Hit the jump to find out how Ramon De Veyra and Marie Jamora crafted Ang Nawawala.
-SPOILERS AND COLORFUL LANGUAGE AHEAD-
You’ve been warned.
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Years ago, the mother of our family driver passed away at the ripe old age of ninety.
His mother died on the other side of the Pacific, on the alien shores of California. Unfortunately for him, he had no means of bringing her body home.
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For those of you who’ve procrastinated too long to catch the Cinemalaya screenings, it might probably be your last chance to catch the films at the upcoming Cinemalaya Goes UP screenings.
Check out a larger version of the schedule after the jump, and make sure to reserve tickets before they all run out.
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There is nothing new to the violence of youth. Countless films have long since explored the brutality of growing up.
But when director Gino Santos revisits the theme from within the upper-crust of Manila’s privileged youth, the result is a whole other animal in itself.
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When tragedy befalls the monastery of Adoration, its Mother Superior asks its nuns to continue praying for the well-being of their beloved monastery.
But it’s only a matter of time before the sisters discover that even the most faithful of prayers can only take them so far.
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In Kalye Marino, only an idiot dies of drowning. That is, at least, the belief of the locals.
But when Intoy’s father (Richard Quan) drowns himself drunk in the first ten minutes of the film, it sets the kind of standard the film raises for itself. Suffice it to say, it’s a standard that isn’t very high.
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The following article isn’t a review per se; but a subjective recounting of how Zig Marasigan had, quite shamelessly, cried like a baby while watching Jun Lana’s Bwakaw.
Consider this a spoiler-heavy and absolutely self-indulgent ramble. Read on at your own risk.
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Alfred Aloysius L. Adlawan has come back to Cinemalaya as a director after being part of the first batch of finalists. Check out what he had to say about that and his entry to the New Breed competition Ang Katiwala after the jump!
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Oros paints an eye-opening picture of the world of saklaan, a particular form of gambling played in no less than the wakes of the recently demised.
It is a Filipino custom that allows mourners to pass the time watching over their dead; but director Paul Sta. Ana unravels the tradition’s dark secrets through his latest film, Oros.
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Kalayaan opens with a cryptic passage from the German opera The Emperor of Atlantis.
Though it doesn’t take a specialist of European musical theater to appreciate Kalayaan, knowledge of the opera itself does shed light on director Adolf Alix’s latest film.
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