like this naturalize male control of sexuality. Leroy Leroy Sinta denies access to homosexuals and women to influence, much more to effect, change. Or to realize their sexualities, their consciousness.

Directed By: Jett C. Espiritu
Screenplay: Jake Cocadiz
Cinematography: J.R. Peterman
Music: Boy Alcaide
Film Editor: Augusto Salvador
Production Design: Manny Morfe
Produced By: Seiko Films, Inc.
Release Date: February 18, 1988

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Karapatang Magpalathala 2006-2013. SARI-SARING SINENG PINOY Lahat Ng Karapatan Ay Nakalaan. Disenyo Jojo Devera