Cinemanila rides again
July 11, 2004 | 12:00am
Hey, you– yes, you, lining up for those Spider-Man 2 tickets! Don’t worry: that summer blockbuster will be around a couple more weeks. Why not shuffle your feet over to Greenbelt 1 instead, while the 6th annual Cinemanila International Film Festival is still underway?
Sure, the offerings this time around are a bit more low-key than in recent years. And maybe the timing’s somewhat off, with summer movies still crowding out the competition at local cinemas. Then there’s Romana Diaz’s Imelda being banned from showing in Manila; and a slew of internationally acclaimed "downer" films in competition that may have you choking down the Prozac along with your popcorn. But film fests are like that: You’ve got to wade through the good, the bad and the bleak to find the gems.
It’s also a good way to gauge the health of local cinema. Lav Diaz’s 9 1/2-hour Nine Years of Evolution will close the festival on July 12, and is sure to keep the faithful mesmerized, while budding directors had a chance to show off their stuff during the sold-out Young Cinema Night last Thursday. Short films such as Larilyn Sanchez and Riza Manalo’s Balikbayan, Marie Jamora’s Quezon City and Raya Martin’s Bakayson prove you can make the personal and local meaningful to an international audience, while guest Iranian filmmaker Jafar Panahi urged the young directors to make movies that "have an eternal life."
Eternity’s a long time, though. Even longer than the lifespan of Spider-Man 2. Here are a few gems to look out for this year. For more film descriptions, check out the www.cinemanila.com.ph website.
Director Takeshi Kitano’s festival opener is a zinger, recreating the best moments of Kurosawa as well as a popular series of "lone samurai" films from the ‘60s, and mixing it all with a modern sensibility. In 19th century Japan, a master swordsman sits alone by the side of the road. He’s got lightning-quick reflexes – though he’s seemingly blind as a bat. It doesn’t take long for his sword to start slicing and the blood to start gushing in this sublime action movie that could teach Tarantino a few lessons in restraint.
Zatoichi (played by the excellent Beat Takeshi) hooks up with a kind widow, her gambling, good-for-nothing nephew, and a pair of brother-and-sister geishas who steal from johns in an effort to get closer to the mysterious "Kuchinawa" clan that wiped out their family.
It’s a familiar setup – or rather, a convergence of setups from The Seven Samurai, Yojimbo and a dozen other revenge-with-honor epics. But director Kitano (best known for his acting turn in Merry Christmas, Mr. Lawrence) has flair and a flipped-out sense of humor. When Zatoichi sits down at a gambling table, the owner gives him a hard time: "What are you doing here, if you’re not betting?" The blind swordsman just shrugs: "I’m just looking."
The trail of Kuchinawa leads to some sly revelations, and Zatoichi goes about its business with an infectious air of fun, furious fighting, and a final dance sequence that is completely goofy and incongruous, but leaves you walking out of the cinema in a good mood, for a change.
Actress Scarlett Johansson had two eye-opening roles in 2003: Lost in Translation and the role of Griet in Peter Webber’s luminous meditation on art and inspiration, Girl With The Pearl Earring. Based on a best-selling novel, the plot is somewhat slim, focusing on a young girl who comes to the home of famed painter Johann Vermeer as a servant. Wife Catherine naturally becomes jealous when Griet starts "mixing her master’s pigments," if you know what I mean, and the young girl must also deal with Vermeer’s lascivious art patron, Van Rujiven (played with typical relish and extra mustard by Tom Wilkinson).
Johansson is, indeed, something to look at, with her ripe features and curious gaze. She does have a tendency to gasp whenever startled, which can be bit predictable, but she well conveys a young, light-conscious neophyte who could easily stir the pedagogical passions of a Dutch master. As such, Colin Firth puts in a fine turn as the somewhat exasperated painter who eventually takes lighting tips from his precocious servant. (There’s also a bit about Vermeer relying on technological devices such as the camera obscura to obtain his photo-realistic effects, recalling recent claims by artist David Hockney.) None of this ever happened, of course, but it’s an interesting fantasy that blends art, beauty and commerce in dry but compelling little doses. And it’s certainly beautiful to look at.
Banned in Singapore (naturally), this tale of sex, drugs and nihilism by young director Royston Tan finds its way to Manila theaters instead. Thought you’d seen all the hyperkinetic moves possible in films like Trainspotting and Fight Club? Tan has a few visual tricks up his sleeve in this tale of five adolescent boys who are alienated from home, school and society. Their only link is a male brotherhood dedicated to street fighting, dope smuggling and sexual release. Don’t look for a linear plot, but rather follow the threads of episodes that are, at turns, eye-popping, humorous and nauseating. Incorporating the look of video games and in-your-face hip-hop culture, Tan has a tendency to focus our attention on images that are nearly impossible to bear, such as drug smugglers swallowing condoms full of pills, a kid hacking away at his wrists with a blade, and an on-camera lip piercing that will leave many tattooed youths feeling woozy. It ain’t pretty, but it’s brutally artistic, and it may part of the new wave of films (13, Elephant, Kids) designed to prevent people from having kids in the first place. Call it "Birth Control Cinema."
Sure, the offerings this time around are a bit more low-key than in recent years. And maybe the timing’s somewhat off, with summer movies still crowding out the competition at local cinemas. Then there’s Romana Diaz’s Imelda being banned from showing in Manila; and a slew of internationally acclaimed "downer" films in competition that may have you choking down the Prozac along with your popcorn. But film fests are like that: You’ve got to wade through the good, the bad and the bleak to find the gems.
It’s also a good way to gauge the health of local cinema. Lav Diaz’s 9 1/2-hour Nine Years of Evolution will close the festival on July 12, and is sure to keep the faithful mesmerized, while budding directors had a chance to show off their stuff during the sold-out Young Cinema Night last Thursday. Short films such as Larilyn Sanchez and Riza Manalo’s Balikbayan, Marie Jamora’s Quezon City and Raya Martin’s Bakayson prove you can make the personal and local meaningful to an international audience, while guest Iranian filmmaker Jafar Panahi urged the young directors to make movies that "have an eternal life."
Eternity’s a long time, though. Even longer than the lifespan of Spider-Man 2. Here are a few gems to look out for this year. For more film descriptions, check out the www.cinemanila.com.ph website.
Zatoichi (played by the excellent Beat Takeshi) hooks up with a kind widow, her gambling, good-for-nothing nephew, and a pair of brother-and-sister geishas who steal from johns in an effort to get closer to the mysterious "Kuchinawa" clan that wiped out their family.
It’s a familiar setup – or rather, a convergence of setups from The Seven Samurai, Yojimbo and a dozen other revenge-with-honor epics. But director Kitano (best known for his acting turn in Merry Christmas, Mr. Lawrence) has flair and a flipped-out sense of humor. When Zatoichi sits down at a gambling table, the owner gives him a hard time: "What are you doing here, if you’re not betting?" The blind swordsman just shrugs: "I’m just looking."
The trail of Kuchinawa leads to some sly revelations, and Zatoichi goes about its business with an infectious air of fun, furious fighting, and a final dance sequence that is completely goofy and incongruous, but leaves you walking out of the cinema in a good mood, for a change.
Johansson is, indeed, something to look at, with her ripe features and curious gaze. She does have a tendency to gasp whenever startled, which can be bit predictable, but she well conveys a young, light-conscious neophyte who could easily stir the pedagogical passions of a Dutch master. As such, Colin Firth puts in a fine turn as the somewhat exasperated painter who eventually takes lighting tips from his precocious servant. (There’s also a bit about Vermeer relying on technological devices such as the camera obscura to obtain his photo-realistic effects, recalling recent claims by artist David Hockney.) None of this ever happened, of course, but it’s an interesting fantasy that blends art, beauty and commerce in dry but compelling little doses. And it’s certainly beautiful to look at.
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