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.

Amok: Kulob, Singaw, Sabog o ang Patayan ng Abang Uri

Ni Roland B. Tolentino

Sa Amok, ang magkakasalikop na buhay ng nagbibilyar at nagsusugal, nagbebenta ng barbeque, ukay-ukay at baril, mga pasaherong nag-aabang sa terminal, laos na personalidad at ang kanyang dinehadong transvestite na puta, mga tambay sa kalye’t batang nagbebenta ng sigarilyo, baklang bugaw, magkapatid sa van, galamay na pulis, at iba pang nilalang—mga taong hindi magkakakilala liban sa pagkakatipon sa arbitraryong sandali sa kanto ng EDSA at Pasay Taft—ay tinatahi bilang ordinaryong buhay sa bansang ito.

Kunsabay, hindi ordinaryong abitraryong sandali ang panahon ng pelikula. Ito ay konsumasyon ng matagal-tagal na buhay ng mamamayan, syudad at bansa sa ilalim ng kultura ng impunidad. Walang pakundangan ang karahasan dahil sa sistematiko’t sistemikong kasaysayan ng mga nasa kapangyarihan, at ang pagkatagos nito sa pang-araw-araw na buhay.Read more

Thy Womb: Birthing Cultures In Misunderstood Time/Spaces

By Tito Genova Valiente

THE wide expanse of the sea and the constant rain, and the vision of Brillante Ma. Mendoza—these are all that is needed for great cinema to be formed. Then there is the presence of Nora Aunor, natural and artifactual, filling the spaces with her silences and silencing the spaces of doubts, pains, understanding and misunderstanding, historical and individual, with a performance that will go down in history as the ultimate in the aesthetics of reality. Or realities.

The film Thy Womb has a story that is terribly cinematic but also rare, as in ordinary. The story begins with a woman, Shaleha, a midwife, who collects the umbilical cords of the children she delivers. After each birthing, she brings the inch-long snippet from the cord now wrapped in gauze or cloth and hangs it on a wall, along with other umbilical cords of earlier births. The rope from which those birth cords hang is a tiny history of population in her community. The collection of cords is an almost hyperbolic sign of fertility against the incapacity of Shaleha to have a child.Read more

Posas: Silang Ipinosas sa "Posas"

Ni Benilda S. Santos

Muli pang pinatunayan ng pelikulang indie sa Posas ni Lawrence Fajardo kung paanong ang isang walang paligoy-ligoy, payak, mahinahon, siksik, matalas, matinik, malinis, at malutong na produksiyon ay tagumpay na naging landas ng pag-unawa sa hunyangong realidad ng kasalukuyang panahon nang hindi pinagdidiinan kung ito nga ang landas na higit na tuwid kaysa ibang patuloy na nililikha at inihaharap sa bayan bilang tatangnang moral at panukat ng realidad. Sa halip, piniling tistisin ng tuwirang naratibo ng Posas ang mga larong kinasangkutan ng mga tauhan sa loob at labas ng institusyon ng batas at ng mga tagapagtatag nito.Read more

Oros: Pagtahak Sa Naunang Landas

Ni Rolando B. Tolentino

Dalawa ang pelikulang nakakuha ng aking atensyon sa Cinemalaya 2012, The Animals (Gino Santos), at Oros (Paul Sta. Ana). Ang una ay dahil may tinatahak itong bagong direksyon para sa indie cinema, ang mundo ng maykaya na may self-reflexivity sa kalabisan nito, pati ng media at social media sa pagtataguyod nito. Sa exposisyon ng kalabisan, pati ang abang uri—driver ng taxi—ay nadawit sa paglalahad ng amoral na uniberso nitong uri.

Ang huli ay dahil may tinatahak itong lumang landas, ang subalternong kahirapan, at ang pagkakulong ng mga nandito sa malawakang mundong ito sa bansa. Ang Oros ay tumatalakay ng buhay sa saklaan sa isang komunidad ng maralitang lunsod, at ang kwento ng moralidad na nangyayari sa subalternong mundo na ang patay ay maari pa ring pagkakitaan.Read more

Mater Dolorosa: Fighting Back Tears

By Butch Francisco

Every Good Friday—particularly in tradition-rich parishes—religious devotees and even mere spectators are treated to a pageantry of carroza-borne images of saints who were with Christ on His way to Calvary. At the start of the procession is always the statue of St. Peter with his rooster, followed by St. Veronica holding a piece of cloth with the imprint of Christ’s face on it, then St. Mary Magdalene with her bottle of perfume and St. John the Evangelist. Some big parishes also carry the images of lesser known saints like Sts. Cleofe and Salome (cousins who went to clean the tomb of Jesus). In Agoo, La Union, also joining the procession is a tableau of the Last Supper—with life-sized statues of the 12 apostles, dining table and all.Read more