friday revelry
Jul. 12th, 2008 09:29 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
nunuuuWent yesterday with college friends to the opening night of Cinemalaya Film Festival 2008, at CCP. The festival circus theme and concert before the screening was a bit dubious. But had fun nonetheless. And it's nice to see that the crowd turnout every year gets bigger. Yay for Philippine indie cinema. Photos by Justin de Jesus, a friend of mine.
One of the dancers in the entrance.
Retro payaso.
Bronzed.
Name the unmemorable band game.
The CCP lobby after the screening of Adela.
Spotted: Vince Groyon. The bitchiest and most brilliant video production prof ever. In red.
Justin, Trish and I while waiting for the screening.
Anyway. So indulge me on my urge to write a review.
The opening film for the Cinemalaya film fest this year is Adela, directed by Adolf Alix Jr., starred in by local film legend and mainstay, Anita Linda. Or like everyone said, the ubiquitous but brilliant actress who plays all the old lady/lola parts. Just from the establishing shots, one could already tell that it was an Alix film - gorgeous cinematography (even if it's a landscape of arid garbage and poverty), over-indulgence with the duration of the shots (impatient filmgoers will get bored, stat), and a fondness for long shots. Of course, we've seen all that with his previous films like Kadin, Alix delivers in terms of composition and framing. He portrayed Batanes on film so eloquently, and that was the main draw of Kadin. In his new film, Adela, one is again made a believer of his visual instinct. Hey, the story was set in a squatter's area tucked at the side of a main highway, but it all seemed beautiful to look at.
But I think an under-appreciated facet of Alix's work is his ability to create a film-watching environment filled with different levels of emotional nuances. Others would just say that the film, Adela, is dragging, what with the long-winded shots and his previously mentioned over-indulgence with the shot durations. I felt the restlessness of the audience during the longer than usual takes. But I for one see it as Alix's vehicle to make the story more acute. I believe that Alix's knack for establishing an emotional rapport with the audience through the quality and length of the shots are laudable, and if I might add, unique. He takes the time to tell you, visually, where the character is both physically and emotionally.
Adela is about the life of a grandmother living in the slums. The time frame of the entire film takes place in one day, following Anita Linda's character through her daily chores and her interaction with her neighbors. It's her birthday, and she sets out to prepare a dinner for her children and grandchildren who will be visiting that night. The film's story line is adroitly simple, but carries with it an emotional punch towards the ending that is hard to evade.
For me, it was the movie's ending that provided a basis for such a long-winded narrative of an otherwise menial and ordinary day of a poor old woman. As Anita Linda was walking through the dried up mangroves, with her basket in hand, I felt tears welling up. And I, for one, am not prone to crying over anything. When it comes to tears, I'm a tough crowd to sell. But as the realization sunk in of how alone she truly was, I lost it. I cried. Few movies ever move me this much. I attribute it to the subtle way Alix arranged the narrative, and how he used cinematography to tell the story best. There were no emotional outbursts or over-portrayal from the actors; the dialog was unremarkable. It was the visuals that told the story, and I believe, told it well.
My opinion is completely opposite to those of my friends, who thought it boring and lacking in any punch. Maybe it's just me. I found Adela incredibly moving.
Anyway. That's that. After Cinemalaya, we went to the Hooters at Mall of Asia for some dinner and ample bosom spottage. Yummy food. But why, of all days, did I have to wear a white tank that day? Thank god for Justin who made me borrow and wear his hoodie. Mapag-kamalan pa akong Hooters girl haha.
One of the dancers in the entrance.
Retro payaso.
Bronzed.
Name the unmemorable band game.
The CCP lobby after the screening of Adela.
Spotted: Vince Groyon. The bitchiest and most brilliant video production prof ever. In red.
Justin, Trish and I while waiting for the screening.
Anyway. So indulge me on my urge to write a review.
The opening film for the Cinemalaya film fest this year is Adela, directed by Adolf Alix Jr., starred in by local film legend and mainstay, Anita Linda. Or like everyone said, the ubiquitous but brilliant actress who plays all the old lady/lola parts. Just from the establishing shots, one could already tell that it was an Alix film - gorgeous cinematography (even if it's a landscape of arid garbage and poverty), over-indulgence with the duration of the shots (impatient filmgoers will get bored, stat), and a fondness for long shots. Of course, we've seen all that with his previous films like Kadin, Alix delivers in terms of composition and framing. He portrayed Batanes on film so eloquently, and that was the main draw of Kadin. In his new film, Adela, one is again made a believer of his visual instinct. Hey, the story was set in a squatter's area tucked at the side of a main highway, but it all seemed beautiful to look at.
But I think an under-appreciated facet of Alix's work is his ability to create a film-watching environment filled with different levels of emotional nuances. Others would just say that the film, Adela, is dragging, what with the long-winded shots and his previously mentioned over-indulgence with the shot durations. I felt the restlessness of the audience during the longer than usual takes. But I for one see it as Alix's vehicle to make the story more acute. I believe that Alix's knack for establishing an emotional rapport with the audience through the quality and length of the shots are laudable, and if I might add, unique. He takes the time to tell you, visually, where the character is both physically and emotionally.
Adela is about the life of a grandmother living in the slums. The time frame of the entire film takes place in one day, following Anita Linda's character through her daily chores and her interaction with her neighbors. It's her birthday, and she sets out to prepare a dinner for her children and grandchildren who will be visiting that night. The film's story line is adroitly simple, but carries with it an emotional punch towards the ending that is hard to evade.
For me, it was the movie's ending that provided a basis for such a long-winded narrative of an otherwise menial and ordinary day of a poor old woman. As Anita Linda was walking through the dried up mangroves, with her basket in hand, I felt tears welling up. And I, for one, am not prone to crying over anything. When it comes to tears, I'm a tough crowd to sell. But as the realization sunk in of how alone she truly was, I lost it. I cried. Few movies ever move me this much. I attribute it to the subtle way Alix arranged the narrative, and how he used cinematography to tell the story best. There were no emotional outbursts or over-portrayal from the actors; the dialog was unremarkable. It was the visuals that told the story, and I believe, told it well.
My opinion is completely opposite to those of my friends, who thought it boring and lacking in any punch. Maybe it's just me. I found Adela incredibly moving.
Anyway. That's that. After Cinemalaya, we went to the Hooters at Mall of Asia for some dinner and ample bosom spottage. Yummy food. But why, of all days, did I have to wear a white tank that day? Thank god for Justin who made me borrow and wear his hoodie. Mapag-kamalan pa akong Hooters girl haha.
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no subject
Date: 2008-07-13 06:26 am (UTC)astig un fire circus dude
oh and nice photo of the payaso
no subject
Date: 2008-07-13 07:45 am (UTC)the one breathing fire? hahaha. ewan ko, mejo annoyed ako with the concept. don't know why.
photo creds to justin, my blockmate :)