RSS

Pulitiko for Rent

Jema M. Pamintuan

Mapahahalagahan ang malinaw na pagbabalangkas ng pelikulang “Badil” hinggil sa buong kayarian, danas, at naratibo ng panahon ng halalan sa ating bansa. Nagbukas ang pelikula sa mga eksena ng pangangampanya: lumilibot na muli sa isang maliit na bayan si Ponso (Dick Israel), ang datihan nang tagasuporta ng isang kumakandidato para sa pagka-alkalde na si Del Mundo (Tonton Gutierrez). Alam na alam ni Ponso ang mapa ng bayang nakatatak na sa kaniyang gunita, ang mga katangian at pangangailangan ng mamamayang aabutan niya ng salapi kapalit ng pangakong iboboto ng mga ito si Del Mundo. Markado ang bawat tahanang bibisitahin pagkat nakasisiguro na si Ponso sa katapatan ng mga ito kay Del Mundo. at madalas ay positibo ang nakukuha niyang tugon mula sa mga naaabutan ng pera. Dahil kagagaling lamang sa sakit ni Ponso, ipinagkatiwala niya ang tungkulin sa kaniyang anak na si Lando (Jhong Hilario), na siyang lumibot sa iba’t ibang bahagi ng baryo para mag-abot ng salapi sa mga pinagkakatiwalaan at inaasahang botante. Tinalunton ng galaw ng kamera ang mapa ng maliit na baryong ito, at unti-unting ipinakabisa sa mga manonood ang kasuluk-sulukan ng bituka ng korupsyong nakabalabal na sa ating mga halalan, mula sa antas ng barangay at munisipyo, lunsod at lalawigan, at pambansa.

badil

Isinalaysay ni Lando, sa pamamagitan ng kaniyang panaka-nakang pag-aalinlangan at tahimik na paninimbang sa trabahong inihabilin sa kaniya ng ama, ang hubog ng ligalig ng panahon ng halalan sa kanilang baryo. Mula sa pagiging tahimik at kiming anino ng kaniyang ama tungo sa higit na may tatag na disposisyon, mababakas na may ipinangangakong antas o istatus ang pagpapatuloy ng naumpisahan ng kaniyang ama. Batid ni Lando ang saklaw ng kapangyarihang ngayon ay hawak na niya; sa isang banda ay halos napasakamay na nga niya ang politikal na kapalaran ng kaniyang baryo, lalo pa dulot ng kaniya ring puwersadong pakikipagmabutihan sa iba pang politikong sangkot sa pandaraya. Sa bisa ng pagtatanghal ni Jhong Hilario, masasaksihan ang pag-usbong ng panibagong tuta sa pagmanipula ng pagpapaandar sa isang maruming halalan.

Iisa lamang ang pamilyar na mukha na magpapakampante at gagabay sa pagpapasya ng mga botante, ang salapi. Inilatag ng pelikula kung paano napupunan ang puwesto ng mga tauhang hindi man nakikita ay malinaw pa ring umiiral ang kanilang impluwensiya sa mga mamamayan ng baryo. Pawang naroon lamang ang mga larawan ng kumakandidatong si Del Mundo, sa mga t-shirt, sa mga streamer at poster, at sa istiker na may pangalan nitong idinidikit sa perang iniaabot sa mga botante. Naitaguyod pa rin ang impluwensiya nito na tila baga naroon pa rin siyang nakikipagkamay at nangangako. Ang katawan ng kandidato ay napalitan/nahalinhan ng monetaryong katumbas, depende kung sino ang kaharap nito. Ang presensiya ng kandidato ay katumbas ng ilang libong piso sa karaniwang mamamayan, at higit na malaking halaga para sa mga nangangasiwa ng kampanya nito, kagaya nina Ponso at Lando. At kagaya ng pahiwatig na iniwan ng huling bahagi ng pelikula, malinaw na rin kung sino ang hahalili, balang-araw, kay Lando.

Makabuluhan ang tunguhin ng pelikula sa pagpaparating ng mga konkretong katotohanang itinatanghal ng panahon ng eleksyon, lalo na sa aspekto kung paano pinagagana at pinaiikot ng pera ang buong istruktura ng halalan. Una, ang pera ay nakapagpapabago ng paninindigan, nakababali ng pangako, nakalilikha ng hidwaan sa mga ugnayan, tulad ng mga halimbawa sa ilang eksenang “na-dinamita” o “pinatay” ang boto. Pangalawa, nakapagpapatahimik ito, natutumbasan ang tinig at hininga ng mga indibidwal na kailangang tukuyin, pasunurin, o patayin. Pangatlo, pinagkukunwari nitong ang halalan ay panahon ng kasaganaan. Dahil umaapaw ang pera tuwing panahon ng kampanya, may ilusyon ng rangya at ginhawa na inaakalang naidudulot at ibinibigay ng kandidato para sa mga botante, nang hindi lubos ang pag-unawang ang “kasaganaan” at pondo ay mula sa mga mamamayan mismo. Kaakibat ito ng pangakong bitbit ng kumakandidato sa kaniyang mga plataporma, na kapag ibinoto ang kandidato, anumang oras ay maaari kang mabiyayaan ng salapi. Ito kung gayon ang malaking delusyon na ipinaiiral ng paggamit ng pera sa panahon ng halalan. Ang kabuuan ng eleksyon, simula pa sa pangangampanya, pagpasya kung sino ang iboboto, hanggang sa mismong proseso ng pagboto, at paglabas ng resulta ng nanalo, ay hinuhulma ng halaga at tagatanggap ng salaping sangkot rito.

Sinasalungguhitan ng “Badil” ang katotohanan na ang nagtatamasa ng seguridad (salapi at tiyak na maginhawang posisyon sa lipunan), sa huling pagsusuri, ay ang mga kandidato lamang, sa pamamagitan ng mamamayang nagsisilbing impukan ng kanilang boto sa panahon ng eleksyon.

#

jemaJema M. Pamintuan is an Assistant Professor at the Department of Filipino, Ateneo de Manila University. She has recently completed her fellowship under the United Board Program at Tunghai University (2012-2013) and Georgetown University (2013-2014). She created the musical scores for the independent films “Ang Panggagahasa kay Fe” (2009), “Gayuma” (2011), “Ang Sayaw ng Dalawang Kaliwang Paa” (co-scored with Christine Muyco), and “Bwakaw” (2012).

 
 

Tags:

Reaching the End of Sanity, the Limits of History

Review of Norte, Hangganan ng Kasaysayan (Lav Diaz, 2013)

JPaul S. Manzanilla

It is difficult to pass judgment on something that not only refuses to be judged but places the capacity for judgment on the Solomonic table to begin with. For all its (non)intents and purposes, Norte, Hangganan ng Kasaysayan offers a much denser and perplexing take on the nature of reason and madness, crime and punishment, goodness and evil that lurk and, also, dwell within the human in all of us.

We follow the life of Fabian as he tries to get away from the burden of family and education. He intellectualizes on man’s existence and pontificates on the country’s politics and society along with his friends, fellow law students set to be future cogwheels of the nation’s legal bureaucratic machine. Parallel to his life’s movement is Joaquin, he who is a have-not trying with his wife to feed their family. Fabian tries to write a masterpiece but eventually surrenders to the incompatibility and the failure of this world to his mind’s design. Joaquin became victim of the justice system as he suffers from being blamed for a crime. Eliza, Joaquin’s wife traverses the difficult condition of making ends meet and understanding the ends of their lives.

Many of the scenes are standard, normal fares, passages that are too ordinary that they run against the mainstream blueprint of maximizing film’s precious time-space to show only the dramatic, the spectacular, the eye-popping. Yet for this viewer Fabian’s banter with his barkada, Eliza’s hawking of vegetables in the neighborhood, and the tedium of rural life are all necessary to bear out their living conditions before the story plunges us into the depths of their despicable lives, only to show that vileness is not the climax but their everyday. Herein lies Norte’s promise and disappointment and we need to examine our structure of feeling. If evil were just around the corner and suddenly arrives on our doorstep, we would be surprised. But evil dwells within, resting for a while, nurturing itself, and then it pounces us when we’re least defended because we thought that it is exterior to ourselves; only the dead is safe from its menacing victory. At times, one envies how the murdered ones are finally free from the devil’s grasp. A Dostoyevskyan theme is cogent in a Third World polity such as the Philippines since, like the great author’s environment, the nation is full of contemptible inequality, psycho-sexual because economic and political.

Norte 8a

To our wonder, the film also views the setting from above, using a drone to capture the geography of its characters’ spaces, thereby complementing its probing of mind’s dark interiors. Somehow the vistas appear as flights of fancy, even a loss of consciousness, and then the camera takes us back to the rough grounds of living once again. Joaquin’s movement from the provincial prison cell to the national penitentiary is the height of injustice, which leads us to supreme irony: as Fabian continues to freely explore his psychosis, he is further entrapped inside his terrifying life-world as the guilt of non-punishment torments him; Joaquin then gradually liberates himself from anger and madness brought about by human oppression. This transcendence is utopian, but human, all too human.

Even religion is not safe, as it should, from the merciless hand of the filmmakers. Fabian could not find salvation from the Bible study group that offered transcendence while his sister became patently insane in her pastoral and ultra-religious dreamland. Diaz and co-writer Rody Vera are even playing Engels here in imagining the continuity of property accumulation, monogamous family, and state security on the verge of self-destruction. The child who robotically sings Pamulinawen spites the cruelty of her mother and the tender loving song holds a macabre quality: having genuine love, punishing one completely, and pining for the end of misery. Pairing wealth with wickedness and poverty with principle is dangerously Manichaean. It promotes the perpetuity of inequity.

Is the film a critique of the failures of the nation’s intelligentsia? Would life without this intellectual class be beneficial to the country? The reference to Marcos is not contrived, with the North as setting denoting the dictator’s bastion, and the would-be bar topnotcher/murderous law student drop-out in some way exemplifying the country’s most intelligent president. Just when we thought that we have recovered from the murder of Magda, Fabian later on rapes his sister, and kills his pet dog. Does reason exceeding “boundaries”—reason gone wrong and berserk—ultimately become fascistic and therefore lead to our collective destruction, the limits of history? Should we then favor the intelligence of the subaltern here, they from below who simply live and die and whose lives go unremarked? What we need to assail here is the messianic complex of Fabian and his lot first seen in Fabian who take the law into his own hands by killing Joaquin’s exploiter, thereby leading to the latter’s imprisonment, and second, in his buddies who try to revive the legal case of injustice, not knowing that it is one of them who caused Joaquin’s suffering in the first place. Joaquin’s fate has been determined by the depravity of Fabian. Amidst all these, the character of Eliza probes the limits of personal justice and temperance. Who will save him—and us—from the law?

Norte’s cynical take on humanity imaginably approaches the sophistication of cinematic production. The refusal of closure characteristic of recent and mainly independent filmmaking, is arguably a refusal of packaged solutions to complex problems. It is, however, an admission that, in this time, a resolution of contradictions is becoming more and more difficult, if not impossible, even within the ambitions of the filmic narrative.  We may learn productively from how it breaches the purpose, end, and death of a putative history.

JPaul Manzanilla Picture for AdMU SoSSJPaul S. Manzanilla teaches in the Department of History of the Ateneo de Manila University. He earned degrees in comparative literature and art history from the University of the Philippines and is engaged in research on the histories of photography, cinema, and television in the country.

 
1 Comment

Posted by on 07/03/2015 in Film Review, Philippine Film

 

Tags: ,

The ultimate grotesquerie

By Nonoy L. Lauzon

Elections in the Philippines as depicted in the movies are a grand affair. Big crowd scenes of miting de avance are regulatory. Parades, marches and sequences of candidates for elective office on the campaign trail are perfunctory. The plot may center on an assassination or even a massacre – the better to allow for a smorgasbord of cinematic genres enough to arouse audience interest and thereby drive the film to make a killing at the box office.

Jhong Hilario as Lando

Jhong Hilario as Lando

While Chito Roño’s Badil is a motion picture about Philippine elections, it does away in so many ways with the stereotypes of such a movie. Here the main character is not the politico running for a public post. The audience encounters him only with his face on mounted posters and similar campaign paraphernalia. Instead of the politico, the film foregrounds a protagonist principally tasked to ensure votes for his candidate in methods and mechanism unique to the country.

That there has to be such a person speaks volumes about Philippine electoral politics. Roño with his extensive filmography of slick and high-concept melodramas and big-budget adventure flicks has tackled the bizarre, the absurd and the surreal. It is no different in Badil as the director compels viewers to look at one country’s political system as the ultimate grotesquerie.

The rambunctious democracy that is often attributed to the Philippines assumes in the film a level of gritty manifestation. On this account, the film becomes Roño’s boldest, most vocal and most critical of the established socio-political order in the land of his birth. Yet it is not wanting in prescriptive program of action and platform for radical change. The film gets to tread on philosophical-thought territory finding an apt metaphor for proper conduct of revolutions akin to the concoction of a cup of cappuccino.

With the crucial run-up to national elections in a municipality that serves as microcosm for the entire archipelago as the locus of its narrative, the film consists of all-too banal and familiar scenes of people and situations that at the same time spell the very horrors the country’s populace contend with as they partake of the political exercise said to be among the greatest national passions of the Filipinos.

Precisely because the film elicits a powerful and profound message at its core, production values while toned down render the film forceful and effective. Cinematic elements in the film are orchestrated in such a manner that the attention or focus of viewers is directed at the development of the plot and the plight of the characters. This is unadulterated cinema – without empty fanfare, bereft of the trappings of cheap thrills, devoid of gimmickry.

#

noyNonoy L. Lauzon is the cinema programmer of the UP Film Institute. He holds double degrees in Philosophy and Humanities from University of the Philippines Diliman. He had worked for national newspapers such as the Philippine Journal and Manila Times and previously written reviews and commentary through the years for a number of publications including Mirror Weekly, People’s Journal, Evening Paper, Real Pinoy, Saksi Ngayon.

 
Leave a comment

Posted by on 25/11/2014 in Film Review

 

Tags:

Here lies horror

By Nonoy L. Lauzon

Transgressing norms, mores, and the mindset of conventional society may be deemed the mark of a good film. When a film – that is a huge hit among vast viewing audiences – resorts to such transgression, one knows that it must be doubly good. This is the case for the horror feature Pagpag that by all means subscribes to the requisites of the genre only to subvert one’s expectations of the limits of popular cinema.

Promo still from the movie

Promo still from the movie

What begins as a cautionary tale for the young that shun superstitious beliefs graduates to a far more foreboding treatise that poses a challenge to a way of life and view of the world on which much of social conventions to this day are founded.

In Pagpag, the real source of shock and the horror experience lies not in its elements as a slasher pic but in the very premise by which the diabolical in the film is evoked and unleashed. What drives humans to enact a pact with the Devil can after all be as seemingly innocuous as one’s heterosexual desire to perpetuate the human species and preserve one’s obsession with the nuclear family.

The film ridiculously appears to dramatize the sordid story of a couple compelled to go through lengths just to fulfill their dream of a complete social unit in the strict heterosexist sense. But it is on this account that the film departs from the usual path trodden by flicks of similar vein. It dares to be an allegory of a society that privileges the heterosexual paradigm and marginalizes what for it are all other deviant sexualities. In plain language, the film boldly posits that it is the heterosexual paradigm – and not its opposites and all else that runs counter or contrary to such — that can actually wreak much havoc for human and humane society.

Much people have been reared on the notion that procreation is the essence of human existence without being prodded to realize that this too can be the wellspring for unspeakable evil. How many crimes, acts of injustice, dastardly deeds of oppression and exploitation in the world have been committed in the name of the family ideal — of securing a future for one’s children’s children, of being a good husband to his dutiful wife, of being a loving father providing for his brood? The film in its own way claims that it must all be crap as it is precisely the foundation of the dangerous ideology that very well sows the seeds of stark horror.

#

noyNonoy L. Lauzon is the cinema programmer of the UP Film Institute. He holds double degrees in Philosophy and Humanities from University of the Philippines Diliman. He had worked for national newspapers such as the Philippine Journal and Manila Times and previously written reviews and commentary through the years for a number of publications including Mirror Weekly, People’s Journal, Evening Paper, Real Pinoy, Saksi Ngayon.

 
1 Comment

Posted by on 25/11/2014 in Film Review

 

Tags: , , ,

YCC Statement on the National Artist Award 2014 Process

ycc+logo

The Film Desk of the Young Critics Circle (YCC) would like to express its condemnation of President Noynoy Aquino’s exclusion of Nora Aunor from the ranks of National Artists proclaimed this year.

Aunor was nominated as National Artist for Film and duly passed all levels of selection in the legally constituted process presided by the Cultural Center of the Philippines and the National Commission for Culture and the Arts. The nomination was made in recognition to her outstanding contributions to the Philippine film industry and to Philippine culture and arts in general. The actress herself won five best performance awards from our circle for her powerful portrayal of various roles in different films of the past two decades.

We are very disappointed that after the due process of selection by our state cultural institutions, the President of the Republic did not include Aunor from the roster of awardees. No word was heard from the President until more than a week after releasing his proclamation. The President reasoned that Nora had a drug abuse problem which makes her unfit as a role model for Filipinos. We argue otherwise. We believe that issues pertaining to morality are contentious at best and must not be applied to the recognition of a national artist. What matters most is the artist’s superior development of her craft that is recognized by her peers primarily and by the Filipino people ultimately. This consideration has been met by the disqualified awardee.

As a critics’ group that advocates a dynamic interaction between the audience and the artistic text, including its maker the artist, we think that the state plays a crucial role in the development of artistry in the country. With its wide institutional reach and public funding, it significantly influences not only the creation and dissemination of works of art, but also their examination and celebration by the audience. It performs its role in the name of the Filipino people.

We are very much concerned that the selection of such a precious person such as the National Artist has been subjected to presidential prerogative that does not answer to the public in the end. The same thing happened in 2009, when the country’s chief who was despised by the current president, declared as National Artists a few people who did not pass the selection process by duly constituted authorities. This bodes ill for the Filipino people “at the end of the day,” as President Aquino always concludes his interviews.

7 July 2014

 
Leave a comment

Posted by on 10/07/2014 in Philippine Film

 

Tags: ,

YCC Awards Rites Postponed

ycc+logoThe awarding ceremony of the Young Critics Circle for the best in Philippine cinema for 2013 has been postponed indefinitely as a result of the shift of the academic calendar of the University of the Philippines. YCC awards rites are financially supported by UP’s Office of Initiatives for Culture and the Arts (OICA).

We will announce the new date of the ceremony as soon as the date is finalized.

 

 
Leave a comment

Posted by on 30/04/2014 in Philippine Film

 

Tags:

‘Porno’ named Young Critics Circle’s Best Film of 2013

Porno, Adolfo Alix Jr.’s triptych film of individuals linked through pornography, wins big at the Young Critics Circle’s 24th Annual Citations, bagging five of the six main awards, including Best Film and Best Performance for Carlo Aquino who tied with Jhong Hilario for Badil.

Porno2Porno also took the prizes for Best Screenplay and Best Sound and Aural Orchestration, and tied with Frasco Mortiz’s Pagpag for Best Editing.

Mel Chionglo’s Lauriana is named Best Cinematography and Visual Design.

Porno was one of the entries to the 2013 Cinemalaya Film Festival but, due to its mature content, was only exhibited in the Cultural Center of the Philippines, unlike the rest of the entries that were screened in select commercial theaters.

Alix has now won three Best Film awards from YCC, previously winning in 2009 for Adela and in 2012 for Haruo. He has also previously won for his production design in Kalayaan (2012).

Both Aquino and Hilario have been previously nominated for Best Performance by the academe-based group: Aquino for Minsan May Isang Puso (1999) and Baler (2008), and Hilario for Muro-Ami (1999).

Having previously narrowed down the year’s cinematic output to a long list of 22 films, the group last night further reduced it to a shortlist of 13, and, after more than six hours of intense deliberations, arrived at record-number nominations in most categories: Film (8), Performance (15), Screenplay (8), and Cinematography and Visual Design (11). The critics group does not confer any nomination to a film that does not qualify for the shortlist.

To encourage the growth of emerging filmmakers, YCC decided to introduce a new special category – Best First Features, to be given to the three most outstanding feature films of debuting filmmakers. This year, the recipients are Angustia (Kristian Sendon Cordero), Puti (Mike Alcazaren), and Ang Turkey Man Ay Pabo Rin (Randolph Longjas).

The awards ceremony is set on the third week of March, with the specific date and venue to be announced soon.

Below is the list of nominees for all categories:

 

FILM

Winner: Porno, directed by Adolfo Alix Jr. (Cinemalaya Foundation, Phoenix Features, Deus Lux Mea Films, Hong Kong-Asia Film Financing Forum, CMB Film Services, Inc.; Arleen Cuevas, producer)

Nominees:

Mga Anino ng Kahapon, directed by Alvin Yapan (VYAC Productions; Alemberg Ang, producer)

Babagwa, directed by Jason Paul Laxamana (Cinemalaya Foundation, Quantum Films, Kamaru Productions; Josabeth Alonso, executive producer; Ferdinand Lapuz, producer; Chad Angelic Cabigon, associate producer)

Badil, directed by Chito Roño (Film Development Council of the Philippines; Rafaela May Ocampo, executive producer; Han Salazar, producer)

Dukit, directed by Armando Lao (Centerstage Productions, Betis Galleria; Armando Lao, producer; Brillante Mendoza and Florentina Canasa Layug, executive producers; Sonny Dobles and City Heights Hotel, associate producers)

Ang Kwento ni Mabuti, directed by Mes de Guzman (CineFilipino, PLDT-Smart Foundation, Studio 5, Unitel Entertainment, Cinelarga, SampayBakod Productions; Rhea Operaña de Guzman, producer)

Pagpag, directed by Frasco Santos Mortiz (Star Cinema, Regal Films; Charo Santos-Concio, Malou Santos, Lily Monteverde, and Roselle Monteverde, executive producers; Enrico Santos and Marizel Samson-Martinez, supervising producers)

Quick Change, directed by Eduardo Roy Jr. (Cinemalaya Foundation, Found Films; Almond Derla, executive producer; Ferdinand Lapuz, producer)

 

PERFORMANCE

Winners: Carlo Aquino, Porno and Jhong Hilario, Badil

Nominees:

Angel Aquino, Porno

Nora Aunor, Ang Kwento ni Mabuti

Adrian Cabido, Lauriana

Carlo Cruz, Mga Anino ng Kahapon

Allen Dizon, Lauriana

Ensemble cast of Porno

Cherie Gil, Sonata

Dick Israel, Badil

Alex Vincent Medina, Babagwa

Daniel Padilla, Pagpag

Joey Paras, Babagwa

Sue Prado, Ang Kwento ni Mabuti

TJ Trinidad, Mga Anino ng Kahapon

 

SCREENPLAY

Winner: Porno, Ralston Jover

Nominees:

Mga Anino ng Kahapon, Alvin Yapan

Babagwa, Jason Paul Laxamana

Badil, Rodolfo Vera

Debosyon, Alvin Yapan

Dukit, Armando Lao and Mary Honeylyn Joy Alipio

Ang Kwento ni Mabuti, Mes de Guzman

Quick Change, Eduardo Roy Jr.

 

EDITING

Winners: Pagpag, Jerrold Tarog and Porno, Aleks Castañeda

Nominees:

Badil, Carlo Francisco Manatad

Dukit, Diego Marx Dobles

 

CINEMATOGRAPHY AND VISUAL DESIGN

Winner: Lauriana, Nap Jamir (cinematography) and Edgar Martin Littaua (production design)

Nominees:

Mga Anino ng Kahapon, Dexter dela Peña and Jan Tristan Pandy (cinematography), Whammy Alcazaren (production design), Frances Grace Mortel and Rita Vargas (art direction), and Phyllis Grae Grande (set decoration)

Badil, Neil Daza (cinematography), Jayvee Taduran (production design), and Donald Camon (art direction)

Debosyon, Dexter dela Peña (cinematography), Dennis Corteza and Paolo Rey Mendoza Piaña (production design), Roy Dominguiano and Pat Noveno (art direction), and Omar Aguilar (visual effects)

Dukit, Triztan Garcia, Bruno Tiotuico, Jeffrey Icawat, and Diego Dobles (cinematography), Leo Abaya and Olga Marquez (production design)

The Guerilla Is a Poet, Kiri Dalena (cinematography) and Sari Dalena (production design)

Ang Kwento ni Mabuti, Albert Banzon (cinematography), Cesar Hernando and Mes de Guzman (production design)

Pagpag, David Diaz-Abaya (cinematography), Luis Custodio IV (production design), and Daren Francis Raña (visual effects)

Porno, Albert Banzon (cinematography), Adolfo Alix Jr. (production design), and Bobet Lopez (art direction)

Quick Change, Dan Villegas (cinematography) and Harley Alcasid (production design)

Sonata, Mark Gary (cinematography), Emilio Montelibano Jr. (production design), and Richard Francia (visual effects)

 

SOUND AND AURAL ORCHESTRATION

Winner: Porno, Albert Michael Idioma (sound design) and Ari Trofeo (sound)

Nominees:

Babagwa, Lucien Letaba and Joseph Lansang (music) and Addiss Tabong (sound design)

Badil, Carmina Cuya (music) and Addiss Tabong (sound design)

Debosyon, Teresa Barrozo and Jireh Pasano (music), Ray Andrew San Miguel and Andrew Millalos (sound design)

Dukit, Armando Lao (music and sound design)

Pagpag, Francis Concio (music) and Arnel Labayo (sound design)

 

FIRST FEATURE

Winners: Angustia (Kristian Sendon Cordero), Puti (Mike Alcazaren), and Ang Turkey Man Ay Pabo Rin (Randolph Longjas)

 

Aside from the 12 films nominated in the main categories, one other film, Arnel Mardoquio’s Riddles of My Homecoming, is included in the shortlist.

The YCC members who took part in the selection process and in the deliberations are Skilty Labastilla (Chair), Aristotle Atienza, Patrick Flores, Tessa Maria Guazon, Lisa Ito, J. Pilapil Jacobo, Nonoy Lauzon, JPaul Manzanilla, Jema Pamintuan, and Jaime Oscar Salazar.

 
45 Comments

Posted by on 08/02/2014 in Philippine Film

 

Tags: , ,

 
Follow

Get every new post delivered to your Inbox.

Join 1,711 other followers