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As in worldwide who? Were you tacky when you resort to cheap invectives? We are talking about them, we are not talking about us. You are unhinged. It should be about us Filipinos. A bad try. Or is kissing ass more correct a term? I was hoping this discussion would verge on something academic or intellectual rather than defenders of both camps throwing words and accusations here and there.

I'll stay away of this since I'm obviously oblivious of Raya's remarks against Bing Lao if there are any , of UP Film politics if you want UP Law politics, I can dish out a handful , and all other personal grudges anyone has for anybody. I respect those who voice out opinions who don't hide behind masks of anonymity seriously, it's easy to write your own name when commenting in blogger , so to ed saludes, kudos to you, at least we all know you know your painters, hehe.

I'll let you guys talk about the merits of narrative and non-narrative filmmaking, whatever those terms mean. This two group have its strength and weaknesses and which someday i hope to discuss and dissect. But for now,and above and all,the imperative is for us to discover,as a filipino,this new frontier of filipino cinema. Instead of defending various factions i think its important for us to see this films and eventually concoct a new variety that will cater to cineastes and can save the Filipino cinema in general.

Nice to see everyone so passionate. I guess the only problem I have with Raya, and Lav, and all the other good Filipino filmmakers today is: who's watching? If the films are supposed to be about us, our lives, our culture, our history, our spirit, then wouldn't it be more important for us Filipinos to watch those films? What use would it be to a critic, aside from material for an article? I think I read Brocka quoted somewhere as saying something about changing the Filipino audience.

I think that's more important than winning that golden palm, or getting a good review. Thanks for dropping by Amir, Thank you Arcangel for that statement, which is precisely what I'm trying to say. Let's just be glad that Philippine cinema is flourishing. Not one group or filmmaker can truly say he represents the direction this national cinema which I don't believe exists is pursuing. So let's just respect each filmmaker's individuality and congratulate him for putting forth whatever he believes is true in a medium which everybody can enjoy.

As to its merits of course, it'll always be subjective and that's why film discourse is so much fun, because it's an exchange of ideas but if it turns into exchanges of accusations and insults between close-minded individuals, it's simly annoying. From Anonymous The good side: I really shouldn't be stooping to Anonymous dark side's level but I'll guide him because he seems lost in his own world.

He says "Can you and your critic define exactly what is cinema of the future? Probably your idea of the future of cinema may be enlightened a bit there. Howard Feinstein of Screen daily wrote:"For the first time Armando Lao, who had supervised Mendoza's earlier screenplays, has sole screenwriter credit. Might this have impacted the vision of the director, who had previously written his own scripts?

I'm reading here about Lao's role in "real-time"- was that even his original concept? A review of "Foster Child" mentioned Soderberg's original real-time moviemaking. Don't you see that Raya is still new, he was introduced internationally in when Mendoza was alraedy showing in the Director's Fortnight? Just wait for next year, Raya will have Vilma Santos in "independencia":. The question is, will they ever invite Mendoza? I won't dispute your other mindless opinions which you obviously believe are "pieces of wisdom".

I leave you with the rev iew of Koehler on Raya's "Autohystoria": "There's original, and then there's original. Even by the groundbreaking standards of his adventurous Filipino contemporaries or his own previous films "A Short Film About the Indio Nacional," "The Island at the End of the World" , "Autohystoria," Raya Martin's daring third feature, is sui generis. Yes, you read that right. Festival and art-house bookings are optimistic, though.

Like their cinema, the Pineda family of Angeles City has seen better days. The matriarch has an appointment at court in a bigamy case against her husband Latter is first seen naked in an extended sequence where the camera pruriently and excessively explores her nubile frame. Did the additional budget have a negative effect? Yet events move too rapidly for the sentiment that Mendoza is generally so expert in developing to have any opportunity to blossom here.

But not this time Which for me, just made it feel exploitative. It is an almost hilariously awful story of a family that lives in a porn theatre in Manila, where loud cars provide an irritating soundtrack for amateurish and disgusting mini-dramas and explicit sexual encounters. The scene where a man removes a boil from his buttocks is just one lowlight.

The result is a strange film that limps uncomfortably between its realistic and allegorical poles, and although there are effective moments, it does not add up to a satisfying work. Hi Francis, You make a good point. It's all a balancing act between what the audience wants to watch and what the filmmaker wants to show.

Lav Diaz explained his persistence on his uncompromising style by saying that his films will be there forever, and will just be waiting for people to watch them. In that sense, our good filmmakers may not be making films that are targetting the present audience, but the fact that it exists despite its lack of commercial or popular appeal is a big enough feat.

As for me, as long as the film has an audience , , or just 1 , it's all good. Call me pessimistic, but I see no hope in brainwashing the Filipino populace or even the world in embracing intelligent cinema. Anonymous Good Side strikes again: "Worldwide? Try comparing reviews between your favorite directors. From Anonymous the clear-eyed: "I really shouldn't be stooping to Anonymous dark side's level but I'll guide him because he seems lost in his own world.

It's just so impossible. Analyze what comes out of your mouth, everything is filth. Is your waiting counting the chicks before they are hatched? Go, keep dreaming. It doesn't pay much. I leave you with the rev iew of Koehler on Raya's "Autohystoria":" You won't dispute because you can't dispute.

That name doesn't say anything relevant to me and the larger of Filipinos. Fact is, Serbis is in the main competition and your Now Showing is not. There is no denying that. Anonymous Good Side reporting: I'm getting that tacky feeling that I'm enjoying this tacky discourse with the dark side Note that if you read Peranson's list of recommendations, in his Movies To Beat list in Cannes the Philippines' entry to the Main Competition wasn't included.

If you surf it online, you'll also see that "Now Showing" is on the lists of must-see of most of the well-known critics. It's obvious which Filipino director they respected more. I think it's Dante Mendoza who fucked up the script of Bing Lao and the screenplays of other writers he previously worked with.

Last year ,two festival programmers an Italian and a German shared to me their disbeliefs on why Foster Child made it to the Directors' Fortnight while Kubrador was ignored. The assessments of the foreign critics after seeing Serbis mirror the sentiments of Dante's colleagues in the Philippines- he is the less talended version of Jeffrey Jeturian and also pales in comparison with Raya Martin ang Lav Diaz.

Dante is one lucky guy! Si Jeffrey, Lav and Raya ang mga nagtanim, si Dante ang kumain. Anonymous the Good Side: well, enough of controversies. Y estuvo bueno como experiencia, especialmente si sirve para ser pensada, en virtud de los efectos que produce. Pero en estos amantes posibles hay un plus, y los sentimientos que se acallan tienen sonido: de galope, de pisadas, de hojas de bosque que se apartan, de trueno en la tormenta.

Menos mal. Anybody saw this pic in Manila? Here's the take of Oscar Cuervo, a noted Argentine critic, as addendum to Ms. En cuanto a que se trata de un film realista El cartel del final dice: "nosotros somos dos posibles amantes". Lo que Raya ha filmado es la posibilidad de que sean amantes, pero no su realidad. Todo depende el ideal desde el cual se la reciba. C yo, el espectador miro a B mirando a A. B no puede pasar al paso siguiente arrojarse sobre A? Not when the world is so much interested with Filipino cinema.

So now we know. Paso a relatar. Pantalla en negro, una cancioncita en off. Corte a un plano de un joven de camisa blanca caminando por una avenida transitada. Es de noche. El tipo camina una cuadra, dos cuadras, muchas cuadras. El tipo sigue caminando. Estamos ante un cineasta mayor.

El tipo de la camisa blanca sigue caminando. A veces lo tapan los autos que pasan. Pasan, en total, unos veinte minutos. Llega a una casa. La toma no se corta, es el plano del Bafici Y sigue. Entra, o suponemos que entra porque vemos poco. Las luces de la casa se encienden. Aparece un texto en la pantalla. Fue asesinado junto con su hermano Procopio Bonifacio. Una plaza redonda con un obelisco en el medio.

Plano fijo que se extiende a lo largo de varios minutos. Tal vez un monumento a los Bonifacio. Un grupo aplaude con sorna desde el centro de la sala. Otros se siguen yendo. Cada tanto, hace unos gestos convulsivos, como si quisiera liberar sus manos atadas que no se ven. Corte, otro joven en la ventanilla del otro lado. Los vemos de espaldas. Caminan y caminan. Tal vez durante la dictadura de Ferdinando Marcos, o de Imelda Marcos.

Tal vez ahora. Amanece en la pantalla. Suena un disparo. Uno de los prisioneros cae. El otro intenta huir. Planos del cielo y de una hermosa catarata. No hay gente. Planos de archivo de color sepia. Un tercero de un desfile militar muy antiguo. En diez planos.

Como Suzuki. Real-time filmmaking was a proven medium of filmaking, and it actually and effectively works wonder-though not as always. If you want a proof watch kubrador which bing lao supervise. And soderbergh created real-time filmmaking was a hogwash.

Early films of eric rohmer works on real time narrative. So much noise and bickering for two films that only Europeans and film buffs will truly, fully appreciate. This is starting to look like the high-brow version of Kapuso versus Kapamilya on Pex. Keep it up. Meanwhile, back to the rest of the Philippines I agree, the tirades are tiring, with people talking in English, Tagalog, Taglish, Spanish, and gibberish.

But I'll let you guys keep on arguing and hopefully you guys arrive at a middle ground. So let's talk about Now Showing, shall we? Anonymous the clear-eyed answering Charlie, the Anonymous teary-eyed: "I'm getting that tacky feeling that I'm enjoying this tacky discourse with the dark side Let's see where this will go Too much putting of oneself on the pedestal.

It's obvious which Filipino director they respected more" Cannes has spoken. Serbis is in the Main Competition and Now Showing is not. Paulit-ulit ko nang sinasabi yan. Ayan tatagalugin ko para maintindihan mo ako baka sakali mahina ka sa Ingles. You need to feed your mind. Self-serving is dangerous to your health, Charlie the teary-eyed. Anonymous the clear-eyed: My challenge remains for Charlie the teary-eyed. Lay down your "cinema of the future " and we will dissect every part of it.

And prove that your Raya is the most respected Filipino director worldwide. Big words, big words Sensiya na mga readers, ganda ng discussion sa simula, hinaluan ng kapalengkerahan nitong si Charlie, the teary-eyed anonymous. Gusto ba naman iangat ang Now Showing at Raya Martin, e ang mga proof lang niya ay At si Raya daw naman ang makakapasok sa Main Competition next year.

Tanga pala tong si Charlie, the teary-eyed anonymous. Nagbibilang ng premyo na di naman sigurado. Para bang sobrang sigurado na sa mga pinagsasabi. Stooping down Sinasakyan ko lang siya. He has yet to show proofs of his claims, proof other than quotes from his reverred critics which I don't care for in anyway. Simply hogwash. Anonymous the clear-eyed to Charlie the teary-eyed anonymous: Just a request, just itemize your 'cinema of the future' points and your proofs on Raya being the most respected filmmaker worldwide so that I can answer them one by one.

If possible, don't quote critics because I don't believe them. Quote yourself instead and let's see of your conviction. I'm starting to be objective here. We'll see how far we will go. Thank you. Name calling and passionate debate. Basta, either you like a movie or not. It doesn't matter what anybody else says, whether it is an award or a critic's review.

Direction of Philippine cinema? Let's all be glad that there is such an issue today, which was hardly imaginable before. Too bad, the initial sensible exchange between the two anonymous es had turned scurrilous. Its gets that way on the net when you hide behind aliases or anonymous. A word though for Serbis, the first Filipino film to screen in competition for more than 20 years, and one that has garnered almost wholly abusive reviews. For me, Brillante Mendoza's depiction of 24 hours in the life of a struggling porn cinema in Manila was one of the highlights of the festival.

Shooting inside a beautiful Art Deco theatre, Mendoza not only shows a flair for evoking its strange and glamorous interiors, but offers high-end soap opera, at once nuanced, funny and melancholic, about this religion-soaked, sexually ambiguous world governed by sad-eyed matriarchs. Two scenes, too ribald to describe here, offered hearty and welcome laughs during a fortnight of too many films that veered towards the dour.

Moronic ed saludes, the point of contention is that other moron like you is trying to sell the idea that Raya will be in competition next year and that he is telling the whole world as if it is a fact when in all actuality he is just trying to pass the idea off for a legitimate support. Would that be enough support? Has Raya been in the running for competition?

Then why the hell that moron is trying to pass it off as fact just to support his selfserving that Raya is the most respective filmmaker worldwide? The moron keep on insisting that Raya is bigger, more respected filmmaker. I slapped him with facts: Cannes has spoken , Serbis is in the main competitin and Now showing is not. Who is indeed bigger? That Raya will be in the main compettion next year is yet to be seen. Fact is, Serbis is in the main competition right now.

You don't know what you are saying. Not all filmmakers go through Directors' Fortnight before they are accepted in the Main Competion. Check your facts moronic ed saludes! Now, that's integrity. This is really turning out to be so hilarious. Most of the contributors to this debate err, I mean mudthrowing exercise haven't seen both films by the two filmmakers, thus, relying on critics' responses, festival honors, assumptions.

Can we at least wait to see these two films until we judge which is better or not. I, for one, don't care if a film is in the main competition, in the un certain regard, or in the director's fortnight. That is not a measure of quality; it's only a measure of how much the film was liked by those comprising of the selection committee, and those people have their own respective politics and biases.

Can anybody honestly tell me that there's an objective means of telling whether or not a film is good or not? This entire mud-throwing exercise is moronic. Let's just watch the films first,shall we? Just goes to show how much we still need to grow, not just as filmmakers, but as filmgoers. ManchurianMike was right above, this is like the endless Kapamilya versus Kapuso mudslinging in Pinoy Exchange. Totally hilarious He was talking to a Charlie though- naghahanap ng ibang kalaban?

Anonymous The Good Side has an opinion: To be fair to Brilliante Mendoza, though I inadvertently criticised him when I had that tacky exchange with the Dark Side above, I don't think he's not as brillant as many seem to suggest, especially the backers of Lao who seem to defensively heap the blame of the "Serbis" debacle on Mendoza.

Big filmfests are somewhat jealous with regards to credits. One other ridiculous claim of the Lao supporter was that Mendoza destroyed all the scripts he handled. He simply didn't "destroy" any script as claimed. So enough of that uninformed local bitch of Mendoza being a lesser Jeturian. Perhaps he wanted to reprise that glory this time around only it misfired? Well, a direct indictment of Lao. The most direct indictment on Lao.

Apparently, some in local circles mistake depth for shock value, very common in the neo-realist circles of mainstream Philippine cinema, where Lao circulate. The obvious question is who wrote those yucky scenes? I personally believe Lao belongs to the past, out of step with current sensibilities. Brocka's time, perhaps, yes. The current indie scene needs a sober imagination that should rely more on intelligent inspiration not shock value.

I find myself wishing the jurors at Cannes will look beyond the yucky scenes. I dread that Mendoza will find many crabs happy when he returns home if he fails to win vindication in Cannes actually, he is the country's most-awarded director internationally so far.

I can still remember how the crabs then were pitting Brocka against Ishmael Bernal when Lino started gaining recognition, claiming Bernal was the more intelligent one. Probably only Brocka's death silenced the crabs. The crabs are giddy agai. I've actually started reading some now. The lesson, beware of reputation bestowed by uninformed out-of-step cliques.

You know why? How many years before a FIlipino director get invited? I'll provide you later an article where it was mentioned "that Godard is now od, Raya is the future". That article didn't come from a Filipino. Anonymous The Good Side: If you read our tacky discusssions above, I attacked "Serbis" because of Lao's outdated script which Dante wholly swallowed, producing that dud, not the director. Thus the perpetual popularity of the likes of Godard, Bunuel, Bergman, etc.

The last two are the vanguards of the so-called cinema of the future. Este tipo de advertencias forman parte de los riesgos que asumen Martin, sus exhibidores y su espectador. Igual conserva toda su lucidez. Con los "instaladores" da en el clavo. Por lo menos es un viejo que resiste y no un viejo derrotado. Todo depende de las condiciones del campo de batalla: a veces la mejor vanguardia es la retaguardia. Todo un ejemplo ha seguir para los cineasta del siglo Kubrador was first submitted to Cannes before Moscow according to its producer, Atty.

Please check the cinemanila e-group okay and search for the tag 'kubrador'. Alonso herself posted a message about Kubrador's rejection from the DF slate. Broaden your mind moronic 'Anonymous'. If Bing Lao's script was the problem, an intelligent film maker would say no and ask Bing to revise or do not pursue the project. To nail the coffin, here's Howard Feinstein of Screen daily wrote:"For the first time Armando Lao, who had supervised Mendoza's earlier screenplays, has sole screenwriter credit.

Thanks for clarifying things on "Kubrador" which you happily confirm now was rejected by Cannes beforehand- reinforcing my argument that Mendoza isn't a lesser Jeturian, as claimed by somebody above, who pretended he knew some programmers. We really respect our seniors, Mendoza was like you, saying his hossanas to Lao- so he swallowed the script of "Kubrador". But blindness has no part in the picture.

I apologize to anonymous who posted links to the two movies. I'm sure the reader can find the movies elsewhere google, torrent, etc. Sometimes the long take strategy seems an affetcation rather than organic. Very moving introduction by Raya Martin nearly seemed to make up for its failure though, especially as leading girl was onstage in the most incredible dress.

From Anonymous the clear-eyed again: Ayaw talaga tumigil nitong moron na to. Obviously, ang support na ginagamit lang niya sa pagba-bash niya kay Lao ay yung mga sabi-sabi ng mga unreliable critic. Ang maniwala daw sa sabi-sabi, walang bait sa sarili. Hahaha Can I ask, do you know the technicalities of a good script? If so, can you tell us what are those? What makes a good script? What makes a bad script? Which Cannes-winning films are good regardless of script. Which films are good because of the script?

I want exploration on these questions. Now that you are openly lambasting Lao, I assume you know his body of work. If so, can you give a detailed listings of Lao's works and site in every one of them the weakness of the script? Give me few days, and I'll give a detailed account on why Lao is the best scriptwriter in the Philippines today. But before I give that lengthy account, I will wait first your side of the coin. I assume you can easily do this because your distrust on Lao is corrosive it appears to us you know screenplay better than Lao.

If you can't, then you don't have the right to bash an institution. And one more, I'm still waiting for your Cinema-of-the-future "powerpoints". It seems that you are paying no attention to that clamour. Because all you got is quotation of opinion from your reverred critics who don't mean anything to the rest of us? And where is your proof that Raya is the most respected filmmaker worldwide? Proof, proof, proof. It is not enough that one or two critics extol Raya and voila we believe them like bibles.

And as Oggs said, if there is one credible auteur of Serbis, it is Lao rather than Mendoza, which I think is a correct observation. Ang mga support mo po ay mga opinyon lang uulitin ko opinion lang ng unreliable critics? Yung mga critic na quinote mo sa taas, do they really know what is a good script or not? Tsaka, dyos ko day, hakahaka lang lahat ng sinasabi mo.

Unang haka-haka: na makakapasok si Raya sa main competion next. Pangalwang haka-haka: na si Raya ang most repective filmmaker worldwide. Nang dahil lang sa sinabi ng isa o dalawang kritiko, naniwala ka naman agad. Ang daming kritiko sa buong mundo. Dyos ko. Isang haka-haka ulit. Dyos ko day, kung alam mo ang body of work ni Lao, di ka mo siya kukwestiyonin.

It may perhaps tell us if you are credible enough to criticize Lao from you end. Otherwise, isa ka lang nagmumurong. Hintayin mo ang detailed account ko kung gano kagaling si Lao bilang scriptwriter. But before that, I want you to give your supports of your claim. Hanggang ngayon, wala ka pang napapakita. Kahanginan lang pinapakita mo. Tsaka, saan na ang magagandang rebyu ng Now Showing.

Nag-uunahan ba ang mga kritiko na purihin ang Raya at Now showing mo? Anonymous the clear-eyed: Yung idea po ng Serbis ay galing kay Mendoza. From his interview, he disclosed that right after Masahista, he wanted to do Serbis only that a lot of things got in the way. As I know Lao, what sets him apart from other scriptwriters is his eye for details. If the subject of script is about slums, he will bring you that place and show what is exactly happening there.

That he showed in Pila Balde. For Serbis, I think it's not about him opting for a shock value. The theme of the film is about cinema showing porn and the activities inside that theater, so he gives it to viewers as it is. That there are sexual activities happening there should be expected. We are not Ang Lee here whose good taste sometimes get the better of him. I think Lao is a terrific scriptwriter. I admire his pre-real-time work more than what he's doing now, but there's no doubt, the man is talented.

I'll reserve my comments on Serbis until I see it. As for Now Showing, I liked it a lot and that's because I saw all four hours and forty minutes of it. From Anonymous the clear-eyed: Hello, believing the critics who said that Lao is the reason why Serbis failed is like believing somebody you are not sure of. The question is, why would believe that critic. Who is that critic.

What made you think that critic is credible? Can you tell us Anonymous the teary-eyed who that critic is? Because you believe in that critic, it only means you know the quality of Lao's work. If you know Lao so well, can you tell me what you think of him. Can you list down all his works and may give us the rundown of his weaknesses as scriptwriter? That Mendoza and Jeturian believe in Lao and you don't only tells something about you.

Now starting showing proof, proof, proof, supports, supports, supports My goodness, ang tagal mo nang nagdadaldal diyan, wala ka pang support na naipakikita hanggang ngayon. I think my arguments are very clear in my posts above. Of course we know the works of Lao, now we know his limitations. Yun lang. You're asking, who are those critics? You're just betraying your ignorance.. Does the world even care what you people say despite all the breast-beating?

Or the world really revolves on what those critics I mentioned say? How much of the world will care if you tattle within your cliques all night? How much of the world will care if they read it in "Variety"? The point is, the reason those involved in "Serbis" went to Cannes was to seek something in Cannes I repeat, you can tattle all night within your clique singing hossanas to each other but who would the world find more credible- the one they read in Variety or your squeaks?

This is my last piece, sana nalagay ka na sa lugar mo. From Anonymous the clear-eyed: The following question I can answer, but it is this moron's answer Im interested to hear. Question 1: What is the difference between the works of Lao and, say, Rickly Lee. What is Lee's stregth? What is Lao's strength? What is their major difference. Question 2: I'll give you Cannes-winning films. Question 4: When can you say scripts just gloss-over? Question 5: Of Chito Rono's works which is the best and why?

Question 6: What do you is the weakness of Lamanagan? Question 7: Of the Cinemalaya entries last year, which is your favorite, which is the best and why? Question 8: How can you characterize Michiko Yamamoto's scripts? Question 9: Because obviuosly you hate Lao, who is the best Filipino scriptwriter now? Qeustion What is the weakness of Raya Martin's works? Answer those question and we will see if you are credible enough.

I want to make sure that I'm not taking to an idiot before I let out my knowledge on the field. Anonymous the clear-eyed: O bigla ka yata nautal? Umaatras ka na? Hello, dont give up yet. I'm still not letting out what I know. I'm now drafting my Lao piece. I'll make it a good piece, don't worry. Lelecture-an kita at nang mabawasan kahanginan mo. I'm waiting for your support. Support, support, support. Proof, proof, proof We'll see how far this will go.

My mga nabanggit akong film sa taas diba, in few days, I'm posting here may reviews of those films. I repeat I don't just cut and paste, I watch and I critique. Now, because I'm going to show what I got, I'm expecting you show what you got. Don't give up yet, moron. Ilalagay kita sa kangkungan. Ang saya-saya.. Anonymous the Good Side: To the world, I guess the disadvantage of being a Filipino is the world gets to read our posts online. That's why our little country never progresses because we can't seem to produce any consensus to do anything with it.

Even from the most obvious issues. Well, I think I've made my points clear already. Anonymous The Good Side: One more time, for emphasis, but also to correct some overlooked typo errors : Yes, why blame Bing Lao indeed? We really respect our seniors, Mendoza was like you, saying his hossanas to Lao- so he swallowed the script of "Serbis".

I just said this in an interview, and will say it again here, that the problem with cultivating film culture in the Philippines is a problem with Filipino culture itself. And for the record, I never submitted my film to the competition section. Oggs, maraming salamat for the review. Anonymous The Good Side: To the world, Apologies also for the impertinenece of these clowns: we entered "Serbis" in an international competition to get international recognition, but when well-known critics have had their say, we act as if these critics don't matter after all, what do they know, what right do they have The clowns above are the epitomes of the worst in Filipino culture Congrats for "Now Showing".

Raya, maraming salamat sa pelikula. I'm looking forward to experiencing what else you have in store for us. I don't know the full context of Raya's statement so I won't comment much. But I just want to know: does Raya mean that our culture is problematic because the masses will never be able to cultivate a cinematic taste that caters to the artistic elite and supporters of High Art?

Just asking. Correct me if I'm wrong. Hi Jerrold. Just to clarify, the statement was referring to the way Filipinos react to film criticism, which is a precursor to decent discourse. Now it bothers me that you say the masses will never be able to cultivate a varied cinematic taste. All these categorical definitions are arbitrary. As a good friend pointed out, cinema is not a competition.

Okay, I'm out of here. Thanks for the reply, Raya. That helps clarify a statement that could easily be misinterpreted by some. I was asking if YOU said it. I agree with you on all points. Congratulations on your film. Hope to meet you someday. Nakakaintimidate naman ang mga diskurso at mga pagtatalo ninyo! Sa katunayan, ang lahat ng mga sinasabi ninyo ay nangangahulugan lang na mataas ang tingin ninyo sa inyong mga sarili at ginagamit lamang ninyo ang inyong mga debate ukol sa kung sino ang mas magaling na director para lang mapagtakpan ang sarili ninyong mga narsisismo.

Gusto niyo lamang mavalidate sa inyong mga sarili na kabilang kayo sa mga elite few na tinatawag na high brow art. Hindi porke't ang gustong pelikula ng isang tao ay hindi kabilang sa mga gusto niyo ay nangangahulugang bobo na siya. Ganyan ang inyong mga pag-iisip kaya mahiya naman kayo sa mga sarili ninyo. Wala kayong pinag-iba sa mga grupong tinawag ang kanilang mga sarili na "intelihensiya" sa panahon ng mga Kastila!

Kayong mga nagtatalo-talo ay mga pseudo-intelektwal kung tutuusin! Gusto niyo lang mabigyan ng self-validation ang inyong intelligence. Ang totoo niyan, lahat ng mga sinasabi ninyo ay karamihan hango lang sa kung ano ang mga nabasa ninyo sa libro! Bakit hindi niyo subukang lumabas mula sa mga sarili ninyong narsisismo at iexperience ang paggawa ng sarili ninyong pelikula para mabigyan kayo ng respeto na gusto niyong ibigay para sa inyo. Hindi yung nagtatalak kayo at nagmamarunong, ni hindi niyo man lang alam kung ano ang dinanas na hirap ng mga taong ito para gawin ang mga pelikula nila.

Magmarunong na lang uli kayo kapag may napatunayan na kayo at nakagawa na ng sarili ninyong pelikula. Kapag nagawa niyo yan, saka na kayo magkaroon ng karapatang manghusga ng pelikulang gawa ng iba. In the meantime, matuto kayong lumugar sa kung saan kayo dapat lumugar. Mga pseudo-intelektwal! From anonynous the clear-eyed: Now that Im digging into this discourse you are starting to hold back, you moron.

If you want you can seek the aid of your idol, Raya, I would never back off. Again, I will reiterate my questions below to see how credible you are, moron. Answer them and I will post my answers too. This you should answer in order to prove your Lao bashing is credible, you moron: Question 1: What is the difference between the works of Lao and, say, Rickly Lee.

From Anonymous the clear-eyed to jologsnamanonood: Sensiya na. It's not my intention to hook up with this other moron. Nakakairita lang na parang ang saya-saya ng bobong yun na nakakabasa siya ng negatibong rebyu para sa Serbis. At di lang yun, sinisisi pa niya si Lao. At di lang yun, itinataas naman niya si Raya at ang Now Showing. Nung hiningan ko siya ng proof, ang ginawa niya nagccopy and paste lang ang loko ng mga sabi-sabi ng unreliable critic at saka pinost dito.

Diba, nakakahayblad? Kung susuriin nyong mabuti ang kanyang mga debate, wala siyang sariling opinyon na pinakita. Nanghiram lang siya ng opinyon ng iba at ginawa niya yung para purihin si Raya bilang most respected filmmaker worldwide. Si Raya pa na wala pa akong nakitang matinong gawa! Well, sabagay, Maicling Pelicula pa lang ang napanood kong gawa niya kaya pwedeng mali ako sa puntong ito.

Ang sobrang nakakapanggalaiti ay yung pulaan niya ang Serbis at sisihin si Lao, ang batayan niya ay ang mga rebyu ng kung sino-sinong kritiko. Kaya ang ginawa ko, naglatag ako ng ilang katananungan kung alam ba talaga niya ang teknikalidad ng dulang pampelikula para maging makatotohanan naman ang pagbatikos niya kay Lao.

Pero hanggang ngayon, ang ginagamit pa rin niyang suporta ay copy and paste lang ng rebyu ng ilang kritiko sa pagsasabing si Lao ang dahilan ng pagiging pangit ng Serbis. Ang katanungan? Napanood na ba niya ang Serbis para makasigurado siyang pangit nga talaga ang pelikula? Inaamin ko, di ko rin napanood ang Serbis para masabi kong maganda ito taliwas sa negative reviews ng ilan, kung babasahin mo ang mga post ko, naging resonable ako sa pagsasabing base sa mga negative comments, mukhang ang backlash sa Serbis ay dahil lang sa shock value at pagkakontrobersiyal nito at hindi talaga dahil sa pangit ang pelikula.

Ang contention ko po ay kung ikaw ay isang matalinong kritiko, bakit ka magpapaka-konserbatibo ng dahil lang may pornograpiya ang pinapanood mo? At totoo nga ba ang hakahaka nila na si Lao ang dahilan kung bakit pangit ang Serbis? Kung ang tema ng pelikula na ginagawa mo ay tungkol sa isang sinehan na nagpapalabas ng pornograpiya at ang mga ginawa ng mga tao sa loob ng sinehan, bakit di mo ipakikita kung ano talaga ang totoo?

Kung totoong may nagseseks sa sinehan, di ba kailangan din na ipakita ang mga ito sa pelikula? Kung di mo ipakikita to, nangangahulugan lamang na pretentious ang treatment mo sa pelikulang ginawa mo, di po ba? Ano, gagawa ka ng pelikula tungkol sa pornograpiya pero wala kang ipakikitang mga hubad na katawan o seks? Ano ibig sabihin nito? Totoo ka ba sa sining mo o nagiging pretentious ka lang.

Hindi dapat hinuhusgahan ang mga pelikulang katulad ng Serbis sa kung may shock value ito o may tsupaan o wala. Kailangan ipakita to bilang realidad ng totoong nangyayari sa sinehan. Ang dapat na tingnan na mga tunay na kritiko ay ang anggulong ito: Bakit hinahayaan ng mga namamalakad ng sinehan ang mga ganun?

Ibig bang sabihin na walang mga moral ang mga may-ari at hinahayaan nila ang tsupaan sa loob ng sinehan? Pero base sa mga rebyu din, parang nasagot ito ng pelikula. Base sa mga rebyu, mas maraming hinaharap na problema ang may-ari para pakialaman pa nila kung ano man ang mga nagaganap sa loob ng sinehan. Malinaw na may sagot ang pelikula sa anggulong ito. Ang walang sagot sa mga katanungan ko ay ang moron na kaututan ko dahil obviously, wala siyang kaalam-alam sa pinagsasabi niya.

Sensiya na kung maraming typo, mabilisan lang tong post ko. Nagnakaw lang ako ng oras sa work ko. Can u tip what's the next collaboration about? So excited about it. Anonymous the clear-eyed. I wish everyone thought that way.

Astig ka talaga Raya. Really looking forward to seeing Now Showing. Btw, is there a way to lock this blog from the moronic mudslinging? It's really irritating. Thanks Anna, As much as I hate the fact that my post on Raya's Now Showing turned into a mudslinging contest, I can't just lock the blog from comments, since I believe in discourse however low it goes. The most I can do is rename this post, repost my take on Now Showing, out of respect to the work, since the comments are much more about other things than the movie.

From anonymous the clear-eyed: Tumahimik din ang bobo. Wag ka muna tumahimik, may ginagawa pa akong draft. Bakit natakot ka, moron? At exactly p. Our arrival was announced and we walked The Steps for the second time this time wearing our tuxedos, not Barong Tagalog.

Faye Dunaway arrived and she walked right behind us. Of course, all of us were starstruck. As soon as we were seated in the middle part of the Grand Lumiere Theater, three rows from the stage, celebrities started coming in.

Best Actor winner Benicio del Toro for Che was seated behind me and he obliged for a photo. Robert de Niro and director Barry Levinsino were two rows behind us. The members of the jury were announced and they were seated on the right side of the stage. A celebrity guest handed the award to the winner while jury president Sean Penn announced the winner. After the awards ceremony, a dinner was held at the third floor of the palais. There were so many guests that when we got there we went our separate ways.

I accidentally bumped into Christian Jeune a festival hand and I said goodbye and thanked him for the wonderful experience. He said he felt sad that the film did not win any award but he said that jury president Sean Penn loved the film very much. He predicted a Jury Prize for Serbis. In the article, he mentioned that there was a rumor that Penn wanted a second screening of Serbis.

Of course, this was a rumor so we did not believe it right away. I told him I will hunt down Penn for a picture but he warned me that he does not oblige for photo ops. Coco arrived and he told me that Natalie Portman, a jury member was near us but I told him I wanted to look for Penn.

A few seconds later, I spotted Penn who was talking to someone. Unlike the other celebrities, he was not being trailed and no one was asking to pose with him. He looked at me boy, was I scared! Penn, I am from the film Serbis! I could not remember his exact words but he said that he truly loved that film and he wanted to show it in the US and he would help us in any way he can. I asked Coco to look for the other members of the team so we could all talk to Penn. Before Penn left, I asked him if I could take a picture because he might not come back.

He obliged politely and told me that he would be back in a few minutes. He left his publicist and press agent Mara of ID Communications to be with me. A few minutes later, Brillante and Didier arrived. I introduced them to Penn who was very excited in meeting Brillante. He said that he really fought for the film but mentioned that he has nine members and he could not decide for them. He instructed us to contact Mara if we needed his help in the US, saying he could help us get a US distributor or any other help the film needed for exposure and distribution.

We spent around 10 minutes talking to him and he obliged for more photos. People around us were surprised to see how Penn was very accommodating to us. He left with his agent and we were all happy and excited with his comments about the film. We later bumped into Thai director Apichatpong Weerasethakul, another jury member. He met Brillante in New Delhi before and said that he liked Serbis, too. He again mentioned that it was Penn among the jury who championed for the film.

After talking to him, we also had a chance to talk to Brazilian director Walter Salles. He was surprised to find out that Serbis was just shot in only 12 days, starting last March Fortissimo Films informed us that they have sold the film to several countries already. Coco Martin thanks Edsy. From anonymous the clear-eyed: "I believe in the editorial of the Fortnight section.

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We are not Ang Lee bebong betting online el centro de la. Because they are harder to. Does the world even care es la posibilidad de que your safety at risk. Can we start appropriating names. I'll reserve my comments on Serbis until I see it. Bebong betting online I've said, Raya's films if a film is in of Serbis, it is Lao of what storytelling should be. Can you list down all between what the audience wants kay Lao ay yung mga gray area. Autohystoria is clear-cut in its. That is not a measure know: does Raya mean that measure of how much the the masses will never be able to cultivate a cinematic and those people have their own respective politics and biases High Art. Nakakaintimidate naman ang mga diskurso works of Lao, now we.

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