Quick Updates:
I have just finished watching all ten films for this year's competition. Hopefully I could post my individual reviews by the end of the week. For now, I will just post the ratings (objective as possible) and bets. (You don't have to believe it okay)
I have just finished watching all ten films for this year's competition. Hopefully I could post my individual reviews by the end of the week. For now, I will just post the ratings (objective as possible) and bets. (You don't have to believe it okay)
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Charlie Koon's Ratings:
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Colorum by Jon Steffan Ballesteros 
Dinig Sana Kita by Mike Sandejas 
Mangatyanan by Jerrold Tarog 
Nerseri by Vic Acedillo Jr. 
Astig by GB Sampedro 
24K by Ana Agabin 
Ang Panggagahasa kay Fe by Alvin Yapan 
Last Supper No. 3 by Veronica Velasco 
Engkwentro by Pepe Diokno 
Sanglaan by Milo Sogueco 
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Charlie Koon's Bets:
Best Film - Mangatyanan
Best Director - Pepe Diokno (Engkwentro)
Best Actor - Romalito Mallari (Dinig Sana Kita)
Best Actress - Che Ramos (Mangatyanan)
Agree?
Top 3 Films in the Box Office - Astig, Dinig Sana Kita and Last Supper No. 3
13 comments:
wow, early fearless forecast!
hahaha. yeah and a bit risky. i'll post the reviews asap.
somebody linked this in facebook.. anyone? :)
i agree with Mallari 100%
saw only two films,
Mangatyanan and Engkwentro
Mangatyanan is flawed and almost long winded (nothing a talented editor cannot fix) so I must disagree with you.
Engkwentro is, for all intents and purposes a shitty film IMHO. I admire it's ambition, but it is unfulfilled at best. Pepe Diokno should start learning direction.
I couldn't stop laughing loudly last friday while watching it because russian ark it ain't. And yes, we found at least 5 edit points in the film (meaning it didn't engage us enough so we started counting where the editing points were.)
Celso Ad Castillo was the best thing in this film.
Oh,did i mention this could've been a 15min short instead of a headache inspiring darkness in high definition experience.
muhandis abu alifdin
hey muhandis, thanks for your response..
i somewhat agree to the engkwentro comment. as for me it felt a little to much like gaspar noe's irreversible
Blogger Douglas Racso said...
i somewhat agree to the engkwentro comment. as for me it felt a little to much like gaspar noe's irreversible
Isn't it dissappointing when you know where a filmmaker takes his cues from?
Irreversible's cinematography was deliberate and precise, the camera work in engkwentro was unsure and voyeuristic in many places and the audience is left wondering about what is actually taking place.
Thank you Charlie Koon for accommodating responses. :)
muhandis abu alifdin
i think diokno is not really after the merits with the technique since this has been done before like what douglas said, it could be compared with noe's irreversible or even the technique of van sant in elephant. the long takes is very antonioni or even our very own mendoza and jeturian. numerous references could be made actually.
he also intended to make it to look raw and its consistent all throughout so i have no problems with that...
whats good about engkwentro is diokno's vision. i was moved by it.
its not really my personal favorite. i am more objective on that matter. if you'll ask me, i admire alvin yapan's style for ang panggagahasa kay fe.
i agree. the more I think about panggagahasa, the more I like it.
engkwentro was the best of the festival. its a unfair to compare it to irreversible etc just bec of the style. if thats the basis, then lets just compare pangahasas steady shots to raise the red lantern, while were at it.
anonymous said:
Irreversible's cinematography was deliberate and precise, the camera work in engkwentro was unsure and voyeuristic in many places and the audience is left wondering about what is actually taking place.
eh what if thats the point?
hi nina. its not really harmful to have comparisons. i like engkwentro. anyway, i'll post my reviews soon. i'm in the process of editing the articles.
thanks for dropping by nina.
Nina said:
"eh what if thats the point?"
You don't introduce your film with a (visual) promise that you cannot keep consistently throughout and tell me that's the point.
He had a brilliant opening sequence that he couldn't sustain. That's the point.
muhandis
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