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PODCAST | Departure, return: The region as liminal space in 3 Filipino films
Minda Salida #13: Departure, return: The region as liminal space in 3 Filipino films The term regional cinema was coined, or became a wave in the landscape of Philippine cinema, with the inception of the Cinema Rehiyon, an annual exhibition and gathering of regional cinemas and filmmakers all over the Philippines, led by the National […].....»»
K-pop group Aespa concert film gets global cinema release
The first concert movie of K-pop group Aespa is getting a global release in theaters for two days in April......»»
‘The Eras Tour’ serves up Taylor Swift, larger than life
That Taylor Swift is a great songwriter is no longer in question. What’s up for debate is whether she’s a great concert artist as well. By artist we don’t mean a gifted vocalist. The era of the pop concert as a singing showcase and a straightforward live onstage performance of recorded music ended in 1990 with Madonna’s third concert tour. Called Blond Ambition, the highly theatrical show combined music, spectacle and, most crucially, storytelling with a several-act structure based on themes or narrative arcs, deconstructed songs and elaborate sets to redefine the pop concert as performance art. It has since been the template and gold standard by which all concerts, especially those by female superstars, have been measured. Yes, even Madonna’s own subsequent tours have been assessed through the Ambition lens and, arguably, none of them has quite equaled the one that gave the world the cone bra as an icon of female sexuality and woman power. [caption id="attachment_201371" align="aligncenter" width="1987"] LOS ANGELES, CALIFORNIA - OCTOBER 11: Taylor Swift attends "Taylor Swift: The Eras Tour" Concert Movie World Premiere at AMC The Grove 14 on October 11, 2023 in Los Angeles, California. Matt Winkelmeyer/Getty Images/AFP (Photo by Matt Winkelmeyer / GETTY IMAGES NORTH AMERICA / Getty Images via AFP)[/caption] Feast for the eyes Swift’s The Eras Tour, as seen in the filmed concert currently showing in cinemas worldwide, certainly serves up a feast for the eyes. Most of it is courtesy of the massive stage consisting of a backdrop that stands several stories high, a huge main platform and a long runway that juts well into the audience floor and features its own diamond-shaped mini-stage with a “hyperactive” central hydraulic platform consisting of several mobile blocks that rise to various heights throughout the almost three-hour show. It’s not only one of the biggest stages ever built for a pop concert, but is also probably the biggest LED installation ever assembled in and outside the music world. And it’s never not in use, lighting up the cavernous 70,000-seat SoFi Stadium in Los Angeles (where the movie was filmed over three shows) with eye-popping digital images, pre-recorded videos and live footage from the concert itself. The set is so massive that it makes Swift and her troupe of dancers look like ants. But thanks to the big screens, she literally looks larger than life to the live audience at different points in the show. The film does the opposite, and is the better for it: It brings Swift into the intimate space of the cinema and, thus, closer to the audience. Eras further highlights and celebrates the main thing that has helped the 33-year-old singer-songwriter conquer the pop world, the core attribute that makes Taylor Swift Taylor Swift: relatability. [gallery columns="2" size="full" ids="201372,201370"] It’s all over her music: a repertoire of mostly slow and mid-tempo ballads that tell about the blush, excitement, joy, ecstasy, frustrations, confusion, sadness, heartbreak, anger and regrets of modern-day romantic relationships, in creative confessional journal prose that listeners of all ages, colors and persuasions find no difficulty accessing and plugging into. It’s all over her wholesome, winsome, non-threatening all-American girl-next-door public persona. This is on fuller display in her performance in Eras than even in her 2020 documentary movie, Miss Americana & The Heartbreak Prince, which chronicled mostly the period between her Reputation Tour in 2018 and the release in 2019 of her seventh studio album, Lover. Between the many floral, even pastoral, and fluid graphic images onscreen and the tasteful, immaculate set pieces, between the squarely schematic album-era sectioning and the billowy ball gowns and sparkly and sexy but modest bodysuits, between the Cheshire-Cat grin Swift wears through most of the show, even during moments in some heartbreak songs, and her dorky cheerleader energy, The Eras Tour plays like Little Miss Sunshine & The Hearty Princess. It’s all what anyone would expect from the reigning America’s Sweetheart. Thoroughly entertaining It’s a great Taylor Swift show, for sure — thoroughly entertaining and one that sends stans to Swift heaven. But it stops at being a Taylor Swift show with a faithful rendition of her songs when, for something called Eras, it should be giving audiences, both fans and casuals alike, more to chew on than what they already know and are familiar with — a recast, a reinterpretation, a recontextualization of her music and impact. [caption id="attachment_201373" align="aligncenter" width="2560"] US singer-songwriter Taylor Swift performs onstage on the first night of her "Eras Tour" at AT&T Stadium in Arlington, Texas, on March 31, 2023. (Photo by SUZANNE CORDEIRO / AFP)[/caption] The show is content to be a pop concert about Taylor Swift. Coming almost 20 years into her career, it should’ve reached for the world outside of Taylor Swift, or even just a small part of it: What do Taylor and her songs, for instance, say about the times we are living in? The Eras Tour could have aspired to life and art, or at least something approaching it, and thereby become a truly era-defining experience. The post ‘The Eras Tour’ serves up Taylor Swift, larger than life appeared first on Daily Tribune......»»
S. Korea’s filmmaking diaspora: telling their ‘own stories’
The rise of South Korean diasporic cinema has allowed the artists involved to feel less alone, one filmmaker told Busan International Film Festival attendees on Friday. Six films from the diaspora are unspooling as part of a special sidebar this year in the South Korean port city, including Isaac Chung's Oscar-winner "Minari" and Celine Song's Sundance favorite "Past Lives". Since "Parasite" became the first non-English-language film to win a Best Picture Oscar, films made by the Korean diaspora have experienced a remarkable surge, with filmmakers delving into culture-spanning narratives that encompass their varied experiences. "(The) main thing it's done, at least for myself, is to know that as I tell my own stories, people are finding common ground to relate with one another," Justin Chon, who directed 2021 adoption drama "Blue Bayou", told reporters. He has since directed four episodes of the successful Apple TV+ series "Pachinko", the story of an ethnic Korean family living in Japan, based on the novel by Min Jin Lee. When "other immigrants and minorities in the United States are telling their stories, the only thing it does is signal to me that I really wasn't alone this entire time", he said. "Minari" director Chung said as a second-generation Korean-American, he had always felt "a loss of a place that I don't fully understand that is far away from me". Korean-American actors Steven Yeun and John Cho were unable to comment on their American projects due to the ongoing Screen Actors Guild strike, but both freely discussed why they believed the work stoppage was important. "I think the strike is a very righteous act of making sure that we ensure and protect artists and those who are living an actor's life and a writer's life," Yeun said. "And there are many people who don't have safeguards.... I sit here with so much privilege to be here and to be able to talk about it." Cho, who starred in the 2018 thriller "Searching" which is screening at this year's BIFF, said artificial intelligence -- a key concern for striking actors -- has "put people out of work" in the entertainment industry. "When I go to see a movie (it's) to see people enacting a human drama and to have an experience with an audience watching human expression," he said. "And so behind the scenes, if we start taking out people, the art form is going to suffer." Collaboration The festival's diaspora section features several intriguing collaborations between diasporic and South Korean artists as well as those from other nationalities. "Burning" (2018), for example, is based on Japanese writer Haruki Murakami's novel, directed by acclaimed South Korean filmmaker Lee Chang-dong, and stars Yeun. Korean-Canadian director Song's "Past Lives" (2023), meanwhile, co-stars South Korean actor Teo Yoo and Korean-American actress Greta Lee. Yoo, who is fluent in English, on Thursday candidly expressed the challenges he faced in trying to present himself as an appealing love interest to the American audience. In "Past Lives", he plays a South Korean character who speaks English with a heavy accent and less-than-perfect fluency. Director Chon's latest film "Jamojaya", which features a collaboration with Indonesian rapper Rich Brian and actor Yayu Unru, had its Asian premiere at BIFF. "So this is my fifth film, and the first three were centered around Korean Americans," Chon said after a BIFF screening on Friday, when asked about his collaboration with Indonesian artists. "To really create empathy and understanding for ourselves as a whole, we should start telling each other stories, especially in the whole Asian diaspora." The post S. Korea’s filmmaking diaspora: telling their ‘own stories’ appeared first on Daily Tribune......»»
Chow Yun-fat laments Chinese censorship at BIFF
Hong Kong film legend Chow Yun-fat on Thursday lamented China's "difficult" censorship while conceding the mainland market's crucial financial importance for filmmakers. Speaking at South Korea's Busan International Film Festival, Chow told reporters that Hong Kong's cinema industry had to learn to play by a new set of rules since the city returned to China's control in 1997. "We have a lot of censorship requirements in mainland China. Our scripts must go through a lot of different departments for the film bureau", BIFF's Asian Filmmaker of the Year honoree said. But while Chow said things were "very difficult" for Hong Kong's filmmakers, they also knew it was necessary to reach the "huge" mainland Chinese audience to "make a living". "We have to pay attention to our government ... otherwise it is very hard to get the money to shoot a movie," he said, adding they still strove to maintain the "Hong Kong spirit". In announcing this year's honor, BIFF organizers heaped praise on Chow for "spearheading the golden age of Hong Kong cinema" that flowered in the early 1990s, and making "Hong Kong noir" a globally recognized genre. Three of Chow's films -- "A Better Tomorrow" (1986), "Crouching Tiger, Hidden Dragon" (2000) and 2023's "One More Chance" -- will be screened at the festival. Freedom Along with Tony Leung, his "Hard Boiled" co-star and 2022 BIFF honoree, Chow has long been a well-liked figure in South Korea thanks to Hong Kong cinema's surge in popularity in the 1990s. Since then, South Korea has cemented its own status as a global cultural powerhouse, and has had explosive successes like Oscar-winning film "Parasite" and the Netflix series "Squid Game". "It's a good thing that when one industry feels stagnant and unable to move forward, another region can take it even further," Chow said, when asked about the rise of South Korean cinema. "I believe the greatest strength of Korean cinema lies in its freedom." Despite his prolific career and global fame, Chow said he still considers himself an "ordinary person". In 2018, he vowed to donate his fortune to charity after he dies. Chow quipped Thursday that it was his wife's decision, but added: "I believe that since I came into this world with nothing, it doesn't really matter if I leave with nothing as well." The post Chow Yun-fat laments Chinese censorship at BIFF appeared first on Daily Tribune......»»
UniSQ in Toowoomba
Just recently, the 13th Australian Media Traditions Conference was held on the 20th and 21st of September at the University of Southern Queensland, or UniSQ, in the Garden City of Toowoomba in Brisbane on the theme “Beyond Boundaries.” Thirty-six paper presenters, who were largely PhDs and PhD candidates from various universities on the Australian continent and beyond, each had 20 minutes to share their research and scholarly works in the field of communication in the context of the digital age. Most conferees came from the universities of Southern Queensland, Queensland, Macquarie, La Trobe, RMIT, Monash, James Cook, Swinburne, Deakin, South Australia, Melbourne, Canberra and QUT — all in Australia — while two were from the University of China and the University of Shanghai for Science and Technology, and one from the University of the Philippines (the only Filipino in the pack). Each day featured a keynote speaker, a morning tea, lunch, afternoon tea and dinner. Everyone received a ring-bound booklet that contained the individual abstracts and biographies of every participant. The various subthemes delved into — literature, journalism, television drama, civic engagement, music industry, radio, cinema, mobile developments, media/politics/issues, technologies and globalization, SVODs in Australia, creation and content production, and archives (i.e., collection of digital/social media at the National Library of Australia) — were all reflective of the contemporary communication and media ecosystem. For one, this author presented his paper titled, “Scoping the reformative and transformative impact of media traditions.” Let me share, dear readers, what my seminal and expository paper was all about. The terms reformative and transformative simply refer to access to news, entertainment, or information in various modalities, while impact, as a term, refers to “hit,” it denoting who are adversely affected in an era of digital media (i.e., print newspapers, periodicals, magazines and other forms of publishing). These social and economic dimensions are on opposite ends of a continuum. There’s no need to be an apologist for print newspapers since the notion that the “editor is dead” in this digital age is a myth. Neither is there such a thing as the “golden age of journalism,” as one presenter embraced the view — with some authority based on her research — that it never existed. In fact, if it were any consolation, there had been a common point when the portion who got its news via social media was about equal to the portion who got its news from newspapers and that was in 2017. Therefore, if there was a crucial paradigm shift to the digital or social media platform, it must have been an entirely slow and gradual process where the readership of print newspapers slid down and the readership on social media climbed, not to mention that such transformation was only of recent memory or origin. In the case of Americans, and it may be a universal phenomenon elsewhere in the world, television dominates as a news source followed by news websites, in turn followed by radio then social media, in turn followed by print newspapers — in this pecking order. As well articulated with evidence-based data, two age groups, namely, those between 50-54 and those 65 and over, still preferred print newspapers as their news source with lower percentages in the younger age groups (i.e., 18-29, 30-48). More particularly, while most Americans get their news often from social media rather than print newspapers, there is only a marginal variance of 20 percent and 16 percent, respectively, over the period 2016 to 2018. In other words, we can embrace the view that print newspapers “will never die,” very much so in countries with aging populations to the extent possible that it might even overcome social media at some point as a source for news in this…. “digital divide” as well as “age divide.” This media traditions conference at the UniSQ in Toowoomba was probably the most fulfilling intellectual experience for experts, scholars, and practitioners in the present-day communication and digital landscape. The post UniSQ in Toowoomba appeared first on Daily Tribune......»»
A tribute to people working behind the scenes
Audiences always see the work that the actors, and rest of the cast — the so-called front-liners of a production — put into a successful performance, but they seldom are aware of the “backliners” — the backstage and production crew — who also spent time and energy on the production. As the cast receives applause and adulation, the behind-the-scenes crew often goes unnoticed — the costume designer who works on the fittings and alterations, the technical staff who makes sure that the lighting and sound system works, the production people who make the artistic vision come alive with their hammers, paint brushes, etc. Some take great pride in their backstage work such as Annie Ignacio and Amado Bonifacio III, who are in production design for the Cultural Center of the Philippines. A theater arts graduate of the Polytechnic University of the Philippines, Ignacio first encountered CCP when she was invited as a performer for Pasinaya: The CCP Open House Festival, the country’s largest multi-arts festival happening every February. After hearing great things about CCP from her friends who have been working at the premier cultural institution, she decided to try her luck and inquired about a job opening. Weeks later, she started her new job as part of the theater crew at the Production Design Center. Later on, she was promoted as a draftsman. [caption id="attachment_185925" align="aligncenter" width="525"] Amado Bonifacio III prepares a production’s scale model with his mentor Manong Junior.[/caption] Bonifacio, meanwhile, recalled undergoing an on-the-job training at CCP in 2016, a requirement to finish his engineering degree at the University of Manila. Two years later, in 2018, he became a reliever for one of the theater crewmembers. He was later tasked to supervise the layout of the CCP’s Christmas decorations. Ignacio and Bonifacio both trained under Francisco M. Galvero Jr., or “Manong Junior” to people he worked with. For more than five decades until his retirement last year, Manong Junior remained the only scenic painter of the CCP. After watching him create huge sets for different CCP productions, the mentees started shadowing this master. They would always see Manong Junior doing the scale models and then bringing these miniatures into life-sized sets and sceneries. Curiosity led Ignacio to this path. She would ask questions, inquire about the process of producing sets, find out how to make things realistic and experiment with colors and textures to make the design come alive, among others. “While working with Manong Junior, I noticed his hands. I told him that his hands look like my father’s hands,” shared Ignacio in an interview. Bonifacio added that Manong Junior served as a father figure to him and his fellow workers. “As a mentor, he gave us artistic freedom to explore. He allowed us to express our creativity, but he would appraise our works and rectify what we’d done wrong in a very patient way,” he said. Being a backstage crewmember has its share of ups and downs. Sometimes, several productions are scheduled simultaneously, with everything happening all at once. When these happen, the workload could become overwhelming for the crew. “There was a time when work piled up. We didn’t know what we should do first. My mind went blank, and I just cried. But after that, I returned to work as if nothing happened,” said Ignacio. Bonifacio noted a similar experience. “Even if we don’t want to, the nature of the work forces us to be workaholics. Things could get stressful and tiring, but we love what we are doing. That’s why we are still here.” For them, work does not feel like work. They find fulfillment in seeing what they worked hard for and pour their hearts into it. Ignacio’s biggest achievement to date was creating the now-iconic eye balloon for the Cinemalaya Philippine Independent Film Festival 2019. The work was displayed at the CCP Main Building Grand Staircase and became an instant hit as an Instagrammable spot among film enthusiasts. She also did the realistic bibingka and puto bumbong props for Tuloy Ang Pasko. These involved trials and errors, and hearing the compliments and receiving recognition made it all worthwhile. She said, “Manong Junior always told us not to be afraid to keep trying and make mistakes.” [caption id="attachment_185927" align="aligncenter" width="525"] Francisco M. Galvero Jr., with his apprentice Annie Ignacio, preparing the set for a ballet production.[/caption] Bonifacio, who takes pride in his work with the Art House Cinema facade decor and Sinag: Festival of Lights, reveals that he doesn’t see himself as an artist. It was only when his mentor Manong Junior recognized him as an artist that he started pondering about his work. They know that backstage work is rarely recognized, but CCP is paying homage to these unsung heroes through a series of mini-documentaries by filmmaker Joseph Mangat, Backstage Pass. Launched during Cinemalaya 19, the second installment features Manong Junior, who had been working on sets for various CCP productions since the early 1980s. The first release featured the technical theater crew in the lights and flying sections. More Backstage Pass episodes will feature the CCP film technicians, sound crew and costume custodians, as well as venue booking and front-of-house operations. The series also gives viewers a glimpse of the lesser-known careers in cinema and theater work. The post A tribute to people working behind the scenes appeared first on Daily Tribune......»»
Nadine Lustre, ‘Family Matters’ victorious at 71st FAMAS
The 71st Filipino Academy of Movie Arts and Sciences (FAMAS), the country’s oldest award-giving body for cinema, held its 2023 awarding ceremony on 13 August at the Fiesta Pavilion, Manila Hotel. The drama Family Matters, an entry at the 2022 Metro Manila Film Festival, emerged victorious after bagging four awards out of 12 nominations. Family Matters bested other nominees in the Best Picture award such as Blue Room, Leonor Will Never Die, La Traidora and Deleter. Aside from its Best Picture win, the film also won Best Actor for Noel Trinidad, Best Supporting Actress for Nikki Valdez and Best Editing (Beng Bandong). [caption id="attachment_171195" align="aligncenter" width="525"] 71ST FAMAS Best Actress awardee Nadine Lustre. | PHOTOGRAPH COURTESY OF VIVA[/caption] Directed by Nuel Naval, Family Matters is a drama-comedy film that revolves around an elderly married couple and their children who must take turns caring for their parents, especially their stroke-stricken father. Meanwhile, multi-award-winning actress Nadine Lustre secured her second FAMAS Best Actress award for portraying Kichi in the 2019 thriller film Greed. Lustre received her first FAMAS Best Actress award for her performance in the 2018 romance film Never Not Love You. With this achievement, the 29-year-old actress extended her record as the youngest woman to win the Best Actress award at the FAMAS. Several artists and prominent figures also received special awards during the ceremony. Veteran actresses Liza Lorena and Marita Zobel won the Susan Roces Celebrity Award and the FAMAS Lifetime Achievement Award, respectively. Popular young actress Jillian Ward received the German Moreno Youth Achievement Award, while actor-director Jun Urbano, known for his iconic “Mr. Shooli” character, was honored with the Dr. Jose R. Perez Memorial Award. Actor and Senator Lito Lapid received the Fernando Poe Jr. Memorial Award, with Mischa and Mattie Lapid accepting the award on behalf of their grandfather, who was absent that night. House Speaker Ferdinand Martin Romualdez also won the FAMAS Exemplary Award in Public Service. Below is the full list of the 71st FAMAS Awards winners: Best Picture: Family Matters Best Director: Ma-an Asuncion Dagñalan, Blue Room Best Actress: Nadine Lustre, Greed Best Actor: Noel Trinidad, Family Matters Best Supporting Actress: Nikki Valdez, Family Matters Best Supporting Actor: Sid Lucero, Reroute Best Screenplay: Abet Raz and Alejandro Ramos, La Traidora Best Cinematography: Neil Daza, Blue Room Best Production Design: Eero Yves Francisco, Leonor Will Never Die Best Editing: Beng Bandong, Family Matters Best Musical Score: Jazz Nicolas and Mikey Amistoso, Blue Room Best Sound: Alizen Andrade and Immanuel Verona, Reroute Best Short Film: Kurt Soberano’sGolden Bells Male Star of the Night: Sid Lucero Female Star of the Night: Jillian Ward Face of the Night (Male): Mon Confiado Face of the Night (Female): Nadine Lustre Susan Roces Celebrity Award: Liza Lorena FAMAS Lifetime Achievement Award: Marita Zobel German Moreno Youth Achievement Award: Jillian Award Dr. Jose R. Perez Memorial Award: Jun Urbano Fernando Poe Jr. Memorial Award: Lito Lapid FAMAS Exemplary Award in Public Service: Ferdinand Martin Romualdez The post Nadine Lustre, ‘Family Matters’ victorious at 71st FAMAS appeared first on Daily Tribune......»»
William Friedkin, incendiary director of ‘The Exorcist’
US director William Friedkin, who died Monday, will forever be remembered for his Oscar-winning "The Exorcist" in 1973, one of the most controversial horror films of all time that still chills new generations of moviegoers. The taboo-breaking scene of a 12-year-old girl believed to be possessed by the devil, foul-mouthed and feverishly masturbating with a crucifix on her bed, provoked frenzy in audiences and sparked a global debate about the occult in the Catholic Church. "It was shocking," wrote Rolling Stone in 2018, recalling the first reactions. It "had people lining up at the entrances of movie theatres while the exits were soppy with puke from the previous showing." Remarkably for a horror film, it was nominated for 10 Oscars and took home two. Pact with the devil Friedkin, who passed away in Los Angeles on Monday at the aged of 87, after suffering health issues in recent years, first hit the pinnacle in Hollywood a few years before "The Exorcist" -- with his stomping, stylish 1971 thriller "The French Connection." Starring Gene Hackman as a cop in gritty, corrupt New York City, the film won five Oscars including Best Director and Best Picture. It was a pearl of the "New Hollywood" wave of socially and politically charged filmmaking associated with emerging directors such as Robert Altman, Francis Ford Coppola, and Martin Scorsese. Friedkin was asked to direct "The Exorcist" -- based on a novel inspired by a reported case of possession of a 14-year-old boy -- after other star directors including Stanley Kubrick had turned it down. "I thought it was a film about the mystery of faith... but I didn't set out to make a horror film," Friedkin was quoted saying in The Hollywood Reporter in 2015. "But by now, I have accepted that it is." His film was followed by four sequels, based on the same novel but without Friedkin's participation, together grossing more than $600 million worldwide. A television series began in 2016. Real power Friedkin was born in Chicago in 1935. His mother was a nurse and his father held several jobs, from merchant seaman and semi-professional softball player to discount-clothes salesman. He singled out viewing in his twenties of Orson Welles' "Citizen Kane" (1941) as having a radical impact. "It changed my life," he said in a 2014 interview published on the website of respected US critic, Roger Ebert. "It made me understand that film was an art form and a unique way of storytelling that I had never considered". Friedkin started working in television as a runner and then directed TV shows before making his own documentary in 1962, "The People vs Paul Crimp", about a real-life death row prisoner. The film would contribute to Crimp's death sentence being commuted, convincing Friedkin of "the power of cinema", he told AFP in an interview in 2017. In 1967 he made his first feature, "Good Times", a musical starring the popular pop duo Sonny and Cher. Eclipse from the A-List After his heyday in the 1970s, came a spectacular fall from the Hollywood A-List. It was his ambitious "Sorcerer" (1977), that would prove Friedkin's undoing. After a difficult shoot that went wildly over budget to cost $22 million, the film bombed at the US box office, grossing just under $6 million. It was also eclipsed by the first installment of George Lucas's "Star Wars", released at the same time. Amongst his other flops from a total of about 20 features was "Cruising" (1980) with Al Pacino as an undercover cop hunting down a serial killer in New York's S&M scene. But "Killer Joe" in 2011, starring Matthew McConaughey as a man plotting to kill his own mother, brought renewed critical praise. In 2018, decades after his most famous hit, Friedkin revisited the themes of "The Exorcist" with the documentary "The Devil and Father Amorth", about a priest performing an exorcism in Italy. "The life of a filmmaker is one film to another," Friedkin told the LA Times in 1989 about how he picked himself up after his career had taken a tumble. "There's a great reward when you connect with the public and people are lining up around the block to see your film. But the real joy is making the film." Friedkin was married four times, the first time to one of France's top actresses, Jeanne Moreau. The post William Friedkin, incendiary director of ‘The Exorcist’ appeared first on Daily Tribune......»»
Deadly love, trauma, romance and death-defying stunts
[caption id="attachment_154993" align="aligncenter" width="669"] PHOTOGRAPH COURTESY OF VIVAMAXTHE cast of Vivamax’s ‘Deadly Love.’[/caption] Series Deadly Love. Last Wednesday, a few press members were teased with the first two episodes of Derick Cabrido’s romantic murder mystery Deadly Love at Cinema ’76 Tomas Morato. Top-billed by Louise Delos Reyes, Marco Gumabao, McCoy De Leon, and award-winning actress Jaclyn Jose, the series is set in a small fictional coastal town in the superstitious province of Pangasinan. Something sinister is lurking — but who? While I have problems with the clunky, inconsistent script, there is no denying that Cabrido knows how to hold your interest with his moody thriller. There is a mystery vibe all throughout, with my mind constantly swimming with guesses. But what strikes me the most is the breathtaking location and the pretty cinematography. The quality of the visuals is superb, evoking eerie feels all throughout, which makes me look forward to finishing the rest of the episodes. The miniseries will drop tomorrow, 10 July, on Viva One, Vivamax’s newest app. [caption id="attachment_154992" align="aligncenter" width="525"] PHOTOGRAPH COURTESY OF primE VIDEO‘THE Summer I Turned Pretty’ stars Lola Tung and Chris Briener.[/caption] The Summer I Turned Pretty Season 2. I am a big fan of Season 1, bingeing the entire season in two days tops. Based on Jenny Han’s best-selling books, the coming-of-age tale focuses on Belly (the captivating Lola Tung) and how her life unravels in an unforgettable summer at Cousins Beach. It’s basically a love triangle between teenagers. Still, even adults will fall in love with the wholly engrossing story that also involves Belly’s novelist mom (Jackie Chung) and her cancer-stricken best friend, Susannah (Rachel Blanchard). Season 2 picks up a year after the events of the first season and is based on Han’s book It’s Not Summer Without You. The eight episodes will drop on a weekly basis beginning 14 July on Amazon Prime. [caption id="attachment_154994" align="aligncenter" width="525"] PHOTOGRAPH COURTESY OF PARAMOUNT TOM Cruise and Vanessa Kirby in ‘Mission Impossible— Dead Reckoning Part One.[/caption] Movies Causeway. Another A24 gem. Jennifer Lawrence stars in Lila Neugebauer’s gripping and powerful drama Causeway as Lynsey, an injured soldier returning home from her Afghanistan tour. Suffering from traumatic brain injury, Lynsey struggles to return to her daily life in New Orleans. During rehabilitation, she befriends an auto-mechanic, played by Brian Tyree Henry, who also has physical and mental trauma. Slow-burn but rich with deeply explored themes on mental health, trauma, and friendship, Causeway, which earned Henry a nomination at the 95th Academy Award for Best Supporting Actor, is a must-see if you are on the hunt for quality drama. It is now streaming on AppleTV+. Mission: Impossible — Dead Reckoning Part One. The sequel to Mission: Impossible — Fallout (2018) and the seventh installment in the Mission: Impossible film series is a blockbuster event you would not want to miss. Dead Reckoning Part One follows the events of Fallout, where Ethan Hunt (Tom Cruise) leads his crew to save the world from a nuclear apocalypse. The trailer is enough to convince you to head to the cinema on its opening day on Wednesday, 12 July. The death-defying stunts, including a 61-year-old Tom Cruise riding a motorcycle off the edge of a cliff, should only be seen on the big screen. The beloved franchise’s latest offering will surely be one of the biggest cinematic events of the year. The post Deadly love, trauma, romance and death-defying stunts appeared first on Daily Tribune......»»
Bye bye ‘Barbie’: Vietnam bans new movie over South China Sea map
Vietnam has banned the upcoming "Barbie" movie from cinemas over scenes with a map showing China's claims to territory in the South China Sea, state media reported Monday. The fantasy comedy film about the famous doll, directed by Greta Gerwig and starring Margot Robbie and Ryan Gosling, had been set for nationwide release in Vietnam on 21 July. But its performance schedule has been removed from the websites of the country's major cinema chains following a government decision to ban the film due to scenes featuring the so-called nine-dash line, state media reported. China has long used its so-called nine-dash line to illustrate its expansive claims over most of the resource-rich sea, often to the displeasure of Hanoi, which also claims parts of the waterway. "The film review board watched the film and made the decision to ban the screening of this movie in Vietnam due to a violation regarding the 'nine-dash line'," Vietnam's Department of Cinema director, Vi Kien Thanh, told the Dan Tri news site. Another state media outlet, Tien Phong, reported that the nine-dash line scene appeared multiple times in the movie. All films in communist Vietnam must be approved by censors who screen for gratuitous violence, suggestive sex scenes, or politically-sensitive material. Last year, "Uncharted", the action-and-adventure movie starring Tom Holland, was banned from theatres due to scenes featuring the nine-dash line. And in 2018, Vietnam cut a scene from the romantic comedy "Crazy Rich Asians" that featured a designer bag with a map of the world showing the disputed South China Sea islands under Beijing's control. A year later, Hanoi pulled the animated DreamWorks film "Abominable" from cinemas over the same issue, while Netflix was told last year to ditch episodes of its "Pine Gap" series over similar scenes. The South China Sea is home to valuable oil and gas deposits and shipping lanes, and several of China's neighbours have voiced concern that Beijing is seeking to expand its reach. The post Bye bye ‘Barbie’: Vietnam bans new movie over South China Sea map appeared first on Daily Tribune......»»
Pride screenings showcase a rainbow of stories
Cinema is one of the most engaging artforms and creative expressions through which the LGBTQ+ community documents their lived experiences, conveys their desires and struggles, celebrates their identities and advocates for reforms and deeper understanding. Thus, film screenings are popular activities during LGBTQ+ Pride Month. This year, several institutions, streaming service companies and film groups are mounting screenings, giving these works more opportunities to reach more audiences. Here is a rundown: FDCP’s Pelikulaya LGBTQIA+ Film Festival The Film Development Council of the Philippines brings back the Pelikulaya LGBTQIA+ Film Festival this year with the theme “Mga Kuwentong Mapagpalaya” (Liberating Stories), and the aim is training the spotlight “on underrepresented members of the LGBTQIA+ community to promote a better understanding of inclusivity, diversity and equality.” According to Tirso Cruz III, FDCP chairman and chief executive officer, Pelikulaya “aims to raise awareness of LGBTQIA+ issues. We believe that by using the power of film, we can do our part in showcasing films that celebrate LGBTQIA+ stories. Hoping to create understanding of the lives, perspectives and advocacies shown in each film.” “With that, the FDCP sends our love and gratitude to you all for being with us, and we hope you’ll have a memorable experience in all of our Cinematheque Centres across the Philippines,” he added. To be held from 23 to 30 June, Pelikulaya will screen titles at the Cinematheque Centres in Manila, Davao, Iloilo, Nabunturan and Bacolod, and several theaters in Metro Manila including Cinema ‘76 and UP Film Institute’s Cine Adarna/Videotheque. Some of the titles will also be available for streaming on JuanFlix (www.juanflix.com.ph) starting 30 June with a subscription fee. A special screening of a digitally restored and remastered version of Wong Kar Wai’s Happy Together will kick off the festival on 23 June at the Shangri-La Plaza Mall in Mandaluyong City. Aside from Happy Together, films that will be screened at the Cinematheque Centres are Girl (directed by Lukas Dhont); Portrait of a Lady on Fire (directed by Celine Sciamma); Women Do Cry (directed by Vesela Kazako and Mina Mileva); Billie and Emma (directed by Samantha Lee); Mamu, and a Mother Too (directed by Rod Singh); Metamorphosis (directed by J.E. Tiglao); and The Boy Foretold by the Stars (directed by Dolly Dulu). Ishmael Bernal’s Manila by Night will have a free screening. Priced from P100 to P200, tickets to Manila screenings may be purchased through bit.ly/CCManilaTickets. [caption id="attachment_146567" align="aligncenter" width="525"] Lukas Dhont’s ‘Girl’ is inspired by a true story of a young trans girl who aspired to be a ballerina.[/caption] Short films will be screened for free at the Cinematheque Centres, and the lineup includes Alingasngas ng mga Kuliglig (directed by Vahn Leinard Pascual); Love in the Ungodly Hour (directed by Bradley Jason Pantajo); Dikit (directed by Gabriela Serrano); Gulis (directed by Kyle Jumayne Francisco); Noontime Drama (directed by Kim Timan and Sam Villa-Real); and Nang Maglublob ako sa Isang Mangkok ng Liwanag (directed by Kukay Zinampan). [caption id="attachment_146563" align="aligncenter" width="525"] ‘Dikit,’ a short film by Gabriela Serrano.[/caption] To be available for streaming on JuanFlix are Sila-Sila (directed by Giancarlo Abrahan); Metamorphosis; Mamu, and a Mother Too; Rome and Juliet (directed by Connie Macatuno); How to Die Young in Manila (directed by Petersen Vargas); Nang Maglublob ako sa Isang Mangkok ng Liwanag; and This is Not A Coming Out Story (directed by Mark Felix Ebreo). Portrait of a Lady on Fire and Women Do Cry will be also be available on a pay-per-view basis. At Cinema ’76 Cinema ’76 Film Society is bringing in acclaimed movies this Pride Month. Headlining is Happy Together, the 1997 Cannes-winning romantic drama directed by renowned Hong Kong filmmaker Wong Kar-Wai and featuring Tony Leung and the late Leslie Cheung as two lovers caught in a turbulent affair. Aside from Happy Together, two films featuring transgender experiences will also be shown. Girl is the debut film of Belgian filmmaker Lukas Dhont and won the Camera d’Or for Best Feature Film at the 2018 Cannes Film Festival. The film was inspired by a true story of a young trans girl who aspired to be a ballerina. On the other hand, Fanny: The Right to Rock is a documentary by Canadian filmmaker Bobbi Jo Hart about Fanny, the legendary Filipina-American-fronted rock band whose trailblazing impact in music was written out of history. The film touches on the place of women, women of color, queers and older women in a straight male-dominated industry. [caption id="attachment_146564" align="aligncenter" width="525"] ‘Fanny The Right to Rock,’ a documentary about a forgotten queer band.[/caption] The three films will have a limited run from 21 to 27 June at Cinema ’76 on Tomas Morato Avenue in Quezon City. On iWantTFC A streaming platform with international reach, iWantTFC celebrates all types of love with a special selection of movies and series called Love is Love that includes Drag You and Me, iWantTFC’s latest original series that tackles drag culture and stars Andrea Brillantes, JC Alcantara and Christian Bables. Other iWantTFC originals that viewers may stream are the Girls’ Love series Sleep with Me, starring Janine Gutierrez and Lovi Poe, and Fluid, Boys’ Love (BL) rom-com Oh, Mando! and advocacy series Mga Batang Poz. [caption id="attachment_146566" align="aligncenter" width="525"] Photograph courtesy of Dreamscape Entetainment | ‘Drag You and Me’ is an iWantTFC original series that tackles drag culture.[/caption] There are also empowering movies and series about loving freely and living authentically, such as The Boy Foretold by the Stars and its sequel series Love Beneath the Stars, Black Sheep’s hit series Hello Stranger starring Tony Labrusca and JC Alcantara, and the Star Cinema film My Lockdown Romance, starring Jameson Blake and Joao Constancia. Stories on learning how to embrace one’s sexuality and being true to oneself are told by The Panti Sisters, Die Beautiful, The Third Party and Baka Bukas. Thai BL series, such as 2gether the Series, Still 2gether, A Tale of a Thousand Stars and Bad Buddy are also available to stream as well as well-loved and classic LGBTQ-themed movies, such as T-Bird at Ako, Si Chedeng at si Apple and In My Life. These can be viewed on the iWantTFC app (iOs and Android) and website (iwanttfc.com). In other select countries, watch iWantTFC on a larger screen with select devices, including VEWD, ROKU and Amazon Fire streaming devices, Android TV, select Samsung Smart TV models, Telstra TV (in Australia) and VIDAA. On Jungo Pinoy New Filipino streaming app Jungo Pinoy, which boasts of having the largest Filipino-dubbed movie library in the world, as well as original films and TV series, also has a selection of LGBTQ-themed and queer-created films and series, which can be viewed either for free or through a subscription plan. Recommended watch includes: eCupid (exclusive Filipino-dubbed), a romantic comedy directed by JC Calciano and starring Morgan Fairchild, Houston Rhines and Noah Schuffman, tells the story of a gay man nearing 30 years old tapping into an otherworldly internet advertisement that begins to control his life. Hoping to end his seven-year romance rut, he uses the site to get everything he wants until he discovers that what he thought he wanted wasn’t the thing that would ultimately make him happy. Ten Year Plan (exclusive Filipino-dubbed) is another romantic comedy directed by Calciano and starring Jack Turner and Michael Adam Hamilton. In the film, two best friends make a pact to be together in a decade if neither finds love. With two months left until their deadline, they both scramble to find someone to avoid being each other’s last resort. [caption id="attachment_146565" align="aligncenter" width="525"] ‘TEN Year Plan,’ directed by JC Calciano.[/caption] Adan is a Filipino lesbian mystery and romance movie starring Cindy Miranda, Rhen Escano and Ruby Ruiz. In the movie, a naive provincial girl finds a way to be independent through the help of her girl best friend, but their actions have consequences. [caption id="attachment_146562" align="aligncenter" width="525"] Photographs Courtesy oF JUNGO PINOY | ‘ADAN’ tells about a lesbian story.[/caption] Daddy Issues, starring Jo Ashe and Rachel Barry, is a comedy about loss and starting over. In the film, when her emotionally distant father dies and leaves her his company, a hapless stand-up comic moves to Los Angeles to take over the family business. Tucked is about an aging drag queen who forms an unlikely friendship with a younger queen. As they discover more about each other, they realize how to truly be themselves. Starring Derren Nesbit and Jordan Stephens, this film is about love, loss and friendship. Lady Gaga: iTunes Festival features the pop star’s performance at the Itunes Music Festival, which also marked the world premiere of tracks from her album ARTPOP. [caption id="attachment_146570" align="aligncenter" width="525"] PHOTOGRAPH COURTESY OF JUNGO PINOY | WATCH pop star Lady Gaga perform in ‘Lady Gaga iTunes Festival.’[/caption] Sam Smith: Austin City Limits features the non-binary English singer and songwriter performing their greatest hits, such as “Nirvana” and “I Know I’m Not the Only One” on the stage at Austin City Limits. [caption id="attachment_146569" align="aligncenter" width="525"] ‘Sam Smith: Austin City Limits.’[/caption] At the Quezon City Public Library A weekly film screening is part of the celebration of LGBTQ+ Pride Month of one of the country’s most active public libraries, the Quezon City Public Library (QCPL). With the theme, “Equality for All,” their celebration aims “to highlight the unique contributions and lived experiences of the members of the LGBTQIA+ community through various library activities and informational resources.” “This celebration also forwards an aspiration: that one day, we will be able to genuinely acknowledge the existence of our fellow LGBTQIA+ brothers and sisters as equally valuable as everyone. And that they too deserve equal opportunity in any given situation and honest representation in all of its forms, shapes and sizes,” the library explained. The film screenings started with Love, Simon and Everything Everywhere All at Once on 9 June and All My Life and Bekikang on 16 June. Other films to be shown are Perks of Being A Wall Flower and Boys in the Band on 23 June, and Eternals and Imitation Game on 30 June. Screenings are from 1 to 4 p.m. at the Conference Room of QCPL. Contact the library to reserve slots. At the UPFI Film Center The University of the Philippines Film Institute also had screenings of LGBTQ+ films on 17 June, in partnership with the UP Diliman Gender Office. Shown were short films Gutab, Dory, Niknik, Kurozetto, Bakit, Papa? and Nang Maglublob Ako sa isang Mangkok ng Liwanag. The post Pride screenings showcase a rainbow of stories appeared first on Daily Tribune......»»
‘We are more than enough’: KaladKaren dedicates historic win to LGBTQ+ community
Comedian, television host and actress KaladKaren, whose real name is Jervi Li, was declared the winner in the Best Supporting Actress category of the first Summer Metro Manila Film Festival (MMFF) during the Gabi ng Parangal, held on 11 April at the New Frontier Theater in Cubao, Quezon City. She bested co-nominees Ana Abad Santos of Love You Long Time and Maris Racal of Here Comes the Groom. She made history by becoming the first transgender person to win an acting award at the MMFF for her role in Here Comes the Groom, which won Third Best Picture. She is the second trans person to win an acting award in Philippine cinema. “Alam niyo po, itong parangal na ito ay hindi lamang recognition ng aking trabaho kundi pati na rin po ng aking pagkatao (You know, this award is not just a recognition of my work but also of my identity) When I entered show business, I never thought na makakakuha po ako ng award kasi (that I would receive an award because) as transgender woman, I thought I will never be enough,” she said in her emotional acceptance speech. KaladKaren continued: “Kaya napakahalaga po nitong award na ito para sa akin (That’s why this award is very important to me), and I want to share this to all transgender people, drag artists, members of the LGBTQIA+ community, whose lives and existence are being threatened in the world right now, para sa inyong lahat po ‘to (this is for all of you). And I want to remind all of you that we are more than enough.” The actress expressed her gratitude to the Summer MMFF board of jurors, which was headed by Golden Globe- and BAFTA-nominated actress Dolly de Leon, and included filmmaker Jose Javier Reyes, saying that “it only goes to show that there is diversity, inclusion, and equity in Philippine cinema.” She also thanked the film’s writer and director Chris Martinez and Quantum Films producer Joji Alonso for “this chance and thank you for hiring a transgender actress to play a transgender character. Thank you for being truthful.” [caption id="attachment_119814" align="aligncenter" width="525"] KaladKaren wins Best Supporting Actress for ‘Here Comes the Groom’ at the first summer MMFF Awards.[/caption] In Philippine showbusiness, LGBTQ+ characters are often played by straight actors. This practice has taken away opportunities from LGBTQ+ actors, who have been relegated to sidekick roles and providing comedic reliefs. KaladKaren also thanked her co-actors including Iyah Mina, the first trans person to win an acting award, when she won Best Actress at the 2018 Cinema One Originals Film Festival for her work in Mamu; And a Mother Too. Mina was nominated at the Gawad Urian in the Best Actress category in 2019. “Thank you rin po sa mga role models ko sa (to my role models in the) industry — Ma’am Karen Davila, if not because of your support I don’t think KaladKaren would fly,” she further said. “And to Meme Vice Ganda, thank you for opening so many doors for us so we can enter. You’re one of the reasons why I’m here tonight.” KaladKaren also acknowledged her fiancé, British seafarer Luke Wrightson: “And to the love of my life, Luke, kung nasaan ka man (wherever you are), for 11 years, you have showed me and you have made me feel that I am more than enough. I love you from the bottom of my heart. He’s my husband-to-be. Ang suwerte niya, noh? (He’s so lucky, right?)” The last part of her speech addressed the children and the youth: “Lahat ng mga batang nangangarap, sa mga LGBTQIA+ na kids, mga batang beki, ‘wag kayong matakot maging kayo at ‘wag kayong matakot mangarap because one day, hindi niyo alam, kayo rin ang nandirito. At sana ‘wag po nating kalimutan ang mensahe ng aming pelikula: Hindi po ang itsura at kasarian ang mahalaga kundi ang inyong puso at kaluluwa (To the kids who are dreaming, to the LGBTQIA+ kids, do not be afraid to be yourselves and to dream because one day, who knows, you would also be the one standing here. And I hope we also remember the message of our film: What’s important is not your appearance or your gender, but your heart and soul).” The LGBTQ+ community also celebrated KaladKaren’s win. Trans activist Mela Franco Habijan wrote on her social media accounts: “Our dearest KaladKaren winning Best Supporting Actress is a beautiful exclamation point for the trans community! It is a huge win for the LGBTQIA+ community! You are power, mars! Congratulations and we are proud of you!” Trans filmmaker Rod Singh, the director of Mamu; And a Mother Too, expressed delight when KaladKaren was nominated, writing on Twitter (@iamrodafrog), “This is a feat! Regardless if Jervi wins or not, this is already a win for the community! A step to the right direction. Magiging precedent din ito (This will be a precendent) for future MMFF! Which means we also have to stand our ground.” The University of the Philippines’ College of Mass Communication also congratulated KaladKaren on its official Facebook page. The actress studied at the university and graduated magna cum laude with a degree in Broadcast Communication in 2009. KaladKaren rose to prominence by impersonating broadcast journalist Karen Davila Her screen name is a portmanteau of Karen and the Filipino word “kaladkarin,” meaning “easy to get tagged along,” which can imply being “loose.” She has hosted several television shows such as Umagang Kay Ganda, I Can See Your Voice and The Voice of the Philippines. Last year, she was a regular judge in the first season of Drag Race Philippines. KaladKaren played Wilhemina in Here Comes the Groom, the sequel of the 2010 film Here Comes the Bride, with a plot of souls being “swapped” in an accident during a solar eclipse. It stars Enchong Dee, Racal, Best Supporting Actor winner Keempee de Leon, Awra Briguela, Gladys Reyes, Miles Ocampo, and Xilhouete. The Summer MMFF ran from 8 to 18 April. The post ‘We are more than enough’: KaladKaren dedicates historic win to LGBTQ+ community appeared first on Daily Tribune......»»
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Unang kinatakutan sa buhay ni Iyah Mina: Yung maging open ako sa family ko na tanggapin ako…
ISA sa matinding kinatakutan noon ng transgender actress na si Iyah Mina sa kanyang buhay ay ang pag-amin sa pamilya ng tunay niyang pagkatao. Ayon sa unang transwoman best actress sa kasaysayan ng Philippine Cinema (nanalo noong 2018 para sa ‘Mamu And a Mother Too’), marami rin siyang mga pagsubok na pinagdaanan at mga bagay na […] The post Unang kinatakutan sa buhay ni Iyah Mina: Yung maging open ako sa family ko na tanggapin ako… appeared first on Bandera......»»
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