The society of respected film critics that hands out the annual Gawad Urian in cinematic excellence

Mula sa Kung Ano ang Noon (2014)

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Sa Pagitan ng Dalawang Paltok ng Pangungulila at Pag-unawa

Ni Benilda S. Santos

Naroon ang pelikula. Gumigiling samantalang isinisiwalat ang isang naratibo at ang nagsisiganap dito. Iniuuwi sa dadalawang kulay ang buhay—itim at puti, liwanag at dilim—upang maihayag ang pagiging talinghaga ng bawat larawang nakakuwadro dito; ibig sabihin, kung paano laging kumakawala ang kahulugan sa kahulugan upang mapagdugtong ang nakaraan-kasalukuyan-hinaharap sa pamamagitan ng mga larawang gumagalaw. At sa wakas, mahihinagap na ang kuwento o kasaysayan o naratibo ay sumusunod sa hubog ng pagnanais na mapaglabanan ang pangungulilang dala ng kabiguang ganap na maunawaan ang kambal na puwersa ng kalikasan at kasaysayan.Read complete review

Dramatikong Pagpaparamdam

Ni Rolando B. Tolentino

Karamihan, kundi man, kalakhan ng slow films ni Lav Diaz ay hindi lamang may pasintabi, kundi nananatiling bukal at impetus ng mga dramatikong kondisyon, ang diktaduryang Marcos. Kahit wala ang pisikal na presensya ng mga Marcos, ito ang psychical na predikamento ng pagkasadlak sa kondisyon ng posibilidad ng panahon at tagpo ng pelikula.

Marcosian trauma na may pambansang lalim ito dahil sa malawakang pagkalabag sa mga karapatang pantao, pangungurakot, pandudusta, at pagkamangmang sa isang banda, at sa kabilang banda, ang pagbabalik ng mga Marcoses sa iba’t ibang lokal, pambansa at kultural na posisyon, na parang “wala lang.” Hindi tulad sa ibang bansa na nanggaling sa isang traumatikong diktadurya, ang first order of the day sa pagtatapos ng diktadurya ay pagbuo ng isang komisyon para imbestigahan ang kaso ng paglabag sa karapatang pantao at pangungurakot, ang Filipinas ay walang ganoon. Kaya ganito.Read complete review