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

Reviews

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  • strict warning: Non-static method Pagination::getInstance() should not be called statically in /home/manunuri/public_html/sites/all/modules/pagination/pagination.module on line 355.
  • strict warning: Only variables should be assigned by reference in /home/manunuri/public_html/sites/all/modules/pagination/pagination.module on line 355.
  • strict warning: Non-static method view::load() should not be called statically in /home/manunuri/public_html/sites/all/modules/views/views.module on line 842.
  • strict warning: Non-static method view::load() should not be called statically in /home/manunuri/public_html/sites/all/modules/views/views.module on line 842.

Mula sa Kung Ano ang Noon: 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 more

Mula sa Kung Ano ang Noon: 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 more

Dagitab: Panandaliang Liwanag sa Kakaibang Pelikula

Ni Dr. Bienvenido Lumbera

Narito ang isang kakaibang sineng Pinoy. Kakaiba dahil bahagi ng istratehiya ng naratibo ang sinadyang pag-iwas sa paglilinaw tungkol sa relasyon at tunguhin ng mga pangunahing tauhan. Hindi tayo sanay sa ganitong pelikulang Filipino. Nakagawian na ng karaniwang pelikulang Filipino na alagaang nasusundan, sa pamamagitan ng dialogo at eksena, ng mga manonood ang nagaganap sa kalooban ng mga tauhan. Sa Dagitab, pinag-iisip ng iskriprayter ang mga manonood habang tumatakbo ang naratibo. Tatlong tauhan ang nasa sentro ng kuwento–-mag-asawang propesor at propesora, sina Jimmy (Nonie Buencamino) at Issey (Eula Valdez) sa Unibersidad ng Pilipinas at isang estudyanteng bagong pasok sa unibersidad, si Gab (Martin del Rosario), isang teenager, inaanak ni Issey.Read more

Dagitab: Sparks and Sparkles

By Gigi Javier Alfonso

Cinemalaya Independent Film Festival brings to the fore Dagitab directed by Giancarlo Abrahan who belongs to a new breed of young filmmakers. Dagitab is a standout. Abrahan, who also wrote the screenplay, shines and shows his mettle as an ace director. He just shouts it out that this film may not be for everybody. But then again... it maybe for everyone. It is for all those who will allow themselves to walk with him as he dares tread where directors fear to go. The poetic, the lyrical, the theorizing... the long takes to allow moments of visual pleasure together with the reading of silence. Setting of the breathing space, time for reflection to attain the rhythm of knowing in contemporary times. The film has texture.Read more

Bwaya: The Artifice of Meta-cinema

By Mike Rapatan
Francis Xavier Pasion’s Bwaya is shot in the deceptively quiet marshlands of Agusan where, according to published news, twelve-year-old Rowena Romano while rowing in her banca with her cousin was suddenly attacked and killed by a crocodile which some suspect to be Lolong, the world’s largest saltwater crocodile as proclaimed by the Guinness Book of World Records. Pasion expands on this grisly tabloid-sounding report and strives to elevate it to some significance so that in the end we are moved and not merely shocked at Rowena’s unusual disappearance.Read more