THANK YOU GIRLS: Ang Pelikulang Baklang-Bakla...Pero Astig

This indie is so...NAKAKALOKA! Catch it and all your worries will wither away!

Tired of losing all the beauty competitions in their hometown Davao, six dysfunctional gay beauty pageant veterans travel north to Cagayan De Oro with a single mission: to conquer the grandest competition of beauty and brains in the whole province. They figure the small town gays will never stand a chance against big city boys like them.

As they travel through the breathtaking landscape and cultural vignettes of rural Mindanao, each character struggles to win just a single title, while also battling their own inner demons.

Blinded by their belief of in the power of their so-called "beauty", they still have to prove to themselves that whether on or off the stage, beauty doesn't come in packages wrapped in foundation, mascara, eyeliners and witty beauty pageant answers. Their travels will bring them back to the basic of themselves and of each other. And what they will discover about themselves may just teach them that being a run-away loser is not ugly after all.

THANK YOU GIRLS is a deviation from how Filipinos define a gay film: it is not tragic, it is not sad, it is not centered on sex. In fact, I think this film captures what Filipino gay culture is all about...it is all about being funny, being funnier and being funniest.

Humor is the discriminator of Filipino gay life. Yes, their lives may be sad (just like Europeans and Americans depict gayness in their films), but Filipino gay men learned to ground those sorrows by putting a layer of humor above their foundation creams. Plastic as they may appeat...but no one can deny that they are fun to be with.

The execution of the film is not bad either. Charliebebs Gohetia crafted the nono-linear story telling flawlessly. For PULP FICTION enthusiasts, you'll get nostalgic while watching THANK YOU GIRLS. The cinematography was good as well. The color-grading was almost perfect, giving the film a hint of "orange" to depict Mindanao's humid weather. But since the film is queer, splashes of colors were evident as well (like the tela hanging from their "gay" jeepney named Char...how gay can it get!).

The success of the film, I think, was with the screenplay. Kudos to the writer for capturing the "gayest of the gayest" moments in a beauty pageant. The Q&A's were hilarious...it made me spew Coke through my nostrils. The screenplay was also able to splice in real gay issues and dramas to the grandeur and extravagance of each gay beauty pageant. And that proves my point...Filipino gay life is the most colorful and "plastic" in the world.

If you want to laugh...watch all of these:

OSCARS 2009 PREVIEW: Danny Boyle's "SLUMDOG MILLIONAIRE"

We know how gameshows can change someone's life...but have you ever imagined how someone's life can change a gameshow?

When Jamal (a super poor slumdog) got the final question in India's "Who Wants To Be A Millionaire", I thought the movie will shoot forward to show his "rags to riches" story. But no. Instead of going forward, the film went backwards...showing how his life scars were converted into material and immaterial "fortunes".

His wounds were his clue to the million "rupee" question, and the million "rupee" question was his door to the love which he valued more.

SLUMDOG MILLIONAIRE is all about survival. It is a film that teaches us how to live by the moment...one "gameshow question" at a time. It shows how mistakes from the past can be the "correct answer" in the future. It shares the idea of how life's "hard questions" can unfold into big rewards.

The film redefined what "street smart" means by literally putting a street beggar in the smartest gameshow ever conceived.

SLUMDOG MILLIONAIRE is a very humbling film. It preaches a lot without posing like a teacher or a guru. It carries a message of hope. And most especially, it grounds our future dreams to our distant past.

This may be the reason why SLUMDOG MILLIONAIRE stands out amongst this year's "best film" contenders. Of all the films I've watched, this is the only one that stirs not much of your intellect, but more of your emotions. Expect to be "transformed" after finishing the film.

SLUMDOG MILLIONAIRE showed the power of story telling. It is not so technically polished like FROST/NIXON or BENJAMIN BUTTON. But it was compensated by the excellent layered story of Jamal...which is thick and rich, yet easy to swallow and to comprehend.

To let you undestand how thick the plot is, take this example: In the film "Who Wants To Be A Millionare" was viewed in three perspectives at the same time: by Jamal during the show, by Jamal after the show and by whole of India through the television. Danny Boyle was able to orchestrate the film brilliantly, turning those thick layers into thin chapatis. :-)

SLUMDOG MILLIONAIRE is a winner! This film can make you feel human again. One may just put SLUMDOG's technical execution on the side, but you will definitely not be able to put aside the message of the film: that life is a tough gameshow...and you will never win if you've never played it before.

PS. By the way...expect some Bollywood dancing at the end, which I find very very very cute! :-)

OSCARS 2009 PREVIEW: "The Curious Case Of Benjamin Button"

*Thank you ABS-CBN for inviting me to your special advanced screening

THE CURIOUS CASE OF BENJAMIN BUTTON is a film which you will either hate or like. As for me...uhm...(pause)...uhm...(pause)...ok...LIKE!

It was a well crafted film. But since it got the most number of Golben Globe nominations (tied with FROST/NIXON), I was expecting an award winning, stellar execution which, unfortunately, I wasn't able to see.

BENJAMIN BUTTON is like watching a patchy version of FORREST GUMP, plus a bit of ENGLISH PATIENT (minus the plum), plus a bit of Joel Lamangan's 2006 MMFF entry (yup, yup) BLUE MOON. Throw in a bit of MOULIN ROUGE as well, for those cool funny lightning snippets. I.e. Expect to see a lot of flashbacks, historical interstitials, diary reading, sick patients, twists and surprises (especially for the diary reader)

The film has a super solid backbone: a very unique story - a man aging backwards. But if you disect the film further, you will realize that the "story" is the only thing that is holding the film. Everything is else is typical, normal, plain and bland.

Thanks to good story telling, the film was able to stand on its own.

The lack of tension dragged the film. The only tension I can recall was when Benjamin had a child, which made him more of a playmate to his daughter than a father. Aside from that, it would just be a story a man looking for love. For me, 3-hours was just too long to see a man love and fail, then love and fail again. Sometimes I need to pinch myself to stay awake.

BENJAMIN BUTTON had difficulties in closing the itself - the downside of a "predictable" story (you know Benjamin will go younger and younger...then die). I think they had around 5 attempts to end the story...and it didn't help in extending my patience after 2 and a half hours. But the film was able to redeem itself through a dramatic montage before the credits. That sequence was a winner!

But there were several brilliant moments in the film worthy to be applauded: the Paris accident flashback, the reverse clock unveiling, the diary "discovery" (which part made me a bit teary) and the nice ending that closed all hanging stories properly. But because of the length of the film, they were not able to extend these "pockets of brilliance" throughout the 3-hours.

The acting was superb. Cate Blanchett is an expert (Oscars? Possible). Suprisingly, Brad Pit was great in the film.

Overall, good film. The material is fresh and the execution was ok. But with the Oscar buzz going around, the expectations for the film was lifted so high and in a sudden....it appeared mediocre.

FROST/NIXON will beat BENJAMIN BUTTON.

LOVE OF SIAM: The Best Asian Film I've Seen In 2008!

I want to write a review about "Love Of Siam" (to invite friends to the 1st Salcedo Cinema Night).

But after reading Oggs Cruz write-up on the movie (http://oggsmoggs.blogsport.com/), I felt that it is better to just post what he wrote. It captured the essence of the film very well.

I've worked in Bangkok for almost 6 months, and my favourite place then was Siam...it may be the reason why I find this film extra special.

Warning: with spoilers!

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Love of Siam (Chukiat Sakveerakul, 2007)
Thai Title: Rak haeng Siam

To label Chukiat Sakveerakul's The Love of Siam as simply a gay teen romance is to misjudge its power and intention. Within the two and a half hour running time (the director's cut is reportedly four hours long) of the film, Sakveerakul essays not only the two young leads' reunion and inevitable attraction but also a family's slow and painful road to accepting a long-delayed reality. I would like to think that The Love of Siam, above everything else, seeks to reaffirm the life-affirming values of loving and being loved without sacrificing the portrayal of the very palpable pain that usually accompanies the emotion.

The twenty-minute prologue tracks the histories of young Mew (Arthit Niyomkul) and Tong (Jirayu La-ongmanee), who are both schoolmates and neighbors. They form a very close friendship which was abruptly ended when Tong's family had to move out when Tang (Laila Boonyasuk), Tong's elder sister, went missing during a trip in Chiang Mai, causing the family tremendous and irreparable sorrow. Years later, Mew (Witwisit Hirunwongkul), lead singer and composer for an up and coming boy band, again crosses path with Tong (Mario Maurer), who is struggling at home with his domineering mother (Sinjai Plengpanich) and alcoholic father (Songsit Rungnopakunsri). The two reconnect and inevitably fall for each other, disrupting whatever peace they have grown accustomed to.

To make matters more complicated, Mew's Chinese neighbor Ying (Kanya Rattanapetch) is hopelessly in love with Mew, not knowing of his homosexual tendencies. On the other hand, Tong is currently dating Donut (Aticha Pongsilpipat), presumably not knowing of his own homosexual tendencies too. Tong's family, more specifically the father who's been spending days and nights drinking, is still suffering from the loss of Tang. June (also played by Boonyasuk), Mew's band manager who looks a lot like Tang, is then recruited to pose as the long lost daughter, momentarily easing the father of his staggered pains.

The Siam in the title refers to Siam Square, a shopping district in Bangkok where most teens hang out to shop, dine, meet, and have fun. Siam Square, in the eyes of the Bangkok youth, has become both the place for welcomes and farewells, of declarations of love and hurtful break-ups, of chance encounters and scheduled meetings. In the film, the popular venue is not only the setting for Mew and Tong's reunion and the numerous other events in the story but it also represents the unpredictability of the many facets of love which the film so intricately paints. While Siam Square or any other shopping mecca are ordinarily thought of as accessories to the bastardization of love and romance because it commonly equates blatant commercialism with the love's outward depictions like dating, gift-giving, and hanging out, The Love of Siam uses that very element to depict love's many wanderings and permutations. Underneath the glow of the traditionally amiable romance, The Love of Siam strives to say something more about the act of loving, whether romantically or familial: that it is more a nebulous network-like journey to maintain hope than a straight path to the assumed happy ending.

In fact, The Love of Siam ends without any of its characters fulfilling the traditional conclusions of a love story. There are no happily-ever-afters or expected closures. Instead, the film ends with a mere spark of hope. That hope that closes the film actually opens up million of possibilities for its characters, as numerous as the countless fortuitous encounters in Siam Square that initiate relationships between strangers or abruptly conclude long-standing affairs all within the fateful movement of time. Sakveerakul drafts a bittersweet ode to the complexities of loving, which commercial cinema has tended to avoid throughout the years. What he exclaims in The Love of Siam is that daringly traversing outside the common simplicities of love is far more gratifying than safely assuming formula.

Through the interconnected lives of two boys who are on the verge of self-awareness amidst their own individual conflicts and the people surrounding them, Sakveerakul notes that love survives notwithstanding the dilemmas that pervade the world. As Ying translates from a Chinese song, "as long as there is love, there is hope." Corny as it sounds, the Bangkok of The Love of Siam thrives on that noble aspiration, without knowing that it does so.

ONE NIGHT ONLY: "Indie" Thriving In A Commercial Film Festival

Just like sex, the more "over-the-top" you do it...the more fun it would be.

Just like sex, the idea of an orgy may sound fun...yet it could be physically and emotionally tiring at the end.

Just like sex, it may be taboo to some...though we chuckle everytime we talk about it.

Just like sex, it sells...no matter how you package it.

Sex is just like MMFF entry One Night Only (a story about 12 individuals whose lives became connected because of one sleazy motel). And believe it or not, I think its better than Baler!

Interesting huh?

Let try to take it one at a time:

1) One Night Only went over-the-top! Sex was packaged in a very ridiculous, humorous, funny way. And it worked! Instead of irritation, you will feel admiration (for Jose Javier Reyes). They have converted something taboo to something very..err...human.

That's the best way to go around it, Filipino mainstream directors. If you know you can't handle a subject matter...go over board and exaggerate. It would be more palatable than pretending to be deep.

2) One Night Only is an "orgy"...figuratively. They juggled 12 stories in 1.5 hours! And they did it with much success.

I find the editing fantastic: cut-to-cut loads of characters without losing the audience...it's a feat! The only problem is that the story lacks a unifying, solid tension. Thus there is a tendency for viewers to get tired of the characters even before the middle of the film

3) One Night Only is the most indie-looking MMFF entry I've seen in years. This worked for their advantage as they suddenly had the excuse to be experimental in a very commercialized film festival.

The most indie about the the film? The screenplay...which I consider indie class A!

4) Aside from the tiring character build-up, another flaw I saw was how they ended the multi-layered/charactered film. But this is a common problem to the genre, case in point...Paris J T'aime (thanks to a song by Feist, they were able to end it, uhm, well).

I was about to fall from my seat from laughing in the end..but the "bomb" Katrina Halili gave brought me back to the comfort of my Rockwell Cinema seat.

But overall, it find the movie very refreshing and entertaining. This is definitely a wild card for the Best Picture race.

BALER: A Flip-Flopped Historical-Drama

Pearl Harbor, Titanic, Australia, etc. -- putting in romance to historical stories became a proven formula to box-office and (sometimes) Oscar success. This "postulate" is etched to Hollywood guidebooks and should never be challenged.

But Filipinos like breaking laws. Baler is Mark Meily's attempt to challenge the Hollywood formula.

The tweak Baler did: make history revolve around the romance...instead of romance adjusting to history. Clever huh?

To explain further, in most historical-romantic films...love is the palabok (maybe to make history easier to chew) But in Baler, history is the "rekado" and romance is the rice...the carbs, the one that will fill you up.

But it's main source of discrimination over other historical-romantic films is also its pitfall. Baler's approach can be polarizing. You will either find it too cheesy...or an inaccurate, half-baked historical film. I'm in the middle of both, cause I struggled in enduring Anne Curtis' lines (e.g. "Gusto kitang makapiling ngayon, bukas at magpakailanman") and in getting more details of the events in Baler (which I consider as the one of the most significant events in Philippine history).

But aside from this flaw...what irritates me most was the inconsistent cinematography.

Example: in the first attack in the church of Baler, i was confused if it happened during the day or during the night. From inside the church, it appeared night...from outside, the sun was as intense as hell.

There is one scene in the film that I admire, and I think it will be etched in the image bank of Philippine cinema: the holy mass being delivered by Michael De Mesa just by the door of the church...with Filipinos hearing it from the outside, and Kastilas hearing it from the inside, with only one thin wooden door separating them. We are united in Christ no matter what.

But we must all watch our for Mark Meily. He showed in Baler that he is ready to take on bigger and better projects. He showed in Baler that he could be the director to beat in the future.

Oh by the way, a Hollywood film challenged the historical-romance law na pala...Atonement, which I still consider as one of the best films of 2007!

DAYO Reinvents Philippine Animation

I don't have anything against DAYO, the only animated entry to this year's MMFF. In fact...I love it! It will not be a surprise if the jury will "surprise" us by choosing this low-budgeted, but well supported, cartoon as best picture.

Low-budgeted: they need sponsors to finish the film. They even tried to get some Unilever brands in it.

Well supported: given the cast/talents in the animation (Lea Salonga, Laurice Guillen, Peque Gallaga, Michael V, Johnny Delgado, Pokwang and many more)...it is obvious that they did it because they believe (and love) the project.

I admire the film's simplicity: easy to understand (for the young)...yet not too simple for the "young once".

The other thing that worked for the film was the explosive combination of Filipino sentimentality and the animation as medium. The two blended perfectly like Nescafe and Coffee Mate. This is something Hollywood lacks now...they can't maximize the power of animation because they don't have a powerful story to tell.

But in spite of the simplicity, the director didn't forget his film making techniques. Even with animation, they were able to integrate great camera angles, nice color grading (ie lighting in a live action feature) and brilliant story telling. This is also the only film in the festival which used Dolby 7.1 technology, and a fully orchestrated musical score.

He was amazing with details: a last supper photo in the dining room, an altar in the living room, and exact replica of EDSA. He was also able to critic Filipino culture by integrating jokes like:

(both lines by a manananggal) "ang polluted pala ng hangin sa Maynila", "ang hirap naman lumipad dito, ayaw kasing ayusin ng Meralco tong mga kable na to".

And unlike your typical animation feature, DAYO has no clear line between the good and the evil.

For example: (1) the manananggal sidekicks admit that they eat people, (2) the lead character did something wrong to a balete tree, (3) the engkantos (kontrabidas) did something bad to the lead's lolo and lola cause they were just reacting to the boy's balete burning.

So who's evil? EVERYONE! Who's good? EVERYONE! DAYO showed the moral cycle of sinning-repenting-evangelizing. It showed that we all create mistakes, and a person doesn't need to be as white as snow to be a saint.

DAYO is the sartorialist of the netherworld. If the manananggal, tikbalang and kapre can walk freely on the streets, how will they look and act? By making the mananaggal speak Taglish (kris aquino style), the tikbalang egoistically funny, and the kapre Bisaya...DAYO transformed these mythical figures to your normal Filipino on the street.

I have a lot to say about DAYO. But to end, I would like to share with you the funniest line in the film:

(tikbalang after his hair was touched) "My MANE! My MANE!" :-)

http://www.dayomovie.com/