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Because we like driving ourselves into the ground apparently, we’re still giving you the Releases of the Week in spite of all the Cinemalaya hubbub. Yes, we love you that much.
You know the drill, folks. Punch it to see tomorrow’s releases today.
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Just because it’s a cartoon, doesn’t mean it isn’t compelling.
Animation has become accepted as a serious art form, utilizing storytelling themes and ideas that would be hard to execute with real people. Here is a rundown of the animation films you can catch in the festival:
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Moviegoers usually take it for granted but Cinemalaya is not just about watching films.
Fortunately, for those who are interested in learning more about the industry, there is the Cinemalaya Independent Film Congress.
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The appropriation of text message syntax and jargon in the title should be enough to clue you in as to which generation Ligo Na U Lapit na Me revolves around.
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The NETPAC stands for “Network for the Promotion of Asian Cinema.” Where in other film festivals, they
only give out a prize, in Cinemalaya, they have an entire side program with eight new films.
Check out the entries after the jump:
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The Ani program of this year’s Cinemalaya is a showcase of last year’s best independent features. The selection includes films from last year’s New Breed category as well as from the 2010 Cinema One Originals festival. This program gives the audience another chance to see last year’s cream of the crop.
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Often overlooked, the short feature may be easier to digest than a full length one, but done well, packs an equally—if not meatier—punch. This year, Cinemalaya offers viewers ten short films divided into two groups.
Here’s a rundown of the films from Programme A:
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From biting satire to a dystopian view of the future, this year’s diverse selection run a gamut of genres, proving that they have no problem standing alongside their lengthier counterparts. Here’s a quick rundown of the Cinemalaya shorts films featured in this year’s Programme B:
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Busong tells the story Punay (Alessandra de Rossi) who is suffering from a mysterious illness that has rendered her helpless and perpetually wounded. Angkarang (Rodrigo Santikan), Punay’s sister, carries her on an ornate hammock, searching the land for a cure to his sister’s suffering.
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Ang Pangagahasa Kay Fe, Alvin Yapan’s austere Cinemalaya sleeper about small town spousal abuse and unrequited love was a trippy mixture of mythology and melodrama. Ang Sayaw Ng Dalawang Kaliwang Paa, his second film for Cinemalaya, borne from a desire to upend existing gender stereotypes, and resumes Alvin’s preoccupation with female individuality.
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