Wednesday, September 17, 2014

DADDY, IBALIK MO NA AKO KAY MOMMY


Ni MERCY G. MASANGCAY

Itinatampok sina Mommy Guy, Daddy Pip 
at Maria Leonora Teresa
----------o0o----------
 (Ang mga larawan ay kuha mula sa Liwayway Magasin.)







ABANGAN ANG SUSUNOD NA KABANATA!

Maria Leonora Theresa

Si NORA AUNOR sa RYZZA MAE SHOW


Bilang bahagi ng promotion ng pelikulang DEMENTIA, naging panauhin ni Ryzza Mae si Superstar Nora Aunor sa kanyang The Ryzza Mae Show.  Nagkaroon ng advance taping ang nasabing show ng GMA Network noong ika – 16 ng Setyembre sa GMA Broadway Centrum, New Manila, Quezon City.  Mapapanood ang dalawang episode sa Channel 7 mula Setyembre 22 hanggang Setyembre 23 bago ang araw ng pagpapalabas ng pelikulang DEMENTIA sa Setyembre 24 sa mga sinehan sa buong Pilipinas.  Mula 11:30 ng umaga, ang presensiya ni Nora Aunor sa The Ryzza Mae Show ay maghahatid ng kasiyahan hindi lamang sa mga Noranians kundi pati na rin sa mga tagasubaybay ni Ryzza Mae.  Itaguyod at tangkilikin ang pelikulang Dementia na nakatakda ring ipalabas sa 35th Fantasporto International Film Festival, Portugal sa Pebrero 2015.  Dahil sa mahusay at magandang pagkagawa ni Direk Perci Intalan, binigyan ng Cinema Evaluation Board ng Graded A ang DEMENTIA. 

Abangan ang The Ryzza Mae Show.  At tandaan, dalhin ang buong pamilya, kaibigan at kabarkada, mga ka-trabaho, mga ka-eskwela mula Setyembre 24 at sama-samang manood ng DEMENTIA.  Ipakita natin ang ating suporta sa de-kalidad na pelikulang ito.   








----------o0o---------
Ang mga larawan ay kuha ni Erickson Dela Cruz (NFF)

Tuesday, September 16, 2014

PAANO KA NAPUKAW NG ISANG NORA AUNOR?



Na - inspire ka ba? Namangha ka ba? Na – in love ka ba? Nahusayan ka ba? Nabinyagan ka ba? Paano ka napukaw ng nag-iisang Nora Aunor . . . ng isang National Artist?

Maaari mong ilahad ang iyong kuwento sa blog na ito.

DEMENTIA: Movie Trailer and Test Screening


Mara Fabre (Nora Aunor) is diagnosed with early onset dementia, In the hope of jogging her memory, she is brought by her cousin's family to her hometown in a remote island in Batanes. But instead of just recalling familiar places and faces, she then starts seeing visions no one else sees. It is only her young niece, Rachel (Jasmine Curtis Smith), who begins to wonder if what Mara sees is really just a by-product of her illness or if there really is something haunting her from the past.

Starring Ms. Nora Aunor and Jasmine Curtis-Smith, Bing Loyzaga, Yul Servo, Chynna Ortaleza, Jeric Gonzales, Althea Vega, Lou Veloso and Lui Manansala.

Directed by Percival M. Intalan
In Philippine Cinemas this September 24
1st DEMENTIA TRAILER

2nd DEMENTIA TRAILER

TEST SCREENING


Test Screening for the Filipino horror film DEMENTIA held at Greenhills Theater on September 10, 2014.

Monday, September 1, 2014

UP Gawad Plaridel honors Superstar Nora Aunor


By Haidee C. Pineda

(SEPT. 1)— She was petite with dark skin tone and very humble but, she was the brightest star that afternoon.

Veteran actress Nora Cabaltera Villamayor, more popularly known as Nora Aunor, arrived at the UP Film Institute Cine Adarna on Aug. 27 dressed in a pristine white Filipiniana attire that elegantly fit her small frame. She was honored by the UP College of Mass Communication as the 10th recipient of the prestigious UP Gawad Plaridel Award for her excellence in film and television.


Aunor was accompanied by her colleagues and friends, among them, award-winning scriptwriter Ricky Lee and multi-awarded film director Joel Lamangan.

As she marched to her seat during the processional, hundreds of loyal fans known as “Noranians,” gave her a standing ovation. Among the guests were National Artist for Literature Dr. Bienvenido Lumbera, members of the Board of Regents and the UP officials, faculty, staff and students, and guests from other universities.


When the Superstar went up the stage to accept the award, the Noranians almost shook Cine Adarna with their thunderous applause while some were on the verge of tears, feeling very proud of their idol.

Aunor confessed she was really nervous when she learned that she was to receive CMC’s highest distinction.  But, as she regained her composure, she thanked everyone and said “Hanggang Grade 2 lang po ang inabot ko sa aking edukasyon kaya noong bigyan po ako ng karangalang ito ay para na rin po akong naka-gradweyt sa Unibersidad.”


She said the inspiration and the secret to her career’s longevity that spanned more than five decades is: “Lahat ng ginagawa ko ngayon ay paglingon sa aking nakalipas. At iyung mga inspirasyon na nararamdaman ko ay galing mismo sa mga taong naniniwala sa akin noong ako’y kumakanta palang hanggang sa ako ay naging artista nga po.”

Instead of a lecture, Aunor shared stories about her life from the time she was still struggling to help her family make ends meet, to the time she joined the “Tawag ng Tanghalan,” and until she became a multi-awarded actress. She also shared insights on her passion for making quality films that influenced her to venture into producing movies.

Aunor confessed that she has never attended an acting workshop although she thinks it is important. She said sometimes the actors would discover for themselves their own strategy on how to portray a certain role. What is important, she said, “Hangga’t maaari po, ang bawat karakter ko ay hindi dapat pareho sa karakter ko sa ibang pelikula.”


Her advise to the younger batch of actors was “Kapag isinapuso ninyo ang eksena, at naiintindihan mo ang kaeksena mo, lumalabas na natural (ang lahat).”

In addition, she said “Magtulungan po tayo na patuloy nating gawin kung ano iyung nararapat na gawin sa industriya lalo na sa mga baguhang artista na gumawa rin sila ng mga pelikulang makabuluhan at tulungan natin sila sa pagganap sa karakter nila sa pelikula...para maiangat natin ang industriya ng pelikulang Pilipino hindi lang dito sa Pilipinas kundi lalo’t higit sa lahat ay iyung makilala sa ibang bansa.”


The Gawad Plaridel, named after the Philippine hero Marcelo H. del Pilar’s nom de plume, Plaridel, is the College of Mass Communication’s (CMC) distinction for Filipino media practitioners who have excelled in any of the media (print, radio, film and television) and have performed with the highest level of professional integrity in the interest of public service.


In his welcome remarks, UPD chancellor Dr. Michael L. Tan said “Si Nora Aunor ay ang natatanging superstar dahil siya lamang ang artistang Filipino na matagumpay na nakatawid sa lahat ng larangan ng sining sa pagtatanghal.”

Tan also said “Para sa komunidad, para sa pambansang unibersidad, kayo po Ate Guy ay ang pambansang alagad ng sining.”


UP President Alfredo E. Pascual, Chancellor Tan, CMC dean Dr. Roland B. Tolentino awarded her a trophy specially designed by National Artist for Sculpture Napoleon Abueva. The citation on the certificate of recognition was read by CMC professor emeritus Dr. Nicanor Tiongson.

CMC recognized Aunor for her “unique artistry and versatility as a singer” and for “portraying with keen intelligence and uncommon sensitivity an amazing range of cinematic roles.”

The citation listed the films that showcased her excellence as an artist as “Fe, Esperanza, Caridad” (1974), “Minsa’y Isang Gamugamo” (1976), “Tatlong Taong Walang Diyos” (1976), “Bona” (1980), “Himala” (1982), “Bakit May Kahapon Pa” (1996), “Naglalayag” (2004) and “Thy Womb” (2012).

She was also commended for producing quality films that raised the bar in Philippine filmmaking, through her NV Productions like “Banaue: Stairway to the Sky” (1975), “Alkitrang Dugo” (1975),  “Tatlong Taong Walang Diyos” (1976),  “Tisoy!” (1977), “Annie Batungbakal” (1979) and “Bona” (1980).

Aunor was also recognized for starring in memorable and long-running television programs like the variety show “Nora Aunor Show” and “Superstar” that showcased her skills in singing and dancing that set a trend in Philippine television, and the weekly drama anthology “Nora Cinderella” at “Ang Makulay na Daigdig ni Nora” that brought to the public both fine and dramatic acting and relevant narratives of everyday life.


CMC also cited Aunor “Para sa paghamon niya sa pamantayang kolonyal na nagtatanghal sa mestiza bilang huwaran ng kariktan sa pelikula at lipunang Pilipino at sa paggigiit niya na ang tikas ng kayumanggi —balat na kulay ng gintong pulot, buhok na sing-itim ng uwak, at katawang balingkinitan—ay kapantay ng iba pang uri ng kagandahan, lalo na’t sa Pilipinas ay kinakatawan ng kayumanggi ang nakararaming may lahing Malay, na umiral mula panahong pre-kolonyal hanggang kasalukuyan, mula kanayunan hanggang kalungsuran, mula barong-barong hanggang mansion.” [For challenging the colonial standard that portrays mestiza as the benchmark of beauty in films and the Filipino society and for asserting that being “kayumanggi”—skin color of golden honey, hair as black as crow, and slender figure—is the same with other types of beauty, particularly in the Philippines where being “kayumanggi” represents majority of the Malay race, that prevails in the pre-colonial times up to the present, from the province to the city, from a shanty to a mansion.]

She was also recognized for using her “tremendous popularity as an opportunity to help the masses...appreciate films and plays that dramatized and analyzed the abject conditions of the Filipino majority and the poor and powerless characters that she played with conviction.”


Tolentino delivered the closing remarks. The event’s emcees were broadcaster and CMC alumni Ivan Mayrina and Gretchen Fullido.


Aunor now joins the roster of Gawad Plaridel past recipients Eugenia Duran-Apostol (2004, print), Rosa Vilma Santos (2005, film), Fidela “Tiya Dely” Magpayo (2006, radio), Cecilia “Cheche” L. Lazaro (2007, television), Pachico A. Seares (2008, community print), Kidlat Tahimik (2009, independent filmmaking), Eloisa “Lola Sela” Canlas (2011, radio), Florence “Rosa Rosal” Danon-Gayda (2012, television) and Jose “Pete” Lacaba (2013, print).

During the program, an audio-visual presentation in honor of Aunor was shown to the audience. It was directed by CMC Professor and UPFI director Prof. Roehl Jamon.



The UP Concert Chorus and UP SAMASKOM provided the intermission numbers. —Haidee C. Pineda with reports from the UP College of Mass Communication, images by UP College of Mass Communication.

Thursday, August 28, 2014

NORA AUNOR: ARTISTA NG BAYAN


Pangulong Pascual, Chancellor Mike, Gawad Plaridel honoree Nora Aunor, mga rehente, mga ofisyal ng UP System at UP Diliman, mga kasamahang guro at kawani sa UP Diliman at iba pang pamantasan, mga estudyante ng media at komunikasyon, mga fans, mga bisita at kaibigan,

            Ikinararangal ng Kolehiyo at Unibersidad ang pagbibigay ng Gawad Plaridel kay Nora Aunor.  Sa bisperas ng pagdiriwang ng ginintuang taon ng mga programa ng Kolehiyo, ginugunita namin ang nakaraan at tinatanaw ang hinaharap.  Mainam na pasinaya sa ika-50 taon ang pagbibigay ng gawad kay Nora.


            Ang pinaparangalan ay ang nagpapatuloy na ebolusyon ng pagiging natatangi at mabuting artista, tao, at mamamayan.  Natatangi si Nora dahil nakikita ng fans, at pati ang audience ngayong hapon, ang kanilang sarili sa kanya.  Na ang kanyang pagtatagumpay ay atin ding tagumpay; na kung saan natumba, roon din babangon; na kahit ilang beses mahulog, ganoon din ang muling pagtatatangkang tumindig at muling magpursigi.

            Itinaas ni Nora ang kalidad ng media na kanyang kinapalooban, at naging integral sa transmedia na kulturang popular na humubog sa ilang henerasyon ng manonood ng pelikula at telebisyon, at tagapakinig ng musika.  Makapangyarihan ang pinipili at nahihirang na bituin ng manonood, tagapakinig at mambabasa ng kulturang popular dahil ito ang hinahalal na salamin at dalumat para makita ng mga individual at kolektibo ang imahen ng kanilang mga pangarap at aspirasyon, ng mga sarili at pagkatao.

             Sinabi na nga rin ni Nora, “[M]aski wala mang tropeo o karangalang igawad sa akin ang mga nasa kapangyarihan, iniluklok naman ako ng mga kababayan ko habang buhay sa kanilang mga puso bilang isang artista ng bayan.”[i]  Hindi marami ang makakapagsabi ng ganoon, makakaantig ng mga damdamin, mapapalapit sa mga buhay ng manonood.  Gusto ko lang din idagdag, Nora na sa pagpaparangal sa iyo ng Gawad Plaridel ng Unibersidad ng Pilipinas, kahanay ka na sa mga skolar ng bayan, guro at kawani ng bayan na iniaalay ang buhay para sa paglilingkod sa bayan.  Tunay kang superstar ng bayan, at muli ngayon, artista ng bayan!

            Ito rin ang diwa sa ika-164 na kaarawan ni Marcelo H. Del Pilar, tatlong araw mula ngayon.  Ayon sa nasyonalistang ilustrado Dominador Gomez, “[S]i Marcelo H. del Pilar—anyá—ay isáng̃ «mabuting̃ tao» at sa kanyáng̃ diwà ay dî nagkákapuwáng̃ ang̃ anó mang̃ masamáng̃ adhikâ, sapagká't sa kanyáng̃ pusò ay nagsísikíp ang̃ wagás na pag-ibig sa Tinubuang̃ Lupà.”[ii]

            At ito rin ang diwa na gagabay sa susunod na Gawad Plaridel, mula sa transmedia excellence ngayong taon tungo sa pinakamataas na kagalingan at profesyonalismo sa media ng pelikula sa 2015.  Magkita-kita tayong muli sa UP Film Center, at sa iba’t ibang mga sinehan.

            Isang maningning na hapon sa ating lahat.

----------
Pangwakas na Pananalita  ni Dr. Rolando B. Tolentino
Dekano, UP Kolehiyo ng Komunikasyong Pangmadla
2014 UP Gawad Plaridel

PAGGAWAD NG PAGKILALA KAY NORA C. VILLAMAYOR

NORA C. VILLAMAYOR
U.P. Gawad Plaridel Recepient
"Para sa kanyang bukod-tanging kasiningan at bersatilidad bilang mang-aawit, na naglipad sa kanya sa rurok ng tagumpay bilang nag-iisang kampiyon nang maraming buwan sa pambansang paligsahan na Tawag ng Tanghalan, at nagpatunay na sinuma't alin na ang talino, saan man nag-ugat, ay may kakayahang buwagin ang mga bakod na itinakda ng mayayaman at nagmamarunong, at kapag nilakipan ng karisma, ay makalilikha ng dambuhalang hukbo ng mga tagahanga, na ngayo'y sumasaklaw na sa maraming sektor, uri, at salinlahi ng mga Pilipino sa loob at labas ng bansa;

"Para sa matalino at sensitibong pagganap niya sa kagilagilalas na dami at uri ng papel sa pinilakang tabing, mula movie fan sa Bona hanggang pekeng faith healer sa Himala, mula aktibista sa Bakit May Kahapon Pa? hanggang abogado sa Naglalayag, mula nars sa Minsa'y Isang Gamu-Gamo hanggang madre sa Fe, Esperanza, Caridad, mula titser sa Tatlong Taong Walang Diyos hanggang disco dancer sa Annie Batungbakal, mula domestic helper sa The Flor Contemplacion Story hanggang manghihilot ng tribo sa Thy Womb—mga papel na umani para sa kanya ng pinakamatataas na papuri mula sa mga kritiko at makapelikula mula sa lahat ng sangay ng lipunang Pilipino;

"Para sa pagpoprodyus niya, sa pamamagitan ng kanyang NV Productions, ng mga pelikulang may natatanging kalidad, tulad ng Banaue, Alkitrang Dugo, Tatlong Taong Walang Diyos, Annie Batungbakal, Bona, at Tisoy, kung saan nagsama ang mga batikang direktor, iskriprayter, aktor, at iba pang artista ng pelikula, at sa pagtataguyod niya bilang prodyuser at/o aktor ay nakalikha ng mga pelikulang nakatulong sa pag-aangat ng antas ng mga pelikulang ginagawa sa Pilipinas;

"Para sa paglabas niya sa mga programa sa telebisyon na nagtagal nang maraming taon at nakintal sa pambansang alaala, tulad ng musical variety show na Nora Aunor Show at Superstar, na nagpakita ng kanyang kahusayan sa pag-awit at pagsayaw at nagpauso ng isang pormat sa telebisyong Pilipino, at ang lingguhang drama anthology na Nora Cinderella at Ang Makulay Na Daigdig ni Nora, na naghatid sa publiko ng pulyidong pag-arte sa drama at mga makabuluhang naratibo ng pang-araw-araw na buhay;

"Para sa paghamon niya sa pamantayang kolonyal na nagtatanghal sa mestisa bilang huwaran ng kariktan sa pelikula at lipunang Pilipino at sa paggigiit niya na ang tikas na kayumanggi—balat na kulay ng gintong pulot, buhok na sing-itim ng uwak, at katawang balingkinitan—ay kapantay ng iba pang uri ng kagandahan, lalo na't sa Pilipinas ay kinakatawan ng kayumanggi ang nakararaming may lahing Malayu, na umiral mula panahong pre-kolonyal hanggang kasalukuyan, mula kanayunan hanggang kalungsuran, mula barong-barong hanggang mansion;

"Para sa paggamit niya ng kanyang di-matatawarang popularidad bilang susi para mabuksan para sa masang umiidolo sa kanya at hawig sa kanya ang pinagmulan, ang mundo ng mga makabuluhang pelikula at dulang naglalarawan at sumusuri sa nakalulunos na kinasasadlakan ng nakararaming Pilipino at ang mga tauhang hubad sa yaman at kapangyarihan na kanyang matagumpay na isinabuhay at biniyayaan ng silay ng pag-asa sa pagbabagong lipunan;

"Para sa kanyang lantay na kasiningan at nakamamanghang birtuosidad sa pagganap, na nagdala ng ningning at liwanag sa radyo, telebisyon, at pelikulang Pilipino, nagtakda sa kanya bilang huwaran at pamantayan ng kagalingan para sa kanyang mga kasabayan at kasunuran, at nag-angat sa ating pelikula at brodkast midya sa antas na higit na mataas kaysa sa dinatnan niya sa pagsisimula ng kanyang masanghayang buhay bilang artista;

"Ang U.P. Gawad Plaridel ng taong 2014 ay ibinibigay kay Nora Aunor (Nora Cabaltera Villamayor) ng Unibersidad ng Pilipinas, ngayong ika-27 ng Agosto ng taong 2014, sa Cine Adarna, UP Film Institute Film Center, Unibersidad ng Pilipinas, Diliman, Lungsod Quezon."

Binabasa ni Dr. Nicanor Tiongson, Propesor Emeritus ng UP Kolehiyo ng Komunikasyon, ang Sertipiko ng Pagkilala kay Nora.
Ang Pagkilala ay nilagdaan nina Alfredo Pascual, pangulo ng Unibersidad ng Pilipinas; Michael Tan, tsanselor ng U.P. Diliman; at Roland Tolentino, dekano ng UP Kolehiyo ng Komunikasyong Pangmadla.

----------
Ang mga litrato ay mga kuha ni Erickson Dela Cruz

Thursday, August 21, 2014

Nora Aunor bilang "Tunay na Alagad ng Sining ng Mamamayan"


Kasabay ng pagdiriwang ng Buwan ng Wika, pinarangalan ng mga guro si Nora Aunor bilang “Alagad ng Sining ng Mamamayan”  para sa kontribusyon ng aktres sa pelikulang Pilipino.


Ang parangal ay pinangunahan ng Quezon City Public School Teachers Association at Alliance of Concerned Teachers kasabay sa isinagawang Forum sa Kahalagahan ng Wika sa Pagpapaunlad ng Kultura at Lipunan” na ginanap sa Magsaysay High School, Cubao, Quezon City noong ika-19 ng Agosto, 2014.


Napaiyak si Bb. Nora Aunor habang inaalayan ng bulaklak at kinantahan ng mga estudyante bilang pagpugay sa kanyang nagawa sa larangan ng sining.


Maliban dito, gumawa din ang mga estudyante ng skit na may kaugnayan sa naging buhay ni Nora Aunor mula noong nag-umpisa itong artista.


Ayon sa panulat ni Jaymee T. Gamil, sinabi ni Bb. Nora Aunor sa harap ng mga kabataan, “I want you (students) to remember that whatever hardships you may now have, no matter how poor you are, you can reach your dreams if you work hard.”


Dagdag pa niya, “You came to know me as Nora Villamayor, the girl from the province (Camarines Sur) who sold water at the train station, who picked through trash for scraps of lead (tingga) to be sold per kilo at the junk shop for at least 10 centavos. On my way home from school, I often passed by the dump to look for copper so I could have some money to give to my parents. I worked hard to lift my family from poverty. There’s no such thing as an impossible dream.”


----------
Images:
Kuha ni Jek Jumawan
at mula sa InterAksyon.com

Monday, August 18, 2014

NORA AUNOR WINS BEST ACTRESS IN CINEMALAYA 2014


Nora Aunor keeps having the last laugh.

As expected, the nation’s most celebrated actress tucked another accolade under her belt when she was named Best Actress in the Directors Showcase category at the awarding ceremonies for Cinemalaya X Sunday night at the Cultural Center of the Philippines Main Theater.

The honor, for her role as a human trafficker  in the film “Hustisya”, follows the recent presidential snub of her nomination for the National Artist award.


When Nora, who is also known to fans as Ate Guy, was announced as the Cinemalaya 2014 Best Actress for Hustisya, presenter Mimi Juareza described her as “our National Artist.”

In response, the crowd inside the Main Theater gave Ate Guy a standing ovation as she went up the stage to receive the Balanghai trophy.

In her speech, Ate Guy thanked the Noranians who comprised a huge portion of the crowd.

“Sa wakas po, nagkaroon ako ng pelikula sa Cinemalaya,” exclaimed Nora in her acceptance speech.

Robert Arevalo won Best Actor, also for Directors Showcase, for his performance in “Hari ng Tondo”. In the New Breed category, Eula Valdez (“Dagitab”) and Dante Rivero (1st Ko si 3rd”) were named Best Actress and Actor, respectively.

Hailed as Best Film were “Kasal” (Directors Showcase) and “Bwaya” (New Breed).


Following is the complete list of winners:

Best Film (Directors Showcase): “Kasal”
Best Film (New Breed): “Bwaya”
Best Film (Shorts): “Asan si Lolo Me?”
Special Jury Prize (Directors Showcase): “Hari ng Tondo”
Special Jury Prize (New Breed): “K’Na The Dreamweaver”
Special Jury Prize (Shorts): “The Ordinary Things We Do”
Best Director (Directors Showcase): Michael Tuviera, “The Janitor”
Best Director (New Breed): Giancarlo Abrahan, “Dagitab”
Best Director (Shorts): Kevin Ang Tan, “Lola”

Best Actor (Directors Showcase): Robert Arevalo, “Hari ng Tondo”
Best Actor (New Breed), Dante Rivero, “1st Ko si 3rd”
Best Actress (Directors Showcase): Nora Aunor, “Hustisya”
Best Actress (New Breed): Eula Valdez, “Dagitab”
Best Supporting Actress (Directors Showcase): Cris Villonco, “Hari ng Tondo”
Best Supporting Actress (New Breed): Barbie Forteza, “Mariquina”
Best Supporting Actor (Directors Showcase): Nicco Manalo, “The Janitor”
Best Supporting Actor (New Breed): Miggs Cuaderno, “Children’s Show”
Special Citation Ensemble Acting: Elmo Magalona, Coleen Garcia, Sophie Albert, Kit Thompson, Slater Young, Chynna Ortaleza, “#Y”

NETPAC Award (Directors Showcase): “Hustisya”
NETPAC Award (New Breed): “Bwaya”
Best Editing (Directors Showcase): Tara Illenberger, “The Janitor”
Best Editing (New Breed): Gerone Centeno, “Children’s Show”
Best Sound (Directors Showcase): Michael Idioma, “The Janitor”
Best Sound (New Breed): Bryan Dumaguina, Jedd Dumaguina and Yves Patron, “Children’s Show”
Best Musical Score (Directors Showcase): Richard Gonzales, “Kasal”
Best Musical Score (New Breed): Erwin Fajardo, “Bwaya”

Best Production Design (Directors Showcase): Harley Alcasid, “Kasal”
Best Production Design (New Breed): Toym Imao, “K’na The Dreamweaver”
Best Cinematography (Directors Showcase): Mycko David, “Kasal”
Best Cinematography (New Breed): Neil Daza, “Bwaya”
Best Screenplay (Short Film): Kevin Ang Tan, “Lola”
Best Screenplay (Directors Showcase): Aloy Adlawan and Michael Tuviera, “The Janitor”
Best Screenplay (New Breed): Giancarlo Abrahan, “Dagitab”

Audience Choice (Shorts): “Lola”
Audience Choice (Directors Showcase): “Hustisya”
Audience Choice (New Breed): “Sundalong Kanin”
Best Poster Design: Justin Besana, “Asintado”
Canon Award for Best Cinematography: Mycko David, “Children’s Show”

----------o0o----------
Sources:
Images:
Erickson Dela Cruz
Teddy Pelaez

Thursday, August 7, 2014

PLAY IT TO ME AGAIN, BIRING


Film Review: HUSTISYA

By Jonathan Catunao


“Academia is the death of cinema. It is the very opposite of passion. Film is not the art of scholars, but of illiterates.” --- Werner Herzog

I am a big fan of movie critics. In fact, I owe a big chunk of my soul’s nourishment to the minds of people like Roger Ebert, Oggs Diaz, Noel Vera and Richard Corliss. Had I not discovered film criticism, I would still be a fan of Fernando Poe Jr, Sharon Cuneta and Lito Lapid. Had I not opened my eyes to the fact there are good cinema and bad cinema, I would not be bathing in the intellectual sunlight of the French and Spanish Film festivals in Greenbelt and Shangrila. Had I not joined my UP dormmates as they drag me to watch the then-obscure-to-me ‘Silence of the Lambs’, I would not have known that cannibals do not only devour people, they also look handsome and blurts out quotable quips.

But if my intellect studies cinema, it is my soul that engages with it. The moment the lights are out, everything and everyone disappear – including film critics. What is left is the big screen in front of me. The characters and their plights.

In Hustisya’s case, this is applied. I was not able to join the CCP gala night for health reasons and was only able to watch it the day after at Trinoma. Travelling on the bus from Laguna to Quezon City, I scrolled through early reviews and read some private messages from well-meant fellow Noranians who are not enthusiastic about the finished product. My film buddy Janna was getting our reserved tickets and on the way we have prepared ourselves for the worst. “Initial reviews ng ilang mga Noranians mismo eto as usual daw, hindi daw pulido si Joel”. "And unanymous ang lahat including non-Noranian critics-- napakagaling daw ni Guy for portraying evil in a humanistic way, di ko alam ibig nilang sabihin but that we have to see”. These are actual messages in our inboxes sent as I travel to Trinoma.

Joel Lamangan is what I call the most reckless Nora director ever. Gusto ko siya laging sabihang, “My idol is not a pig!” for messing up many Nora films. I know this by heart. If there is an NFF member who loathes him openly, isa na ako dun. His ‘Bakit May Kahapon Pa’ is a mash-up of ‘Fatal Attraction’, ‘The Hand that Rocks the Cradle’and ‘Kill Bill’. ‘Death Row’ is a poor pirated version of ‘The Shawshank Redemption’. It’s a good thing most Vilmanians are busy with defaming Nora Aunor on the web than researching their idol’s materials because had they been reading and watching movies enough, they would have known that in ‘Mano Po 3’, their idol was made by Joel to impersonate Meryl Streep in ‘Bridges of Madison County’.

So we went there with only one mission. Nora Aunor. With early buzz of yet another great performance from Nora Aunor, Janna and I had enough reason to get excited for the movie. After all, if we were able to endure the trash ‘Ekstra’, we can surely entertain ourselves with the Nora Aunor magic tricks inspite of the ‘trash’ ‘Hustisya’.

The movie was scheduled at 6:30 pm at Trinoma. As early as 5:45, there was already a long line. We were allowed to enter at 6:10. The posh cinema house was like a city engulfed by waves of ants as the ticket holders rushed to get their seats. There were a group of Noranians being herded by the heroic and dashing doctor Vener, but I noticed a lot of young people in the audience. Not high school young but maybe college or young professionals. Except for some giggling Noranians looking for their seats, one even surprised that, “may seat number pala sa ticket!”, there was no major commotion during the start of the screening. (I learned of the minor altercation with security guards and some Noranians outside the movie house after the screening when I met up with Doc).

The lights went off. The Cinemalaya vinta logo appeared. The title ‘Hustisya’ and Joel Lamangan’s name is flashed.

First scene was a top view of Quiapo area with the giant Mercury Drug electronic billboard and Quiapo bridge. Among the vehicles crossing the iconic bridge is a van. Inside the van is Nora Aunor as Biring, looking irritated as her boss’ lover Gardo, played by Gardo Versoza canoodles her boss Vivian, Rossana Roces.

“Baka tigasan ka na naman niyan, itigil mo yan”, Vivian warns flirty Gardo. Biring looks irritated and she is not holding back. She makes sure that with her uncomfortable wigglings and furious stares, Gardo and Vivian know she is not pleased. Biring even managed to blurt out some expletives referring to the shameless lovers. In Bicolano dialect, I think she said something like, “Ang lilibog, di na mahiya,”

There was laughter all around. From that point, from that van ride, we knew we are not about to watch the darkest nor the most tear-jerking Nora Aunor movie of all time, in the mold of ‘Condemned’ or ‘The Flor Contemplacion’. We are watching Dolphy, este Vice Ganda, este comic Nora.

From that point, the entire cinema was in for the ride including me and Janna.

Yes. There was the evil crime of human trafficking. There are EDCA’s and Imperialisms. There are blowjobs on the streets and pimps peddling little girls like mineral water bottles being sold on bus stations. There are the family travails of Biring. There are dark underground mafia-like organizations and politicians as co-horts. There is even a priest expecting money from the syndicate to build a church in Bicol. Dark issues.

But then, there is that pesky illegal recuitment victim that Vivian wants to starve, "ang kulit ng isang yan, wag pakainin at baka lumakas, makahawa pa ng iba”

Then there is that obnoxious mendicant.

That petty thief stealing the show from Biring who is stealing another item too.
That sing-along inside the city jail and that jail bully who wants a perfect 100 in her videoke score or someone will be beaten or raped.

That lesbian lover who is a sabungan ‘kristo’.

That catatonic woman who murders her father for raping her daughter and finally joining the musical number featuring ‘Pusong Bato’.

The John Rendez reference. The Nora self-parody in ‘Akin na ang notebook ko!”. The Biring sexual innuendos to hunky lawyer Gerald and that sexy Rocco Nacino look.

There are loopholes as well.

But when the entire cinema is breaking out with laughter. When you can hear a humanity of feet stomping the Trinoma floors. When iphones are being dropped because people are jerking unstoppably. When the entire audience wants to be a part of Biring’s Motley Crew, who cares about loopholes?

Messy? I don’t think so. And I am not the type to insist my interpretations but for this one, allow me to give my interpretations.

The throwing of money at the City Hall tower. For me, this isn’t real. This is a dream moment. Lamangan cannot be allowed to have a dream scene? And the awful ‘Great Beauty’ who is 90% dream scenes rewarded with the Oscar Best Foreign Language trophy?

The Liwasang Bonifacio EDCA and wisdom scene. Biring is now on top of the world. She stands at the corner of Liwasang Bonifacio where an anti-EDCA rally is taking place. A van stops. Attorney Gerald comes out and ask her, “Bakit mo ako pinatawag?”. Biring pleads, “Bigyan mo ako ng libro. Nasisikipan na ako sa bago kong tirahan. Walang hangin. Kailangang magbasa ako. Kailangang malaman ko ang mga lugar kung saan natin dinadala ang mga babaeng ating kinikidnap.” – unnecessary? Unrealistic scene? Of course not. This is not real. This is a conscience sequence and this is very powerful because by the time this scene arrived, we all are already drawn into our antagonist’s pathetic life. In fact, some tears might have even come out of the audience’s eyes during that scene.

But the film wasn’t all about dreams and punchlines. Like any black comedies, the punchlines and the slapsticks moments of the good-for-nothing gang cannot totally mask the darkness. In ‘Hustisya’, comedy is a medium. Sorrow is the theme.
During the party, while Chynna was very serious with her new life as Biring’s right-hand woman, Biring is no longer the cranky Biring when she was still an assistant to Vivian. She is now the boss. She is now loose. She is now easy. Biring has everything. And nothing.

At the powerful finale, Joel Lamangan shot a close-up of Nora Aunor laughing furiously. Her minute grimaces and the swelling tears in her eyes cut across the cinema hall like a sword piercing the heart. We have been laughing all the time, but we were all dead quiet during Biring’s slow motion laugh at the end.

It is because we are all shocked and grieving for her fate. And for the fate of her victims. And for the fate of this nation.

As she began laughing, the Trinoma crowd broke in a massive applause. Janna and I were gasping and broken. The applause continues until the final frame, the frozen close-up shot of Biring’s face, her mouth open, her eyes shut, her back turned against all the people she now rule.

Great endings are not great because they are great.

Great endings are great because the movie is great.

Like ‘Casablanca’.

Like ‘The Usual Suspects’.

Like ‘A Dangerous Liaison’.

Like ‘Breakfast at Tiffany’s’.

Like ‘Hustisya’.

In watching those great movies, I went inside with the knowledge of the critics and the passion of a movie lover.

In watching ‘Hustisya’, I went inside with the opinions of the critics but with my passion as a movie lover.


And like anything in my life, passion prevailed.