Slow Fade: A Celebration of Life

At the risk of sounding morbid, I think death is a beautiful thing. It may be the end of life, but it also opens doors for new beginnings. It works as miraculously as life itself. When death is imminent, people are forced to reflect on the things they have done and could have done. Slow Fade, likewise, finds beauty in death. It chronicles a man’s examination of his life. He makes the most out of his remaining days as he fulfills a life-long ambition and leaves a legacy to his future child.

Darius (Diether Ocampo) can’t get his videocam out of fiancée Tere (Precious Lara Quigaman). He is shooting the prenuptial video for their upcoming wedding–the first video he has done in years. His college videos, according to him, were compared by his professors to the works of Ishmael Bernal and Lino Brocka. However, he did not pursue filmmaking. At present, he edits videos for weddings, baptisms, and burials in his shop aptly named KBL Media House. KBL is an acronym for kasal, binyag, at libing.

Darius soon receives two surprises that will make him happy and devastated at the same time. Tere is pregnant with their first child. This news would have immensely delighted him if not for the second surprise. He has a brain tumor with only six months left on the calendar. It crushes his heart to think that his child will never get to meet him. He decided to put his latent filmmaking skills to good use. Through a series of videos, which is later edited into a film, Darius introduces himself and his town to his unborn child.

We have a fair share of movie characters that are still making the most out of life despite being terminally-ill. But unlike them, Darius does not have a wish list before he “kicks the bucket”. He doesn’t want to fly over the North Pole or be buried on the mountain. His ambition is more modest and realistic. He wants his unborn child to get to know him and the community he grew up in through his perspective. The once aspiring filmmaker turned video editor rediscovers his passion for filmmaking. The finished product is both a love letter for the child he would never meet and a tribute to San Pablo City . It helps that Rommel Sales, the film’s director and director of photography, is a prolific cinematographer. He gorgeously captures the small town charm and irresistible beauty of San Pablo City in rich and vivid hues. Direk Rommel has won the Best Cinematography award in this year’s Cinemalaya for his work in The Leaving.

Despite having a character who is about to die, Slow Fade keeps things light. Direk Rommel channels Michel Gondry (The Science of Sleep) to show us the cut-and-paste wonderland that thrives in Darius’ subconscious. The quirky editing and scoring helps brighten up the film further. I just wish the drama is downplayed a bit more. There are scenes especially in the first act wherein Darius wallows in grief repeatedly. It’s understandable that he is depressed. He is about to die, for crying out loud. But the repetitive crying scenes put momentary snags on the overall lightness of the film.

Slow Fade is a man’s journey to fulfill a dream he has given up long ago. It celebrates life and trades escapism for practicality to show us that even the simplest things in life can bring us happiness. It is charming, inventive, and crowd-pleasing. It is the type of independently produced production that has a mainstream appeal with enough indie sensibility to back it up.

Slow Fade was chosen as one of the five indie films competing for a P100,000 prize in the 2010 Metro Manila Film Festival. Each competing indie film had a one-night premiere screening at Robinsons Galleria from December 16 to 20, 2010. Written by Paul Sta. Ana, this indie film is funded by PLDT-SMART Foundation and Albert Martinez's Cinemabuhay.

Rating: 4/5

* published on PEP

Pixelated Popcorn’s 2010 Year-end Lists

It’s that time of the year again–the season of list-making! Let me share with you the year-end lists that I’m planning to post in the upcoming months. This will cover my main interests, namely: magazines, movies, and music. This page will serve as an index for the lists that I will be making. Click on the list title to link you on the blog post. Dig in. Enjoy!

Philippine Cinema

Philippine Cinema Year-end Report: Film festivals, poverty porn, and the top 15 Filipino films of 2010

Best Film Performances of 2010 (Pinoy): Long List

List of Filipino films seen in 2010

Foreign Films

Pixelated Popcorn’s Top 25 Foreign Films of 2010

Best Film Performances of 2010 (Foreign): Long List

List of foreign films seen in 2010

Movie Posters

10 Best Posters of 2010

Best Posters of 2010: Honorable Mentions

Local Magazine Covers

10 Hottest Covers of 2010

Music

Favorite Tunes of 2010

Dalaw < Sukob < Feng Shui

Even if it is not entirely original, Feng Shui (2004) is one of the better Pinoy horror films of the last decade. In an industry that adheres to formula, it is not surprising that director Chito Roño and lead star Kris Aquino teamed up for the second time with Sukob(2006). It is still scary in its own right, but it did not match the chills and thrills of Feng Shui. But in terms of box office receipts, Sukob grossed more than its predecessor.

This 2010, Kris returns with her third horror film in seven years. Dalaw is helmed by Dondon Santos who also directed the movie Noy (starring Coco Martin) and the TV series Kung Tayo’y Magkakalayo. Can Dalaw match the success of Feng Shui and Sukob?

When Stella (Kris Aquino) decided to marry her old flame Anton (Diether Ocampo), she starts having nightmares about her deceased husband Danilo (Richard Quan). After their wedding, she sells her posh urban home and moves to Anton’s old family house together with her son Paolo (Maliksi Morales). Her nightmares turn into hauntings. She suspects that her abusive husband is coming back from the afterlife to pay her a visit. But the supernatural visitor is not content with merely making its presence felt, it is starting to become violent. Stella must protect herself and her loved ones from the vengeful ghost before it is too late.

Like many Pinoy horror films that preceded it, Dalaw assumes that moviegoers are impatient so they try to scare the audience every single chance they get. So right at the very first scene, we see Stella being haunted by a shadowy creature. That scene ends with Stella screaming her lungs out and waking up. It’s just a dream! Surprise, surprise. With no real threat to latch onto, the first act is filled with nightmare scenes and jump scares. Unfortunately, the jump scares will not make you jump on your seat due to dull sound effects and poor timing.

The people behind Dalaw must understand that effective horror films are patient. They take their precious time in setting the plot and developing the characters. Once the audience is acquainted with the characters, they set the mood and build the tension. The production design and musical score help in creating an atmosphere that is filled with dread and suspense. It keeps the audience on their toes while waiting for a ghost to appear or something horrid to happen. It’s a slow build-up, but it works effectively.

Stella is resilient and loving, but is plagued by guilt and fear–she feels guilty that she remarries and feels afraid that her ex-husband will be mad that she has moved on with her life. Kris’ performance is not exactly what you can call award-winning, but it is good enough.. On the sidelines is a reliable supporting cast, composed of: Alessandra de Rossi as Trina, the tactless cousin; Ina Feleo as Kylie, the supportive other cousin; Karylle as Lorna, Anton’s ex-girlfriend; Susan Africa as Milagros, Anton’s mother; and Gina Pareño as Manang Olga, the one-eyed kasambahay who can see ghosts.

Manang Olga imparts advice as fast as she quotes movie lines. She quotes lines from Palimos ng Pag-ibig, Relasyon, and other films of Vilma Santos. This is used for comedic effect, but came across as lame. It somewhat destroyed the mood the film is operating on. If it’s a kitschy or campy horror film like Shake, Rattle, and Roll, the humor may have worked.

Dalaw may fall short in other aspects, but it is never boring. The fast pacing of the movie doesn't allow the audience to catch their breath. It's like a rollercoaster ride that pulled out all the stops. The climax cuts from Stella and her duel with the vengeful ghost to Anton and his attempt to bless the malevolent spirit's body. The editing is slick in intertwining Stella and Anton's individual efforts in putting the unwanted visitor back to its resting place.

In the last 20 minutes of the film, a twist is revealed. For moviegoers who paid attention, they will probably see it coming. It’s a nice touch, actually. It provides context to some scenes that felt incomplete or did not quite made sense. The reveal is a little less spectacular though, since Manang Olga practically gave the twist away two scenes earlier.

Dalaw is my least favorite Kris Aquino horror film. But given the insatiable appetite of Pinoys for a good scare, it will surely find an audience. Hence, it's possible that it will do just as well in the box office.

Rating: 1/5

*published on PEP

Chassis reconstructs the definition of home

Director Adolfo Alix Jr. is one of the most visible filmmakers in Philippine independent cinema, releasing three to four films each year. His breakout hit Donsol premiered at Cinemalaya and was submitted to the Academy Awards as the official entry of the Philippines for the Best Foreign Language Film category in 2006. He directed the slice-of-life dramas Adela and Aurora, the controversial gay films Daybreak and Muli, and a Cannes exhibition film Manila, a twinbill project that pays homage to Lino Brocka's Jaguar and Ishmael Bernal's Manila By Night.

Following three lackluster releases this year (Romeo at Juliet, D' Survivors, and Muli), Direk Adolf's latest project may just be the movie that lands him back on the good side of film critics. Successful screenings have been held in Pusan and Vancouver, and Chassis is currently competing in the 25th Mar del Plata International Film Festival in Argentina.

Home for Filipinos is wherever their loved ones stay, of course, given our high family values. The physical structure may be of secondary importance, though the affluent do boast a lifestyle in condos and mansions. In stark contrast, the poor make do with makeshift homes assembled with scrap wood and cardboard boxes. There's a worse scenario, however, which director Adolf Alix Jr.'s Chassis is all about.

For Nora (Jodi Sta. Maria), her daughter Sarah (Kimberly Fulgar), and her husband Lando (Lemuel Pelayo)—home is under the chassis of delivery trucks parked at the Manila South Harbor. Permanence is an alien concept here. From time to time, the family moves to another delivery-truck chassis for shelter. Despite her husband's meager income as truck driver, Nora dutifully sends her daughter to school. When Sarah asks for money to pay for a field trip and a set of angel wings as her costume for a school play, the devoted mother has to find a way to earn money.

Nora turns to prostitution without her family's knowledge. Her clients barely have enough cash to pay for her services, much less can they afford to take her to a motel. So, they just do business inside empty trucks and in between shipping containers. Under this set-up, Nora runs the risk of getting caught by Lando or by Sarah—her only source of joy—but she doesn't have a choice.

Chassis is shot entirely in black and white, which makes the setting even more drab. Nora and the other residents of Pier 16 are just trying to get by, merely surviving each bleak day. During her intercourse with men, the camera zooms in on Nora's face with its blank expression. No moans of pleasure or tears of regret. We see only a desensitized mother who has learned to compromise her whole life in exchange for a few pesos to buy instant noodles for supper.

A simple yet pivotal moment punctuates Nora's commitment to provide for her daughter. She takes her daughter to eat out and stroll along Baywalk on Roxas Blvd.. She confesses that she cannot afford to pay for Sarah's field trip. Despite Sarah's eagerness to join the field trip, the little girl seems to understand her mother's predicament. Nora promises that she'll make up for the disappointment by taking her to Star City—a promise that we know she will surely keep.

Jodi Sta. Maria performs in almost every scene. She is the spark that gives Chassis life. Her Nora is a portrait of a mother consumed by love for her daughter—a love powerful enough to drive her to the extreme. Similarly, Jodi pushes her limits in portraying a character radically different from anything she has done on TV and movies. She downplays the determination of her character for a haunting effect, and then bares her emotions in the heart-wrenching final act.

I consider the ending a letdown. I'd rather not go into the details of the much-talked-about climax, but I feel that it was shot merely to shock viewers. If Nora wants redemption, there are many ways this could be achieved more beautifully. The climax betrays her character and the central themes of the film. If the film's focus were on the abuse of women, the climax would have made more sense.

Chassis reconstructs the definition of home. It is a bittersweet ode to the depths a mother will go to provide for her daughter. Indeed, the film's central performance is compelling. Jodi Sta. Maria is the spark that gives Chassis flesh-and-blood realism.

Rating: 2/5

*published on PEP

6th Cinema One Originals Round-up

Cinema One Originals parades its bevy of interesting characters anew. We have a bolo-wielding vigilante, a balikbayan, a mail-order bride, a prisoner-for-hire, a runner for the Abu Sayyaf, a braggart, and two brothers looking for their father.

Below are capsule reviews of each of the competing films in the festival, together with cast information and honors received during the awarding ceremony held last November 14, 2010.

The films are ranked from my most to least preferred.

Ang Damgo ni Eleuteria

Director: Remton Siega Zuasola of To Siomai Love fame

Awards: Jury Prize and Best Musical Score

Plot: Ang Damgo ni Eleuteria charts the last 90 minutes of Terya before she leaves her small rural town to marry an old German guy.

VERDICT: Like his award-winning short film To Siomai Love, Direk Remton shoots his first full-length feature in a single continuous shot. For the entire duration of the film, the camera is transfixed on Terya as she walks to the harbor. The story revolves around the conversations of the people around her: her parents, her cousin, her fisherman boyfriend, and the recruiter. Its appeal is rooted on the engaging dialogue that brims with authenticity and humor. As the audience, we go back and forth as to which side we are on. Are we rooting for Terya's mom who wants nothing but a good life for her daughter? Or do we despise her for sending Terya to Germany against her will? It's a tug of war of emotions as Ang Damgo ni Eleuteria provides convincing arguments from both sides.

Rating: 4.5/5

Ishmael

Director: Richard Somes of Yanggaw fame

Starring: Ronnie Lazaro, Mark Gil, Pen Medina, and Ria Garcia

Awards: Best Editing (tied with Dagim), Best Cinematography, and Best Production Design

Plot: After being imprisoned for 12 years, Ishmael decides to go back to his bucolic town. To his surprise, everyone has turned into religious freaks worshipping a powerful cult leader who calls himself Ama.

VERDICT: Direk Richard brings a rough-edged aesthetic to a story of revenge and redemption. He just might put action films back on the map. The climactic bloodshed sees the director re-creating scenes from the golden era of action flicks. It's messy, over-the-top, and brutal. Given a bigger budget, the action scenes could have been rendered more fluidly and executed more convincingly. With his lust for blood and style to boot, Direk Richard can be considered as the Quentin Tarantino of Philippine independent cinema. Click here to read the full review.

Rating: 4/5

Layang Bilanggo

Director: Michael Angelo Dagñalan of Isnats fame

Starring: Pen Medina, Jaime Fabregas, Miriam Quiambao, Will Devaughn, Sue Prado, Archi Adamos, Neil Ryan Sese, Bombi Plata, and Mailes Kanapi

Awards: Best Picture, Best Director, Best Screenplay, and Best Actor for Pen Medina

Plot: A fugitive checks himself in a home for the aged to become close to the daughter he abandoned for several years.

VERDICT: There is no doubt that Layang Bilanggo is a well-crafted film, so it's no surprise that it won the top honors. It beautifully combines the elements of action, family drama, and comedy. It works best as an examination on the life of abandoned elders. My only problem with Layang Bilanggo is that it doesn't feel memorable enough to stand the test of time, like previous Cinema One winners; for example, Imburnal and Confessional. As I said, it's a well-crafted film but it's rather safe.

Rating: 3.5/5

Dagim

Director: Joaquin Valdes

Starring: Marc Abaya, Martin del Rosario, Samuel Quintana, Manuel Chua, Cholo Barretto, Alchris Galura, Jojit Lorenzo, Luis Alandy, Rita Iringan, Daniel Fernando, and Mailes Kanapi

Awards: Best Supporting Actor for Marc Abaya, Best Editing (tied with Ishmael), and Best Sound

Plot: Two brothers, searching for their missing father, find a tribe in a secluded part of the mountain. As strange things happen, the tribe's dark secrets are unraveled.

VERDICT: On a purely visual level, Dagim is the runaway winner. Direk Joaquin creates vivid imageries of macabre tribal rituals and rotting corpses with a style that can kick some mainstream horror directors out of business. This is a director that we should watch out for. However, beneath the unsettling visuals is a story that doesn't really hold together.

Rating: 3/5

Third World Happy

Director: EJ Salcedo

Starring: Sam Milby, Jodi Sta. Maria, Melissa Mendez, Archie Alemania, Archi Adamos, and Richard Quan

Award: Best Supporting Actress for Jodi Sta. Maria

Plot: A struggling painter returns to the Philippines to attend the funeral of a relative and reunites with his family, friends, and the girlfriend he left for 13 years.

VERDICT: Third World Happy is a work of restraint. It could have easily opted to fill its scenes with cheesy and overly sappy lines, but it veered away from unnecessary sentimentality. Unlike other dramas, it leaves the audience trying to figure out what really happened. Why did Wes (Sam's character) decide to cut his communication from his friends and ex-girlfriend? Why did he put his painting career on hold? And the most important question of all, does he have a son with Aylynn (Jodi's character)? The script is rather inconsistent. Some lines verge on cliché and the comedic quips destroy the overall tone of the film. In the acting department, the movie belongs to Jodi as the docile ex-girlfriend. Her voice cracks at the perfect moment and we're left with our hearts breaking.

Rating: 3/5

Astro Mayabang

Director: JP Laxamana

Starring: Arron Villaflor, Megan Young, John Lapus, Marco Morales, and Hermes Bautista

Awards: Special Citation and Audience Choice

Plot: Astro wears Pinoy pride on his sleeve, literally. He meets a balikbayan who wants to explore her Filipino roots.

VERDICT: Astro Mayabang is an incoherent mess. Absurd events take place one after the other. Absurdity is the stuff that makes good comedies, but not in this film. Its social message is also vague. The film, however, will be most remembered for Arron in his star-making role.

Rating: 2/5

Tsardyer

Director: Sigfreid Barros Sanchez of Ang Anak ni Brocka and Lasponggols fame

Starring: Dimples Romana, Mon Confiado, Bombi Plata, Shamaine Buencamino, Martin delos Santos, Neil Ryan Sese, and Pipo Alfad

Plot: A top news anchor and two cameramen are held captive by one of the most notorious breakaway groups of the Abu Sayyaf.

VERDICT: Tsardyer fails on so many levels. It is bogged down by technical deficiencies. The voice dubbing is off. The images are pixelated. There is an attempt to offer unusual angles by using aerial shots but it seems unnecessary. To top it all off, the film does not reflect the compelling nature of the true-to-life story it portrays.

Rating: 2/5

*published on PEP