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.

Florentina Hubaldo, CTE: A Cartography of Anomie and Angst

By Mike Rapatan

Lav Diaz’s Florentina Hubaldo, CTE probes into the harrowing and pitiful life of its eponymous character afflicted with chronic traumatic encephalopathy or CTE, a debilitating condition that emerges years after an individual has experienced a series of physical assaults on his or her brain. The disease reportedly strikes professional athletes engaged in rough contact sports (e.g., boxing and wrestling) where during play, the exposed head is heavily battered. Typical symptoms of CTE range from depression to mental anguish and dementia.Read more

Diablo: Ang Matimping Sining Ni Mes De Guzman

Ni Bien Lumbera

Ang naunang mga pelikula ni Mes de Guzman ay nasa estilong lantay na realismo. Hiwalay ang mga ito sa tradisyonal na sineng Tagalog na batbat ng madudulang tagpo kung saan ang mga popular na pangunahing bituin ay naglalambingan, maingay na nag-aaway at nagpapalitan ng mga dialoging sadyang pinatitimo sa damdamin ng mga manonood. Ang estetika ni Mes de Guzman ay hubad, umiiwas sa “drama,” walang borloloy, nakatuon sa totoo lamang.

Ang Diablo ay nagbubukas sa isang eksenang nangangako ng “drama.” Isang minero ang sinapian diumano ng diablo at kinailangang ipailalim sa kakayahan ng albularyong makapagpapalabas sa diablo. Pero walang kinalaman ang isasalaysay ni Mes de Guzman sa pambungad na eksena.Read more

Colossal: Ang Pelikula-Tula Bilang Alternatibong Andamyo Sa Pagtatag Ng Bansa

Ni Benilda S. Santos

Lubhang bantad na tayo sa mga balita sa media, at maging sa mga paksa ng pelikulang indie nitong nakaraang lima o pitong taon, na nagsisiwalat ng iba’t ibang antas ng kabulukan at kahirapan sa ating lipunan. Hindi naman sa nais kong imungkahi ang total ban sa ganitong mga balita at pelikula; higit na nakaririmarim ang ibubunga nito. Subalit hindi ko pa rin naiwasan ang umasa sa pagdating ng naiibang anyo ng naratibo ng pagtatatag ng ating bansa. Read more

Bwakaw: Deceptively Innocent, Truly Revolutionary

By Nicanor G. Tiongson

With the rise of inexpensive digital video technology, indie filmmakers have finally been liberated from profit-oriented producers and now are able to make films more freely, including those with themes that were studiously avoided by the commercial mainstream cinema. One of these themes is homosexuality, which has become a fad among new wave filmmakers in the past six years, especially since Philippine urban society itself has become more tolerant or at least less condemnatory of gayness. Moreover, gays have now found their own niches in arts, academe, and media and their own voice in militant organizations that fight for gay rights. Read more

Baybayin: Inscribing Love, Land and Loss, and Self via Subversive, Sensual Syllabaries

By Tito Genova Valiente

In the beginning was chaos. As with all myths, order comes through words or naming. Man and woman give names to things that are unknown to them, and knowledge brings about harmony. Classification restores logic and understanding to the universe.

Syllables create the film, Baybayin. To be precise, the ancient syllabaries called Baybayin initiate the movement of people—characters—in this tale, while the metaphor of Paradise runs amok, losing control at certain points, meandering now, and then, but coming to an end that is rightfully, forcefully in silence, at the heart of any post-colonial discourse. The traveler is always on his or her way, never reaching the destination.

Loss, to follow Eva Hoffman, can magically preserve things.

That is the magical proposal of this film: Loss of language or its vanishing, more than its strong presence, can help people preserve elements of their culture and their identities. That is what happens in this film, when syllables are inked on the body of a boy in a trance.Read more