Cinemalaya 2016: showcase of Filipino talent, substance and relevance

Mostly young  crowd at CCP for Cinemalaya 2016

Mostly young crowd at CCP for Cinemalaya 2016


I hope the movies shown in the recent Cinemalaya Independent Film Festival would be shown in commercial theaters more widely later.

I was able to watch only two: “Kusina” starring Judy Ann Santos under the direction of David Corpuz and Cenon Palomares and “Pamilya Ordinaryo” by Eduardo Roy, Jr.

(“Pamilya Ordinaryo” won the best fim, best director, and best actress awards)

I missed “Toto” by John Paul Su; “Tuos” by Roderick Cabrido starring Nora Aunor; “Hapis at Himagsik ni Hermano Puli” by Gil M. Portes; “Dagsin” by Renato Ignacio Magadia, Jr. and many more.

I met actress, writer and director Bibeth Orteza, one of the stars in “Toto” at the Cultural Center of Philippines last Saturday and she shared the good news that the movie will be shown in commercial theaters later.

“Toto”, according to the movie’s blurb, is about a young Filipino hotel room service attendant who is determined to obtain a U.S. visa by any means. But when his schemes put the lives of his loved ones in danger, he is forced to question the extremity of his actions and re-evaluate the cost of fulfilling his dream.
Movie poster

“Kusina” is set where else, the kitchen – a pretty one, country-style. The kusina covered the more than three decades of the life of Juanita (Juday is the adult Juanita)- from the day she was born to the arms of her grandmother (played by Gloria Sevilla) to the days when she was now a grandmother and sharing with her apo the cooking tips her lola taught her.

Santos has admirably matured as an actress. She conveyed intense emotion without saying a word in the Martial Law scene where she was told by her activist daughter that her dutiful son’s life was in danger because he eloped with the daughter of a general who disapproved of their romance.

I’m glad that the movie touched on Martial Law to give the mostly young viewers an idea about what that dreaded situation is that is being floated now by President Duterte.

Juday in Kusina

Juday in Kusina


While I was watching “Pamilyang Ordinaryo,” I thought of the La Pieta couple of Pasay, Jennelyn Olaires cradling the lifeless body of her lived-in partner tricycle driver Michael Siaron, another casualty in Duterte’s anti-illegal drugs drive. They are people who never had a break in life.

Directed by Eduardo Roy, Jr. , “Pamilya Ordinaryo” is a searing portrait of the Philippines’ unprivileged. Jane and Aries are teenage street children with a month-old baby. Their residence is sidewalks of Manila and they live by hustling, snatching, pick-pocketing, shop-lifting.

But despite that kind of life, they have not lost their capacity to trust. Which was how they lost their baby.
The search for baby Arjan gave the audience the distressing reality how the disadvantaged in life are further being taken advantaged of.

The movie is so well-written, the direction is brilliant and the acting by Ronaldo Martin (brother of Coco Martin) as Aries and Hasmine Killip as Jane is so believable. They are good.

Despite its being set in grime and deprivation, it’s actually a feel- good movie. The audience cheered when finally Aries and Jane were able to make it through the high fence of a suburban housing subdivision when they decided to return the wrong baby. During the suspenseful chase, we thought they would be shot and end up like Michael Siaron with the now familiar cardboard sign thrown at them.

Oh well, that happens only in real life.

Hasmine Killip and Ronwaldo Martin gave credible performances.

Hasmine Killip and Ronwaldo Martin gave credible performances.

Cinemalaya Philippine Independent Film Festival aims to invigorate the Philippine filmmaking by developing a new breed of Filipino filmmakers through various activities including the yearly competition ad festival.

It is run by The Cinemalaya Foundation, a non-stock, not-for-profit, non-government foundation, committed to the development and promotion of Philippine Independent film.
Last week’s festival showed the abundance of Filipino talent capable of producing intelligent and meaningful films.

French film festival, a delightful respite from the toxic political exercise

2016 Cannes Film Festival Best Actress  Jaclyn Jose hugs Director Brillante Mendoza upon receiving award. Daughte Andi Eigenmann looks on

2016 Cannes Film Festival Best Actress Jaclyn Jose hugs Director Brillante Mendoza upon receiving award. Daughte Andi Eigenmann looks on

Martin Macalintal, audiovisual attaché at the French Embassy in Manila, might as well have taped his answer to the question, “Will Ma’ Rosa be shown during this year’s festival?”

That was the question everybody asked Macalintal at last Wednesday’s press preview of the 21st Film Festival held at My Cinema in Greenbelt 3 in Makati.

Macalintal’s answer: “We are working it out.”

But for sure Jaclyn Jose, the best actress awardee at the recent Cannes Film Festival for her gripping performance as a mother who found herself caught in the web of police corruption after she was caught dealing with illegal drugs to support her family, will grace the red carpet that will be rolled out on June 8 at the Bonifacio High Street Central to mark the start of the weeklong festival.

Jose is the first Filipina to have won the award in the prestigious festival.

Her daughter, Andi Eigenmann, who is also cast in Ma’ Rosa, and who also made her presence felt in the festival with the exquisite gowns, will also grace the occasion.

In her thank you speech at the Cannes festival, an overwhelmed Jose disarmingly shared that the main reason she came to Cannes was so that her daughter can experience walking the red carpet in the world’s film capital.

The multi-awarded director Brillante Mendoza, of course, is expected to be in the June 8 gala event.

French Ambassador Thierry Mathou said “By giving the Best Performance by an Actress Award to Jaclyn Jose for her r9le in Ma’ Rosa, the jury showed the wealth of creation in the Philippines.”

That is what this year’s festival will underscore, as it had been doing the past years.

Un+Une, one of the movies that will be featured in the 21st French Film Festival

Un+Une, one of the movies that will be featured in the 21st French Film Festival

In his remarks at the open forum last Wednesday, French Embassy Deputy Head of Mission Laurent Legodec said there are many things common between France and the Philippines, more than we are aware of.

“Our countries don’t know enough how much they have in common and how they are in the same in many ways,” he said adding that this can be seen in the films shown in the festival.

Yves Zoberman, counselor for cooperation and cultural affairs, who has been in the Philippines for seven months said he has learned a lot about Filipino’s way of life, way of thinking from the films by Filipino filmmakers, among them Mendoza.

He expects closer collaboration between French and Filipino filmmakers.

Two films will be shown on June 12 as part of the festival: Lawrence Fajardo’s Imbisibol and Carl Joseph Papa’s animated film, Manang Biring.

A special screening of French director’s Maiwenn’s film, Mon Roi, is another highlight of this year’s festival. French actress Emmanuelle Bercot was given the Best Actress Award at the 2015 Cannes Film Festival.

At last Wednesday’s preview, the featured film was Claude Lelouch’s Une+Une, starring the irresistible Jean Dujardin and Elizabeth Zylberstein. It was a truly engaging movie.

Participating cinemas for the June 8 to 14 festival are Greenbelt3 and the Bonifacio High Street cinemas. Similar to last year, a special price of P100 will be charged to cover the operational costs of the theaters. Tickets may be purchased at the cinema lobby of online though www.sureseats.com.

After the Metro Manila run, the films will be brought to Cebu, June 22 to 28 and Davao, June 28 to 30.

For more details and the screening schedule. Please visit www.frenchfilmfest.com

French film festival, a delightful respite from the toxic political exercise

2016 Cannes Film Festival Best Actress  Jaclyn Jose hugs Director Brillante Mendoza upon receiving award. Daughte Andi Eigenmann looks on

2016 Cannes Film Festival Best Actress Jaclyn Jose hugs Director Brillante Mendoza upon receiving award. Daughte Andi Eigenmann looks on

Martin Macalintal, audiovisual attaché at the French Embassy in Manila, might as well have taped his answer to the question, “Will Ma’ Rosa be shown during this year’s festival?”

That was the question everybody asked Macalintal at last Wednesday’s press preview of the 21st Film Festival held at My Cinema in Greenbelt 3 in Makati.

Macalintal’s answer: “We are working it out.”

But for sure Jaclyn Jose, the best actress awardee at the recent Cannes Film Festival for her gripping performance as a mother who found herself caught in the web of police corruption after she was caught dealing with illegal drugs to support her family, will grace the red carpet that will be rolled out on June 8 at the Bonifacio High Street Central to mark the start of the weeklong festival.

Jose is the first Filipina to have won the award in the prestigious festival.

Her daughter, Andi Eigenmann, who is also cast in Ma’ Rosa, and who also made her presence felt in the festival with the exquisite gowns, will also grace the occasion.

In her thank you speech at the Cannes festival, an overwhelmed Jose disarmingly shared that the main reason she came to Cannes was so that her daughter can experience walking the red carpet in the world’s film capital.

The multi-awarded director Brillante Mendoza, of course, is expected to be in the June 8 gala event.

French Ambassador Thierry Mathou said “By giving the Best Performance by an Actress Award to Jaclyn Jose for her r9le in Ma’ Rosa, the jury showed the wealth of creation in the Philippines.”

That is what this year’s festival will underscore, as it had been doing the past years.

Un+Une, one of the movies that will be featured in the 21st French Film Festival

Un+Une, one of the movies that will be featured in the 21st French Film Festival

In his remarks at the open forum last Wednesday, French Embassy Deputy Head of Mission Laurent Legodec said there are many things common between France and the Philippines, more than we are aware of.

“Our countries don’t know enough how much they have in common and how they are in the same in many ways,” he said adding that this can be seen in the films shown in the festival.

Yves Zoberman, counselor for cooperation and cultural affairs, who has been in the Philippines for seven months said he has learned a lot about Filipino’s way of life, way of thinking from the films by Filipino filmmakers, among them Mendoza.

He expects closer collaboration between French and Filipino filmmakers.

Two films will be shown on June 12 as part of the festival: Lawrence Fajardo’s Imbisibol and Carl Joseph Papa’s animated film, Manang Biring.

A special screening of French director’s Maiwenn’s film, Mon Roi, is another highlight of this year’s festival. French actress Emmanuelle Bercot was given the Best Actress Award at the 2015 Cannes Film Festival.

At last Wednesday’s preview, the featured film was Claude Lelouch’s Une+Une, starring the irresistible Jean Dujardin and Elizabeth Zylberstein. It was a truly engaging movie.

Participating cinemas for the June 8 to 14 festival are Greenbelt3 and the Bonifacio High Street cinemas. Similar to last year, a special price of P100 will be charged to cover the operational costs of the theaters. Tickets may be purchased at the cinema lobby of online though www.sureseats.com.

After the Metro Manila run, the films will be brought to Cebu, June 22 to 28 and Davao, June 28 to 30.

For more details and the screening schedule. Please visit www.frenchfilmfest.com

Standing ovation for Rossini’s La Cenerentola in Manila

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

By Pablo A. Tariman

Rossini’s La Cenerentola made its Philippine debut Saturday night (August 15, 2015) at the Meralco Theater with a cheering crowd who loved opera’s retelling of Cinderella with another twist: no overbearing stepmother, no missing golden slippers.

Instead we are treated to a tale of the bracelet which ultimately sealed the love of the prince and the commoner.

For one, there were no sets and elaborate costumes.

Mounted in concert form, the Manila Symphony Orchestra under the baton of Darrell Ang shared the stage with the cast namely Arthur Espiritu (Don Ramiro), Karin Mushegain (Angelina as Cinderella), Noel Azcona (Don Ramiro), Byeong-in-Park (Dandini), Ronnie Abarquez (|Alindoro), Myramae Meneses (Clorinda) along with the Aleron All-Male choir.

Stage actress Esperanza Garcellano gave the opera its share of local color as the English-speaking Lola Basyang as narrator.

Of course, Philippine audiences are familiar with Cinderella as interpreted notably in ballet. This time, the audience didn’t see grand jetes and fouettes but a feast of bel canto spectacular seldom heard in the local opera turf.

Mushegain made her presence felt with the opening arrieta, “Una volta c’era un re” where she carved a beautiful line reflecting her fate in the hands of a greedy stepfather and two social-climbing stepsisters.

Backstage with 'The sisters': Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

Backstage with ‘The sisters’: Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

That was a fairly moving diminuendo she executed in “La sorte mia cangio” where she figured out her fate. The soprano had a winsome look for the part and the good thing is that she could act as well.

She rounded off her performance with that killer aria, “Non Piu Mesta,” complete with coloratura fireworks that were simply jaw dropping. The final high B didn’t quite resonate but it was to her credit that she was consistently in character.

As expected, Espiritu (as Don Ramiro) made a gallant entrance and gave his audience his fine brand of singing coupled with good acting. In the much-awaited last act aria, “Si, rivolarla io guiro,” the tenor soared to perilous stratospheric heights and caused pandemonium in the audience. The sense of line was unassailable and the phrasing was in the realm of the sublime.

Earlier weighed down by a bad cold with phlegm bothering his throat, the tenor still delivered a glorious climax and soared above the orchestra. It was enough to make one’s hair stand on end. As expected, the audience went wild.

Other singers did just as well including the Clorinda aria of Myramae Meneses and the Inebriation scene of Azcona (Don Magnifico) and the well-delineated Dandini of Byeong-in-Park.

Darrell Ang at rehearsals. Photo by Amado Chua.

Darrell Ang at rehearsals. Photo by Amado Chua.

On the whole, it was an excellent singing ensemble with the first act quintet and the second act sextet as its dazzling highlights. Also memorable were the Thisbe of Tanya Corcuerra, the Alidoro of Ronnie Abarquez and the ravishing Aleron All-Male choir.

The concert form format of the opera highlighted the best of the Manila Symphony Orchestra under the baton of Darrell Ang.

Ang knew the dynamics of the orchestra and the singers inside and out and as a result, every aria, every quintet and sextette along with the choir came out with their delicate charm and humor intact.

The truth is the conductor made as much impression as the lead singers. His exceedingly good looks didn’t hide the fact that on top of it, his musical integrity was unassailable.

For another, he made sure everyone on stage is properly acknowledged including narrator Garcellano.
As a result, nearly everyone in the audience agreed the conductor Darrell Ang did one hell of a good job. His sensitivity went beyond precision and indeed he breathed with the singers.

Devoid of its plot-spinning recitatives, this Cenerentola with just the music and the singers plus the translation of arias flashed on screen made it such an engrossing opera.

At first the audience didn’t know what hit them as the applause got stronger and wilder. It was just a matter of seconds when a well-deserved standing ovation ensued.

Earlier, Espiritu admitted the part is his favorite as he loves the character development as the opera progresses. “It is a vocal feat, to say the least. You have to be able to sing the runs, the legato lines, and the high notes. Also, you have to be involved in a lot of the ensemble sections. It is a tour de force for a tenor. Fortunately, the body of my voice sits high, and it fits well with this role.”

The Manila Symphony Orchestra with the  vibrant conductor Darrell Ang  in Le Cenerentola. Photo by Angel Reyes-Nacino.

The Manila Symphony Orchestra with the vibrant conductor Darrell Ang in Le Cenerentola. Photo by Angel Reyes-Nacino.

The tenor admits the part is no walk in the park. “Rossini is a composer who composes for the singers. He has the vocal lines in mind, and it is so easy to be able to play with some lines and make your own mark within his vocal compositions. To be able to show your flexibility and your line—and also your ability to act—is a great opportunity. You have to be able to understand the style properly, and the cadenzas, and how you communicate with your conductor. There are some spaces in his works that sometimes leaves holes musically. So, you have to be able to fill those holes with your own interpretations. If not done well, it just won’t sound as interesting.”

With this successful production, other sectors should now entertain mounting operas in concert form minus the expensive costumes and set.

Truth to tell, opera is only about music and less about its superficial components.

Standing ovation for Rossini’s La Cenerentola in Manila

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

By Pablo A. Tariman

Rossini’s La Cenerentola made its Philippine debut Saturday night (August 15, 2015) at the Meralco Theater with a cheering crowd who loved opera’s retelling of Cinderella with another twist: no overbearing stepmother, no missing golden slippers.

Instead we are treated to a tale of the bracelet which ultimately sealed the love of the prince and the commoner.

For one, there were no sets and elaborate costumes.

Mounted in concert form, the Manila Symphony Orchestra under the baton of Darrell Ang shared the stage with the cast namely Arthur Espiritu (Don Ramiro), Karin Mushegain (Angelina as Cinderella), Noel Azcona (Don Ramiro), Byeong-in-Park (Dandini), Ronnie Abarquez (|Alindoro), Myramae Meneses (Clorinda) along with the Aleron All-Male choir.

Stage actress Esperanza Garcellano gave the opera its share of local color as the English-speaking Lola Basyang as narrator.

Of course, Philippine audiences are familiar with Cinderella as interpreted notably in ballet. This time, the audience didn’t see grand jetes and fouettes but a feast of bel canto spectacular seldom heard in the local opera turf.

Mushegain made her presence felt with the opening arrieta, “Una volta c’era un re” where she carved a beautiful line reflecting her fate in the hands of a greedy stepfather and two social-climbing stepsisters.

Backstage with 'The sisters': Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

Backstage with ‘The sisters’: Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

That was a fairly moving diminuendo she executed in “La sorte mia cangio” where she figured out her fate. The soprano had a winsome look for the part and the good thing is that she could act as well.

She rounded off her performance with that killer aria, “Non Piu Mesta,” complete with coloratura fireworks that were simply jaw dropping. The final high B didn’t quite resonate but it was to her credit that she was consistently in character.

As expected, Espiritu (as Don Ramiro) made a gallant entrance and gave his audience his fine brand of singing coupled with good acting. In the much-awaited last act aria, “Si, rivolarla io guiro,” the tenor soared to perilous stratospheric heights and caused pandemonium in the audience. The sense of line was unassailable and the phrasing was in the realm of the sublime.

Earlier weighed down by a bad cold with phlegm bothering his throat, the tenor still delivered a glorious climax and soared above the orchestra. It was enough to make one’s hair stand on end. As expected, the audience went wild.

Other singers did just as well including the Clorinda aria of Myramae Meneses and the Inebriation scene of Azcona (Don Magnifico) and the well-delineated Dandini of Byeong-in-Park.

Darrell Ang at rehearsals. Photo by Amado Chua.

Darrell Ang at rehearsals. Photo by Amado Chua.

On the whole, it was an excellent singing ensemble with the first act quintet and the second act sextet as its dazzling highlights. Also memorable were the Thisbe of Tanya Corcuerra, the Alidoro of Ronnie Abarquez and the ravishing Aleron All-Male choir.

The concert form format of the opera highlighted the best of the Manila Symphony Orchestra under the baton of Darrell Ang.

Ang knew the dynamics of the orchestra and the singers inside and out and as a result, every aria, every quintet and sextette along with the choir came out with their delicate charm and humor intact.

The truth is the conductor made as much impression as the lead singers. His exceedingly good looks didn’t hide the fact that on top of it, his musical integrity was unassailable.

For another, he made sure everyone on stage is properly acknowledged including narrator Garcellano.
As a result, nearly everyone in the audience agreed the conductor Darrell Ang did one hell of a good job. His sensitivity went beyond precision and indeed he breathed with the singers.

Devoid of its plot-spinning recitatives, this Cenerentola with just the music and the singers plus the translation of arias flashed on screen made it such an engrossing opera.

At first the audience didn’t know what hit them as the applause got stronger and wilder. It was just a matter of seconds when a well-deserved standing ovation ensued.

Earlier, Espiritu admitted the part is his favorite as he loves the character development as the opera progresses. “It is a vocal feat, to say the least. You have to be able to sing the runs, the legato lines, and the high notes. Also, you have to be involved in a lot of the ensemble sections. It is a tour de force for a tenor. Fortunately, the body of my voice sits high, and it fits well with this role.”

The Manila Symphony Orchestra with the  vibrant conductor Darrell Ang  in Le Cenerentola. Photo by Angel Reyes-Nacino.

The Manila Symphony Orchestra with the vibrant conductor Darrell Ang in Le Cenerentola. Photo by Angel Reyes-Nacino.

The tenor admits the part is no walk in the park. “Rossini is a composer who composes for the singers. He has the vocal lines in mind, and it is so easy to be able to play with some lines and make your own mark within his vocal compositions. To be able to show your flexibility and your line—and also your ability to act—is a great opportunity. You have to be able to understand the style properly, and the cadenzas, and how you communicate with your conductor. There are some spaces in his works that sometimes leaves holes musically. So, you have to be able to fill those holes with your own interpretations. If not done well, it just won’t sound as interesting.”

With this successful production, other sectors should now entertain mounting operas in concert form minus the expensive costumes and set.

Truth to tell, opera is only about music and less about its superficial components.