The 18th Annual Circle Citations for Distinguished Achievement in Film for 2007 and Sine Sipat: Recasting

Roles and Images Stars, Awards and Criticism

The Citation
Ibinigay ng Film Desk ng Young Critics Circle (YCC) ang unang taunang pagkilala nito sa kahusayan sa pelikula noong 1991, ang taon pagkaraang maitatag ang YCC ng labinlimang tagapagrebyu at kritiko. Sa kanilang Deklarasyon ng mga Prinsipyo, ipinahayag ng mga miyembro ang paniniwala na laging bukas ang mga tekstong kultural sa aktibong pagbasa, sa mga interaksiyon ng iba't ibang mambabasa na may natatanging kakayahan para sumipat, magbigay kahulugan, at mag-isip... bumuo ng isang dinamikong diskurso kung saan ang texto ay naghahamon para lumikha ng mga pinaka-imahinatibong idea ng ating panahon. Ang Film Desk ay lagi nang nagsisikap na talakayin ang pelikula sa iba't ibang arena ng akademya at media, sa pag-asang magsulong ng alternatibo at umuusbong na artikulasyon ng kritisismong pampelikula kahit sa loob ng nakababaldang kultura ng mga award.

The Film Desk of the Young Critics Circle (YCC) first gave its annual citations in film achievement in 1991, a year after the YCC was organized by 15 reviewers and critics. In their Declaration of Principles, the members expressed the belief that cultural texts always call for active readings, interactions in fact among different readers who have the unique capacities to discern, to interpret, and to reflect... evolving a dynamic discourse in which the text provokes the most imaginative ideas of our time. The Film Desk has always committed itself to the discussion of film in the various arenas of academe and media, with the hope of fostering an alternative and emergent articulation of film critical practice, even within the severely debilitating culture of awards.

Pelikulang Filipino ng 2007:

Humuhulagpos Na Produksiyon, Hinahatak Ng Tradisyon
Romulo P. Baquiran, Jr.

2
HINAHANAP NG MGA BETERANO sa pelikulang Filipino ang kalidad ng mga naunang obrang itinuturing na klasiko. Ang sabi ng isang dating direktor at manunulat mula dekada sitenta at otsenta: Bakit sasabihing maganda ang Ang Pagdadalaga ni Maximo Oliveros samantalang hindi naman? May mga pamantayang hinahanap ang beterano tulad ng tuwirang politikal na mensahe, seryosong kuwento, seryosong mga artista, pulidong kalidad ng produksiyon, bihasang sinematograpiya, at pangkalahatang husay ng aspektong teknikal. Mabigat ang hinihingi sa kasalukuyang mga artista ng pelikula. Parang napakailap tuloy na produkto ang pagkamasining ng isang kontemporanyong pelikula. Nagiging hambingan ang mga obra ng mga tulad nina Brocka, Bernal, at mga kasama mula sa mga nakaraang dekada. Sa isang pagtingin, may dahilan ang mga beterano ng pelikulang Filipino na hanapin ang kalidad ng mga obrang itinuturing na mga rurok ng industriya. Nasaan ba ang mga bagong Maynila sa Kuko ng Liwanag o City After Dark? Natukoy na ang maganda at ito na ang mas gugustuhin nila. Bakit hindi ipagpatuloy ang ideyal na ito? Ang mga hindi makatupad sa ideyal ay itinuturing na mababang klase. Hindi maisasama sa ginintuang listahan. Pero ang sabi nga, kalakaran sa mundo ang pagbabago. Walang bagay na nananatili nang walang pagbabago. Ang mga ideal na nakasanayan sa pagsusuri at pagtuturing sa magandang pelikula ay subhetibo at puwedeng mabago sa udyok na rin ng iba't ibang salik na pumapataw sa mga kasangkot sa industriya. Hindi maibabalik sa dati ang kondisyon ng produksiyon at panonood ng pelikula. Nagbago na ang merkado, nagbago na ang mga player sa industriya, at higit sa lahat nagbago na ang uri ng manonood. Pangunahing isang komersiyal na proyekto ang paggawa ng pelikula. Pinagbubuti ang produksiyon at hinuhulma ito ng industriyang prodyuser, direktor, manunulat, designer, publisista, atbpsa isang pormularyo at estetika na inaakalang makakahatak ng maraming manonood. Nakapaloob ang lahat ng ito sa isang historikong tradisyon. Ang paghahatakan ng tradisyon at inobasyon/kabaguhan ang nagsusulong ng pagbabago. Napakahalagang salik ng pagbabago ang paghuhugis sa pagnanasa at pangarap ng manonood.

Ano ba ang kaniyang panlasa sa panonood sa panahong ito? Ano ang pangarap na kaniyang binubuo, sa antas na malay o di-malay? Noong 2007, ang malalaking kompanyang paminsan-minsang gumagawa ng big budget at mainstream na pelikulaGMA Films, ABS-CBN Film Productions, Star Cinema, Viva Entertainment, Regal Entertainment, at Seiko Filmsay umaasa pa rin sa mga klase ng proyektong kinasanayan nang pipilahan sa takilya. Sa 35 mm feature film na ginawa noong 2007 ng mga kompanyang itokasama ng mga lumitaw-mawalang film outfit tulad ng Onabru at Centerstage Productionsay umabot sa total na 40 ang bilang. Ang mga nangungunang anyo ay drama (10), comedy (9), romance (6), at horror (5). May gumawa rin ng sex drama (3) at action (2). Gayong pinakamarami ang nalikha sa genre na drama, hindi ito masyadong gumawa ng ingay kahit sa pan-Disyembreng Metro Manila Film Festival na eksklusibong araw para sa pelikulang Filipino. Hindi tulad ng dati na ito ang isa mga tampok na anyo na pinapanood ng marami. Walang makatanda sa mga kalimot-limot naman talagang drama sa buhay na ipinakita sa Bahay Kubo at Katas ng Saudi. Higit na pinipili ng manonood ang comedy, romance, at horror. Kung kaya masasabing pagtugon ang mga produksiyon sa pangangailangan ng manonood na maaliw, makilig, at makilabutan. Sa comedy, sinikap ng prodyuser ng M.O.N.A.Y ni Mr. Schooli na buhayin ang tradisyon ng satirang politikal. Itinapat ang mga araw ng palabas malapit sa eleksiyon pero hindi pinansin sa takilya ang pelikula. Kumitang mas hindi hamak ang Ang Cute ng Ina Mo, Pasukob, at Apat Dapat, Dapat Apat na pinagbidahan ng mga komedyanteng sina Ai Ai de las Alas at Eugene Domingo. Kahit sa komedya, ayaw ng manonood ang may layuning deretsahang politikal. Hindi nagkakalayo ang romance at horror sa dami ng pelikulang nagawa at marahil sa bisa ng mga ito sa manonood. Mas kilig at pag-usyoso sa kanilang mga idolo ang hanap ng mga nakababatang henerasyon sa panonood ng You Got Me at I've Fallen For You ng Star Cinema. Mas umasa pa ang mga pelikulang ito sa pamumuhunan at publisidad na ibinuhos ng conglomerate sa pagpapakete sa kanilang mga alagang artista kaysa pagbibigay ng bagong tunguhin sa industriya ng pelikula. Masarap kausapin ang pera at ang pangako nitong biyaya. Katulad na lamang ng romance na Batanes (GMA Films) na may bagong pangakong tila tutuparin kung paniniwalaan ang mga publisidad at anunsiyo. Dahil ginamit ng pelikula ang isang espesipikong pook at pinagtuunan ang isang pangkat etnikong Filipino bilang milyu ng kuwento, inaasahan ang modikum ng saliksik at pagsasaloob ng pananaw-sadaigdig ng Ivatan kahit sabihin pang tokenismo lang ito. Pero walang pagsisikap kahit sa tokenismo ang pelikula. Paimbabaw ang representasyon ng lokal na buhay sa isla. Mas pinaburan ng pelikula ang panturistang elemento at global na pretensiyong kinakatawan ng Taiwanese star na si Ken Zhu. Sa madaling sabi, sayang ang pagkakataon na makabuo ng naiiba at makabuluhang istorya ng pagsasalpukan ng modernidad at lokal na

reaksiyon. Sa postcard na rendisyon ng produksiyon, walang puwang ang sensibilidad ng lajji at antropolohikong opsiyon. Ibinando ang Ouija at Tiyanaks bilang mga emblem ng modernong pelikulang horror pero sahol na sahol ang mga ito sa kalidad ng produksiyon, naratibo, pagganap, at lengguwaheng pampelikula. Walang pokus ang istorya at tila inihahanda lamang ang lahat ng pangyayari sa pagbuo ng pananabik sa kahindik-hindik na itsura ng tiyanak. Pero nang lumitaw ang tiyanak, walang latoy ang pagkakagawa ng prostetika at walang katorya-torya ang special effects. Hindi kilabot ang mararamdaman kundi kabuwisitan. Isang mayamang tradisyong folkloriko pa naman ang tiyanak na puwedeng gawan ng totoong kilabot kung pag-iisipan ng kuwento at produksiyon. Pero ang naitanghal ay ang pagiging bano ng mga alagad ni Mother Lily. Ganoon din ang kaso ng sex drama. May posibilidad ang mga pelikula sa genre na ito na umaangat sa pagiging mahusay na obra. Halimbawa, kapansin-pansin ang lalim ng naratibo at husay sa aspektong teknikal ng mga pelikulang Itlog at Buko Pandan. Sa dekada nobenta, naging tagapanguna ng genre na ito ang Seiko Films. Maraming respetadong aktres ang nagsimula at sumubok gumawa ng pelikula para sa Seiko Films tulad nina Claudine Barreto at Zsa Zsa Padilla. At kumita ang mga pelikulang linggo-lingo kung rumolyo sa mga sinehan at libo-libong kalalakihan ang dinala sa mundo ng pantasya at kamunduhan. Pinilit buhayin ng Seiko Films ang tradisyong ito ng paglikha ng mga diyosa at diyos ng hubaran sa Silip . Erotiko/horror/drama sikolohiko ang sinubukang isakay sa talento nina Diana Zubiri, Francine Prieto, at Polo Ravales sa pelikula. Pinagbuti rin ni Direktor Joel Lamangan ang pagsasakatuparan ng produksiyon. Pero ang dilohikal na pagkabuo ng mga tauhan at walang wawang paglatag ng mga pangyayari sa kuwento ay hindi mapapalampas ng manonood na naghahanap ng mas sopistikado at suwabeng labanan ng politikang seksuwal. Sa kalahatan, hindi pa rin makaalis ang mainstream na pelikulang Filipino sa konserbatibong aspekto ng tradisyon sa produksiyon. Hindi nito mapalawak ang mga hanggahang matagal na nitong ginagamit at siya pa ring ibinibigay sa mga manonood. Bagamat nagsisikap na makagawa ng bago ang mga prodyuser, lagi pa ring naiiwan ang isang paa sa kinasayan. Umaasa pa sa inaakalang subok na at laging nagdadalawang-isip na sumubok ng iba naman. Dito marahil sa pagsubok ng bagong paraan ng pagsulat at produksiyon ng pelikula nakakaungos nang malaki ang indie films at produksiyong dihital ng 2007. Mahigit sa 50 ang nagawang dihital na pelikula ng 2007. Maipagpapalagay na dito rin makikita ang hinahanap na kahusayan na hindi makita ng beteranong kasangkot sa pelikulang Filipino. Sa mga pelikulang kinilala ng YCC ngayong 2007, ang lahat maliban sa isa (Encantos) ay isinilang ng impetus ng mga pestibal para sa mga entidad na indie at kompanyang nagtatrabaho sa estilong indie. Ang Foster Child, Endo, Still Life, at Tirador ay pawang naunang ipinalabas sa mga venue tulad ng Cinemalaya sa

Sentrong Pangkultura ng Pilipinas bago nagkaroon ng pagkakataon na maipalabas sa mga sinehan sa mall. Sa mga litaw na pagkakaiba ng indie production sa mainstream na pelikula, ang pinakapangunahin ay ang bagsak-puhunan sa film stock, bayad sa sikat na artista, mahal na publisidad, at mamahaling renta ng kagamitang teknikal. Hindi rin nakatali ang indie sa pormula ng kung ano ang inaakalang kikita kaya may relatibong kalayaan ang kabataang prodyuser, writer, aktor, at direktor na gawin ang kanilang bisyon. Ito ang lakas ng prodyuser ng indie. At sasabihin ng iba, siya ring kahinaan. Dahil relatibong mura ang halaga ng paggawa ng indie, marami ang nagkakalakas ng loob na gumawa ng inaakala nilang magandang pelikula. Mayroon lamang naisip na kung ano-ano ay gagawa na nga ang kung ano-ano. Kaunting shoot, ayos. Voila may indie film na. Pero hindi naman nilalahat. Tulad ng nabanggit, nagmula sa larangan ng indie ang lahat ng binibigyang parangal ng YCC para sa taong 2007. Kapag maganda ang resulta ng proyekto o nagustuhan ito ng manonood at nagbayad sila para mapanood ang bagong obra, ang pagkita sa takilya ay isang malaking posibilidad para sa mga indie film. Ibig sabihin din lamang na may naghihintay na bagong manonood para sa ganitong mga proyekto. Hindi kalakihan ang puhunan sa indie at bawing-bawi ang puhunan at puwede pang mangolekta ng mga lokal at internasyonal na award. Itong mga award ang publisidad para sa produksiyon. Nakita na ng mainstream ang posibilidad ng pamumuhunan sa estilong indie. Tiyak na magiging trend ang pagsubok ng mainstream sa estilong indie. Hayan na ang halimbawa: Ang prodyuser ng Foster Child ay prodyuser din ng Silip. Nasa sangandaan ang hinaharap ngayon ng pelikulang Filipino. Hinahatak pa rin ang mainstream ng hindi kagandahang manerismo sa tradisyon. Mayroon pa rin namang audience ito kahit na pakaunti na nang pakaunti. Samantala, tumutuklas ang indie ng mga bagong bisyon na nagkakaroon ng lumalaking bilang ng manonood. Unti-unti nang nangyayari ang pagsasalubungan ng dalawang agos na ito sa pelikulang Filipino. Inaasahan lamang na magbunga ito ng mas mabuti at mas kahanga-hangang mga obra na magpapabagong-pananaw sa nanlulumong paniwala ng mga beterano ng industriya.

Look After
Patrick D. Flores

6
THE FILM MAY on the surface be uneventful. Thelma Manlangqui goes about her errands as mother and wife on a typical morning, with the banal bustle that attends the ritual, except that her family, with husband and two sons, is quite exceptional. In their split-level shack in the belly of the city, she takes care of a foster child, whom the government had entrusted her; the boy named John-John would soon be handed over to American parents who had sought him for adoption. The film revolves around this event, beginning with the descent of a social worker into the depths of the slums to the moment when Thelma hands his charge over to his new parents in a posh hotel that does not only offer stark contrast to the squalor of his origin; it becomes the site of a deeply touching and troubling instance of cinematic experience in which the foster mother's world falls apart in a skyscraper of marble baths. The event, therefore, ceases to be a mere element of the plot. It is an event that takes in a sense of the total, the totality of society inscribed in a fairly straightforward sequence of incidents that seems to happen in a day, in a singular stroke. We say this because such an everyday circumstance translates into a consequence of historical forces congealing to produce precisely an event of this nature, with contradictions of class, gender, and race playing out to generate exemplary pathos and profound perturbation.

7
And this operates not merely in terms of discourse, but aesthetically as well. The ethnographic approach of director Brillante Mendoza intimates a stalking effect that threads us through the social thickness of what may appear to be everyday routine. It surfaces for us an aspect of life as it settles like sediment of a residual socio-economic system. On the other hand, it gestures toward a passage from the hovel to Manila's highways and on to that transient station called a hotel. And then this: the final crash of maternal sentiment when Thelma realizes that her son had been taken away and that she could not do anything about it, a chronicle of a loss foretold but likewise a tale of the devout wish of wistful belonging, indeed a reversal and deferral of maternality. At this point, melodrama flirts with melancholy, tragedy with the realism of soap opera, an uncanny liaison that takes us to the most fraught of ties, the most alienating of emotions, and an emergent tone and terrain of affection. The critical scene, and the episode that renders the film thoroughly cinematic, is when Thelma takes John-John, whose diuretic urge had intensified that day presumably because of stress, to the hotel bathroom. Here foster mother and foster child find themselves alone, confined to the affluence of a suite, the fixtures of which they do not know how to use: they turn the faucets the wrong way and the water spills all over the place. It is the mess, this nervousness, the inability to grasp the structure of power that becomes the film's political logic, the sign of an aporia or impasse, the impossibility of not knowing how to carry out something very basic, to go about everyday life, something as rudimentary as it had been demonstrated in the prefigurative ablutions of the initial tableaux. It is as if, all of a sudden, everything becomes strange, unfamiliar, indifferent, formidable. Foster Child is most productively viewed in relation to last year's most accomplished film Inang Yaya and one of this year's most revealing projects Endo. The former speaks of surrogate motherhood and the latter of the contractualization of labor. It may motivate us to draw connections between these three narratives: of how work in the nation has been shaped by contractualization, more specifically subcontracting, surviving on exchange

with short-term benefits and with enduring costs to well being and the capacity to truly love. In a significant way, these three portraits depict certain biopolitical formations in Philippine society: how bodies have become irreducibly the very things that have been produced for circulation as labor and whose romantic, erotic, and filial feelings have been compromised, and in fact, even effaced. We tend to forget that John-John has a biological mother, too, absent though she may be on the screen. And it is the nation-state that finances fostering as part of social work and community development in the era of globalization. In light of a layered screenplay, a deft direction that scrupulously harnesses the potential of digital technology with nary an affectation, and astonishingly sensitive performances from the cast, most particularly Cherry Pie Picache's valiant effort to nuance degrees of being fleeting and eternal Mother, the film deserves to be the favored child of 2007, the posterity of a dear departed industry.

Still Life
Eloisa May P. Hernandez

10
A PAINTER IS AFFLICTED with a disease that eventually paralyzes him. He leaves for the bucolic countryside to paint his last painting before he kills himself. A young woman gets pregnant and leaves her child with her doctor. Painter and young woman meet, they strike an unlikely relationship. Both end up in the hospital. Young woman turns out to be the painter's mother. Young woman saves the painter from suicide. But there's a twist here, the woman has been dead for years. The story, written by Katski Flores in her directorial debut, is hardly original. Yet Katski Flores's initial attempt in filmmaking is laudable with a bounty of beautiful imagery, crisp editing, and impressive performances from Ron Capinding as James Masino, Glaiza De Castro as Emma Vaszquez, and John Lloyd Cruz in a brief yet effective role as an actor studying the role of an artist. The art of painting plays a central and integrative role in Still Life. The title draws a connection between the film and the painting genre of still life. The still life has a long history in art starting from the Dutch stilleven where the term originated around 1650. Still life (plural still lifes) refers to painted flowers, fruit, vases, wine, bread, food, and other inanimate objects. Still life is also referred to as nature morte in French, which came into popular use in the 19th century as a variation of the term peinture des choses inanimees (painting of inanimate objects). (Mariam 4) In Italian it is natura morta while in Spanish it is called naturaleza muerta and bodegon. The lead character, James Masino (Ron Capinding), is a painter and the film dwells on the psyche of an artist, how he thinks about art, his art making process, and the role of art in his life much like a portrait of a young man as an artist. Landscapes and seascapes also abound in Katski Flores's film with beautifully shot scenes on location in Guinyangan, Quezon and Jala-Jala, Rizal. The title of the film, Still Life, operates on several levels in this film. It alludes to the impending immobility (the Dutch term stilleven, according to Mariam, also means nature in repose or immobile) of James's body due to GuillainBarr syndrome, a debilitating disease that will eventually paralyze his body, spelling the end of his painting career. James dances with death and grapples

11

with suicide, reminiscent of memento mori, reminders of death and mortality, as seen in countless still life paintings. Vanitas, another term associated with still life, which according to Patrick Flores, is used to refer to still life works which contemplate the transience of life through the iconography of hourglasses, extinguished candles, soap bubbles, and skulls. (22) James is in transition, moving places from the city to the island, preparing to take his own life, eventually finding a second life after art. Emma as well, is in a transient state, as we shall discover at the end of the film. The film is replete with images of still life. James's paintings are still life, albeit of the unconventional type, not filled with flowers or fruits, but instead of a broken red stiletto, a dinner table with wine and left-over food, an empty swing in motion, a broken eyeglasses, a bench with a floating trench coat all devoid of life, as Emma noticed. Katski Flores also paints her own still lifes in scenes such as an empty chair, a drift wood, a bowl of flowers in the garden, and bougainvilleas in the patio. She also literally transforms some scenes into paintings as seen from the eyes of James. Still life can also allude to the life of James as it is put on hold by his disease, the end of life as he knows it. It can also refer to his life on a stand-still when Emma comes into his life, all the moments that James and Emma spent together all occurred in just a matter of a few earthly hours, while James bleeds from his attempted suicide, the hours are stilled. Sadly, the film reinforces some conventional and questionable, notions about art an artist as a solitary figure, an artist as a wretched angst-filled soul, an artist space as a room-of-one's one, and an artist as a middle-class male. The

film is also unabashedly conservative with its preachy pro-life diatribes on suicide and abortion. Emma's role is also conventional as a woman, taking care of the house, preparing the food, doing the laundry, and washing the dishes. Still Life also suffers from excess - the repetitive piano score was haunting at first but eventually becomes unbearable; the dialogue is uneven, sometimes witty but turns cheesy at some point; and the symbolisms were contrived and the twist in the plot was predictable. In spite these excesses, Still Life is nominated for cinematography and visual design for its sweeping panorama of nature in its landscapes and seascapes capturing its transitory nature with almost painterly quality, the attention to details in indoor spaces with almost still life property, transforming the frames into hand-painted paintings and the evocative use chiaroscuro the play of shadows and light - to create mood. Brian Uhing's paintings and Christina Dy's sketches are also vital component to the over-all theme of the film. When Mariam wrote, As a critic and art historian once so aptly remarked, what could be better explain the phrase devouring with the eyes than a still life? she could be referring to Flores's Still Life as it is literally a feast for the eyes ready to be devoured. Glaiza De Castro gives an impressive performance as Emma, the young carefree woman. She emanates an inner beauty on screen and is unpretentious in her role. But it is Ron Capinding's portrayal of James, in his first on screen performance, who stands out in the film as he turns in an understated yet nuanced performance that shifts from haughty to endearing, desperate to hopeful, and from confusion to enlightenment. Capinding's restraint and

12

13

roughness as an actor is a contrapunto to the natural joie de vivre and exuberance of De Castro. In the end, the love between James and Emma becomes palpable, yet both De Castro and Capinding effectively evinced love without the romantic entanglements and sensual frills. Ultimately, as Still Life shows, there is still life for James even after art.

Endnotes Flores, Patrick. The Tradition of 'Still' Life: Objects, Faces, and Structures as Culture. Perspectives on the Vargas Museum Collection: An Art Historical and Museological Approach. Quezon City: University of the Philippines Department of Art Studies, Jorge Vargas Museum and Filipiniana Research Center, 1998. Mariam, Mariu. Still Life. Madrid: Aldeasa, 2001.

Pagdating sa Endo
Romulo P. Baquiran, Jr.

14
LAGING NAE-ENDO SI Leo (Jason Abalos) sa trabaho, kung hindi man sa girlfriend. Tanggap na niya itong routine sa buhay: ang pagsandal sa mga temporaryong kontrata. Mga limang buwan ng pagtatrabaho at sa ika-anim ay ang awtomatikong pagpapatalsik ng kompanyang todo-iwas sa paggawad sa kaniya ng pagkapermanente at pagbibigay ng legal na benepisyo. Sa totoong buhay, kasumpa-sumpa itong sistematikong pagtalikod ng mga kapitalista sa kanilang responsibilidad sa lakas-paggawa. Pero nagbulagbulagan na ang pamahalaan at iba pang institusyon ng lipunan sa walang pakundangang pagsipsip sa dugo at lakas ng temporary workers. May denominasyon pa nga na aprobado at ganap na sumasang-ayon na ang kanilang kawan ay mapasailalim sa gayong kaayusan. Pero tulad nga ng pagkaipit sa nag-uumpugang bato, marami ang kumakagat sa patibong na ganito dahil walang opsiyon ang mahina. Kung may kahit isang temporary worker na isinusuka ang limang-buwan kontrata, mayroon namang daan-daang nakatutok sa classified ads ang mag-uunahan agad sa inayawan niya. Sa isang banda, walang patutsada at walang direktang komentaryo ang Endo sa malaganap na opresyong ito. Hindi itinatanghal sa pelikula ang pangit na mukha ng sistema. Klasipikado nga itong akda bilang romance. Pero mabibigyang-kahulugan pa rin itong akda bilang malumanay kundi man mahinahong pagbatikos sa impiyernong handog ng globalisadong kapital na tuwirang ekspresyon ang milyong end of contracts. Bagsak-presyo ang kalahatang kondisyong pang-empleyo. Hindi mahirap na maisisi ang mga ikinubli at hindi inaaming internal na ligalig ng mga tauhan, kabilang ang pag-ibig, sa nakababansot na kapaligirang ito. Sumasabog ang kabit-kabit na mga sintomas ng trawmatikong emosyon at naitatanghal na dramatikong eksena. Naisasakripisyo ang personal sa ngalan ng ekonomiko. Sabihin pa, sa ekonomiko nakatali ang personal. Tiim-bagang na hinaharap ni Leo ang sitwasyong endo. Hindi lamang sa trabaho kundi pati sa usapin ng puso. Kahit maraming sumisira sa

15

pakikipagkontrata sa kaniya. Minsan, ayos lang ito sa kaniya. Pero may oras na nauubos na rin ang kaniyang pasensiya. Nang isumbong sa kaniya na nagloloko ang pinag-aaral niyang nakababatang kapatid na lalaki, nagkandaiyak at napamura siya at sinabing siya na lamang sana ang nag-aral. Nang sabihin nang orihinal niyang girlfriend na kailangan ang malaking bahay para maging ganap ang kaligayahan ng mag-asawa, ipinasiya niyang iwan na ito. Nasa batayang ekonomiya talaga ang pagkatupad ng pag-asa at kaligayahan. Naiiba ang pagtatanghal ng romance sa Endo. Hindi ito ang tipong titilian dahil nagpapacute ang mga bida. Mayroong mga malagkit na romantikong bulungan pero hindi pinipilit na maging nakakakilig. Natural lang ang trato sa mga eksenang may seks. Hindi asiwa ang eksena nina Tanya (Ina Feleo) at Leo sa bulumbon ng kumot sa kama ng mumurahing motel. Pati ang mga dramatikong eksena ay hindi histerikal ang rendisyon. Wala ang mga komprontasyong may sigawan at sampalan. May tensiyong sadyang pinipigil pero sa akto ng pagpigil ay lalong nagiging madamdamin ang tono ng eksena. Nagtatagumpay ang kontroladong damdamin dahil sa level ng konstruksiyon ng diyalogo. Walang manerismo ng mabulaklak na salita kahit sa eksena ng ligawan. Magaspang at may tekstura ang diksiyong ibinagay ng mga manunulat sa mga binuong karakter. Hindi sobra ang pagkakasulat sa mga eksenang kailangang magbuhos ng emosyon ang mga tauhan. Kung gayon, may sinadyang katangian ng pagiging kaswal ang mga salita na sumasangayon sa kabuuang kalidad ng sinematograpiya, musika, tunog, at maging pagarte.

16

Simptomatiko ang isang eksena nina Leo at Tanya na nangyari sa harap ng bahay ng una. Gustong makilala ng babae ang pamilya ng lalaki. Naging magandang panimulang paksa ang mga pangalan ng miyembre ng pamilya ni Leo na nakaukit sa sementong pader. Inisa-isa ni Tanya ang mga pangalan. Hanggang sa mapunta sa nanay ni Leo ang usapan. Naibunyag na sumama ito sa ibang lalaki na dahilan naman kung bakit wala nang gana sa buhay ang kaniyang ama at dahilan kung bakit si Leo ang umako sa papel ng pagiging padre de pamilya. Walang emosyon ang pagkadeliber ng binata sa kuwento. Walang paramdam na itinuturing niyang pasanin ang pangyayari. Sa puntong ito nagkakaroon ng ahensiya ang manonood na paghugpungin ang epekto mga sanhi at bunga sa buhay ng protagonista. Ganoon pala ang back story niya. Pero hindi ito iwinasiwas sa manonood. Natapos ang eksena sa kaswal na ekspresyong Ikaw talaga sa pagiging matanong ng nobya. Isang magandang indikasyon ang kasiningan ng Endo sa hanay ng mga bagong dugo sa pelikulang Filipino. Napanghahawakan nila ang angkop na estilo sa pagsulat ng pelikulang feature sa kabila ng tukso ng madalian at sige lang na pagbuo ng indie at dihital na pelikula. May bagong dulo at bagong tunguhin sa pelikulang Filipino na binubuksan ang Endo.

17

Unmoving Cinema
Eileen Legaspi-Ramirez

18
THE YEAR 2007 saw Lav Diaz's cinematic argument for Malay time embodied in the lingering musings of his Venice Biennale special prize winner, Death in the Land of Encantos. In the film, poet-philosopher Benjamin Agusan's homecoming from a scholar-exile's jaunt through Europe occasions his reckoning with abandoned relationsblood-filial/creative and ideological comrades, earthly and otherwise. The lead character's selfreferenced taking stock interlaced with the off-cam presence of a journalist shooting footage of the desolate spaces of by-then boulder-strewn Padang in Bicol occasionally comes interrupted by Benjamin's brooding encounters with fellow poet Teodoro and erstwhile partner, the visual artist Catalina. Their verbal tussles over their own and collective pasts and futures thicken the layers of dredged up tales of spirits entombed in a terrestrial radius wiped out by typhoon Reming topped off by the subsequent surging ecological comeuppance of Mount Mayon. As in previous projects like Batang Westside, Ebolusyon ng Isang Pamilyang Pilipino, and Heremias Book One: The Legend of the Lizard Princess, Diaz plants his camera statically for most parts of the meandering journey taken by Benjamin alongside spirits haunting places within which seminal events in his life occur--such as his mother slowly lapsing into insanity, a lover leaving him behind on the streets of Kaluga, Russia even as he mourns the loss of a child, etc. Diaz's camera here is terra firma, playing counterpoint to the heady roundabout, floating-in-the-ether exchanges one could easily eavesdrop on in run-of-the-mill artist-activist haunts and drinking sessions. In Death in the Land of Encantos, the camera comes cast as pensive anchor, a stoic, unobtrusive presence that never hurries viewers unto narrative turns nor neatly tidied up resolutions. It makes for a virtually motionless cinema congruent with a time and place rendered immobile by ingrained inertia, tragedy, betrayal, and blas state inaction. Encantos' visual scape is in fact as sullen and still as Diaz's camera, with scenes so subtly lit that they keep to the grey, barren, and pared down tone painstakingly throughout the 538-minute cinematic engagement. Within it, the image rhythm is dissonant, congruent with the weaving together of memory, myth, and presumably unedited truth, cutting in and out of what is

19

framed as documentary footage and the intimate moments between Benjamin and personas of his past. Much has already been said about Diaz's particular streak of endurance cinema coaxing anything but neutral reactions from viewers opting to either sit through entire or even disjointed segments of his lengthy films. This highstake cineaste-go-the-distance taunt that underlines his film-making unarguably demands earnest investments of dedicated viewing and stretched cognitive skills. And yet while Diaz makes the case for an alternative regard for time and space (alternative that is to the rigid formula of moviehouse ticket turnarounds triggering the humming of cinema tills) ironically, it is the large proportion of Malays in his own immediate backyard that may still be the least able to watch his most recent cinema. While successfully and dramatically departing from his early mainstream work (Burger Boys, Serafin Geronimo: Kriminal ng Baryo Concepcion, Hesus Rebolusyonaryo) which arguably kept to studio stipulations vis--vis running time and casting, the truth remains that it would be supreme sacrifice for a Filipino living off a daily wage of P382 to opt into a day-long Lav Diaz filmic tale, assuming they would want to watch this sort of films in the first place. So apart from earnest affinity with his work, it may still well be, the utter auteurial and indie groupie conceit, of nearly zero accountability and maximum self indulgence that keeps a niche audience aligned behind Diaz. With his obvious disavowal of the mass audience, and apparently employing this tactical dogma/tism as shield to keep market demand at bay, Diaz's viewers may continue to imperiously pause, revel in their exalted notch above the festival throng, while making much of their trying to make sense of these films. And while it may precisely be Diaz's tortuous, stream of consciousness shot-making which challenges fastfood cinema provisos, this will also play very much into which voices will get to weigh in on the contentious place Diaz's films will ultimately be accorded in critical film history.

20

Yet in the specific case of Death in the Land of Encantos, it is indeed a yawning pace of a story that imaginably comes together in real time in the writer's mind as it unfolds as leisurely onscreen. And with all that the luxury that that contemplation presupposes, the film's organic, non-linear working out of questions on art, life and ultimate survival options are pondered upon in plain view with the alternately somber and heightened emotional tension milked rather than truncated. And this is perhaps why there appears to be no middle ground in the appreciative spectrum in relation to Diaz, with his films engendering either a welling up of empathy or sheer indifference, if not disgust. It is after all, for all intents and purposes, a solicited engagement, one that makes viewers wager a position rather than hibernate in nonchalance. Abetted by the user-friendliness of digital cinema-making, much of Diaz's latter work unfolds in the D-I-Y pace of read text. Shot and re-told in this vein by an artiste striking out on his own terms and squarely facing the begrudging for it, Death in the Land of Encantos makes for a small-big film, simultaneously epic on many counts yet visibly spartan in other respects as in its production design made manifest in Diaz's apt banking on nature's givens. By intelligently siting Encantos in physical reference to his own notion of home, that is, in the locale of typhoon- and landslide-ravaged Bicol, Diaz ably invokes stasis and silence as key metaphors. In the film's stifled landscape of a tenuously stilled volcano looming over stilled lives woven into a virtually still narrative, we find our characters and selves perennially waiting, on the precipice of stupor and turbulence. In this particular madeup world, every character apart from nature, is infinitesimal, dwarfed or literally washed out by boulders and surging topsoil; all apparently disposable in the midst of personal and shared grief, where all are left pininga partnermodel, fellow artist-comrades, and finally an abandoned land itself-all left fallow, wanting for the returning of waylaid heroes toting a glint of redemption. All this, while Encantos' dystopic desolation translates into a blank slate yearning for alternate endings. Undeniably writing and weaving stories primarily for himself and any other soul with the wherewithal and stamina to journey with him, Diaz, like most of what makes up the indie world was reared on a type of film education that stuck its finger against what was trite and popular. The irony is that the film crowd that gravitates to work such as this today, while indisputably growing in numbers, still exists as seductive niche to marketers hunting down the next big juiciest milking cow. While still primarily talking only to each other, the onset of Indie Sine Cinemalaya-Cinemanila-Cinema One festival ad infinitum notwithstanding, filmmaker and audience in this ragtag cosmos will ultimately need to reckon with how wide an orbit it will actually drift within particularly since there is nothing intrinsically incorruptible about the films coming out of this as-for-now still alternative economy.

21

In fact, Diaz's case may be instructive particularly because of the artist's perceived stature in the eyes of emerging film makers in this burgeoning environment. And so perhaps what is precisely behind the unsettled critical response to Diaz and his ilk consists of a requisite navel-gazing, of an independent cinema slowly coming of age. Unapologetically wrapped up in his own poetics nuanced by years of crafting images hewn in police beat-pop culture journalism and TV writing, Diaz renders Encantos with a confident visual impeccability. With most scenes coming to bear on the viewer as stubbornly unflinching stares unto a grey world of unanswered questions and nagging ambiguities integral to Encantos' filmic un/reality of toned down art, Diaz serves up an upturned dialectics of beauty and terror of uncompromising visual integrity which the Young Critics Circle Film Desk cites this film for in year 2007. In the end, Diaz and his film engineer their own small deaths, failing to leave the embattled landscape unbruised nor unscathed. By juxtaposing the physical torture of Benjamin Augustin with his military assailant's rabid mouthing of an upended national anthem, Encantos implicates both state and storyteller apparently succumbing to the pathos of cast-off promise and imposed disappearance.

Asintado
Galileo S. Zafra

22
Nagbukas ang pelikulang Tirador sa paggalugad ng liwanag ng flashlight sa makitid, marumi, madilim na mga eskinita at laberinto sa isang slum sa Maynila, isang madaling-araw. Nabulabog ang mga taonagkumahog magtago, ikinubli ang mga bakas ng krimen, nagtakbuhan sa kung saan-saan, may bumagsak sa pusalian. Nagsagawa ang awtoridad ng isang sona sa looban. Bahagi ito ng kampanya ng mga pinunong-lokal para puksain ang kriminalidad sa siyudad. Sa pagsikat ng araw, malalantad na ang pelikula ay isa ring pagsonapagligid, pagpaligid, pag-aligid sa lungga ng mga dukha na sumentro sa mga mandurukot, holdaper, magnanakaw. Walang tumutuhog na banghay sa naratibo ng pelikula. Sinubaybayan lamang ng kamera ang iba't ibang taktika at pakana at tila itinatampok ang ganitong larawan: na ang pagnanakaw ay hindi krimen kundi isang paraan ng paghahanap-buhay, isang anyo ng pamumuhay. Kaya naman, nang mahuli ang mag-asawa na nagnakaw ng DVD player sa isang tindahan, at matapos magmakaawa, at magkapatawaran, ang kasunod na tindahan naman ang kanilang ninakawan. Sa isa pang eksena, nang matuklasan ng isang snatcher na peke ang kuwintas na hinablot niya, hinahanap at binalikan pa niya ang kaniyang biktima para sumbatan at ibato dito ang huwad na alahas. Ang paglalarawan ay tahas, halos walang emosyon. Sa paggamit ng teknolohiya ng kamerang digital, napasok ng pelikula ang mga sulok at singit ng buhay ng mga maralitang-tagalungsod. Payak din at halos aktuwal na tunog lamang sa paligid ang bumuo sa disenyong awral ng obra. At sa pamamagitan ng maliksing editing, napagtagni-tagni ang mga imaheng nagtatambad ng buhay na gipit at halos itulak sa kawalang-pag-asa. Buhay na naghihintay lamang ng suwerte sa sugal, ng limos sa mga politiko, ng grasyang kapalit ng pagdarasal. Sa ganitong sitwasyon, hinuhubaran ng katinuan at winawasak ang moralidad ng tao. Ang ama ay tumitira ng shabu habang bitbit ang anak. Ang anak ay nagsusugal habang nakaburol ang ama. Ang magbabarkada at magkapamilya ay nagbababagan at halos magpatayan sa lansangan. Ang magnanakaw ay nandaraya pa sa kapuwa magnanakaw. Ano ang inaasinta ng pelikula?

23

Hindi lamang representasyon ang pelikula ng buhay ng mga dukha sa lungsod na minsa'y nangako ng modernidad at pagpapatatag ng moralidad. Inaasinta rin ng pelikula ang mga sanhi ng talamak na kahirapan. Ang mga pinunongbayan na samantalang nagpapahayag ng mithing pagbabago ay siyang pasimuno ng kultura ng korupsiyon. Ang mga institusyong politikal na pinaaandar ng salapi. Ang mga alagad ng batas na sila mismong pinaguugatan ng karahasan at katiwalian. Ang simbahan na halos may basbas ang kriminalidad na nagaganap sa kaniyang paligid. Sa simula'y kinakasangkapan lamang ang sinematograpiya at disenyong biswal para ibunsod ang komentaryo hanggang sa matapos ang pelikula sa isang mahayap at asintadong pagtuligsa. May disenyo ang pelikula na palabuin hanggang sa tuluyang burahin ang hanggahan sa pagitan ng piksiyon at realidad. Mabuway at magalaw ang pagkuwadro ng mga eksena. Gumamit ng live sound. Pinaganap ang mga karaniwang tao. Kahit ang mga kilalang artista ay inihabilo sa mga di-kilalang mukha. At sa katapusan, itinampok nito ang tunay na footage ng pangangampaniya ng mga politikong galing sa iba't ibang kampo. Sa paglulugar ng kampanya sa prayer rally ng isang grupong charismatic, ang tuligsa ay nakatuon sa pagkamagkasapakat ng mga mayhawak ng kapangyarihan sa lipunan. Ang imahen ay nagiging aktuwal. Ang talinghaga ay nagiging literal. Kaya ang pag-asinta ay nagiging tahas at mapangahas.

24

Filmografia

PHILIPPINE CINEMA 2007

9 May (Wednesday) 17 January (Wednesday) Agent X44 (Star Cinema; ABS-CBN Film No RP regular release Productions) PG Comedy 16 May (Wednesday) No RP regular release 24 January (Wednesday) No RP regular release 23 May (Wednesday) No RP regular release 31 January (Wednesday) No RP regular release 30 May (Wednesday) Paano Kita Iibigin (Viva Entertainment; Star 7 February (Wednesday) Cinema; ABS-CBN Film Productions) PG No RP regular release Romance 14 February (Wednesday) The Promise (GMA Films; Regal Entertainment) PG 6 June (Wednesday) Silip (Seiko Films) R13 Sex Drama Romance Troika aka Threesome (Daven Productions) R Sex 13 June (Wednesday) Drama Blackout (Unico Entertainment; Unitel Pictures) R13 Horror 21 February (Wednesday) Faces of Love (Cinemanila; Seiko Films) PG Drama 20 June (Wednesday) Angels (Eagle Eye Entertainment) G Drama 28 February (Wednesday) You Got Me (Star Cinema; ABS-CBN Film 27 June (Wednesday) Productions) G Romance No RP regular release 7 March (Wednesday) 4 July (Wednesday) No RP regular release Paraiso (Gawad Kalinga) G Drama Tiyanaks (Regal Entertainment) G Horror 14 March (Wednesday) Happy Hearts (Regal Entertainment) G Comedy Siquijor Mystic Island (Centerstage Productions; Viva 11 July (Wednesday) No RP regular release Entertainment) R13 Horror 18 July (Wednesday) 21 March (Wednesday) M.O.N.A.Y. ni Mr. Shooli (Onabru Films) G No RP regular release Comedy 25 July (Wednesday) Ouija (GMA Films; Viva Entertainment) PG 28 March (Wednesday) Horror No RP regular release 1 August (Wednesday) 7 April (Saturday) Ang Cute ng Ina Mo (Viva Entertainment; Star Casa (Artiste Entertainment Works) R Sex Drama Cinema; ABS-CBN Film Productions) G Comedy 8 August (Wednesday) No RP regular release 18 April (Wednesday) No RP regular release 15 August (Wednesday) A Love Story (Star Cinema; ABS-CBN Film 25 April (Wednesday) Productions) PG Drama Rumbleboy (Apache Films) R13 Action 2 May (Wednesday) No RP regular release 22 August (Wednesday) Indio Nacional (Raya Martin) PG Drama Signos (Daven Productions) PG Horror

25

26

19 December (Wednesday) 29 August (Wednesday) My Kuya's Wedding (Regal Entertainment) G No RP regular release Comedy 25 December (Tuesday) Bahay Kubo (Regal Entertainment) G Drama 5 September (Wednesday) Enteng Kabisote 4 Okay Ka Fairy KoThe Beginning of Chopsuey (Silangan Pictures) PG Drama the Legend (Octoarts Films; M-Zet) G F-C-Ad Katas ng Saudi (Maverick Films) G Drama 12 September (Wednesday) Resiklo (Imus Productions) G Fantasy Action Foster Child (Seiko Films) PG Drama Adventure Sakal, Sakali, Saklolo (Star Cinema; ABS-CBN 19 September (Wednesday) Film Productions) PG Comedy No RP regular release Shake, Rattle and Roll 9 (Regal Entertainment) G Horror 26 September (Wednesday) I've Fallen for You (Star Cinema; ABS-CBN Film Digital Full Run Productions) G Romance ICU Bed # 7 (Rica Arevalo; Mediarevolution) R13 Digital Drama 013107 3 October (Wednesday) Compound (Hubo LLC; Philippine Independent No RP regular release Filmmakers Multi-Purpose Cooperative) R Digital Sex Drama 020707 10 October (Wednesday) Apat Dapat, Dapat Apat (Viva Entertainment) G Rome and Juliet (Creative Programs) R Digital Drama 021407 Comedy One Percent Full (Rocketts Productions) G Action Imahe Nasyon (Digital Viva) PG Various Digital Shorts 022107 Comedy Pepot Artista (Doy del Mundo) G Digital Drama 022807 17 October (Wednesday) Saan Nagtatago si Happiness (Mediarevolution) No RP regular release PG Digital Comedy 030707 Batad (Mediarevolution) 24 October (Wednesday) G Digital Drama 031407 No RP regular release Anak ng Tinapa (Creative Programs) R Digital Drama 032107 31 October (Wednesday) Ang Huling Araw ng Linggo (Mediarevolution, Red Door) Hide and Seek (Regal Entertainment) PG Horror PG Digital Drama 032807 Dilim (Creative Programs) 7 November (Wednesday) Ataul for Rent (Artiste Entertainment Works) R13 R13 Digital Drama 041807 Tulad ng Dati (Echo and Mirage Multimedia Drama Entertainment) Digital Drama 042507 Sa North Diversion Road (Creative Programs) 14 November (Wednesday) One More Chance (Star Cinema; ABS-CBN Film Digital Drama 042507 Numbalikdiwa (Philippine Inde pendent Productions) PG Romance Filmmakers Multi-Purpose Cooperative) R13 Digital Drama 050207 21 November (Wednesday) Green Paradise ( New City Entertainment) R Sex Manoro (Centerstage Productions) G Digital Drama 050907 Drama Sandalang Bahay (Creative Programs) PG Digital Drama 051607 28 November (Wednesday) Baliw (Redd5Luke Productions) Pasukob (Octoarts Films) G Comedy R Digital Drama 052307 Metlogs (Creative Programs) 30 November (Friday) Mona: Singapore Escort (Bandit Films; Outline Digital PG Digital Drama 053007 Ang Daan Patungong Kalimugtong (Sampay Bakod Films) PG Drama Productions) G Digital Drama 060607 Moreno (Gr upong Sinehan; Philippine 5 December (Wednesday) Independent Filmmakers Multi-Purpose Batanes (GMA Films) PG Romance Cooperative) X/R Digital Drama 062707 Sindie: GMA Workshop Series for Short Films (GMA) 12 December (Wednesday) R/R13/PG/G Various Digital Shorts 070407 No RP regular release

Tuli (Digital Viva) R Digital Sex Drama 071107 Hanggang Dito Na Lamang at Maraming Salamat (Independent Filmmakers Cooperative) R Digital Drama 072507 Idol: Pag-asa ng Bayan (Jesuit Communications) PG Digital Drama 080107 Isnats (Independent Filmmakers Cooperative) R Digital Drama 080107 Haw-ang aka Before Harvest (Sizzling Gambas) PG Digital Drama 080807 Todo Todo Teros (John Torres; Independent Filmmakers Cooperative) PG Digital Drama 080807 Xenoa (Xion Studios) PG Digital Fantasy Adventure 082207 Tribu (Cinemanila) R13 Digital Drama 082907 Anino ng Setyembre (Muchachos Bravos Filmworks) PG Digital Drama 091207 Ligaw Liham (Inde pendent Filmmakers Cooperative) PG Digital Drama 091207 Ang Lalake sa Parola (Digital Viva) R Digital Drama 091907 Gulong (Independent Filmmakers Cooperative) G Digital Drama 092207 Dagyang (Mowelfund Film Institute) PG Digital Drama 100307 Tukso (Independent Filmmakers Cooperative) PG Digital Drama 100307 Still Life (Independent Filmmakers Cooperative) PG Digital Drama 101007 Pain Things (John Red; Pelipula; Filipino Pictures) R Digital Drama 111407 Nars (Carl and Carl Productions) PG Digital Drama 121207 Tatlong Araw ng Kadiliman (Filmless Films; Khavn de la Cruz) R Digital Horror 121207 Vhagets (Sunflower Films) Drama 121205 Bagong Agos HeremiasUnang Aklat: Ang Alamat ng Prinsesang Bayawak (Lav Diaz) R Digital Drama Cinemalaya 2007 (072107) Gulong Ligaw Liham Still Life Tribu Tukso Endo Kadin Sinungaling na Buwan Cinemanila Digital Lokal (080807) Ala Muerte , Ala Swerte (Briccio Santos) Autohystoria (Raya Martin) Juan Baybayin (Roxlee) Pain Things (John Red) Tilted Screens and Extended Scenes of Loneliness: Filipino on High Definition (John Torres)

Moonrise Filmfest (081507) Animahenasyon (112107) Cinema One (113007) Altar Confessional Maling Akala Prinsesa Tambolista Cine Veritas (120307) Tirador (Centerstage) Unrated Digital Drama Kontra-Agos (120507) Premiere/Qualifying Run Pantasya (Viva Entertainment; Centerstage Productions) Unrated Various Shorts 032007 Stockroom (Two Lights Productions) R13 Horror 050107 Angkan ng mga Tagean aka Kapirasong Papel (Creative Image; Dependent Productions) Unrated Documentary Feature 060207 Ang Parol sa Aking Burol (Creative Futures) Unrated Comedy 073007 Pi7ong Tagpo (Creative Futures) Various Shorts 100107 Roxxxanne (Octobertrain Films) Unrated Digital Drama 101007 Ina, Anak, Pamilya (Morning Star Productions) G 111707 Death in the Land of Encantos (Sine Olivia, Hubert Bals Fund) Unrated Digital Drama112907 Sikil (New Life Cinema) Digital Drama 1212207 Nine Eleven (MMG Entertainment) 121007 Selda (Starview Productions) R Digital Drama 122307

27

The Criteria
Best Picture: refers to vision and direction that pay sensitive and keen attention to both the language of cinema (presentation) and social reality (representation), in the process refunctioning the possibilities of film as progressive art and popular culture. The Best Picture citation is awarded to the Director not so much because he or she is the auteur or the central intelligence of the film, but because his or her work lies at the conjuncture which coordinates filmmaking. Best Screenplay: refers to the rhetoric of writing for film that articulates the complexity of social life and personal perturbation through narrative logic or political conviction; or simply through well-thought out dramatic tension that explores contestation between the personal and the political, the individual and the collective, the private and the public. The Best Screenplay award is given to all the writers of the film. Best Cinematography and Visual Design: refers to the mise-en-scene and its visual/plastic qualities production design, lighting, art direction, visual effects that lend form to whatever representation is projected on screen; and absorb the differences of social forces and cultures in instances of contradiction, confluence, contact, resistance, or affililation with one another, as well as imbibe the relationship between people and the structures and institutions they mediate through social practice. The Best Cinematography and Visual Design honor is conferred on the cinematographer and the production designer. Best Editing: refers to the configuration of relationships of time and space among scenes in a film that is able to synthesize, engage in collision, reconcile, or transgress connections through the complex interplay of miseen-scene and montage. The Best Editing trophy is given to the editors. Best Sound and Aural Orchestration: refers to the rendering of the auditory aspects of film music, natural sound, sound effects as these are counterposed against or harmonized with the language of image, and so become meaningful sign systems on their own. The Best Sound citation is awarded to the sound engineer and the musical scorer. Best Performance: refers to acting, to the playing out of a role or character that implicates emotion, feeling, and experience in the social conditions of the personal and in the political economies of habit and gesture and how these forge the body politic. The Best Performance citation is handed to the Performer, whether male or female, adult or child, in major or supporting role, individual or ensemble.

28

Mga Batayan
Pinakamahusay na Pelikula: tumutukoy sa pagdidirihe at bisyon na nagbibigay ng sensitibo at matalas na atensiyon kapwa sa lengguwahe ng pelikula (presentasyon) at panlipunang realidad (representasyon), sa proseso inaayos at pinakikilos ang modo ng pagpapahayag ng pelikula sa realidad sa konteksto ng kakayahan nitong makipag-usap sa malawak na manonood at pukawin ang buhay ng publiko; sa gayon, naaangkin ito para isulong ang kapangyarihan ng midyum at ang sulong na interes. Ang gawad para sa Pinakamahusay na Pelikula ay ibinibigay sa Direktor hindi dahil sa siya ang auteur o ang sentral na diwa ng pelikula, kundi dahil ang obra niya ay nakalugar sa hugpungang nagbibigay koordinasyon sa paglikha ng pelikula. Pinakamahusay na Dulang Pampelikula: tumutukoy sa retorika ng pagsusulat para sa pelikula na nagpapahayag ng kasalimuotan ng buhay panlipunan at personal na ligalig sa natatanging estruktura ng naratibo o politikal na paniniwala; o sa pamamagitan ng pinag-isipang dramatikong tensiyon na sumisiyasat sa tunggalian ng personal at politikal, ng indibidwal at ng kolektibo, ng pribado at ng publiko. Iginagawad ang Pinakamahusay na Dulang Pampelikula sa lahat ng manunulat ng pelikula. Pinakamahusay sa Sinematograpiya at Disenyong Biswal: tumutukoy sa mise-en-scene at sa mga kalidad nitong biswal/plastik disenyong pamproduksiyon, pag-iilaw, direksiyon ng sining, visual effects na nagbibigay anyo sa anumang representasyon na inilalantad sa telon; at ikinikintal ang pagsasaanyo ng mga puwersang panlipunan at mga kultura sa mga sandali ng kontradiksiyon, pagsasanib, enkwentro, pagtatagpo, pakikipagtunggali o pagkakaugnay sa bawat isa. Ipinagkakaloob ang Pinakamahusay na Sinematograpiya at Disenyong Biswal sa sinematograper at sa taga-disenyo ng produksiyon. Pinakamahusay na Editing: tumutukoy sa konpigurasyon ng mga ugnayan ng panahon at espasyo sa mga eksena sa isang pelikulang may kakayahang maglagom, makitunggali, bumuo at bumaklas ng mga pagkakaugnay sa pamamagitan ng masalimuot na paggamit ng mise-en-scene at montage. Ang tropeo para sa Pinakamahusay na Editing ay pinagkakaloob sa mga editor. Pinakamahusay na Tunog at Orkestrasyong Awral: tumutukoy sa paglalapat ng mga aspektong may kinalaman sa tunog sa pelikula musika, likas na tunog, sound effects habang ang mga ito ay isinasalungat sa o inaayon sa lengguwahe ng mga imahen, at kung gayon ay nagiging makahulugang sistema ng pananagisag mismo. Iginagawad ang Pinakamahusay na Tunog sa sound engineer at sa tagapaglapat ng musika. Pinakamahusay na Pagganap: tumutukoy sa pagganap ng isang papel o karakter na nagsasangkot ng emosyon, damdamin, at karanasan sa mga panlipunang kondisyon ng personal at sa politikal na ekonomiya ng kaugalian at kilos, at kung paano nakatutulong ang mga ito sa pagsasakatauhan ng sarili. Ipinagkakaloob ang Pinakamahusay na Pagganap sa Gumanap, lalaki o babae, matanda o bata, sa isang pangunahin o pangsuportang papel, sa indibidwal o kolektibong pagganap.

29

18th Annual Circle Citations for Distinguished Achievement in Film for 2007
Conferred on 7 August 2008 at the Faculty Center Conference Hall University of the Philippines, Diliman, Quezon City

BEST FILM OF THE YEAR

BEST ACHIEVEMENT IN FILM EDITING

Winner: Endo (ufo Pictures) JD Domingo Nominee: Tirador (Centerstage) Charliebebs Gohetia

30

Winner: Foster Child directed by Brillante Mendoza (Seiko Films; Robbie Tan, Executive Producer) Nominee: Endo directed by Jade Francis Castro (ufo Pictures; Ned Trespeces, Michiko Yamamoto, Emmanuel de la Cruz and Raymond Lee, Producers)

BEST SCREENPLAY
Winner: Foster Child (Seiko Films) Ralston Jover Nominee: Endo (ufo Pictures) Jade Francis Castro, Michiko Yamamoto and Raymond Lee

BEST ACHIEVEMENT IN SOUND AND AURAL ORCHESTRATION

Winner: Endo (ufo Pictures) Corinne de San Jose and Mark Locsin, Sound Engineers; Owel Alvero, Musical Director Nominees: Still Life (Sining Ko Ito Productions) Joey Santos, Sound Engineer; Wincy Ong, Musical Director; Tirador (Centerstage) Ditoy Aguila and Junel Valencia , Sound Engineers; Tere Barrozo, Musical Director

BEST ACHIEVEMENT IN CINEMATOGRAPHY AND VISUAL DESIGN

Winner: Death in the Land of Encantos (Sine Olivia) Lav Diaz, Director of Photography; Dante Perez, Production Designer Nominees: Foster Child (Seiko Films) Odyssey Flores, Director of Photography; Ben Padero, Production Designer; Still Life (Sining Ko Ito Productions) Dan Villegas, Director of Photography; Cris Silva, Production Designer; Tirador (Centerstage) Brillante Mendoza, Julius Villanueva, Jeffrey de la Cruz, Gary Tria, Directors of Photography; Deans Habal, Harley Alcasid, Production Designers

BEST PERFORMANCE BY
MALE OR FEMALE, ADULT OR CHILD, INDIVIDUAL OR ENSEMBLE IN LEADING OR SUPPORTING ROLE
Winner: Jason Abalos in Endo (ufo Pictures) Nominees: Cherry Pie Picache in Foster Child (Seiko Films); Eugene Domingo in Foster Child (Seiko Films) Ron Capinding in Still Life (Sining Ko Ito Productions)

Past Citations
1st Circle Citations, 1990
GOLD PRIZE Andrea, Paano Ba ang Maging Isang Ina (Gil Portes) SILVER PRIZE Bakit Kay Tagal ng Sandali (Chito Roo) Kasalanan Bang Sambahin Ka (Chito Roo) Bakit Ikaw Pa Rin (Emmanuel Borlaza) Hahamakin Lahat (Lino Brocka) INDIVIDUAL ACHIEVEMENT PRIZE Nora Aunor (actress, Andrea, Paano Ba ang Maging Isang Ina) Ricardo Lee (screenwriter, Andrea, Paano Ba ang Maging Isang Ina and Hahamakin Lahat) Jun Pereira (cinematographer, Bakit Kay Tagal ng Sandali) George Jarlego (editor, Gumapang Ka sa Lusak) Augusto Salvador (director, Angel Molave) Pangako ng Puso Sa Kabila ng Lahat Joey Boy Munti Dinampot Ka Lang sa Putik BEST EDITING Kailan Ka Magiging Akin Sa Kabila ng Lahat Hihintayin Kita sa Langit Shake, Rattle and Roll III Dinampot Ka Lang sa Putik BEST SOUND AND AURAL ORCHESTRATION Hihintayin Kita sa Langit Shake, Rattle and Roll III Sa Kabila ng Lahat BEST PERFORMANCE Nora Aunor (Ang Totoong Buhay ni Pacita M.) Aga Muhlach (Joey Boy Munti) Maricel Soriano (Dinampot Ka Lang sa Putik) Vilma Santos (Ipagpatawad Mo) Gina Alajar (Kailan Ka Magiging Akin) BEST SOUND AND AURAL ORCHESTRATION Hiram na Mukha Tag-Araw, Tag-Ulan Aswang Ikaw Pa Lang ang Minahal BEST PERFORMANCE Maricel Soriano (Ikaw Pa Lang ang Minahal) Lorna Tolentino (Narito ang Puso Ko) Nanette Medved (Hiram na Mukha) Gabby Concepcion (Tayong Dalawa) Dawn Zulueta (Iisa Pa Lamang) Maricel Laxa (Ikaw ang Lahat sa Akin) Vilma Santos (Sinungaling Mong Puso) Gabby Concepcion (Narito ang Puso Ko)
th

31

4 Circle Citations, 1993

BEST PICTURE Hindi Kita Malilimutan (Jose Javier Reyes) Aliwan Paradise (Mike de Leon) Inay (Artemio Marquez) Ikaw (Joel Lamangan) Gaano Kita Kamahal (Butch Perez) BEST SCREENPLAY Hindi Kita Malilimutan The Maricris Sioson Story: Japayuki Aliwan Paradise BEST CINEMATOGRAPHY AND VISUAL DESIGN Ikaw Lang Aliwan Paradise Kung Mawawala Ka Pa BEST EDITING Aliwan Paradise Ikaw Lang Kung Mawawala Ka Pa BEST SOUND AND AURAL ORCHESTRATION Kung Mawawala Ka Pa Aliwan Paradise Ikaw Lang BEST PERFORMANCE Nora Aunor (Inay) Aga Muhlach (Hindi Kita Malilimutan)

3 Circle Citations, 1992

BEST PICTURE Ikaw Pa Lang ang Minahal (Carlos Siguion-Reyna) Iisa Pa Lamang (Jose Javier Reyes) Tayong Dalawa (Laurice Guillen) Lumayo Ka Man sa Akin (Laurice Guillen) BEST SCREENPLAY Ikaw Pa Lang ang Minahal Iisa Pa Lamang Tayong Dalawa BEST CINEMATOGRAPHY AND VISUAL DESIGN Tag-Araw, Tag-Ulan Ikaw Pa Lang ang Minahal Hiram na Mukha Lumayo Ka Man sa Akin Ikaw ang Lahat sa Akin BEST EDITING Ikaw Pa Lang ang Minahal Tayong Dalawa Narito ang Puso Ko Aswang

rd

2nd Circle Citations, 1991

BEST PICTURE Sa Kabila ng Lahat ( Lino Brocka) Class of '91 (Gil Portes) Ipagpatawad Mo (Laurice Guillen) Ang Totoong Buhay ni Pacita M (Elwood Perez) Joey Boy Munti (Maryo J. de los Reyes) Dinampot Ka Lang sa Putik (Maryo J. de los Reyes) BEST SCREENPLAY Sa Kabila ng Lahat Dinampot Ka Lang sa Putik Ang Totoong Buhay ni Pacita M. Class of '91 Ipagpatawad Mo BEST CINEMATOGRAPHY AND VISUAL DESIGN Kailan Ka Magiging Akin Hihintayin Kita sa Langit Shake, Rattle and Roll III

Vilma Santos (Dahil Mahal Kita: The Dolzura Cortez Story) Dawn Zulueta (Kung Mawawala Ka Pa)

BEST SCREENPLAY Nena Sana Maulit Muli The Flor Contemplacion Story Pare Ko BEST CINEMATOGRAPHY AND VISUAL DESIGN The Flor Contemplacion Story Nena Dahas Sana Maulit Muli Inagaw Mo ang Lahat sa Akin Sa Ngalan ng Pag-ibig BEST EDITING Dahas Sa Ngalan ng Pag-ibig Pare Ko Nena BEST SOUND AND AURAL ORCHESTRATION Dahas Sa Ngalan ng Pag-ibig Pare Ko Nena BEST PERFORMANCE Nora Aunor (The Flor Contemplacion Story) Aga Muhlach (Sana Maulit Muli) Nora Aunor (Muling Umawit ang Puso) Jaclyn Jose (The Flor Contemplacion Story) Lorna Tolentino (Sa Ngalan ng Pagibig) Amy Austria (Nena) Sharmaine Arnaiz (Ipaglaban Mo: The Movie) Maricel Soriano (Dahas)
th

BEST SOUND AND AURAL ORCHESTRATION Mumbaki Isla BEST PERFORMANCE Christopher de Leon (Madrasta) Nora Aunor (Bakit May Kahapon Pa) Jaclyn Jose (May Nagmamahal sa Iyo)

5 Circle Citations, 1994

BEST PICTURE Vampira (Joey Romero) Pangako ng Kahapon (Joel Lamangan) Wating (Ishmael Bernal) Sana Dalawa ang Puso Ko (Laurice Guillen) BEST SCREENPLAY Bakit Ngayon Ka Lang Vampira Pangako ng Kahapon Sana Dalawa ang Puso Ko Massacre Files Separada Kadenang Bulaklak BEST CINEMATOGRAPHY AND VISUAL DESIGN The Fatima Buen Story Wating Vampira Pangako ng Kahapon Sana Dalawa ang Puso Ko BEST EDITING Vampira Pangako ng Kahapon Wating The Fatima Buen Story BEST SOUND AND AURAL ORCHESTRATION Sana Dalawa ang Puso Ko Wating Pangako ng Kahapon Vampira The Fatima Buen Story BEST PERFORMANCE Maricel Soriano (Vampira) Dawn Zulueta (Buhay ng Buhay Ko) Maricel Soriano (Separada) Dina Bonnevie (Sana Dalawa ang Puso Ko) Alice Dixson (Bakit Ngayon Ka Lang) Carmina Villaroel (Wating) Snooky Serna (Koronang Itim) C

th

8th Circle Citations, 1997

BEST PICTURE Batang PX (Jose Javier Reyes) Damong Ligaw (Jose Mari Avellana) BEST SCREENPLAY Batang PX Minsan Lamang Magmamahal Damong Ligaw BEST CINEMATOGRAPHY AND VISUAL DESIGN Milagros Batang PX Hanggang Kailan Kita Mamahalin BEST EDITING Milagros Batang PX BEST SOUND AND AURAL ORCHESTRATION Milagros Damong Ligaw Hanggang Kailan Kita Mamahalin BEST PERFORMANCE Patrick Garcia (Batang PX) Nora Aunor (Babae) Nonie Buencamino (Milagros) Maricel Soriano (Minsan Lamang Magmamahal) Romnick Sarmenta (Damong Ligaw) Lorna Tolentino (Hanggang Kailan Kita Mamahalin)

32

7 Circle Citations, 1996

BEST PICTURE Mumbaki (Jose Antonio Perez) BEST SCREENPLAY Mumbaki Segurista Ganti ng Puso BEST CINEMATOGRAPHY AND VISUAL DESIGN Isla Mumbaki Segurista BEST EDITING Isla Mumbaki Ganti ng Puso Segurista

9th Circle Citations, 1998

BEST PICTURE Bata, Bata, Paano Ka Ginawa (Chito S. Roo) Babae sa Bubungang Lata (Mario O' Hara) Sana Pag-ibig Na (Jeffrey Jeturian) CurachaAng Babaeng Walang Pahinga (Chito S. Roo) BEST SCREENPLAY Bata, Bata, Paano Ka Ginawa Babae sa Bubungang Lata Sana Pag-ibig Na CurachaAng Babaeng Walang Pahinga

6th Circle Citations, 1995

BEST PICTURE Nena (Ike Jarlego, Jr.) Sana Maulit Muli (Olivia Lamasan) The Flor Contemplacion Story (Joel Lamangan)

th BEST CINEMATOGRAPHY 11 Circle Citations, AND VISUAL DESIGN 2000 Babae sa Bubungang Lata CurachaAng Babaeng Walang Pahinga BEST PICTURE Bayaning Third World Bata, Bata, Paano Ka Ginawa Tanging Yaman Senswal BEST EDITING Mother IgnaciaAng Uliran Sana Pag-ibig Na Sugatang Puso Bata, Bata, Paano Ka Ginawa CurachaAng Babaeng Walang Pahinga BEST SCREENPLAY Tanging Yaman BEST SOUND AND AURAL Senswal ORCHESTRATION CurachaAng Babaeng Walang Pahinga Mother IgnaciaAng Uliran Bata, Bata, Paano Ka Ginawa BEST CINEMATOGRAPHY Sana Pag-ibig Na AND VISUAL DESIGN Bayaning Third World BEST PERFORMANCE Pedrong Palad Vilma Santos (Bata, Bata, Paano Ka Senswal Ginawa) Pangarap ng Puso Nida Blanca (Sana Pag-ibig Na) Serena Dalrymple (Bata, Bata, Paano Laro sa Baga MarkovaComfort Gay Ka Ginawa) Tanging Yaman Anita Linda (Babae sa Bubungang Lata) BEST EDITING Cesar Montano (Jos Rizal) Bayaning Third World Senswal Tanging Yaman th

BEST EDITING Minsan May Isang Puso Sa Huling Paghihintay La Vida Rosa Hubog Yamashita: The Tiger's Treasure BEST SOUND AND AURAL ORCHESTRATION Minsan May Isang Puso Yamashita: The Tiger's Treasure Sa Huling Paghihintay Hubog BEST PERFORMANCE Jaclyn Jose (Minsan May Isang Puso) Mark Gil (Sa Huling Paghihintay) Carlo Aquino (Minsan May Isang Puso) Ricky Davao (Minsan May Isang Puso) Rosanna Roces (La Vida Rosa)
th

33

13 Circle Citations, 2002

BEST PICTURE Dekada '70 (Chito S. Roo) Buko Pandan (Uro Q. de la Cruz) Itlog (Francis Jun Posadas) Diskarte (Edgardo Boy Vinarao) Mga Munting Tinig (Gil M. Portes) BEST SCREENPLAY Dekada '70 Itlog Diskarte Mga Munting Tinig BEST CINEMATOGRAPHY AND VISUAL DESIGN Ikaw Lamang Hanggang Ngayon Buko Pandan Itlog Diskarte Mga Munting Tinig Dekada '70 BEST EDITING Diskarte Mga Munting Tinig Dekada '70 BEST SOUND AND AURAL ORCHESTRATION Dekada '70 Buko Pandan Diskarte BEST PERFORMANCE Vilma Santos (Dekada '70) Piolo Pascual (Dekada '70) Regine Velasquez (Ikaw Lamang Hanggang Ngayon) Celso Ad. Castillo (Itlog)

10 Circle Citations, 1999

BEST PICTURE Sisa (Mario O'Hara) Pila Balde (Jeffrey Jeturian) Saranggola (Gil M. Portes) Phone Sex (Jose Javier Reyes) Bulaklak ng Maynila (Joel Lamangan) BEST SCREENPLAY Sisa Pila Balde BEST CINEMATOGRAPHY AND VISUAL DESIGN Pila Balde Phone Sex Bulaklak ng Maynila BEST EDITING Pila Balde Sisa Luksong Tinik BEST SOUND Phone Sex Pila Balde Bulaklak ng Maynila BEST PERFORMANCE Elizabeth Oropesa (Bulaklak ng Maynila) Lester Llansang (Saranggola) Christopher de Leon (Bulaklak ng Maynila) Jhong Hilario (Muro-ami)

BEST SOUND AND AURAL ORCHESTRATION Bayaning Third World Sugatang Puso Tanging Yaman BEST PERFORMANCE Entire Cast (Tanging Yaman) Rio Locsin (Bayaning Third World) Elizabeth Oropesa (Senswal) Alessandra de Rossi (Azucena) Dolphy (MarkovaComfort Gay) Johnny Delgado (Tanging Yaman) Gloria Romero (Tanging Yaman)

12th Circle Citations, 2001

BEST PICTURE Minsan May Isang Puso (Jose Javier Reyes) Sa Huling Paghihintay (Erik Matti) Yamashita: The Tiger's Treasure (Chito S. Roo) BEST SCREENPLAY Minsan May Isang Puso Sa Huling Paghihintay Yamashita: The Tiger's Treasure BEST CINEMATOGRAPHY AND VISUAL DESIGN Yamashita: The Tiger's Treasure Sa Huling Paghihintay Minsan May Isang Puso La Vida Rosa

BEST EDITING Minsan May Isang Puso Sa Huling Paghihintay La Vida Rosa Hubog Yamashita: The Tiger's Treasure BEST SOUND AND AURAL ORCHESTRATION Minsan May Isang Puso Yamashita: The Tiger's Treasure Sa Huling Paghihintay Hubog

BEST SCREENPLAY Minsan Pa Sigaw BEST CINEMATOGRAPHY AND VISUAL DESIGN Sigaw BEST EDITING Sigaw Spirit of the Glass BEST SOUND AND AURAL ORCHESTRATION Sigaw Feng Shui BEST PERFORMANCE Jomari Yllana (Minsan Pa) Dennis Trillo (Aishite Imasu) Nora Aunor (Naglalayag) Jericho Rosales (Santa Santita)

17 Circle Citations, 2006

BEST PICTURE Inang Yaya (Pablo Biglang-Awa and Veronica Velasco) BEST SCREENPLAY Inang Yaya (Veronica Velasco) BEST CINEMATOGRAPHY AND VISUAL DESIGN Inang Yaya Kubrador BEST SOUND AND AURAL ORCHESTRATION Inang Yaya BEST PERFORMANCE Maricel Soriano (Inang Yaya) Cherry Pie Picache (Kaleldo) Entire Cast (Inang Yaya)

th

34

BEST PERFORMANCE Jaclyn Jose (Minsan May Isang Puso) Mark Gil (Sa Huling Paghihintay) Carlo Aquino (Minsan May Isang Puso) Ricky Davao (Minsan May Isang Puso) Rosanna Roces (La Vida Rosa)

14th Circle Citations, 2003

BEST PICTURE Babae sa Breakwater (Mario O'Hara) Anghel sa Lupa (Jose Javier Reyes) Homecoming (Gil M. Portes) Malikmata (Jose Javier Reyes) BEST SCREENPLAY Babae sa Breakwater Anghel sa Lupa BEST CINEMATOGRAPHY AND VISUAL DESIGN Babae sa Breakwater Anghel sa Lupa Malikmata BEST EDITING Malikmata Babae sa Breakwater Anghel sa Lupa BEST SOUND AND AURAL ORCHESTRATION Anghel sa Lupa Babae sa Breakwater Malikmata BEST PERFORMANCE Katherine Luna (Babae sa Breakwater) Maricel Soriano (Filipinas) Elizabeth Oropesa (Homecoming) Entire Cast (Malikmata)

16 Circle Citations, 2005

BEST PICTURE Masahista (Brillante Mendoza) BEST SCREENPLAY Masahista Let the Love Begin BEST CINEMATOGRAPHY AND VISUAL DESIGN Masahista Paraiso BEST EDITING Masahista BEST SOUND AND AURAL ORCHESTRATION Masahista BEST PERFORMANCE Coco Martin (Masahista) Entire Cast (Nasaan Ka Man) Jaclyn Jose (Masahista) John Lloyd Cruz (Dubai)

th

15th Circle Citations, 2004

BEST PICTURE Minsan Pa (Jeffrey Jeturian) Sigaw (Yam Laranas)

The Circle
Ang Film Desk ay binubuo ng mga miyembro ng akademya na sa loob nang matagal-tagal na ring panahon ay naging mga matalas na tagamasid ng pelikulang Filipino. Galing sa iba't ibang disiplina, linalapat nila sa pagsuri ng pelikula ang interdisiplinaryong lapit. Sa ganitong perspektiba, ang salitang young sa Young Critics Circle ay tumutukoy hindi sa literal na pakahulugangaya ng edadkundi sa isang metaporikal na pag-unawa sa kabataang pananaw. Ang ibig sabihin, ang young ay tumutukoy sa pangangahas ng bago at sa giting ng pagsalungat. The Film Desk of the Young Critics Circle is composed of members of academe who, through the years, have become attentive observers of Philippine cinema. Coming from various disciplines, they bring into the analysis of film an interdisciplinary approach. In this perspective, the word young in the Young Critics Circle pertains not to a literal mode of understandingas in agebut rather to a metaphorical sense of appropriating youth. Young is construed as the daring of the new and the courage to be different.

35

Romulo P. Baquiran Jr. is a reviewer, editor, translator, and poet. His articles appear in Today and the Philippine Daily Inquirer. He edited the classic Urbana at Feliza, ASEANO: Poems from Southeast Asia, and a number of literary anthologies, including Beauty for Ashes and Kuwentong Siyudad. He translated into Filipino Shakespeare's The Tempest and Anthony and Cleopatra. He won five times in the Filipino category of the Palanca Awards. His poetry books were published by Anvil Publishing in 1992, and most recently, by the University of the Philippines Press. Flaudette May V. Datuin (on leave) is Associate Professor, Department of Art Studies, University of the Philippines. She is author of a book on women artists in th the Philippines (Home, Body, Memory: Filipina Artists in the Visual Arts, 19 Century to Present, UP Press, 2002), which is a modified version of her dissertation for her PhD in Philippine Studies, UP Diliman. She has organized, curated exhibitions and conducted research on women artists in Indonesia, Thailand, Vietnam, South Korea, China and the Philippines. Noel D. Ferrer (on leave) is a Philosophy graduate of the Ateneo de Manila University where he is taking up his MA in Communication Arts. He lectures on literature and media stuides at the Departments of Filipino, English and Communication Arts of the Ateneo de Manila University as well as at UP Diliman. He is a producer-headwriter in various print and broadcast media projects.

Patrick D. Flores is Professor of Art Studies at the University of the Philippines. He was Visiting Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow from 2004 to 2005. He was one of the curators of the Position Papers section of the 7th Gwangju Biennale and Curator of the National Art Gallery of the Philippines form 2004 to 2008. His publications include Painting History: Revisions in Philippine Colonial Art (1998) and Remarkable Collection: Art, History, and the National Museum.

36

Eli R. Guieb III (on leave) completed both his BA in Broadcast Communication (cum laude) and MA in Philippine Literature at the University of the Philippines-Diliman. He taught at the UP Departamento ng Filipino at Panitikan ng Pilipinas and the UP Department of Broadcast Communication. He is now writing his dissertation for a PhD in Anthropology at McGill University in Montreal, Quebec, Canada. His research focuses on the historical political ecology of marine conservation in two island villages in Bohol. Eli is a seven-time Palanca awardee for his short stories, essays and teleplays; a recipient of literary and media awards from the Cultural Center of the Philippines, Gantimpalang Ani and the Catholic Mass Media Awards; and gained a finalist recognition in the 2002 New York Festivals for his co-directorial radio work in Pitlag: Pintig ng Buhay, Isyu ng Bayan. The UP Press published in 2004 his second anthology of short stories, titled Pamilya: Mga Katha. Eloisa May P. Hernandez is an Assistant Professor of the Department of Art Studies, UP Diliman where she teaches art history, photography, cinema, and gender issues. She was awarded the UP Gawad Chanselor para sa Pinakamahusay na Guro in 1999. She finished her BA Art Studies, MA in Art History, and is currently writing her dissertation on digital cinema in the Philippines for a PhD in Philippine Studies in UP Diliman. A recipient of the Southeast Asian Studies Regional Exchange Program grant, she researched on digital cinema in Southeast Asia. She is the author of HOMEBOUND: Women Visual Artists in 19th century Philippines. Jason P. Jacobo (on leave) teaches Language, Literature, and Popular Culture at the Department of Filipino and Research Methodology at the Department of Interdisciplinary Studies of the Ateneo de Manila University where he graduated with an A.B. (2002), cum laude, and an M.A. (2003) in Literature. His literary and cultural criticism has already appeared in journals like Bulawan, Kritika Kultura, Ideya, The Loyola Schools Review Humanities Edition, and Unitas. He is currently completing his Ph.D. in Comparative Literature at the State University, New York at Story Brook.
Nonoy L. Lauzon is the programmer for screenings at the UP Film Institute. He has double degrees in Philosophy and Humanities from UP Diliman. He is a published film critic and previously worked for a number of national newspapers including the Philippine Journal, People's Journal and The Manila Times. He used to contribute a column for the old Mirror Weekly and now regularly writes for two of the country's leading national tabloid dailies. He is currently pursuing an MA in Media Studies major in Film at the UP College of Mass Communication.

Eileen Legaspi-Ramirez is an Instructor at the Department of Art Studies, UP Diliman. She earned her BA Journalism degree and is currently taking her MA in Art History at the same university. Her written work has appeared in Pananaw: Philippine Journal of Visual Arts, Transit: A Quarterly of Art Discussion, Fine Art Forum, Forum on Contemporary Art and Society, n. Paradoxa: international feminist art journal, realtimearts.net and ARTiT: Art in Japan and Asia-Pacific. She is presently the curatorial consultant of Lopez Memorial Museum.
Gerard Lico (on leave) is Assistant Professor at the College of Architecture at UP Diliman where he earned his BS Architecture, MA in Art History and PhD in Philippine Studies. He authored Edifice Complex: Power, Myth, and Marcos State Architecture in 2003 and edited the interactive cd-rom, Through the Lens of an American Soldier in 2004. He was one of the recipients of the Ten Oustanding Young Men (TOYM) in 2004. For his research work in architectural history and cultural studies, he was conferred the UP Gawad Chanselor para sa Pinakamahusay na Mananaliksik (Arts and Humanities) in the years 2002, 2004 and 2005. Jerry C. Respeto (on leave) teaches Philippine Literature and Drama at the Ateneo de Manila University where he presently serves as Chairperson of the Filipino Department. He finished his AB Social Science at UP Manila and his MA in Philippine Literature at UP Diliman where he is currently pursuing his PhD in Philippine Literature. He has translated plays for Dulaang UP, the Philippine Educational Theater Association, Tanghalang Ateneo and the Tanghalang Pilipino of the Cultural Center of the Philippines. Neil Martial R. Santillan (on leave) teaches Philippine and Asian History at UP Diliman. He is a magna cum laude History graduate from the same institution where he completed his MA in History and pursues his PhD in the same discipline. He is a researcher and writer on film history, contemporary Philippine history and Mindanao studies. He is co-editor of a book of essays on Philippine history and culture. He is presently conducting intensive research on the urban history of Cagayan de Oro. Galileo S. Zafra is Professor at the Department of Filipino and Philippine Literature at UP Diliman. He is currently the Secretary of the National Committee on Language and Translation of the National Commission on Culture and the Arts. He is a summa cum laude graduate from UP Diliman where is also successfully completed his doctorate degree in Philippine Literature. He is an active cultural researcher, writer, translator, editor, and author of books on Philippine literature.

37

The 18th Annual Circle Citations for Distinguished Achievement in Film is presented in cooperation with

UP Diliman Office for Initiatives in Culture and the Arts UP College of Arts and Letters
ACKNOWLEDGEMENT The Film Desk of the Young Critics Circle would like to thank the following for all the support: UP Film Institute UP Department of Art Studies Chancellor Segio S. Cao Dr. Cynthia Grace Gregorio Dir. Ruben D.F. Defeo Dr. Virgilio S. Almario and All Other YCC Friends from Media, Academe and the Arts

Film Desk of the Young Critics Circle: Patrick D. Flores; Melissa Contreras (1990-1991); Joel David (1990-1991); Mike Feria (1990-1991); Charlson Ong (1990-1991); Nonoy L. Lauzon; Flaudette May V. Datuin; Romulo P. Baquiran Jr.; Noel D. Ferrer; Ariel N. Valerio (1994-2006); Clare Salaveria (1994-1999); Galileo S. Zafra; Ailyn A. Villamarin (1995-1999); Eli R. Guieb III; James Raeses (1997-1998); Jerry C. Respeto; Neil Martial R. Santillan; Eloi M. P. Hernandez; Jason P. Jacobo; Eileen C. Legaspi-Ramirez; Gerard Lico Young Critics CirclePresidents, 1996-2004: Galileo S. Zafra (1996-1997); Romulo P. Baquiran Jr. (19971998); Ariel N. Valerio (1998-1999); Noel D. Ferrer (1999-2000); Flaudette May V. Datuin (2000-2001); Patrick D. Flores (2001-2002); Nonoy L. Lauzon (2002-2003); Jerry C. Respeto (2003-2004) Annual Circle Citations for Distinguished Achievement in FilmKeynote Speakers, 1995-2004: Petronilo Bn. Daroy (1995); Justino Dormiendo (1996); Benilda Santos (1997); Ma. Luisa F. Torres Reyes (1998); Alice G. Guillermo (1999); Teresita Gimenez-Maceda (2000); Brenda V. Fajardo (2001); Basilio Esteban Villaruz (2002); Albina P. Fernandez (2003); Ramon P. Santos (2004) Young Critics CircleFounding Members: Chairman Mike Feria, Film and Theater Desks; Joy Barrios, Theater Desk; Jojo Buenconsejo, Dance Desk; Eric Caruncho, Music Desk; Melissa Contreras, Film and Theater Desks; Jaime Daroy, Music Desk; Joel David, Film Desk; Gin de Mesa, Visual Arts Desk; Patrick D. Flores, Film, Theater and Broadcast Arts Desks; Francine Y. Medina, Visual Arts Desk; Charlson Ong, Film and Literature Desks; Mozart A. T. Pastrano, Theater Desk; Danilo Reyes, Literature Desk; Antonio Tinio, Literature Desk