The Pseudocathartic

Blu-Ray: Persepolis

2008-11-08T00:01:00.001+13:00

Persepolis (2007)
France/USA
Director: Vincent Paronnaud, Marjane Satrapi
Starring: Chiara Mastroianni, Catherine Deneuve, Danielle Darrieux, Simon Abkarian
Rating: ***1/2 out of ****

Inspired from Marjane Satrapi’s graphic novels, “Persepolis” is a cinematic tour de force. Beautifully conceived and written, it never pulls punches as it chronicles the adventures of its protagonist while being able to display certain truths that have never been produced in a more digestible fashion. Even if the film is in black and white, ideas nevertheless go though the entire spectrum, with emphasis on integrity, courage and character: virtues that usually suffer in an incarcerating environment.

Divided in three acts, film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. As opposed to this year’s “Waltz with Bashir”, an animated political documentary, “Persepolis” is definitely a production of fiction and does not frame reality verbatim, however it paints a picture to Satrapi’s personal experiences as close as possible. Politics and identity are the film’s driving force, although is smartly perfunctory in making each of them not the cause or the effect.

Each frame is beautiful to look at and has definitely gone above and beyond its comic book counterpart. Using hand drawn techniques and a sense of whimsy missing from mechanical mainstream animated features, “Persepolis” cements that story is essential as an axis in storytelling. With a mainly black and white palette, the picture is nevertheless colorful with its depiction of characters, all of them inspiring and definitely breaks taboos on a stereotypical view of Persian living.

To contrast the film and its graphic novel roots is made redundant by its production, as it‘s conscious to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel’s more linear story telling, “Persepolis” follows a mainly flashback driven narrative which further emphasizes main protagonist’s faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.

Nominated for an Academy Award for Best Animated Feature, “Persepolis” definitely establishes a lasting experience. It knows how to balance its political influence and its personality that it never becomes overbearing and driven by a vendetta. The film’s universal appeal is exceptional as even if it goes through specifics about Iran’s historical political development, narrative is still driven by its protagonist. And with a character like Marjane, who has been easily compared to Juno multiple times, she’s definitely worth cheering for.

Here's the trailer:

Directors: Michael Haneke

2008-11-01T00:01:00.001+13:00

Pretentious and hypnotic, Haneke remains on the top-tier of European art film directors, garnering praise from every film festival while taking a piss at them all at the same time. Able to synthesize terror from the familiar – the humdrum middle class, the implosion of the nuclear family and the insensitivity of the media and all its forms – he is spot on as he films reality as he sees it. His films are mind blowingly bleak, and at the same time, has truths that make it all the more frightening. Discerning audiences love to hate him. He is his own genre.

Der Siebente Kontinent (1989) (The Seventh Continent) = 9/10

Inspired by real events, Haneke tackles the monotony of the middle class in his “The Seventh Continent”. Screenplay features a bourgeoisie family in an unnamed city as they go on through living without much conviction. Deliberately paced on its first half showing banal moments of existence, it contrasts with the utter destruction that the second half displays. Imagery of taboo is abundant, with Haneke showing his flare for absolute despair.

Benny's Video (1992) = 8/10

Second film in his Glaciation trilogy is “Benny’s Video”. Film follows an average teenager with a fascination towards the entertainment media, that he only sees things through a glass. Immediately magnetized by a girl of his age and from a lower strata, he murders her and replays the video, only showing engagement with objectivity. Effective on blatant commentary of disengagement, film also highlights apathy between generations.

71 Fragmente einer Chronologie des Zufalls (1994) (71 Fragments of a Chronology of Chance) = 7/10

Sealing off the trilogy is “71 Fragments”, a mish-mash of a movie containing several plotlines all cut up and glued together with a deafening black screen between scenes, indicating possible relevant moments deprived from the audience. Also inspired by real events, it depicts the cold nature of evil and its randomness to explode at will. Possibly the weakest in Haneke’s catalogue as compared to his other films, “71 Fragments” feels dated – or even clichéd… unfortunately.

Funny Games (1997) = 9/10

Controversial “Funny Games” further cements Haneke’s desire to intentionally include the audience with the violence on screen. Thought of as a commentary to violence, especially Hollywood, on film and television, picture grabs the audiences by the face and allows them to endure through the sadistic proceedings as if it were them who orchestrated the massacre. Acting is superb, although the jarring message of the film alludes to the idea that the picture isn’t scripted.

Code Inconnu: Récit Incomplet de Divers Voyages (2000) (Code Unknown: Incomplete Tales of Several Journeys) = 8/10

“Code Unknown” is another collage of a picture but stronger in delivery as it’s grounded by a main protagonist, the amazing Juliette Binoche. A nuclear family in Paris is studied, as they exist in a city that’s brimming with the promise of violence, only one degree short to boiling. City is dystopian that even if there isn’t a main plot narrative, the fragments all snowball to create an almost nightmarish like aura, only displaying uncomfortably familiar city living-induced fear and terror.

La Pianiste (2002) (The Piano Teacher) = 9/10

Winning Grand Prix and acting nods at 2001 Cannes, “The Piano Teacher” laments on the void of human interaction. Film presents a piano teacher played with much gusto by Isabelle Huppert; she finds solace in sadomasochistic fetishes, finding refuge in it as she lives without much fulfillment. In Haneke’s micro-cosmos, audiences are only allowed to explore the why, the how without any sense of resolution, as the film plays more as a cautionary tale rather than cinematic melodrama or empowerment.

Le Temps du Loup (2003) (Time of the Wolf) = 10/10

“Time of the Wolf” is an unbelievably harrowing film that delivers Beckett’s “Waiting for Godot” through the lens of Haneke. An unidentified apocalyptic event ensues, stranding residents of a pastoral community, including a nuclear family on holiday, at a local train station with only promise of a train to pass by for rescue. Exploding with ideas, Haneke perfectly captures pandemonium effectively, to a point that even a speck of red-hot amber on a black screen can produce much, much terror.

Caché (2005) (Hidden) = 9/10

Haneke channels political guilt in “Hidden”, an intriguingly paced thriller that instantly involves the audience in the mystery, from frame one. An upper middle class family living in Paris receives recorded videos of the present and hints of an unsavory past. Questions are: Who’s sending them? What’s the motive? Questions are not necessarily answered, but then again, that proves to be beside the point. Thesping is particularly poignant by Daniel Auteuil and Juliette Binoche.

Funny Games U.S. (2008) = 7/10

In his English language debut, Haneke remakes his ‘97 hit “Funny Games”. A shot for shot remake, it aims to duplicate the power of the original on an American production, the same one that inspired the '97 screenplay. Everything is reproduced, with hints of evolution: Ann is sexual, George is pathetic and Paul is apathetic and bored. Subtle differences make this version more of a commentary on violence than the original. Missing, is the original’s sense of a smut film delivered by the original’s relative unknown thespians. More here.

Here's a comparisson video of Funny Games:

NZFF08: Üç Maymun

2008-07-27T00:01:00.008+12:00

Üç Maymun (2008)
Three Monkeys
Turkey/France/Italy
Director: Nuri Bilge Ceylan
Starring: Yavuz Bingöl, Hatice Aslan, Ahmet Rifat Sungar, Ercan Kesal
Rating: **1/2 out of ****

Although ambitious and picture perfect, the feeling of exaggeration cannot be shaken from "Üç Maymun", a drama set in Turkey following the exploits and heartbreak of a nuclear family. Thwarted desires and desire-less characters are plenty; Nuri Bilge Ceylan helms the film that feels it has more style rather than substance. Could possibly be taken more as a meditative form of tragic cinema, it still cannot compare to the likes of Ki-duk Kim, also going for the same moody dialogue-less craving audience. In competition at Cannes 2008, creates more intrigue rather than a cinematic full circle.

Film follows a surname-less nuclear family as they come to grips with the paternal character, Eyüp (Yavoz Bingol), who goes to prison for 9 months with either altruistic or financial reasons in mind. He leaves his wife Hacer (Hatice Aslan), who clearly needs more than what her husband can deliver and son Ismail (Ritaf Sungar), an overgrown teenager who cannot find any sort of direction in life, eventually leading himself to lethargy and apathy. Characters are definitely flawed and are interesting, however delivery of the family on celluloid still seem to be somewhat lacking.

Technically, the film triumphs as it conveys more towards the plot than the characters. Cinematographer Gőkhan Tiryaki paints the image with a dull rusty palette perfectly mirroring the doom and depression the characters wear on their sleeves. Also, by the camera angles itself, film clearly wants its audience to be as disjointed to the characters as possible making them feel more voyeuristic rather than empathetic. Certain scenes filled with dramatic desperation are filmed behind the bushes, both making moments like that intensely private but nevertheless distant.

As with the stylish overcast weather this universe is subjected to, the film is intensely meditative as it strictly confines these characters to themselves through limitations of the spoken word. Almost half of the film is indulged in shots that are introspective and deeply personal. It works to an extent as it diverts the thinking to the audience, although picture doesn't really have much to allow the audience to chew on. Like the sky, filled with clouds desperate to rain, audiences will be left wanting to connect with these characters. It does rain, although it only pour before the end credits. A point of liminal, it doesn't make it clear though on what's there to be liminal about.

Picture's ace is Hacer. Played with much desperation by Hatice Aslan, she remains the only character with an overwhelming desire to be happy. Character takes the opportunity to explore happiness whilst her husband is away. But, the thing is, this source of pleasure is normally deemed as unorthodox even if it gives her a reason for being. Once this source of contentment is stripped off, clear anxiety strikes her as she borderlines the bathetic. Indeed a flawed character, she still becomes the reference point to the masculine characters who desire something more tangible.

"Üç maymun" is a cinematic experience that gets richer in retrospect. Definitely not a form of transient entertainment, it caters to a specific audience devotedly. However, feeling of an overstretched plot on a surrealist setting can be a hindrance to full appreciation. It also feels rather indulgent. Extended shots could have been excised, taking with it the impression of a pretentious, not a nirvana-driven, production.

NZFF08: Die Welle

2008-07-26T00:01:00.004+12:00

Die Welle (2008)
The Wave
Germany
Director: Dennis Gansel
Starring: Jürgen Vogel, Frederick Lau, Max Riemelt
Rating: *** out of ****

"Die Welle" is an above average classroom drama with a political voice. Helmed by director Dennis Gansel, film is unforgiving in depicting the youth as a generation without anything to rebel about but loneliness, making them sensitive to any sort of illusion of belonging. Mostly a riveting affair, film lags in its second act as it jumps into Dawson's Creek. Film goes ashore into a memorable finale. Straight forward filming will captivate audiences, along with a pleasing cast.

Project week in a suburban high school entails them to study various forms of government and restriction. Rainer Wenger (Jürgen Vogel), an under-appreciated teacher finds a way in engaging his students. He cleverly manipulates his class to slap them out of apathy and disinterest with tiny minute changes which eventually builds up to a boil. Classroom scenes are stimulating as debates between the students are daring and engrossing – writing mention controversial topics that are usually not spoken with lethargy. Film focuses on a group of smart people, highlighting further that what's bound to happen is even more tragic and rings a bell to what can happen out of celluloid..

Inspired by a 1960's social experiment in California documenting how easy it is to influence individuals, film looses track in its middle section as it begins to refocus on the individual lives of the students. Most characters seem to be run in the mill with general high school romance trouble, which would have been interesting but brings nothing new to the table. Stories work better as a collective rather than individuals, which further add to the intended effect. Some personalities shine though: students who never had any sense of belonging are indeed looked at with much heartbreak here as this false sense of security is embraced by them, motivating them to go a step further in preserving the society.

Finale is spellbinding as even if it diverts a lot from the actual experiment, it still proves as a necessity to further establish a point. Film parallels to the effect of Third Reich within its members and climax reminds audiences of the Bruno Ganz header "Der Untergang", as it clearly parallels the extent of loyalties that may arise in such occasions. From the get go, death of a character is imminent and even with its shock value, it justifies itself as beyond a plot device.

As an ensemble, the acting here is impermeable as they all deliver solid performances. Vogel especially convey solid work as the teacher. He brings gravity and his semi-bald haircut proves ominous. It's a shame that audiences lose connection to him midway though as he suddenly becomes the background to the melodrama.

German setting of the movie elevates the film's status. It creates this palpable undercurrent, that even with a country that already identifies itself as guilty; it still cannot escape the possibility of anarchy. Even if the picture becomes stern with its themes, it still is digestible to the mainstream. Word of mouth can secure a life outside the tills.

NZFF08: Avaze Gonjeshk-ha

2008-07-25T00:01:00.007+12:00

Avaze Gonjeshk-ha (2008)
The Song of Sparrows
Iran
Director: Majid Majidi
Starring: Reza Naji, Maryam Akbari, Kamran Dehghan
Rating: *** out of ****

Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time for this material and helicopter shots feel a bit excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.

First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.

And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.

Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.

And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.

Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.

NZFF08: Låt Den Rätte Komma In

2008-07-24T00:01:00.007+12:00

Låt Den Rätte Komma In (2008)
Let The Right One In
Sweden
Director: Tomas Alfredson
Starring: Kåre Hedebrant, Lina Leandersson
Rating: *** out of ****

Thematically rich "Låt Den Rätte Komma In" hits refresh on the vampire genre with an interesting outlook on character and its development. Casting is accurate although out, as even with the sinister events, performances are played with such convincing skill that its subtext is never overshadowed. Generally moody and calm on its almost 2 hour running time, audiences will be spellbound if not disinterested.

Film follows the empathetic and anemic looking Oskar (Kåre Hedebrant); desperate for friends and also revenge on bullies who mistreat him in school. Main protagonist eventually meets with the mysteriously charismatic Eli (Lina Leandersson) who slowly unravels herself as a character of the dark. Events transpire that further cements an unlikely friendship of sorts, leading to a very bloody finale. The film is no doubt not for the squeamish as even with the abundance of tender scenes between Oskar and Eli, violence is still undeniably present which is depicted in either a repulsive or comedic light.

Archaic monsters have always been an allegory towards a more imminent threat, like Romania’s Dracula for Eastern Europeans immigrating to Western Europe, threatening the economy. In Tomas Alfredson’s modern twist, Eli’s fangs are treated as if it were of biological origins, which need a treatment that may pose morality questions. Her paternal figure becomes the film’s tragic core as he emphasizes the depressing lengths he would go through to sustain Eli’s thirst for blood. Although played as if he was paternal, further reveals later would show his function was to foreshadow the main protagonist’s future removed from this micro cosmos.

Also interesting is Alfredson’s play on the sexual identification of the creature. All femmes become fatales in one way or another, whilst male characters turn into almost bathetic who are never snapped out of a hypnotic spell. Also seen in Almodovar’s "Hable Con Ella", technique adds a level of sophistication to the proceedings and further enriches their characterizations.

As with old Hollywood’s Dracula, Eli is perfectly portrayed by Lina Leandersson as she not so much carry the entire film, but devours the role. Shiny eyes not seen since Puss in Boot’s "Shrek", she gains easy support from audiences just from her look alone. Perfectly matched with Kåre Hedebrant, leads instantly become characters worth caring about, that even the murders that conspire become a necessity.

Set in Scandinavia, film reminds of "30 Days of Night" as it’s filmed as if it never sees the sun and is forever winter. Of course, this works well with the illusion of having the main character as someone who would burst into flames if UV rays touches her skin. This, among others are the film's small touches that further cement the mythology on vampires and adds some more, even. Cats provide a darkly hilarious spin as the film reaches 30 minutes before the credits.

"Låt Den Rätte Komma In" is indeed an enjoyable intimate celebration of loneliness and the things that transpire from it. Setting it with a vamp angle further uplifts the thematical significance of the film, although even if they exist, picture doesn’t pretend to be more than it actually is. Conceived with a specific audience in mind, the curious would also be rewarded. Film often reaches subliminal moments that will live long in the memory.

NZFF08: Gomorra

2008-07-23T00:01:00.013+12:00

Gomorra (2008)
Gomorrah
Italy
Director: Matteo Garrone
Starring: Salvatore Abruzzese, Gianfelice Imparato, Maria Nazionale
Rating: **1/2 out of ****

Garners more respect than a spot on favorites list, "Gomorra" chronicles five seemingly disconnected stories with one thing in common: all are heavily influenced by a criminal organisation run by the Camorras, an ominous mafia organisation with a tight grip on Naples, Italy. Stylishly delivered, with extra kudos on editing and cinematography, Film will no doubt attract fans of the violent underworld, but might be disappointed by its verite approach, even if it perfectly captures reality, as such. Absolute antithesis to depiction from the American mafia, film is gritty and has zero entertainment value but in retrospect, picture was produced with such depressing intentions.

Multi plot film features more on characters attracted by the allure of the Camorras than the Camorras themselves. The five stories were plucked out from a novel by Roberto Saviano: the non-fiction that thrived on the best seller’s list in Italy. Stories range from a coming of age teenager wanting to be identified with the mafia to a fresh university graduate looking for a promising vocation. Through varying levels of perspectives: from the violent eyed to the diplomatic, "Gomorra" stuns as it lists the organization’s almost totalitarian control over the underbelly of Italy. It creates the impression of a country rotting from the inside out. With each story written by a different writer, what could have been an interconnection disaster is controlled well by director Matteo Garrone.

Ambitiously edited, fine balance between chaos and narrative is clearly defined by Marco Spoletini. First 40 minutes won’t bode well for viewers looking for an easy diversion, as it is edited to confusion creating the illusion that the film started midway. Nonetheless, the stories do emerge, to great relief and from there on out, film would have established its style to a keen audience.

Cinematography, too is top notch. Marco Onorato paints Italy with a dull set of colors, resembling more of a third world purgatory rather than a honeymooner’s travel brochure. Even Venice’s bright reds and blues are muted with grey and brown with a hint of overexposure. Overall effect adds stupendously to the film as it gives it a sense of space and absolutely squashes any sense of hope an over-reader might derive.

Accuracy is greatly appreciated here. Film tries to blurry lines between dramatic film and documentary with impressive results. Details are all intact: dialogue is accurately more dialect derived, shooting locations seem extracted from a news clip and most thesping is done on dead-on accuracy by first timers.

With production values on stratospheric levels, film’s overall intention is transparent: absolutely naught empathy is allowed, allowing audiences to soak in the moody atmosphere and simply co-exist with the protagonists clearly tested by circumstance. This will be its main predicament in garnering a more universal success as it asks a lot from an audience whose expectations might lean towards the slick of "Cidade de Deus".

With everything into consideration, film is too well choreographed that it becomes as intimidating as the organisation that it exposes. Multiple plays won’t be troublesome as every single detail here has a sense of subtext of tragedy unwilling to be diluted by repetition. However, might only be uncovered by fans willing to revisit.

Picture won the Grand Prize of the 2008 Cannes Film Festival.

NZFF08: Izgnanie

2008-07-22T00:01:00.014+12:00

Izgnanie (2007)
The Banishment
Russia
Director: Andrey Zvyagintsev
Starring: Konstantin Lavronenko, Maria Bonnevie, Alexander Baluev
Rating: ** out of ****

A respectable family drama with its style and lethargic editing its main drawback, "Izgnanie" will also definitely test the patient, even Andrei Zvyagintsev’s most loyal of fans. Insecurity over the plot is palpable as film overextends its welcome with pondering and introspective filming that doesn’t quite translate well on screen. Plot and cinematography, especially in the countryside, offer some solace to art house fans, however audience will wonder why it took too long to make the point.

Film follows a middle class family as they go to the pastoral countryside, presumably where the paternal character, Alex (Konstantin Lavronenko) grew up. Plot only advances approximately an hour in the picture as a reveal is introduced. Character and story development is sporadic, definitely welcome, as it reminds audience that they aren’t watching paint dry. The final act in the film, a flashback, carries the meatier part of the movie as it emphasizes the tragedy that happens earlier. Adultery, abortion and family secrets are aplenty, however seen and are better executed before.

Best actor nod for Konstantin Lavronenko at Cannes 2007 is somewhat deserving. It is indeed a subtle performance, however doesn’t hold a candle to other actors vying for the same gong.

With an abundance of establishing shots and transport moving in and out of frame, the film could have easily eliminated 30 minutes of its 2 and a half-hour running time. Anna Mass, the editor, has puzzled together a film that wallows in atmosphere and creates images that are borderline pseudo-cathartic. Such scenes include a 3-minute trailing shot of water flowing from a water source that stopped delivering hydration before. May have functioned as time change and indication of liminal moment, but overly indulgent nonetheless, as it feels that it's delivered as art for art’s sake.

Adapted from a novel by William Saroyan, it is clear that translation is also a problem. With the production of the film being abject to the characters, audience is clearly not allowed into these personalities, only as observers. This abjectivity produces lack of engagement that a plot like this could easily flourish on. From the outside, characters are clearly sophisticated enough and it is curious why connection never gets there.

English title is marketed as "The Banishment" as it may signify a plethora of themes and undertones in the movie. It straight up refers to the family’s eviction from their 'idealised' Eden in a midtown neighborhood (although clearly far from it as it is depicted as violent and drab), but also refers to the individual isolation of the characters from one another. They are all devoid of communication or any sort of outward emotional connection, except for hate, contempt and the chains of nuclear family. Film becomes a burning effigy to families that are only bonded because they have to.

What could have been a beautifully insightful movie on the danger of disregard of family bonds, film overachieves in being meditative to a fault: dragging its run time to way beyond its limits, diluting its intended purpose. The patient will find satisfaction but will still notice the film’s over the top brooding by overstuffing it with non-consequential establishing shots, pretending to be worth more than it is.

NZFF08: El Orfanato

2008-07-21T00:01:00.014+12:00

El Orfanato (2007)
The Orphanage
Mexico/Spain
Director: Juan Antonio Bayona
Starring: Belén Rueda, Fernando Cayo, Roger Príncep
Rating: *** out of ****

Juan Antonio Bayona directs the above average ghost story "El Orfanato". Produced by creature-feature maestro Guillermo del Toro, picture derives a substantial amount from del Toro’s previous work, specially its sense of dread and an ending that isn’t far from the Oscar nominated "El Fauno del Laberinto". "El Orfanato" may not be as rich in themes and undertones as "Labertino", but audiences will be healthily rewarded by a horror story driven by plot and consequence.

Film focuses on Ofelia (Belen Rueda), a husband to Carlos (Fernando Cayo) and a mother to Simon (Roger Princep), as she ventures back to her old orphanage after being adopted an odd 30 years ago. Returning to start her own orphanage for special children, she slowly uncovers what happened to her friends (and discovers some more) when she left, and of course, complications arise when Simon disappears under mysterious circumstances. Film takes its time to tell the story and brazen enough to use suspense and not cheap frights to liven up the proceedings.

Directed with confidence, "El Orfanato" remains atmospheric until its very last shot. Bayona effortlessly steers clear from a run-in-the-mill horror story, but would rather line the film to movies like "The Others" and "The Shining", to tease the audience of the possible doom that may arise. This exercise pays dividends as tiny scenes from the first half of the movie eventually resurfaces at the last act to produce some truly sinister goings on. Creaky swing sets moving with the wind among others, further attribute to the what-might-be-out-there vibe the film possesses.

When the main protagonist becomes desperate and seeks out a clairvoyant to help with the search, the movie effortlessly screams terror – definitely one of the film’s highlights. Basically begging for the audience to sit up and listen, it becomes a pivotal point in the story as it brings everything up to a boil and pushes the film to the worthy finale. Hints of skepticism from a police investigator and Carlos are especially welcome here.

Another movie that tries to erase the line between fantasy and reality, the film ends on a lighter note as we discover the function of the ghoulish apparitions. Del Toro needs to consider a patent with this technique as it is about one movie close to being cliché. It might even beg the question: what came first, the chicken or the egg? Gladly though, protagonist Ofelia is empathetic enough as the maternal figure, that an audience member weary of such ending would easily be forgiving. Final two scenes involving Carlos should definitely have been excised.

Wrapped in a more mainstream packaging even with a foreign language, "El Orfanato" delivers the goods as a ghost story. However, the film’s comparison to the much more complicated, sophisticated and intelligent older brother "El Fauno del Laberinto" is unwarranted, as in contrast to that, "El Orfanato" might be guilty of producing half-empty calories. Nevertheless, the movie deserves attention as a well-crafted story about motherly instincts and its blurry altruistic boundaries.

NZFF08: [Rec]

2008-07-20T00:01:00.009+12:00

[Rec] (2007)
Spain
Director: Jaume Balagueró, Paco Plaza
Starring: Manuela Velasco, Ferrán Terraza, Jorge Yamam
Rating: ***1/2 out of ****

Already bound for an American remake, "[Rec]" is another film that uses the shaky handy-cam technique to great effect, as we follow an unassuming reporter enthusiastic on finding a story, only to discover she’s become it. Will inspire nervous laughter from the audience to release tension earnestly produced by the film, "[Rec]" works as it eliminates any plot holes that may conspire, as far as zombie movies go. Will definitely have a fruitful life on home video, but watching it in communion with a fright hungry audience should still be the best medium.

Angela (Manuela Velasco) is an ambitious reporter stuck in making fluff pieces for late night television. While on a mundane assignment at the fire station, herself and a cameraman follows a keen set of firemen bound to help an old lady get out of her apartment. Trouble is, the old lady becomes the catalyst to this claustrophobic fright-fest. Character development isn’t much as a necessity here as the film suggests. When it stops to create characters (more caricatures even), the film’s pulse suddenly drops. Empathy is easily produced though as the first man-eater comes to surface.

More faithful to the shaky handy-cam genre than the recent blockbuster "Cloverfield", the film boasts its grassroots film making as a major part in producing a lot of tension. Everything is used to great effect here: limited frame of view, distortion of sound, the rewind button, the spotlight and the dreaded night-vision. And it owes it to that as the film easily creates suspense and anticipation.

George A. Romero, the director of the zombie classic "Dawn of the Dead", should be proud as with his film that judges on suburbia and commercialism, "[Rec]" is inspired to make a commentary of its own. Film raises serious topics of xenophobia, immigration (also seen in Almodovar’s "Volver"), biological weapons and collateral damage. Nevertheless, even with such straight-faced ideas, they remain at the back burner well before all hell breaks loose. They remain a part of the plot but not as its driving force.

Final 20 minutes is the picture’s strongest, as even with an extreme denouement, it still doesn’t betray the audience. The origins are convincing in a universe where zombies exist. Imagery of religious piety and an untouched penthouse refreshes sense of paranoia seen when protagonists from "The Blair Witch Project" finally discovers the cabin. To contrast with that though, the audience is given a proper possible explanation through exposition, a scene that may feel a bit contrived but nevertheless feeds the main protagonist, Angela, something to chew on. The film doesn’t explain because it has to, but it’s because the character naturally does.

Not for the faint of heart, "[Rec]" is another entry to the new wave of horror films established by the Blair Witch and further cemented by YouTube. The film garners an easy recommend as it delivers what it came to do: produce a lot of scares, further heightened by the sense of dread and tension intentionally delivered by the haphazard lensing.

NZFF08: Tropa de Elite

2008-07-19T00:01:00.011+12:00

Tropa de Elite (2007)
Elite Squad
Brazil
Director: José Padilha
Starring: Wagner Moura, André Ramiro, Caio Junqueira
Rating: ***1/2 out of ****

Kinetically filmed, "Tropa de Elite" reaches the dizzying heights of Fernando Meirelles’ "Cidade de Deus", as not so much as a photocopy but more as a cinematic twin brother. Film focuses on the brutal, abet necessary foundations of Tropa de Elite, a one hundred strong company of men who swings into action when normal police gets held up themselves. Intense amount of corruption and violence is present here, however brilliantly fleshed out characters lifts the film from being trite after the 1000th gunshot.

The film being presented in two parts, we are indulged into an extended prologue to get acquainted with the protagonists: Captain Nascimento, feeling the stress as a 0-1, is on the lookout for a substitute between André Matias, a law student cum policeman struggling with his own identity and Neto, the ideal candidate as his replacement who’s violent and relentless to a fault. Accompanied by a sometimes distracting voice over, the audience is given proper time to find themselves immersed in the narrative and characters. Even if the film’s screenplay explodes every second of its almost 2-hour running time, personality development is not left on the back seat, to much relief.

Andre Ramiro’s performance as André Matias is pitch perfect. Practically the film’s moral backbone, he elucidates the distinction between pretending to know and knowing. The best scenes in the picture not involves scenes of brazen violent explosions but his rationalizing and character driven moments. The film uses his character to deter the judgmental audience from pretending to know but reminds them they know nothing.

Padilha is in control of the film until its very last shot; able to summon his own elite squad of cinematographers and sound technicians. The production values are top notch indeed, as the cinema also explodes with every bang and boom. Filmed in cinema verite, it gathers up inspiration from previous war-themed films – from the tones and hues of the mentioned "Cidade de Deus" to Alfonso Cuaron’s blood splatter on the screen technique from "Children of Men". With the sound and images pushing the audience to its nauseating edge, full immersion is delivered without breaking a sweat.

Comparisson to "Cidade de Deus" should be complementary, as "Elite" tackles the impotent depiction of policemen by the former. In fact, it acts as its contemporary, acting as if it exists on the same universe. It demands merit in its own right though, as the film is well staged like its depiction of training the elite, making it an involving exercise, not seen since Kubrick’s "Full Metal Jacket".

Immersive, hypnotic and engaging, "Tropa de Elite" guarantees Padilha to be noticed on a more mainstream circuit. Previously delivering "Onibus 174", also tackling the same themes of nurture and consequence as a catalyst to violence, he is able to comment on sensitive themes without being too preachy and also able to wrap it in a well produced package. Film is definitely an above average fare and is essential to be experienced on the big screen, just for its sound design alone.

NZFF08: Funny Games U.S.

2008-07-18T00:01:00.011+12:00

Funny Games U.S. (2007)
USA/France/UK/Germany/Italy/USA/Austria
Director: Michael Haneke
Starring: Naomi Watts, Tim Roth, Michael Pitt, Brady Corbett, Devon Gearhart
Rating: **1/2 out of ****

Michael Haneke is a cinematic terrorist: able to synthesize terror from original stories, bound as an assault to the humdrum of the middle class. On that note, it came as a surprise as he helms an almost shot-by-shot remake of his 1997 “Funny Games”, a decade after its debut at Cannes. What may have looked good on paper as a proposed analysis to American violence, the new picture somehow dilutes the power of the original and along with it, emphasizes the story’s purpose as sensationalist cinema.

As the film opens with a bird’s eye view of a white family vehicle, we follow the lives of Ann, George and Georgie – a fairly typical upper middle class family driving to their family holiday house, a small yacht in tow. What starts off as a pleasant drive accompanied by classical music, heavy metal music booms through the audiences’ speakers as the opening credits roll, the family unaware of the torture the intense music heavily foreshadows. This opening sequence basically summarizes the whole ordeal. Antagonists Paul and Peter, picking up random houses and propose a dastardly game: that the homeowners wouldn’t be alive when the clock strikes 12 hours later.

Watts uses the film to function as a medium to show off her acting muscles. And rightly so, as the maternal figure, Ann, practically begs for her life and if it weren’t for the paternal character, the movie would be borderline misogynistic. To contrast with the original version, what used to be the Ulrich Mühe character has been reduced to an even more pathetic George (Roth), unable to defend his family after an initial blow to his shins by a 3-Iron. The family acquires empathy from the get-go, right when Peter comes in to ask for a couple of unthreatening couple of eggs, to the audience fault as this feeling of compassion will betray them later.

Creepily performed characters Paul and Peter, feature a refreshing disparity from the original version. With Peter still reduced to a sidekick, Paul comes off more as apathetic and bored, compared to the original’s architect being more enthusiastic and engrossed to the agonizing proceedings. Here lie two ideas: both personifications of evil are still eerily effective even if contrasting and also possibly mirror Haneke’s own eagerness to the material while filming. Of course, the latter being a personal interpretation.

Everything from the original is here: the excruciating long takes, the ingenious procedure of breaking the fourth wall, gruesome off-screen violence and the sense of hope and salvation thwarted by the revelation that the film is a self-conscious experiment. The only thing missing is the tension delivered by the unexpected from a Haneke film. And that’s a big one.

It is fair to feel betrayed by the film once you discover its cruel twist. A moment of satisfaction by the audience is heart-wrenchingly twisted to themselves; as the movie’s effectiveness depends on the spectators’ desire to acquire a Hollywood ending. Reviewing a remake of a vastly superior original film, it is hard to separate them and I much yearn for the years when this remake is deemed ridiculous. Haneke recycles his brilliant directing from the original and with that; it is even more curious why this one has to be made in the first place.

NZFF08: Le Voyage du Ballon Rouge

2008-07-17T00:01:00.012+12:00

Le Voyage du Ballon Rouge (2007)

Flight of the Red Balloon

France/Taiwan
Director: Hsiao-hsein Hou
Starring: Juliette Binoche, Simon Iteanu, Fang Song

Rating: **1/2 out of ****

Art of a very high order, Hsiao-hsein Hao directs the Musee d’Orsay commissioned "The Flight of the Red Balloon", a stand-alone film paying homage to the Lamorisse’s 1956 film favorite "The Red Balloon". Directed with class and elegance, although stumbles in indulgent overextended shots and pacing problems, it pays dividends to the patient as we are welcomed into a claustrophobic apartment inhabited by a mother and son struggling to come to grips with a marital separation. The film knows its audience and it caters to them loyally, however won’t convert any non-believers.

Although not explicit, the sense of chaos is however present right from the point where we enter Suzanne and Simon’s apartment in Paris. Clearly not in control of her marital and maternal situation, she drowns herself in work as a puppet show narrator where she can control the fantastic as opposed to her real and disorganized state. Enter Song, a film student who acts as Simon’s surrogate as his mother deals with this transitional process.

The film’s screenplay is as light as a helium balloon, we enter their micro-cosmos through Song, almost this film’s allegory towards the original’s red balloon as its voyeuristic anchor – nonjudgmental and omnipresent. Although certain scenes clearly leads to nowhere, they are nonetheless welcome as it highlights the reality of the situation and also the characters’ desire to reach back to normal. It is clear here, Suzanne desires a somewhat ‘normal’ family life: almost pleading for her eldest daughter to move back to Paris and for his ex-husband’s friend/tenant to leave the property. A daughter of divorce, she knows it is imperative that a routine has to be established.

The way Hao films this, it has this odd certain detachment towards the characters, almost a "Wings of Desire" approach, static camera in tow. We see a single mother in despair but the audience isn’t allowed to feel anything about it: almost factual. Binoche personifies Suzanne with a quiet dignity and pride that her devastation is disallowed to be brought to the surface, but of course, when things build up to a boil, we can sense her immediate discomfort and frustration.

What seems like a nonchalant Simon, he is clearly affected too, as he can’t even distinguish his own family tree, to the effect that even the audience can be driven to confusion. He becomes distant to his own mother, finding solace through nostalgia with a long summer with his sister. He and Suzanne’s relationship is also obviously affected, as most of the film, they indulge in small talk and when the mother desires for an eye to eye contact, he looks away.

The decision to film this in a calming atmosphere as opposed to the chaos in the characters’ is a smart idea: it highlights the juxtaposition even more. As opposed to the Lamorisse classic, the maternal figure here is in focus. The film works within its parameters and Hao does not belittle its audience – of course, only to those willing to be engulfed by it.

2007: Top 15 Movies

2007-12-31T06:00:00.001+13:00

As I was tabulating my Top 15, I slowly realized what an amazing year it has been for the movies. Sure, it offered some confusing pieces of cinema like "The Fountain" and "The Edge of Heaven" but it surely delivered on quality and diversity.

Before the year 2007 ended, I had to reformat my laptop making my original excel spreadsheet of movies become unretrievable. And now, thank goodness to Flixter, an online film rating site, I am able to backtrack. Sure, it may not be as reliable as having an actual spreadsheet but I'd settle for this than not having a piece of blog to close the year of cinematic 2007.

I want to start with the three films that almost made the cut:

Paris Je T'iame - This is a movie that I rather enjoyed more for its parts than the sum of it. The shorts range from the average (segment 'Quartier des Enfants Rouges') to the simply stunning (segment "14ème Arrondissement"). Since it was delivered as a unit rather than bits and pieces, I have to look at it like that. Even if it was uneven, I still loved it. One of the reasons why I booked a flight to Paris for February, really.

Inland Empire - This is a movie that I don't necessarily like but I do respect it for how audacious it is. Lynch is an absolute risk taker in considering that a three hour nightmare being projected from celluloid is what people consider as entertainment. Surely, this seems to be like the movie I will enjoy more if I saw it at home but knowing that I saw it at the cinemas with about 400 people seems a bit insane: it's like a communion of ghoulish images.

Taxidermia - The first time I saw this movie, I thought it was brilliant. It was insanely offensive that I actually had to laugh it out, write a full length review about it and then justify how much it will be a cult classic and social commentary reference in the future. The thing is though, I saw it multiple times now that the laughter has gone and I've now transcended into the realization of how absolutely tragic and depressing it is. Don't get me wrong, it does sustain after multiple viewings but the more I peel the onion, the more the tear ducts react.

Hot Fuzz - I don't particularly know how to start because it's been awhile since I saw this and everytime I saw it, it seemed to use the Law of Deminishing Returns a lot. Nevertheless, I could still remember the first time: it had brilliant comedic chops and even how unrealistic the parameters are, it still works within and beyond that (I guess I will never forget that high kick to that eighty year old lady).

And now, here's my Top 15 of the year:

Perfume: The Story of a Murderer - How could I have forgotten about this movie? A premise that intrigued me from the get-go, "Perfume" mesmerises with a storyline that becomes an allegory to the background of serial killers: their history, anatomy and psychology. Brilliant performance by Ben Whishaw, that it garnered him a spot as one of six Bob Dylans in the forthcoming "I'm Not There".

Superbad - Apatow is practically Hollywood gold at the moment as he doesn't seem to have a miss with comedies. Gone are the days when we had to settle for Stiller and Sandler to provide us with heartless comedies about Pepees and Vajayjays. The leads (Jonah Hill and Michael Cera) practically carry the film and provide a lot of realism in a high school movie with protagonists that actually look like high school kids. What I particularly liked about this film are its tender final moments: still funny yet still pulls some certain familiar strings.

Babel - This was the first movie I saw when I first got back to New Zealand after a several weeks on holiday. The most convenient of Inarritu's cinema verite trilogy (the others being "AmoresPerros" and "21 Grams"), I actually appreciated it because the other two sort of went over my head. Until now, I couldn't deny the power of Rinko Kikuchi as the troubled and ignored teen in hyper Tokyo.

Black Snake Moan - I really don't know how this movie grabbed me. I have to admit that the first third of the movie dragged, however was fully redeemed by the other 2/3rds containing a lot of Samuel L. Jacksonisms and respectable acting from Christina Ricci, that I couldn't stop but be mesmerized by it.

Once - This is a movie that I thought would never end up on my Top 15. A part of the Auckland International Film Festival, I initially thought that the first half was absolute gold and the second half more akin to music videos. But alas, after listening to the soundtrack over and over again, I suddenly realise the power this movie has. It is charming, lovely and ultimately heart breaking.

Volver - As with any other Almodovar film, "Volver" has redeemed itself after multiple viewings. That's the thing his films sometimes, it takes its time to marinade in your head until that certain click turns on and you actually say "I love this film" out loud. Penelope Cruz is brilliant here, and her singing almost got as much replay from me as when Caetano Veloso sang in "Hable Con Ella". Almost.

Rescue Dawn - This is one quirky war film. Yes, you read that right, quirky. Christian Bale and Steve Zahn play characters that bring in something different to this genre: characters that are unusually quirky, yes but ultimately it leads to their development as people who do not loose hope even how pathetic their situation is. This movie is hardly cyncial (in fact, the last few scenes could have been left on the cutting room floor) but that's the thing though, it's all about hope. And once again, I say: how can we not empathize with the people we have laughed with?

Notes on a Scandal - This movie went under my skin for some reason. I don't know why but it seemed familiar and that freaked me out. Lead by the stallar Cate Blanchett and Judy Dench, they play characters that are ultimately flawed and hypnotic to watch as they implode. Funny that the character Barbara Covette is a familiar one yet particularly frightening.

A Mighty Heart - Considered by some people as a generic procedural, this movie redeems Angelina Jolie as she plays a role that she carries with grace and respect. Okay, I went in this one not knowing what will happen and once the climax erupted, I couldn't help myself but feel absolute sadness. I was really hoping that it turned out well at the end. Then again, didn't it?

Ratatouille - This is further proof to show that Pixar is on a league of their own. Sure, company X can capture that yawn perfectly but the thing with company X is that it will never capture the essence of story telling. In this movie, it shares a story that is definitely unrealistic but by the way it's been told, one could only hope it did happen. My heart sings everytime I see the last 10 minutes.

After the Wedding - An Oscar nominee, this movie delivers on heavy drama. We are allowed in a family haunted by a past irreversible leading to the realization of mortality. The final twenty minutes grabbed me so much than when I saw " The Edge of Heaven", another family driven heavy drama, I thought it was unrealistic and pretentious.

La Vie en Rose - The thing about this movie is that it is carried by Marion Cotilliard. Sure, the plot seems a bit familiar: tough childhood, terrible parents, rise to stardom then the corruption it brings. But then, she starts to sing "Non, je ne regrette rien". And that's the point when it absolutely stands out from other biopics: it doesn't ask for your pity or sympathy. She fades away with dignity and passion. Looking forward to watch this again. If I have the time, I might visit her grave in Paris (although looking at the map, it's a bit far from central).

Pan's Labyrinth - It seems like everytime I go to Australia, I end up watching a movie that eventually ends up on my Top 3 (the other being "Finding Neverland"). Guillermo del Toro delivers something amazing here as he directs a movie full of nightmarish fantasy yet further trumped by the horrors of mankind itself. I am so tempted to double dip this in high definition. Also recommended: the older "Devil's Backbone" also directed by del Toro.

Little Children - I really don't know why I love this movie. It's protagonists are adulterers and we follow a pedophile as he gets his first chance to get reintroduced to a middle class community. And that's probably why I like it: it works so much that beyond these audacious imperfections that I was particularly moved by their characterization highlighting desperate people. And yes, the dialogue is brilliant.

Deliver Us from Evil - This movie is scary, terrifying and maddening. Yet another film that strikes against organized religion and their folly, we follow the plight of sexually abused men and women by priests of the Roman Catholic church. A film that borders on Michael Moore country, it is pretty depressing to see that something as objectionable as this could still be considered as taboo and not dealt with by the people who are supposed to.

That's it. I am already looking forward to 2008: "No Country for Old Men", "There Will Be Blood", "Juno", "Priceless", "Into the Wild" and a lot more. Bring it!

Film Festival: Auckland International Film Festival 2007

2007-07-30T00:01:00.001+12:00

And it’s a wrap!

This year’s Auckland International Film Festival just ended today and so far, this has been one of the more fulfilling things I have done so far this year. With movies ranging from self mutilating characters to the atrocious kidnapping of Daniel Pearl, we were given quite a bit of range. With an average rating of 8.047 from the films that I have seen, I am definitely pleased by how it all turned out. And, fortunately too, that throughout the proceedings, my enthusiasm has not been lackluster (almost missed one on a Sunday, though).

Here are my favourite films from the Film Festival:

Deliver Us From Evil (2007)

Possibly will be the most powerful and affecting documentary that I will ever see, Deliver Us from Evil, documents the plight of sexual abuse victims by ordained priests in the United States. Focusing more on the microcosm of an abuse, we are slowly allowed to anatomize it until it reveals how mistrust can produce grief and despair. The first 20 minutes were slow, however necessary, as we follow these families share their encounters and how their lives have dramatically changed. The audience acts as voyeurs as the victims and their families implode while the priest, the convicted pedophile, is on the edge of Michael Moore country. Amazing also, how a movie that will be an easy excuse for atheists to affirm themselves, to show how religion and faith and religion and the corporation are mutually independent, as we become more familiar with the victims whose faith never falter. A must see.

Here's an interview of the director:

A Mighty Heart (2007)

The movie that will free Angelina Jolie from ‘Brangelina’ and back to Oscar glory is A Mighty Heart, a Winterbottom directed pseudo-documentary following Mariane Pearl, the wife of a Wall Street Journalist who has been kidnapped in Pakistan. Preventing itself from being self conscious, judgmental and sensational, Winterbottom produces a film that prefers to stick to reality. What we are treated to is a surprisingly touching, tough, cynical and a little bit hopeful of a film that only happens to be political. I personally do not get the negative aura around the casting of Jolie as she is sensational here. She provides a character that is graceful and worth empathizing. She does the job and if her name helps a little film like this to mass awareness, then so be it.

After the Wedding (2006)

Another politically fueled family drama is After the Wedding, a recent Oscar nominee for Best Foreign Language; a movie I much preferred with its sincerity to matters of family and death than The Lives of Others. Mads Mikkelsen leads a stellar cast as we follow how death can unravel old family wounds revealing a family desperate to connect. Intelligently written and with characters that are tragic yet find redemption, After the Wedding is a bit reminiscent of Match Point’s upper class chaos.

Rescue Dawn (2006)

Christian Bale does a homerun again not only with his acting but his ability to truly transcend acting but being the person he’s portraying. We follow Dieter, an air soldier who has been captured by Laos’ guerilla after they exercise an illegal attack on the area. What we have here is borderline Waiting for Godot as the characters slowly descend into madness after months of being in a bamboo prison with a low protein diet. I appreciate the quirky humor here as it does not take itself seriously, and besides, why would we not cheer for characters we have laughed with? Recently, there have been complaints from the family of one of the characters because he was depicted as crass and unreliable. In my opinion, this is a Dieter movie, hence we follow his story and how he perceived the world as it happened. Another example would be the Bible of course, with its many contradictions. But of course, that’s for another tale.

Here are the other good films from the Film Festival:

Taxidermia (2006)

Definitely a movie not for the week of stomach, we are indulged into one of the most disturbing things ever to be printed on film. It is, hands down, disgustingly delicious. Here’s my expanded review.

And here's the trailer:

La Vie en Rose (2007)

Definitely and adults’ drama, we follow the highs and lows of being Edith Piaf, the legendary Parisian songbird who owns the immortal hit ‘La Vie en Rose’. We are allowed into her vortex as the chronology is blended until we reach the epicenter of epic bittersweet proportions. Marion Cotillard channels Edith Piaf in a performance bound to attract awards attention.

Perfume: The Story of a Murderer (2006)

Another Parisian based tale, we are invited to celebrate the power of the olfactory in the film adaptation of Patrick Suskind’s Perfume. A movie that smartly uses fast editing to emulate explosion of odor, the film delivers a regal and loyal enough adaptation even with voice-overs directly extracted from the novel itself. For a movie that’s all about the nose, it’s a celebration for the eyes. And I’m not complaining.

Jesus Camp (2006)

A clever insight to the lives of American evangelists in the Midwest as they exist with a growing dependence to religion and a president the world hates. For a movie that presents faith that is a bit unorthodox to the mainstream, it respects them and celebrates them. I respect these filmmakers as they do not judge their subjects, we do. I think I just had a light bulb moment.

Once (2006)

A modern musical, we follow an ordinary singer-guy and an immigrant girl as they tease the audience to the idea that they might fall in love only to be thwarted by a disappointing second half. Opening the film with a sense of whimsy, comedy and charm, the music impresses as it complements the film quite well. Unfortunately though, the spark suddenly disappears as the writing leads to a boring end while making the music curiously unappealing.

Away From Her (2006)

Alzheimer’s disease. Crying yet? Sarah Polley’s first venture behind the camera, Away from Her accurately depicts this selfish disease as it affects the people surrounding the victim more than the victim itself. Julie Christy again shines here but with a script that seem to only simmer and never boil, it feels a bit like a Hallmark special.

Private Property (2006)

Huppert again proves herself as an actress overlooked in a role playing a mother to two over grown children who forgot to mature. Filled with scenarios that are meant to infuriate, the writing and the execution elevates it from average storytelling.

The Secret Life of Words (2005)

The first movie that I saw in the film festival, Sarah Polley plays a character haunted by her past, rediscovered in a short stint as a nurse to a burns patient. What could have been a small, simple, satisfying drama, it was ruined the prospect of a romantic ending with not an inch of romantic punch.

Inland Empire (2006)

Possibly the first movie to provide the same nightmare to an unpredictable size audience, Inland Empire gets my respect for its audacious tendencies producing a brilliant depiction of nightmare on screen. Unfortunately though, this isn’t for everyone as it somehow jumps the thin line of pretentiousness. The mainstream will definitely consider this a nightmare. Period.

And here are the movies that I wished I missed:

The Edge of Heaven (2007)

What happens to a screenplay when the most interesting character is killed off fifteen minutes into the movie? It goes to the crapper, of course. The Edge of Heaven is another politically fuelled drama whose characters make decisions I could not personally empathize with. There doesn’t seem to be anything original here and those things weren’t even executed well, creating something more of a frustrating movie going experience.

Districted (2006)

If the people who wanted to ban this film used the reason of bad film making, I would have been on their side as there is nothing to see here. This is extreme cinema running out of ideas.

Homegrown (2007)

Only for people who celebrate short films, it was an amalgam of pretentious amateur filmmaking with some interesting reality based gems like the Butcher’s Wife.

And here’s my rating for the seventeen sessions I’ve been to:

Deliver Us From Evil 9.5
A Mighty Heart 9.4
After the Wedding 9.1
Rescue Dawn 9
Taxidermia 8.9
La Vie En Rose 8.5
Perfume: The Story of a Murderer 8.5
Jesus Camp 8.3
Once 8.1
Away From Her 8
Private Property 8
The Secret Life of Words 8
Inland Empire 8
Severance 7
The Edge of Heaven 6.5
Destricted 6
Homegrown 6

And there you have it. It has been a long two weeks and I’m happy it’s over yet sad since some other films that I’ve been expecting to have a late announcement didn’t pop up. Nevertheless, it has been a good two weeks. I will need about a year to get my enthusiasm back up again, though.

Film: Taxidermia (2006)

2007-07-25T06:00:00.001+12:00

Taxidermia will be one of those films that will confuse you. You will be confused on the parameters on why it is likable: is it because of its surprisingly insightful themes or is it because it is deviously, gloriously, deliciously disgusting? I first encountered this movie in one of Roger Ebert’s Cannes previews. He recommends it and then further states: “Taxidermia it is an important film and certainly a brave one, but I doubt if I know anyone who would thank me for recommending it.” And the man’s got a point – why would you send off the unwilling mainstream to a movie that reminded me of Pier Paolo Pasolini’s Salò o le 120 giornate di Sodoma? Wait. Do they even know who Pasolini is?

This film basically has three parts. The first one features the pathetic Morosgoványi Vendel, a houseboy whose desperation for sexual interaction has allowed him to succumb into inserting his phallus into anything with a hole, granted that is well lubricated. The movie opens with him flirting with a candle and then it further reveals his penis shooting fire – if that does not signify how horny this guy is then I don’t know what will.

Following from that, we meet the obese Miszlényi Béla, a professional speed eater, whose sporting ability has to be seen to be believed. Basically, the sport’s basic premise is that the contestants have to eat every single morsel of food in front of them as fast as they can. With food that range from watery carrot soup to a massive block of boiled meat with fat holding it together, it is sure to induce some howls and will make everyone feel fat. Béla, a professional, suffers from personal turmoil of success and a tinge of self-righteousness; later proclaiming they named a barfing style after him (as of course, like boxing, in-between rounds the contestants have to barf to make room for some more).

Finally, we then meet the almost anorexic Lajos; the offspring of the speed eater, who we further discover has transcended from obese to uber-obese. As a taxidermist, Lajos lives as an almost altruistic son taking care of his father and his three obese show cats. Feeling lonely and unimportant, he decides to transform his body into a work of art. And yes, this too has to be seen to be believed.

As a reminder, this film is not for the squeamish. So, clearly if you take my work for it, you don’t really have to see it. But this movie has to be seen, as it is rich in imagery that may be disgusting but is telling.

With that, I’ll expand why it reminded me of Salo. Salo is considered to be one of those films that aim to disgust. It uses imagery that goes beyond the foundations of morality to truly transcend its message. The movie’s basic premise is this: to show the repulsive conditions of the unfortunate who have had suffered through the fascist era under Mussolini’s rule. Basically showing gore and shit-eating, Pasolini was able to effectively transcend the screen into his viewer’s subconscious that it was far from a pleasant time and dare I say it, knowing his version is tamed down from reality, it creates things imagination cannot muster.

This film’s definitely parallels the three circles of Salo: Morosgoványi’s sexual torment can be a parallel to the Circle of Manias’ sexual intensity and its use of sex as a weapon; Béla’s speed eating pastime could be considered analogous to the Circle of Shit as it also has the general idea of ingestion of the unpleasant; and finally, the gore and general visceral corruption of Lajos’ life can the equivalent to the Circle of Blood.

With those parallels, I would like to consider Taxidermia as a modernization of Pasolini’s technique. Pasolini considered fascism to be the poison of society, allowing his anguish over corrupt leadership to inspire him to create a film as repulsive as possible. In Taxidermia’s case, it is interesting on what it considers to be the new poison of society: on the simplest terms, he highlights the obesity epidemic and further expands it to man’s greed with human nature taking its toll. And personally, I liked how it also laments on the idea of loneliness through Morosgoványi’s desperate attempt to selfishly connect and Lajos’ even more desperate attempt to be noticed. In an era of broadband and text messaging, and still, a movie like this lamenting about isolation, it certainly is telling.

A Really Big Update

2007-03-26T00:01:00.001+12:00

I am one lazy fuck.

For some reason, I have found it extremely excruciating to begin a more pedantic updating on this blog. Looking at the history, it seems like the last update was about two months ago, pretty slack considering the last few proper posts I did had about an interval of three days or something like that. Well today, I think I’ll get back up the horse.

How about an update: well, as I teased (myself) about writing something about Australia, I know I won’t because it is just too far away to have an actual authentic recap of what happened. All I can say is that it was a whirlwind tour as I found myself exhausted after day one – of course, not sleeping at all the night before didn’t really help. I was so exhausted that even on the airplane to Brisbane, the flight attendant had to wake me up so that I can have a bit of a brunch (to which I gloriously declined).

Anyhow, the Gold Coast was pretty much the same as I last remembered it, still full of 20-somethings from all around Australia and the rest of the world that it felt as if I never really left the place. That’s possibly the advantage of familiarity, it removes the awkward moments of “getting lost” but at the end removes the excitement of… well, getting lost.

When you’re there, try this and if you want to read more about this trip go here. Then again, he might not even blog about it as well.

Okay, for the movies, another pathetic state, I reckon. Well, get this: it’s already halfway through March and I’ve only seen a dismal 10ish movies in the theaters and substantially less on DVD. Well, in retrospect, I have seen some really good ones and I wouldn’t be surprised if most of them will end up on my top 15 for the end of the year. Here’s a short list according to when I saw it:

(1) “Stranger Than Fiction” – I was very impressed by this movie as it was funny and touching at the same time... most especially important is that it has Will Ferrell as the lead, something a bit of an oxymoron, I reckon. In this film, he does go into his dramatic roots and it does work. Dustin Hoffman is amazing as the oddball professor and of course the dynamic Maggie Gyllenhaal. Granted that even the romantic interests in this movie is rather preposterous, it somehow works as it even reminds itself and the audience: why do you want a guy like Harold Crick to not get the girl?

(2) “The Last King of Scotland” – Let’s get this out of the way: Forest Whitaker is absolutely amazing. He was able to characterize someone who is at the same time charming as he is deadly... that win was well deserved compared to his weaker competition. Now for the story: for a movie that tries it’s hardest to make you hate the protagonist, it does a marvelous job to work in those levels. Even if they highlighted that the main character, Dr. Nicolas Garrigan, was a fusion of several people who has experienced Adi Amin’s regime, the central character goes beyond reason in trying to get himself killed. I mean for fuck’s sake, why fuck with the dictator’s wife, eh?

(3) “Pan’s Labyrinth” – I absolutely loved this movie. Loved, loved, loved, loved, loved it. Everything has it going for it: Maribel Verdu in a memorable comeback, a character worth empathizing, a sensationally insane antagonist and the tease of imagination over the dreariness of reality. If you were a fan of “Finding Neverland”, you will find parallels here but bloody hell, that I do not mind at all. And hands down, that scene with the dinner table has got to be one of the most intense scenes I have seen this year. This one is by far the best film I have seen for 2007.

(4) “Babel” – I personally thought “Amores Perros” and “21 Grams” were overrated. In fact, Inarritu made me hate verite (only to be reestablished by “United 93”, thank you very much). But with this, he has steered towards a more commercial feel which I kind of really appreciated. I found his past works more style over substance but this one does not feel that. We follow 4 amazing storylines and not at all feel like we were not getting enough of the 4 storylines. My personal favourite was of Rinko Kikuchi’s fight against depression as she was able to communicate everything through her blank stares to infinity and that desperate naked scene. For the idiots: No, it’s not about incest. Go read “King Lear”, will you?

(5) “Notes on a Scandal” – The one thing I hate about this movie is the poster. It was a direct copy of my favourite Almodovar film “Hable Con Ella”. Bastards. Anyway, What I really liked about this movie was that it got into and under my skin. It freaked me out and made me weary. Admittedly, I was able to empathize to the paranoid Barbara Covette (get it? Covette and covet?) as she becomes too possessive and the desperate Sheba Hart, someone who is just wanting. It was the kind of movie that I wanted to see again, even just for Dame Judi Dench as she was malevolently evil, but also it was because of the story: so sophisticated and no matter how brazen the characters are, it just felt so real. For some reason, I felt like I lived it. Don’t ask.

(6) “The Fountain” – I’ll give it kudos for being audacious but oh my god, this one made me sleep. It is a beautiful movie to watch and its themes were interesting but for some reason, I felt it was a lot of bullshit about nothing. I think that’s when you know a movie’s in trouble: when it depends too much on images to push the story forward. This tries to be a communion for the spirit, but I'd rather recommend the superior "Spring, Summer, Fall, Winter... and Spring" by Ki-Duk Kim.

(7) “The Good German” – Honestly, I did not really like it. It was bland and banal. It was uninteresting and dragging. The only saving grace of this movie are the actors: George Clooney, borderline unable to restrain himself from winking at the camera; Cate Blanchett, a real actress who is able to remind you that she’s not a Hollywood actress; and Tobey Maguire, still utterly amateurish yet his gravitas is more appreciated when we find him dead.

(8) “Hot Fuzz” – Possibly will be the best comedy of the year 2007. These guys are brilliant as they mock action cop films with their trademark quick editing, zingy one liners and that cornetto. At one point, I dismissed it for its rather preposterous revelation but then again I though, well duh!

(9) “Black Snake Moan” – This I liked. I really liked this one. Granted that the first 20 minutes leave a lot to be desired, the rest of the film greatly compensates for that. Christina Ricci here is amazing as I have never seen her work as hard as this before and Samuel L. Jackson does a character so different from his previous work yet is still able to maintain his trademark cult status persona. It is basically a movie about two people at the end of their ropes who end up being dependent on each other and the way they dealt with it – as a movie about personalities rather than of action and consequence, it made me love it.

(10) “Suburban Mayhem” – Hands down, Emily Barclay is amazing. I think she will be New Zealand’s Toni Collette. Now here’s the lowdown: the first part of the movie for me was great, it was satirical and I think it’s amazing as it allowed the viewer to be empathetic to such a horrible character. The second act goes to a far more darker alley as it tries to remind the viewer that people like them actually exist. And it bothered me. I implicitly said to my friends the feeling I got coming out of the cinema was the same as when I came out of “Wolf Creek”. I think I’m being naïve into thinking that people have this natural innate good in them.... and by god I’d like for it to stay it that way. “Suburban Mayhem” is a good movie. Too good, it freaked me out.

(11) “Volver” – Ah, Almodovar, you tricky bastard. Let’s get things straight. Almodovar films are like this: they are about feminine issues and that it usually is in a microcosm. With that, it is the kind of movie that does not have a natural climax as per a normal narrative because if a microcosm had a climax, what will happen next? A plateau? Surely it will not as it creates the impression of destiny as such. Anyway, before I talk too much about nothing, I’d like to commend Penelope Cruz for being so utterly amazing and seductive. She was given an amazing role and she really played with it well and I really loved the scene with her when she was singing as it said more about her and the movie than any other dialogue spoken. “Volver” is by far not my favourite work of Almodovar (that would be “Hable Con Ella”) because I forgot about the no climax rule which totally killed my viewing pleasure and that I missed the score… I missed the music. But at the end, the story really drew me in and the colours (ah! the colours!) were amazing as is the cinematography (that blood shot is just so amazing). Here’s what I thought of it compared to his past two works: With “Hable Con Ella”, I begged the movie to end where it ended because it perfectly finished the movie as it wrapped everything up while leaving infinite possibilities of. With “La Mala Educacion”, I wanted it to end because a movie so labyrinthine just intrigued me so much on how it might end. With “Volver”, I looked at my watch wondering when it will end. Funnily enough, it ended right then and there.

(12) “We Feed The World” - I think by now we all should be aware that globalization is fucking everyone up. I think this modern proverb will possibly summarize the whole ordeal: "everyone in the third world is starving and everyone in the first world is on a diet"... isn't that tragic? Other things I've learnt: Chickens are eating the forests in the Amazon and practically flavour is taken for granted and only compensated by how pretty it is. I couldn't refrain myself from making a comparisson with “Fast Food Nation” as like it, it had a butchery scene, only with chickens (and by damn is more affecting, really). I swear, I think I'll try to be a vegetarian and try to at least stop from buying my produce from supermarkets. It is a very interesting documentary as it succeeds in not being a biased piece of Michael Moore-ism but bloody hell, when you have the CEO of Nestle (the biggest company that sells bottled water) saying water is not a public product but a private one, I was ready to barf. And the gloomiest thing of all: you can't stop progress. Is this really what we consider progress?

(13) “Little Children” - I came in expecting a lot from this one and came out with my expectations blown out of the door. This movie is amazing and there are so many things going for it. I loved the omnipotent narration as it gives homage to its novel roots and its dark humor was just undeniably brilliant: so much more sophisticated and hilarious than the ladies of Wisteria Lane or “The Squid and The Whale”. This movie has so many twists and it was just one pure amazing piece of entertainment. Kudos to the cast as they were all amazing, especially Kate Winslet and Jackie Earle Haley (who I think should have won the Oscar after his scene stealing performance as a child molestor). Looking back, I'd like to see it again as a whole but will look forward to certain scenes like the Prom King scene, the book club scene and evey single shot with Haley in it. Finally, I love the fact that it steered away from being preachy and just ended it where the audience is left hanging and left everything quasi-unresolved. We are left hoping that the next step they take in finding what makes them happy will be *it*: but of course, that would have been a less interesting movie. I much would have loved to have seen this on the "Best Picture" category for the Oscars than “The Queen”, to be honest.

And finally, “The Queen” (I really wouldn't count this in as I saw this on a plane). Gone are the days when Helen Mirren would star in bad American movies like “Teaching Miss Tingle”. In here, she gives an amazing characterization to Queen Elizabeth II and she does it in a way that you don't even question whether she's impersonating or acting. The best bit in this movie I think was that scene with the beautiful stag as it perfectly described what may very well be the queen's opinion of Princess Diana without muttering words (as of course, words do fail people). The only thing is that, as some reviews remind me, it unravelled like a "movie of the week", which I also didn't appreciate.

By god, I didn’t even reach fifteen. Shocked. So shocked.

Awards: Oscar Nominations

2007-02-16T14:25:00.000+13:00

I have been reading back through my previous three posts and I have to admit, it was pretty bad. For the past few weeks, I have written somewhat mechanically in a sense that it has sort of transformed into a checklist rather than an actual depiction of what happened. Heck, that may have even affected my own enthusiasm towards lethargic writing that I haven't even said a word on my recent trips to the Gold Coast and Brisbane. Sigh.

With that, I have decided to relaunch this blog. And what a good way to start: the Oscar nominees! Hmmm... even this introduction seems abject. Don't worry, I'll get into it at some point.

Picture: Babel, The Departed, Little Miss Sunshine, Letters for Iwo Jima, The Queen

Comment: It is an absolute pleasure to see Little Miss Sunshine in this list as I absolutely loved it. Proving to be the little film that could, it has become the sleeper hit for this season. Unfortunately though, having it here has come across as somewhat of a novelty and something quite un-Oscar like. Expect Babel to win this as it begs for Oscar to give its stamp of approval.

Director: Martin Scorsese, The Departed; Clint Eastwood, Letters for Iwo Jima; Alejandro Gonzalez Inarritu, Babel; Stephen Fears, The Queen; Paul Greengrass, United 93

Comment: Let's pretend that the Oscars is solely to award a director based on merit for directing the film they are nominated for. Of course, with that, Greengrass would absolutely win it. But because it's not and is a popularity contest, Scorsese will win it. It is no secret that it is long overdue (I personally do not like his style -- I slept through Taxi Driver and, surprise, The Departed) that even last year's host even made a few jokes about him not having an Oscar and a group of singers from Brooklyn has a couple (I'm referring to those boys from Hustle and Flow). Scorsese really wants it based from one article that I read, as compared with the previous years that he lost when he went all out with the campaign, this year, he did the opposite and tried to be as agonistic as possible. If he doesn't win it, it will be quite cruel. And please, hopefully not to Clint Eastwood.

Actor: Forest Whitaker, The Last King of Scotland; Leonardo DiCaprio, Blood Diamond; Peter O'Toole, Venus; Will Smith, Ther Persuit of Happyness; Ryan Gosling, Half Nelson

Comment: I saw The Last King of Scotland a few weeks ago at the cinemas and I have to say two things: it is hard to empathize with a protagonist who goes to extreme lengths to be unlikable and is hard to sit through a movie with an antagonist that is absolutely insane and charismatic at the same time. Forest Whitaker was brilliant as he was able to capture a man that is borderline insane (borderline being subjective here). With this list, it doesn't really seem that there is any threat for him. Unless of course, the Academy goes nostalgic and give it to Peter O'Toole instead.

Actress: Helen Mirren, The Queen; Judi Dench, Notes on a Scandal; Meryl Streep, The Devil Wears Prada; Kate Winslet, Little Children; Penelope Cruz, Volver

Comment: If you have not even heard of the buzz with Helen Mirren, then get out of that rock you have been living in the past few months. She was brilliant as Queen Elizabeth II allowing you to forget that it was actually Helen Mirren in that tweed jacket but the queen herself. Competition-wise, it's a bit thin considering she's going against other actresses that has so many things going against them. Meryl Streep for instance was brilliant as Miranda Priestly but unfortunately, because of the material itself, it doesn't seem to go with the upperclass allure of the podium. Heads up for Penelope Cruz as hopefully this nomination can get her better films which are not spoken in spanish.

Supporting Actor: Eddie Murphy, Dreamgirls; Jackie E. Haley, Little Children; Alan Arkin, Little Miss Sunshine; Mark Wahlburg, The Departed; Djimon Hounsou, Blood Diamond

Comment: I am absolutely excited to see Little Children as out of the films that I am about to see, it has honestly quite surpassed my anticipation for Volver (gasp!). Alan Arkin was absolutley amazing in Little Miss Sunshine, but as with the Picture and Supporting Actress categories, they come off as novelty items and are just there to spike interest amid predictable nominees (and winners, for that matter).

Supporting Actress: Jennifer Hudson, Dreamgirls; Cate Blanchett, Notes on a Scandal; Rinko Kikuchi, Babel; Adriana Barraza, Babel; Abigail Breslin, Little Miss Sunshine

Comment: Amazing how a little show called American Idol can propel people to even more amazing things. I have to admit that I actually saw Hudson on that season and that her being voted off was a bit of a shock (even Elton John was infuriated, apparently). And with this category, some voters might feel that they owe her something. And in my opinion, I honestly don't care.

Original Screenplay: Little Miss Sunshine, Babel, The Queen, Letters for Iwo Jima, Pan's Labyrinth

Comment: As much as I'd like Pan's Labyrinth to win something higher up in the Academy heirarchy, Little Miss Sunshine will win this as it was absolutely fresh and came off as something that is just simply likeable. A possible consolation prize for not winning Best Picture.

Adapted Screenplay: The Departed, Little Children, Children of Men, Borat, Notes on a Scandal

Comment: What an interesting list! I would love to see either Little Children, Children of Men and Borat to win this but the buzz is just so weak (the people promoting Children of Men should be sued as they did a pathetic job) that something like The Departed could win it. Eep!

Documentary: An Inconvenient Truth, Deliver Us From Evil, Jesus Camp, Iraq in Fragments, My Country, My Country

Comment: I only saw An Inconvenient Truth and Iraq in Fragments in this list. Iraq in Fragments was a great documentary but had a really uninteresting middle part so I'm giving the edge to An Inconvenient Truth. Also a political decision, I'd say.

Animated Film: Cars, Monster House, Happy Feet

Comment: I'd give the edge to Cars simply because it's by Pixar. Slept through Monster House and Happy Feet is just too mainstream, I guess. Still no Flushed Away? I am proud to say I've sidestepped the pun for that one. Or did I?

Foreign Film: Pan's Labyrinth, Mexico; The Lives of Others, Germany; Water, Canada; Days of Glory, Algeria; After the Wedding, Denmark

Comment: I have missed out on watching The Lives of Others so many times that it is absolutely criminal. I would definitely give it to Pan's Labyrinth as it felt fresh and I loved every minute of it. They have Maribel Verdu and Water (a movie that I also love) doesn't so I'll give the edge to them. Ah, well.

Here are my other predictions:

Artistic and Technical Categories:

Editing: Children of Men/United 93/Babel (with an edge to Babel)

Art Direction: Pan's Labyrinth

Costumes: Marie Antoinette (The Devil Wears Prada would be interesting)

Cinematography: Children of Men/Pan's Labyrinth (with an edge to Children of Men)

Make Up: Pan's Labyrinth (still a laughable moment with Click)

Original Score: Pan's Labyrinth

Original Song: Dreamgirls (uhmm... duh!)

Sound Mixing: Dreamgirls

Sound Editing: Apocalypto

Special Effects: Pirates of the Carribean: Dead Man's Chest

There it is. My list. Maybe on my next blog I'll comment on Australia. Just maybe.

Travel: Hong Kong Central

2007-01-28T00:57:00.002+13:00

What: Hong Kong Central
When: January 22, 2007
Where: Hong Kong, China

From a distance, Central Hong Kong seemed like the hub. It generated lights that mesmerize and hypnotize plus the skyscrapers seem to highlight the lack of space for all the possible fun things that it may have. I was kind of left disappointed. Then again, it was a Monday.

Arriving from Kowloon on one of those small boats, we arrived the central to almost empty streets. The place can only be described as mechanical as we were greeted by metal and stone plus the uneasy feeling of people wearing black and grey. Because of such, it kind of left me very uninterested and the only thing that stood out for me was the China Bank building as it was very impressive in scope and size.

Here’s how I could describe how lonely central was: in McDonald’s, in a place that serves the world renowned Happy Meal, every single customer was alone, munching on a burger and reading a newspaper. It felt like I was in a movie called “Gattaca” and somehow made me feel like an invalid.

After that short walk, we headed back to the *much* livelier Kowloon to regenerate our spirits.

Travel: Macau

2007-01-28T00:57:00.001+13:00

What: Macau Peninsula
When: January 21, 2007
Where: Macau

As a side trip for Hong Kong, we opted for Macau.

Boarding a catamaran from a ferry terminal by Canton Road, which is also again parallel Nathan Road, Macau is a mix of traditional and modern. But before that, I’d like to highlight something about the catamarans: they are virtual vomit machines. I am not usually a sea sick person but with a mixture of the winter weather that made the sea a bit angrier and other factors, the catamarans pretty much wanted me to release the dim sum I had a few hours before as I tried my hardest to contain it in my stomach. For the curious, I succeeded.

Our first stop was at Largo do Senado: this amazing square influenced by Portuguese architecture. I have always been a fan of old school historical buildings and this square impresses. The only quirky thing about it is that the place has been maintained so well that maybe traces of age has been left covered by botox and McDonalds. For the typical tourist, this place will impress.

Pressing on, we headed to Church of St. Dominic which was also very ornate and still looking modern. With the intense crowd and the shops which surround it, the church still stands out. We went in and there was this amazing choir singing hymns which flutter and definitely compliment the atmosphere.

After, we headed onto the Church of St. Paul… or what was left of it. This place is basically the front wall of what was once a church supported by a metallic terrace at the back to prevent it from collapsing. Going up that terrace, it provides this amazing view of the small passageway one has gone past to see the remains. Behind it, is a small museum showing off amazing painting and at some points, glass coffins of skeletons once was buried in the church.

After a little bit more shopping (even if we promised ourselves not to after going crazy in Kowloon), we then headed off to the Casino Lisboa which provided night time glitter against the dark sky. It was undeniably a gambler’s kind of place as it was crowded by buildings which house countless casinos.

One word of advice: I would remember Macau as somewhat a vortex as it was very easy to get lost. At once (or twice or thrice), we found ourselves going back to the same location just on the lookout for Largo do Senado. We actually ended up hiring a gentleman to bike us up there for HK$100. A part of the experience, I guess.

Travel: Kowloon

2007-01-28T00:57:00.000+13:00

What: Kowloon
When: January 20, 2007
Where: Kowloon, Hong Kong

My trip to Hong Kong was surrounded by uncertainty. I went there without any kind of booked accommodation and just enough cash to possibly get by. I went there for a 6 hour layover exactly about a month ago and everything was just based on that.

Surfing through the net, I only knew one address and it was in Kowloon. When we arrived, I called them and discovered that they were fully booked. So instead, thanks to my Lonely Planet, I called other backpackers which had a free room. At the end, we settled for this small place called Dragon Inn by Nathan Road. Even if the rooms were basically glorified toilets, they offered amazingly thick duvets which protected us from the insane Hong Kong winter. Plus, of course, the charm of the people who were running it couldn’t stop me from smiling.

Compared to my visit to the Tian Tan Buddha which was kind of serene and peaceful to an extent, Kowloon was frantic, busy and absolutely insane. It was immensely populated with hawkers ready to sell their products and neon lights aimed to blind and impress. But actually, to be honest, the amazing thing about Kowloon was the shopping. Absolutely rock bottom prices on everything and this has somewhat inspired us to go overboard… way overboard. My personal favorite spot was of course the Temple Street Night Market by Temple Street which is parallel to Nathan Road. They offer amazing souvenir products to leather bags and amazing shirts. Recovering shopaholics beware!

At the end of Nathan Road lies one of the most spectacular sky lines in the world: of Hong Kong Central, of course. Looking at it from across Victoria Harbor was actually much better since you can see the skyline in all its glory and besides, it was very foggy that the option of going up the peak was practically pointless. For some reason, the fog accentuated the skyline as it made it somewhat more mystic but then again, I am biased towards winter. Also, at 8:00pm nightly, the buildings actually offer a lightshow which was kind of very touristy.

Kowloon’s own harbor was also very interesting by itself. It had several museums for art and science that even if you did not go in, one cannot stop but be impressed by the architecture and landscaping. Also by the harbor is Hong Kong’s Avenue of Stars which boasts hand prints by their own Hong Kong actors, actresses and directors: my personal favourite was of course, Ang Lee’s.

While I was busy shopping, I actually couldn’t wait into coming back to shop some more. It was all very exciting that spending seemed like a drug. In fact, I’m getting the itch. Like, right now.

Travel: Honda Bay

2007-01-17T16:04:00.000+13:00

What: Honda Bay
When: January 14, 2007
Where: Honda Bay, Palawan

It’s quite hard for me to write about Honda Bay. This is because in it, I felt a Kaleidoscope of emotions: from extreme happiness to extreme agony.

Honda Bay is located just a few minutes from the Puerto Princesa proper. Wearing a cluster of islands as its crown, Honda bay boasts white sand, absolutely untouched beach fringes and an amazing shore featuring unbelievably clear water fading into a royal blue sea. Honda Bay is absolutely picturesque and photogenic.

If one is into snorkeling, there are rentable equipment by the port and because of fear from drowning, I opted not to. We first headed off to Pandan Island. Aside from the obligatory white beach, the place is named because of Pandan, an endemic plant and apparently is copious in that particular island.

After an hour or so, we headed off next to Snake Island. Not because it has snakes in it, it is named like that because the island is shaped like a slithering snake. We spent quite a bit here and I absolutely enjoyed it. The day was kind of overcast which promoted a not so humid environment and with the warm water, it was absolute bliss. At one point, I was just sitting by the shore and what joined me was a small school of fish with colors of yellow and orange and black – it was absolutely surreal. In this island we had lunch and had the obligatory photo session and of course, at one point with a star fish, no less.

Pressing on, we went by an island called Starfish Island. Feeling indifferent, I wasn’t really paying attention to what the guide was saying. All I know is that Dos Palmas, a famous beach resort franchise has bought the island. Ah, corporate.

Then, we moved onto Lu-Li Island. Named after the abbreviation of the words Lulubog and Lilitaw, roughly translated as Sinking and Showing up, it does exactly that: as part of the island actually sinks into the ocean when high tide eventually does its magic. I was very exhausted at this point, opting to walking around the island and enjoying the mangroves that dot around it.

Here comes the agony bit: as advised by our guide that this is our last stop, she told us to take our final dip into the ocean. I went to the farthest bit and soaked. After a few minutes, I decided to lie down on my belly and after a few minutes, something sharp has pricked the bottom of my large toe. How do I explain this: it stung and it was painful as it felt like it went straight into my bone. After feeling such sensation, I jumped out of the water and went to the shore.

I allowed it to bleed out a bit but the pain was something that I have not felt before. Walking limply to the guide, I asked if there was something I should worry about and she headed into hysteria. She asked advice from the boatman. The seniors that were with us went to maternal mode. With that, countless theories popped up:

(1) That I was attacked by a stonefish. Apparently, if I was hit by one, my whole leg, up to my thigh, would be numb and be in intense pain. Thank god it wasn’t.
(2) A rough shell. An oyster perhaps?
(3) Some sort of fish.
(4) A metallic object which may have tetanus. One of the seniors even scared me by sharing a story about someone she knew who died from it. Good timing, eh?

They soaked my foot into hot water thinking that it would slow down whatever might possibly spread or what was inoculated into my system. At this point, the pain was still bearable. I could really feel that the inoculation was deep and looking at it, it was making a dark spot and was kind of numb. They then decided to bring me to the emergency room.

On an outrigger boat, the vibration of the motor actually accentuated the pain. It intensified the pain to the extent that I was really in a tense position. That lasted about 20 minutes. When we reached the shore, I was really in panic mode. They thought that applying alcohol might help. Funnily enough it scared me and this had promoted a bit of weeping. On the van, which lasted forever, I was anxious as ever. The seniors that were with us was also not helping as they were thinking out loud, making me release a slight tinge of laughter to release my frustration.

When we reached the emergency room, I was placed beside a man who was basically fighting for his life (apparently, he drowned because he was intoxicated) – not really a good place for me since I was already panicking at this point. Lying on the bed, I was weeping immensely. They decided to inject anesthesia into my toe to help me deal with the pain. It helped as it made it numb. I was still in panic mode though as the thought of them opening my toe to see if something was in there scared me. At the end, they opted not to and released me with a cocktail of medicine for various reasons.

Looking back, that was a really crazy experience. As what my “Lonely Planet” perfectly described, you have not experienced Asia if you do not have at least one “I almost died” moment. Okay, fine. It wasn’t really an “I almost died” moment. But heck, it was a pain that I haven’t felt before that thoughts of cutting off my big toe sounded more palatable.

Travel: Puerto Princesa

2007-01-17T15:52:00.000+13:00

What: Puerto Princesa
When: January 13, 2007
Where: Puerto Princesa, Palawan

Until last weekend, I have always underestimated how absolutely wild and savage Palawan is.

Boarding a Cebu Pacific flight to Puerto Princesa from Manila, a few friends and I were greeted by a definitely humid progressive town with different looking tricycles. Unlike the other trips that I have made, my stint in Palawan was arranged with a tour guide. In retrospect, I think this is the best way to go through Puerto Princesa as the town is relatively large and going through it without someone who is familiar with the place would limit you to places that you would see in a small amount of time and also with the added information as the tour guides were highly informative from the interesting to the banal.

After we checked into the hotel, we were taken by our guide on a van heading to a private butterfly farm. For some reason, the Philippines is absolutely ravished by butterflies as Ilocos Sur and Baguio has their own versions and I bet there would be other hundreds more everywhere. The difference between this and them is that this farm’s roof is relatively low which allows the butterflies to be in a more limited flight space and makes you feel like they are closer to you than being abject.

We then headed off to the Crocodile Farm. A joint venture of the Japanese and Filipino governments, this farm has become iconic as they aim to breed more Crocodiles and act as a safe haven for the ones that are found in the wild as they are attacked because of fear and ignorance (I personally wouldn’t blame them). The start of the tour included this amazing display of large: a seven foot long crocodile skeleton and skin display which apparently ate a fisherman and then died from it plus a skeleton display of the huge sperm whale head. After an 80’s inspired information video, we headed off to the baby crocodile pools. About what seemed to be a hundred bath tubs filled with baby crocodiles, it impresses. We were offered the chance to take a picture holding a baby crocodile and with a Php30.00 fee, it was well worth it. Pressing on, we were invited to walk on a metal bridge conveniently placed over a set of large deep pools filled with crocodiles about 4 feet long. In it, there were 2 species (and I forgot their scientific names) that are endemic in Palawan. It was a bit nerve wrecking walking through the bridge as in some parts, the crocodiles became a bit restless as they fought for this rogue towel which fell into the pool.

Moving on, we then visited one of the largest open prisons in the world, Iwahig. The general idea is to provide prisoners an anti-prison experience: without walls and with activities allowing them to do what they do normally (sans the violence, etc of course) so that when they are released, they can integrate back into society easier, without the “Shawshank Redemption” experience. The prisoners are separated with different colored shirts to identify how dangerous they are: brown as primary, blue as secondary and orange as tertiary, the type that needs more looking after. They sustain their needs by farming and making interesting looking souvenirs. I personally bought heaps of key chains with some parts made of lizard and interestingly, it was kind of fun watching other people say “no” to the locals in the area. If you plan to go there, I would implore you to buy one of those shirts like what the prisoners wear as until now, I cannot get over the fact that I missed out on it.

Finally, we visited two relatively uninteresting places. One was a local governor’s rest house which was more of a display on how rich the politicians are in the Philippines and Baker’s Hill, a local bakery offering interesting looking baked products. Also, we visited the local Cathedral and a fort where apparently, another 150 people were burnt inside an underground bunker just like in Fort Santiago in Manila.

We then headed back to the hotel. I was really impressed with the Crocodile Farm as they were able to display how untouched and wild Palawan is. The next day however, I personally come face to face with Palawan.

But before I go, just a little reminder: when you are in a tour van with other people, you should be a bit more courteous with the other people. This is because the people we shared our van with were very obnoxious. They were loud, made calls, talked insistently and played with their rainmaker (this bamboo thing that make rain noises – apparently, used to call rain by people of old) insanely, which by the way, is one of those things that sounds cool when you first hear it but as it gets older, it gets more annoying.

Travel: Manila

2007-01-05T22:35:00.000+13:00

What: Manila
When: January 3-4, 2007
Where: Manila, Philippines

Honestly, I am feeling lethargic about posting anything about my recent stint in Manila. This is mainly because the trip was pretty straight forward and nothing out of the ordinary. So, instead of posting a lengthy piece, I decided to do something different: to post some of the pictures I took around Manila. Highlights include the walled city of Intramuros and Luneta.

I am really keen on going back to Batad next week so hopefully I can pull that off.

2006: Film

2007-01-01T18:58:00.001+13:00

My Top 15 Films:

"The Science of Sleep"
Pros: For years I have been in this great look-out for the perfect dream movie. I found it in "Waking Life" and "Eternal Sunshine" and now, I find it here. Gael Garcia Bernal is at his best and Gondry just solidifies himself as one of those people who I should always look out for.
Cons: There was this one dream sequence that I really don’t get. Yes, that one.

"Borat"
Pros: Smart, funny and fun. This is a tightly made satire that aims not only to unravel your prejudices but also makes you feel like you are the smartest guy in the room. Funny that.
Cons: Everyone has practically seen it and everyone thinks they know what it’s about. Is this the new "Titanic"? Hahaha!

"Little Miss Sunshine"
Pros: Everything about it. I love the story, the characters and even if the ending dragged itself towards cliché, it had the rest of the movie saving itself for you to not even notice it. It is unfathomable how not all of the actors in this one are unable to get an acting nod at the Golden Globes.
Cons: I would be nit picking if I’d have a con in this one…. maybe the fact that I have not seen it sooner, perhaps.

"Cache" (Hidden)
Pros: The movie that introduced me to the master that is Haneke. He invites us into a dysfunctional family of sorts, haunted by a past that is back to haunt. Or is it? Haneke creates a puzzle that once you choose to be drawn into; you will never be spat out. It is kind of the curse of “The Grudge” in a sense. For weeks I convinced myself that what I think was the resolution was *it* because if it was not, I would have jumped off a building.
Cons: One critic suggested that Haneke creates puzzles and cryptic movies without even giving thought on an actual resolution. Dear god, I hope not.

"Water"
Pros: I did not expect much of this movie. I went in knowing nothing and came out with an intense migraine from trying to not cry. This movie is pure genius, illuminating a spotlight on archaic India and how people who are already disadvantaged are further dragged onto mud.
Cons: Some of the characters tethered between the lines of stereotype but the fact that it claims the issues in this movie is still standing, it makes it nevertheless a redundant con.

"United 93"
Pros: If I was to make a top 5 for 2006 and in order, this would be on top and way ahead of the rest of the list. Watching this, I forgot that I was watching a movie and as Roger Ebert perfectly described, the director forces us to be one of those angels from "Wings of Desire". And boy, it is painful.
Cons: Absolutely nothing. Nothing.

"Junebug"
Pros: The amazing Amy Adams. And those small moments that unravel a character so much. I love how this movie slowly burns and reveals characters yet still plays with the ambiguous. Have I mentioned Amy Adams? She had the best one liners.
Cons: It was kind of funny watching that guy from "The O.C." with a mustache… reminds me of that episode of "Friends" when Chandler wanted to be more like Monica’s boyfriend Richard (Tom Selleck). I got over that after about a minute because he was also sensational.

"Good Night, and Good Luck"
Pros: How it tries to be as accurate as possible with its dialogue, archaic footage and acting. One cannot help but to be drawn into it. If journalism back then was as strong as it is now, it would definitely trump every sort of "CSI" made.
Cons: The hidden romance subplot. Didn’t realize it was there until I was reading some reviews.

"A History of Violence"
Pros: One word: violence. This is a very tight thriller and the extreme violence in this one does not even promote the idea of gratuitous. Also the sex scenes as they were the perfect emancipation of the characters and their mental state. How about that: non-gratuitous sex scenes and extreme violence. Perfect.
Cons: The fact that it didn’t get as much accolades as it clearly deserves.

"Match Point"
Pros: The main reason to watch this movie is that very tense scene about 20 minutes before the end. The entire movie builds up onto it and the wait sure was worth it. And of course, Scarlett.
Cons: The scenes after because it pushes the boundaries of the supernatural and patience. I didn’t appreciate how it tried to inject humor after an intense scene like that.

"3-Iron"
Pros: Possibly the most romantic movie I have seen all year. And what gives it an edge: they main characters don’t share a word. Ah! Love it!
Cons: People who overanalyze that last scene. As far as I’m concerned, it was nothing more that a poetic description of the state that they’re in: nothing more and nothing less. It’s a bit too presumptuous that out of the blue, there would be some sort of transfer of energy between the two of them. I mean, really.

"Tsotsi"
Pros: The story being familiar yet one cannot help but be drawn into it. I love how the ending was eventually realized and along with that soundtrack, it is unyieldingly dramatic. It deserves that Oscar.
Cons: I really couldn’t find a simple complaint about this movie.

"Shortbus"
Pros: I’m not going to lie: it was the sex. And there were a lot of it. They were able to use the sex as an expression of catharsis, comedy and social commentary. I loved the fact how the dialogue was witty and smart and also the opening sex montage: it shocks right from the get-go so that by the time when they finally acquire that elusive orgasm, you don’t get too affected by the sex.
Cons: The last 15 minutes. It was self congratulatory and really shifted into low gear. Sigh.

"The Devil Wears Prada"
Pros: The cast. They were able to save a movie that could only have been a typical tween movie with characterization that hands down deserves some Oscar attention. Meryl Streep is at her best and dear god, give her some award.
Cons: The guys in the movie. The boyfriend plotline was way too redundant and since recently, killing off a character seems like a staple, they should have killed off Simon Baker… and possibly by J.K. Rowling.

"Children of Men"
Pros: An audacious director exploring an audacious topic with audacious storytelling and audacious cinematography. Cuaron does not try to tug hearts but if along the process your heart is, don't fret: you are after all human. And also the twists… oh my god, the twists. More here.
Cons: Me. I expected way too much that it took me awhile to really appreciate it. I also didn’t like that ending. It was way too positive for a movie like this.

My Bottom 5 Films:

"Hostel" = A few lines intercalated with heaps of porn and violence.

"Firewall" = Nothing but an audition piece to prove Harrison Ford can still do “Indiana Jones 4”.

"World Trade Center" = This was really desperate to make you cry. Cry, damn it!

"Fast Food Nation" = Preachy and a bit hypocritical. It tries to blur the lines between a documentary and fiction that it ends up being a mess.

"The Grudge 2" = Downright insulting. Read more here.

My Main List for 2006:

"Good Night, and Good Luck" (USA) = ***1/2; "Howl's Moving Castle" (Japan) = ***; "Memoirs of a Geisha" (USA) = **1/2; "Munich" (USA) = ****; "Paradise Now" (Palestine) = ***, "North Country" (USA) = ***1/2; "Everything is Illuminated" (USA) = **1/2; "Hostel" (USA) = *; "Firewall" (USA) = *; "Wolf Creek" (Australia) = Unratable; "A History of Violence" (USA) = ***; "The Weatherman" (USA) = ***; "Derailed" (USA) = *1/2; "V for Vendetta" (USA) = ***; "Cache (Hidden)" (France) = ****; "Le Grand Voyage" (France) = ***; "The Matador" (USA) = ***; "Mission: Impossible III" (USA) = ***1/2; "Match Point" (USA) = ***1/2; "The Hills Have Eyes" (USA) = *1/2; "The Da Vinci Code" (USA) = *1/2; "X-Men: The Last Stand" (USA) = ***1/2; "Superman Returns" (USA) = **; "Pirates of the Caribbean: Dead Man's Chest" (USA) = ***; "3-Iron" (South Korea) = ****; "Tsotsi" (South Africa) = ****; "The Wind That Shakes The Barley" (Ireland) = **1/2; "Dave Chappelle's Block Party" (USA) = **1/2; "Iraq in Fragments" (USA) = **1/2; "This Film Is Not Yet Rated" (USA) = **1/2; "Water" (India) = ****; "Shortbus" (USA) = ***1/2; "An Inconvenient Truth" (USA) = ***1/2; "A Scanner Darkly" (USA) = **1/2; "Thank You For Smoking" (USA) = ***; "I Am A Sex Addict" (USA) = ***; "Sympathy for Lady Vengeance" (South Korea) = ***; "The Science of Sleep" (France) = ****; "Hard Candy" (USA) = ***; "United 93" (USA) = ****; "Nacho Libre" (USA) = *1/2; "Talladega Nights: The Ballad of Ricky Bobby" (USA) = *1/2; "Borat" (USA) = ***1/2; "Manual of Love" (Italy) = ***1/2; "Junebug" (USA) = ***; "Little Miss Sunshine" (USA) = ***1/2; "The Devil Wears Prada" (USA) = ***; "World Trade Center" (USA) = *1/2; "Fast Food Nation" (USA) = **; "A Good Year" (USA) = **1/2; "The Grudge 2" (USA) = 1/2; "Children of Men" (USA) = ***1/2; "The Nativity Story" (USA) = **1/2; "Casino Royale" (USA) = ***

Travel: Ilocos Norte

2007-01-01T18:58:00.000+13:00

What: Batac, Paoay, Laoag & Pagudpud
When: December 27-28, 2006
Where: Batac, Paoay, Laoag & Pagudpud, Ilocos Norte

Ilocos Norte leaves nothing to be desired. I absolutely loved it.

At the northern most part of Luzon, Ilocos Norte boasts similar attractions as Ilocos Sur but what made me like this place more were its people. They were friendlier, more trustworthy and as inspired by the shirt one bus conductor was wearing, are more customer oriented. Of course, the ‘M’ in customer was inspired by the golden arches. Hey, what did you expect?

From Vigan, we headed off to Batac, as one blog that I usually visit persisted that I should go there. As my “Lonely Planet: South East Asia on a Shoestring” ends in Vigan, I did not know any special particular place to unravel. With that, we instead headed off to Jollibee and Chowking, the country’s own set of fast food chains. After we stuffed ourselves with chicken and Filipino style spaghetti, we soon discovered a flock of tourists from Manila heading off to a particular section of the town and exactly the opposite of the local church. As it turned out, it was Former President Ferdinand Marcos’ Mausoleum.

Made famous by Martial Law and a first lady with a ridiculous attraction towards pomp and shoes, I believe (and correct me if I’m wrong) he was rejected a burial because of his much anti-revered run as the president. The Mausoleum claims it has the body of the president under some chemical concoction, preventing it from decay. Protected by a glass coffin like Snow White, the room was cold and had an eerie CD playing on loop (I believe it was Gregorian). Some skeptics claim that the body in the mausoleum is no longer his but a wax replica. Then again, with a set up like that, it sure induces something more sinister than wax. In retrospect, that is actually quite unfortunate since “scary” wasn’t really what they’re aiming for.

We then headed off to Paoay to check out the San Agustin Church. It was about more than an hour on a jeepney and we were greeted by possibly the most dramatic thing I have encountered in this trip, thus far. Given that the Ilocos region is punctuated by a baroque church every 10 minutes, this church exudes something different as it wears the word ‘old’ with zest. From the people that have been there, they recommended that I should try their local halo-halo (a local dessert) as eating something sweet and cold in Ilocos makes it even more tasty but unfortunately, they were closed. We thought of going into the church but as we weren’t really up to par with their dress code, we opted not to slip in as we might offend some of the people there. This actually got me thinking: I couldn’t fathom wearing those archaic suits and trousers they once wore: it is absolutely insane. I would probably take a bath every two hours… or maybe less.

Still full from our Batac binge, we then went off to Laoag, Ilocos Norte’s capital. What greeted us there were about the same population of tricycles as Vigan however with much smaller side cars. After much deliberation, we were recommended to visit the local museum. Funnily enough, the guy who recommended it to us almost released a smirk with a tinge of sarcasm towards it. The museum itself wasn’t that bad. It only reiterated what I already knew but what makes it special is its gift shop: absolutely cool. One has to check out those oversized tobaccos as far as I’m concerned.

Already weary of the fumes, we then decided to press on to Pagudpud, a beach located at the northern part of Norte and brags about its white sand. On that two hour bus ride, we were welcomed by very friendly people who actually do make you feel welcome by leaving you alone. I know that’s pretty ironic but I really appreciated the distance they imposed compared to the people in Vigan who basically pushed themselves at you.

Anyway, the trip to Pagudpud was made even more interesting by the Bangui windmills, an attempt to try wind power in sustaining the increasing electricity consumption of the region. When we arrived at the Pagudpud town proper, which is honestly one of the most pleasant things I’ve ever seen in Ilocos, we hopped onto a tricycle which delivered us to one of the local resorts. We asked him to drop us off at the cheapest one that he knows of and in fact, he does… it’s just that it doesn’t have a beachfront like the other resorts in the area. Ah, beggars can’t be choosers.

Pagudpud was a really nice beach. We arrived there before sunset and it was absolutely breathtaking. The sand was as yellow as the sun and the surf as pristine and perfect. Compared to the other beaches I’ve been to, it has a relatively deep drop after the shore but nothing too dramatic. Flocked by city dwellers and as one renamed it, Pagod-Pagod, a tagalog play on words meaning very exhausting, it offers a relatively more up-market approach to lethargic beach living (our room was PhP2,000.00 and was the cheapest). By the way, they do not have internet access – something that I am happy they don’t.

That’s about it. We headed off back to Baguio carrying about 10 kilos of local desserts that would make a dentist faint. Up next: I have absolutely no idea.

Travel: Ilocos Sur

2006-12-31T15:22:00.000+13:00

What: Vigan
When: December 26-27, 2006
Where: Vigan, Ilocos Sur

There would be two words that would perfectly describe Ilocos: Hot and Humid. Protected by the Cordillera Mountains from tropical storms or any ounce of rain, Ilocos was dusty, hot, sticky and definitely restless and at the same time lethargic. Funny that.

At 5:30am, we left for Vigan, the capital of Ilocos Sur. Arriving at about 9:30 in the morning; we were greeted by a stranger as we stepped off the bus. We later found out that his name was Manong Chris, a local tricycle driver. Naïve and excited as we were, we trusted him as he offered his services as our personal chauffer around town as the sights were far between and walking around in this weather is practically heat stroke waiting to happen.

We asked for his advice on where to stay for the night and he eagerly dropped us off at this motel. Checking into a twin share worth PhP800.00 per night, we hopped onto Manong Chris’ tricycle as we trusted him thinking that as a local, he would tour us around his city with great efficiency.

You might be wondering why I decided to not mention the motel’s name. You will find out a little bit later.

Back to the story, Manong Chris’ first stop was this relatively obscure place called “Hidden Garden”. Nothing much is to be found here but if you appreciate landscaping, it will tickle a special spot as they were quite creative with how they were able to sculpt some of the plants into things interesting. After, we went off to a place called Baluarte. I really don’t know much about Philippine politics but apparently, this place is owned by a local governor (unsure of his name so might as well not mention it). In Baluarte, what greeted us was some sort of a Xanadu from “Citizen Kane”: the place is practically his personal zoo featuring lionesses, tigers and other animals like donkeys, which would pull a small cart with you in it. As cute as that may come off, it didn’t really tickly my appetite…but boy, the crowd sure did love it.

Manong Chris assumed that we were here for the beaches. He delivered us straight to several cottages which were either closed, uninteresting or has a paid entrance fee. After about 30 minutes, we later reminded him why we were here in the first place: the Colonial Houses of Vigan. A World Heritage Site by UNESCO and touted as the only preserved Spanish Colonial street in South East Asia, this place tries to impress. And I think it does. What came into my head first was it wasn’t really preserved. It’s run down as if it were a construction version of the Body Works display as the houses show drastic wear and tear. For the typical tourist, this may not impress… but for me, I kind of liked it. It was run down, it was as authentic as it can get and in retrospect, I appreciated how it featured its natural decay. In a sense, it was honestly kind of more an appreciation of the past rather than an intention to travel through time.

Next, we went to Vigan’s Bell Tower. Manong Chris was able to borrow the keys from the priest for the doors so we had the privilege (or so we were told) of going up the steps to the main chamber. It featured impressive views of Vigan and at one point; I could really imagine myself hanging out there – as what Manong Chris indulged into when he was younger. We then went to Crisologo Museum. At a certain degree, it kind of sparked some interest as the place defines ornate and rundown: the same charm as of the Colonial Houses.

After that, nothing much really happened. And I really think that after a long day like that, I would assume that our enthusiasm levels have completely been demolished.

That night, I suddenly had this flashback: motels in the Philippines only mean one thing – short time users. While we were hanging out at the courtyard, we counted about 6 eager couples who would go into a room and come out after about an hour or so. Even impressive was this old man who was about 60-something, coming out with a girl who would be around 25 years old. At first, it kind of questioned how clean our rooms really were but then after about a few minutes, these two youngish couples went into separate rooms and to pass the time, we waged a bet on which couple would finish first. Talk about making the most of it, eh? For the interested, I lost.

I couldn’t speak for everyone’s experience for Ilocos Sur and/or speak about everyone from that province but for some reason, people there looked at us, tourists, as walking peso signs. First, there was Manong Chris. At first, he came off as someone who was pretty cool and really was into looking after his customers. Earlier that morning, he exuded the idea that his services would be about PhP500.00 and at the end of the day, I gave him PhP600.00. Thinking it was a generous payment for his services, the next day, he kind of hinted the fact that we should have paid him what the total amount he earned the day before, which was PhP1500.00. We then gave him another PhP80.00 that day thinking it was (and should have been) enough. It was kind of disappointing as it sort of made me feel that I cheated him but as a matter of fact, the initial offer should have been standing. So, advice to anyone going there: before anything else, you should settle and sort out a price and the boundaries of the service. I kind of get what he was complaining about because he had three customers the day before but I believe everything should have been made crystal clear.

Next was this small sidewalk restaurant Manong Chris recommended. According to the lady that was working, she said that each small serving was worth PhP30.00. We ordered four servings and a few other extras which added up to somewhere about PhP200.00. What sort of made me weary was that when the other table asked for how much they owed, the same lady couldn’t blurt out how much and she had to go though this frantic dialing on her mobile phone and showed them the price on the screen. I’m not normally a stingy person but that kind of behavior bothered me because it’s as if someone’s stealing money from you eyes wide open.

Well, that’s about it. On my next block, I’ll post something on Ilocos Norte.

Travel: Tian Tan Buddha

2006-12-23T01:49:00.000+13:00

What: Tian Tan Buddha
When: December 19, 2006
Where: Lantau Island, Hong Kong

Days building up to this trip, I was pretty excited. I was very open into doing things that I may have missed out on or things that I may want to do for the first time. And, well… at the moment, I’m at a Starbucks drinking coffee and updating my MySpace profile.

Self-isolation, perhaps? Hahaha! Anyhow, onto my Hong Kong stopover:

My flight to Manila from Auckland was intercalated with a 6 hour stop over in Hong Kong, the home of Cathay Pacific. Knowing that after a ten hour flight, enthusiasm for staying indoors for another six hours would be suicide, I and a friend decided to indulge into exploring a tiny bit of Hong Kong before we go our separate ways.

First, I would like to share a bit of logistics. They can be summarized into three points:
(1) It’s better to change your money in Hong Kong. As advised by my bank in Auckland, the service charge is cheaper in Hong Kong compared to New Zealand. But if you’re a bit indifferent, go ahead and buy some Hong Kong Dollars where ever you're from. For the curious, I had a budget of HK$350.00, more than enough for a 6 hour layover.
(2) If you have heaps of hand luggage, don’t fret. The Airport has this luggage check-in wherein you can leave your luggage for a bit. I believe we were told that we would be charged HK$50.00 per luggage but we ended up paying substantially less than that. A form of identification would be useful, but of course, that wouldn’t be a problem since you should be glued to your passport from hour zero.
(3) When using any form of public transport, one should use the correct amount. I had the naïve experience of dropping a HK$50.00 bill into the can, expecting change back. But of course... they don’t. And because of that, we sort of paid HK$25.00 each for a HK$3.50 ride. Awesome, isn’t it? For some reason, except for the people who offer information, people were generally apathetic to people who look lost and kind of idiotic. Then again, I am kind of guilty of that too, in the first place.

Because we only had about six hours spare, we knew from the get-go that we should stay in Lantau Island, where the airport is located... so, we opted to explore the Tian Tan Buddha. From the airport, we boarded the S1 bus which lifted us straight to the Mui Wo bus station. And exactly opposite that was this cable car system that pretty much dropped us off at the bottom of the hill of where that particular Buddha is. Believe me, we thought we would be struggling through a big crowd and as it turned out, it was way too polished that worrying about missing anything would be a bit gratuitous. In fact, it was way too polished.

The cable car system (I really am not sure of what the name is) was pretty impressive. It traversed through three high hills and a daunting river that it induced vertigo at some points. It has an impressive view of Lantau Island: even interesting is the apparent smog problem the place is suffering from. A layer of pink smog literally engulfed the island, which, in fact, even landing from the plane protected you from viewing the city from a high altitude.

After a 28 minute ride, we were dropped off into this tiny make shift 'village'. In this case, I’m using 'village' in the loosest term possible as it is more of a remnant of Disneyland with its wide array of souvenir shops, Starbucks Coffee (!), Italian gelato (!) and the relentless loop of Christmas songs. Going past the village, one can reach the Buddha itself after walking up 200+ steps. In retrospect, I really enjoyed this part as it was kind of majestic in scope and overloaded with interesting views and ornate dramatic images: check out that monastery from the top of the hill and do check out the space behind the Buddha as for some reason, it’s quieter and more serene. Granted that it is the largest sitting Buddha, it does not disappoint and it even instigates several curious questions like does anyone know what that symbol in his chest mean?

I may come off a bit skeptical and cynical but it was honestly fun. There was this point when we were just extremely hyper and crazy and utterly flabbergasted that it was like we were on "The Amazing Race". And also, given that we were given only a limited time frame, it made it even more exciting... twice the adrenaline rush. For the record, we got back in time and we were even three hours early.

With that, if you couldn’t deal another long layover in Hong Kong, the Tian Tan Buddha is a must. It offers a little bit of culture even with its synthetic approach to tourism.

Awards: Globes Nominations

2006-12-15T11:33:00.000+13:00

Picture, Drama: Babel, Bobby, The Departed, Little Children, The Queen

Comment: Where the hell is United 93? Granted that I have not seen any of the five films nominated, I am just a bit disappointed that the best film that I have seen for 2006 is not. I have not seen The Departed yet because for some reason, I am not ready to see a DiCaprio film. Good to see Little Children there as I thought it was already a goner.

Actress, Drama: Penelope Cruz, Volver ; Judi Dench, Notes on a Scandal ; Maggie Gyllenhaal, Sherrybaby ; Helen Mirren, The Queen ; Kate Winslet, Little Children

Comment: It’s great to see Penelope Cruz up there as she only shines on Spanish language films – but boy, when she shines, she does shine. It's great to see Gyllenhaal here with that movie than World Trade Center.

Actor, Drama: Leonardo DiCaprio, Blood Diamond ; Leonardo DiCaprio, The Departed ; Peter O'Toole, Venus ; Will Smith, The Pursuit of Happyness ; Forest Whitaker, The Last King of Scotland

Comment: I am a bit peeved about the double nominations for Leonardo DiCaprio as other actors could have easily taken that spot. Ryan Gosling, perhaps? Wait. I still hate him. Isn’t he that guy from The Notebook? And oh, yeah: for some reason, Will Smith on that list irks me. I don't know. I'm starting to not like him.

Picture, Musical or Comedy: Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan,The Devil Wears Prada,Dreamgirls,Little Miss Sunshine,Thank You for Smoking

Comment: I’m pretty stoked to see Borat and Little Miss Sunshine up there as they are the two best comedies I have seen this year. As with The Devil Wears Prada and Thank You For Smoking (I still can’t get over how cliché the end was for Katie Holmes, though). But of course, it’s a given that Dreamgirls will win this.

Actress, Musical or Comedy: Annette Bening, Running With Scissors ; Toni Collette, Little Miss Sunshine ; Beyonce Knowles, Dreamgirls ; Meryl Streep, The Devil Wears Prada ; Renee Zellweger, Miss Potter

Comment: Annette Bening is lucky to be up there as her movie has been greeted with less than welcome reviews. I would be happy to see Meryl Streep win this one as her portrayal of Miranda was downright viscous and malevolent. Toni Collette too, would be awesome.

Actor, Musical or Comedy: Sacha Baron Cohen, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan ; Johnny Depp, Pirates of the Caribbean: Dead Man's Chest ; Aaron Eckhart, Thank You for Smoking ; Chiwetel Ejiofor, Kinky Boots ; Will Ferrell, Stranger than Fiction

Comment: Johnny Depp? I mean, really. Get a room. I’d like to see Sasha win this. In character, perhaps? And Ejiofor is pretty lucky to be up there, I think. With Ferrell, I'm very excited to see Stranger than Fiction. Paul Dano and Alan Arkin should have been here.

Supporting Actress: Adriana Barraza, Babel ; Cate Blanchett, Notes on a Scandal ; Emily Blunt, The Devil Wears Prada ; Jennifer Hudson, Dreamgirls ; Rinko Kikuchi, Babel

Comment: I really like this list. I like it. It is such a surprise especially with Emily Blunt (who basically stole the show every time she was on it) and the buzz on Rinko Kikuchi makes me want to see Babel even more. But of course, Jennifer Hudson will win this.

Supporting Actor: Ben Affleck, Hollywoodland ; Eddie Murphy, Dreamgirls ; Jack Nicholson, The Departed ; Brad Pitt, Babel ; Mark Wahlberg, The Departed

Comment: Yawn. I'd like to see Wahlberg win, though. Damn, I need to see The Departed soon.

Director: Clint Eastwood, Flags of Our Fathers ; Clint Eastwood, Letters from Iwo Jima ; Steven Frears, The Queen ; Alejandro Gonzalez Inarritu, Babel ; Martin Scorsese, The Departed

Comment: Two nominations for Eastwood? Really? What about Greengrass? I think they’ve underestimated the brilliance of United 93. I would have thought it would have stood out against the banal and almost insulting World Trade Center.

Screenplay: Guillermo Arriaga, Babel ; Todd Field and Tom Perrotta, Little Children ; Patrick Marber, Notes on a Scandal ; William Monahan, The Departed ; Peter Morgan, The Queen

Comment: Usually, with screenplay, the movie that normally shines is the movie with multiple plotlines and of course, the most obvious within this list is Babel.

Foreign Language: Apocalypto, USA; Letters from Iwo Jima, USA/Japan; The Lives of Others, Germany; Pan's Labyrinth, Mexico; Volver Spain

Comment: I’m a bit peeved (again) that Apocalypto and Letters from Iwo Jima was classified under this category as other films out there that deserve more publicity than these guys could have easily clenched it. Say, Water from Canada, the movie that gave me an intense migrane from trying *not* to cry.

Animated Film: Cars,Happy Feet,Monster House

Comment: Where the hell is Flushed Away? Surely it wasn’t that bad.

Original Score: Alexandre Desplat, The Painted Veil ; Clint Mansell, The Fountain ; Gustavo Santaolalla, Babel ; Carlo Siliotto, Nomad ; Hans Zimmer, The Da Vinci Code

Comment: I love Santaolalla’s work and I’m a bit biased.

Original Song: A Father's Way from The Pursuit of Happyness ; Listen from Dreamgirls ; Never Gonna Break My Faith from Bobby ; The Song of the Heart from Happy Feet ; Try Not to Remember from Home of the Brave

Comment: Home of the Brave? Is that a movie? I haven’t heard of it.

Concert: OE: Brazil

2006-12-10T00:57:00.000+13:00

Who: OE: Brazil
When: December 8, 2006
Where: St. James Theatre, Auckland, New Zealand

I bought my ticket for “OE: Brazil” hardly knowing anything about it: all I know is that for the past few months I have had this fetish towards world music as instigated by Putumayo. With that and a tiny dose of peer pressure, it really seemed like a no brainer.

“OE: Brazil” is an interesting concept: fly several New Zealand artists with different expertise in genre to Sao Paolo in Brazil and allow them to collaborate with an interesting set of individuals, which represent Brazil’s musical identity. As with Cuba and son music, bossa nova and Brazil goes hand in hand and as with the concert last night, fusing it with familiar genres by New Zealand artists was really interesting. Here’s their MySpace homepage to hear some samples and see some videos from their documentary. They would better describe the project more than I ever can.

Nevertheless, what really popped out with this concert for me was its general atmosphere. I was one of those eager enough people to bring a camera with video capabilities and for some reason, in playback; the atmosphere of the concert could not be transferred onto something mechanical. It was as if the soul of the performers were sieved out of the video and it really is kind of one of those things that you really have to be there to experience how amazing it was. In words, all I can say is that it would possibly be the closest thing I’ll ever get to experience a Caetano Veloso concert – although of course, I’d still do anything to hear “Cucurrucucú Paloma” live in acoustic.

There were several dodgy dealings in the concert. As flawless as the performers were, some of the people watching them were dodgy. There were people who, as labeled enthusiastically by a friend as “drunk metros”, were unable to apprehend the idea of empathy, as they would graze through the crowd and steal someone else’s view. Funnily enough, some of them even came with dates and for some reason, would allow them to think that stealing everyone else’s space for an impromptu amateur salsa performance was requisite. The concert in general could be best described as informal and this may have promoted these shenanegans. Then again, in retrospect, it’s all a part of the experience, I guess. And of course, the two encores were a good enough reason to be indifferent about people who crave for attention.

From what I've read somewhere, the next project will be based somewhere in Spain and I will definitely be looking out for that one. And for that guy in Shapeshifter too as he basically stole the show.

Adventure: Taupo Hot Springs

2006-11-27T20:54:00.000+13:00

What: Taupo Hot Springs
When: November 26, 2006
Where: Taupo, New Zealand

I have always associated Taupo as only a stop over to the mountains and the lake itself. Nothing more. Until yesterday.

I really don't want to disclose the location of the secret free hot springs in Taupo because it might elicit things that might affect it's splendor. All I can say is that it is pretty close to the town center and that it is along the area of the Huka Falls.

I have never been to a hot springs before so this was a real pleasant experience. We started off uphill and dipped into this cascading waterfall of warm water. It was really good until it got way too hot that at one point, it initiated dehydration, promoting headaches. Nevertheless, we decided to slide downstream to a much more cozy spot but it's by a passage way, which attracted other swimmers and made the area a little too crowded. It was still amazing though, as the water was still warm and the sun was as friendly as ever.

When I got sick of the hot water, I slid down into the river and it was a great feeling having this sudden jolt of cold water into your system. Another thing was that being in the cold water *and* being massaged by the hot water going down from the stream is really something else.

What can I say: it was free, it was great and it was so much fun that pictures aren't good enough to document the fun.

Adventure: Tongariro Crossing

2006-11-27T16:49:00.000+13:00

What: Tongariro Crossing
When: November 25, 2006
Where: Tongariro National Park, New Zealand

Last Saturday, I did what Wikipedia considers as the best one day trek in New Zealand: the Tongariro Crossing. I’ll save me some energy on describing what it is by giving you this link from the Department of Conservation. All I can say is that this is where they shot several key scenes for Mt. Doom in the “Lord of the Rings” trilogy. This is a 17km trek up 14,000 feet which is expected to be conquered in 7 - 8 hours. It bloody felt longer, though.

I really had a hard time deciding on what to bring and what to wear so here’s a short list of what I did bring and what I wore:
(1) A beanie.
(2) A good pair of sunglasses (which I actually forgot).
(3) A cotton shirt.
(4) A cotton V-neck sweater.
(5) A hoodie. In general, think “layers”.
(6) A water-proof jacket.
(7) Thermal underwear (my life saver).
(8) Jogging pants. Wearing jeans is practically suicide.
(9) A good pair of tramping shoes. A good rubber sole is a must as the terrain is slippery. Rubber shoes are a no-go.
(10) A backpack.
(11) Water and lots of it. Preferably bring a camel pack.
(12) Food. I did bring a lot of food and only extinguished a small amount since my appetite decreased as I’ve become a lot more exhausted.
(13) A digital camera with a decent memory and extra batteries.
(14) I did bring my Ipod but that became redundant.

We left our accommodation at about 7am and arrived at the drop off point at about 8am. With high spirits, we started our trek through a relatively inclined field surrounded by majestic hills covered with endemic plants. At a distance, Mt. Ruapehu could be seen but because of the low lying clouds, it’s as if nature was teasing you of what could have been on a clearer day. About an hour in, we reached Soda Springs. There really wasn’t much there. It was a small waterfall punctuated by a toilet. As it turns out, this is the precursor to what they call Hell’s Staircase. Or something to that effect.

Hell’s Staircase is known for an intense incline which can only be described as the stairway to Shelob’s Lair in “The Return of the King”. It may be not as steep as the one in the movie, but it felt as if it would never end. It was shoddy at parts considering there were loose rocks ready to hit your face caused by the trekker right in front of you. And because of the fog, there were several pseudo-summits which were not as helpful. Then again, maybe it did. At the end, I was cold except for my very sweaty back... thanks to my backpack.

On top, there really wasn’t much to enjoy since it was covered in fog. Imagine that poster from “Silent Hill”, only more adventurous. This was what they called the Red Crater. It was relatively flat and this may have caused a bit of celebratory shenanigans.

Little did we know that there was another incline up ahead. It was an incline up to the summit of the various craters surrounding the area. It was a weird experience since we were greeted with what felt like 120km/h winds (we were later informed that it was only about 90km/h, but of course, we’ll stick to our estimation), soft sand and small slippery rocks and a passageway only as wide as your arms fully extended side by side. Moreover, the winds were so strong that breathing and maintaining your balance was a challenge. Because it was foggy, we didn’t know that if we fell either side, we would either have slid off the side of the volcano or fell into the crater itself. In short, it was an experience I wouldn’t mind experiencing again.

Once we reached the summit and we headed downhill, the weather started to cooperate with sunshine allowing us to appreciate the amazing set of Emerald Lakes. Caused by volcanic sulfur deposits, these lakes give off an amazingly pungent smell of really rotten eggs and shimmering colours of blue.

We pressed on down the volcano, across another crater and up another steep hill to reach the Blue Lake. Having the word “blue” besides “lake” may come off a bit redundant, but it is honestly the best word to describe it. From this point, we had the opportunity to see what we have passed so far and it looked really intense.

Heading downhill, it was composed of various New Zealand floras along the side of the volcanic area. It was quite amazing to notice how different the vegetation is as one goes down the mountain: it stared off with absolutely nothing then went off to shrubby pathways then into the dense bush. There were parts when we had to jump through streams and go through patches of ice and they were a safe escape from the monotony of volcanic rock. I personally found this part as taxing as the Hell’s Staircase since it imposed intense pressure on my knees and that the intense high steps going through the bush does not really help at all. Also, the ice was very slippery. We arrived at the pick up point at 3 in the afternoon, one hour early.

There were other two side-trips involving the Tongariro Crossing which involves climbing two other summits. I believe it was Mt. Ngauruhoe and the other one is the one that I cannot remember. We did not do either option because considering we called one spot “The Place Where We Almost Died”, it didn’t seem smart to test our luck.

It was a really intense Saturday because I did something that I would not normally do (I’d like to think I’m a city person) and that the rewards are something that I’d probably brag about for months. The question this time is whether I would do it again and the answer to that is definitely: I wouldn’t mind trying my luck up those two other summits.

All I can say is that it was amazing. Even if I wanted it to end sooner, when it did finish, it was so quick as if I did not actually do it. All that there is left are the photos that I took, my sore thighs and this cold that I'm nursing. It was *that* surreal.

Cuarón: Children of Men

2006-11-23T22:23:00.000+13:00

Film: Children of Men
Directed by: Alfonso Cuarón
Starring: Clive Owen, Julianne Moore, Michael Caine

“Children of Men”, Cuarón’s latest offering, is essentially “Y Tu Mamá También” presented in a much more global scale. At its core, it's a road movie with a destination that is somewhat definite yet is uncertain whether it's reachable. The plot surrounds a man who once was a political being, yet along the process of losing his son, he has transformed himself into a cynical worker bee with only memories to remind him that he was once human. We are invited into his development back into humanity, a rebirth if you will, catalyzed by the opportunity to assist the first woman to become pregnant in a world that has been impotent for 17 years. Along the way he realizes what he values most and what really matters.

Cuarón is relentless in describing this hopeless future. It is painted as a grey disarray of burning livestock and human carcasses in a background of decease and gloom – it seems as if it were plagued with ash and the sense of defeat which absolutely transcends the screen. At one point, there seems to be this undeniable comparability between “Children of Men” and “Le Temps du Loup” and it’s actually as if it were the same grim future in the same universe. The only difference is that Cuarón steps it up a notch with the obliteration of children – the one thing that Haneke may have described as the reason for pressing on. The atmosphere left me rekindling my love-hate relationship with Haneke. It had again reminded me that no matter how possibly grotesque, cynical and unbelievable it is that I am seeing onscreen, that it is still possible that society would diminish into something more feral. This is a movie of layers: depicting surreal moments that inspire itself from the dailies from CNN and the BBC and historical context of the holocaust – a grim reminder that it can happen again.

The film is playful with the idea of innocence and childhood, an aspect not hard to recognize. In one scene, it is unraveled that from the time the world realized its impotence, the foundations of society have eventually rusted and collapsed. With that, I suddenly thought, even if at the moment, there seems to be no sign of a parallel between reality and fiction, there seems to be this similarity between the affect of mainstream consciousness towards childhood. A couple of weeks back at a party; I met a preschool teacher who was telling stories about her five year old students. She was very descriptive in informing us on how her kids watch too much MTV to the extent that on a school dance, the children would be gyrating – literally – like the Pussycat Dolls and Justin Timberlake to their respective Top 10 hits. In this context, maybe we already are impotent. It’s just that we are unable to acknowledge that we are. Childhood nowadays is slowly being corrupted by a more modern consciousness that we are somehow nonchalant about it already. The question is: do we really have to?

This time, Cuarón evades the ambiguous. To contrast with the amazingly ended “Y Tu Mamá También”, he offers us with a sense of closure which somehow drives me to skepticism. I have not read the book it was based on nor know anything about the development process but I have to say that the end seemed so unnatural. In a film that dares to be different, the ending drives itself right back into a box of clichés and it’s kind of unusual for this auteur. I would have expected him to have indulged us more into something more poignant and cynical. As with the first thirty minutes of this movie, I found it somewhat weak, confused and tethers between the lines of the uncanny. Nevertheless, even if it was book-ended by something much worse, the middle chapters are still worth indulging into.

I am currently kicking myself at the moment for hyping “Children of Men” way too much. I have always been a fan of Cuarón and I totally believe in his ability to mend stories that allow us to think and validate our existence. Heck, he even made me like Harry Potter. The only thing is that I kind of feel under whelmed by “Children of Men”. What we have here is this amazing piece of cinema that, at the end of the day, acts as a eulogy to the present even if it's predicting the future. Yet, it didn’t drive me as much as “Y Tu Mamá También”.

And I think I found the solution to this problem. I have to get over it.

Bergman: Fanny och Alexander

2006-11-22T11:31:00.000+13:00

Film: Fanny och Alexander, "Fanny and Alexander"
Directed by: Ingmar Bergman
Starring: Ewa Fröling, Bertil Guve, Pernilla Allwin

After watching “Fanny and Alexander”, I had this sudden realization on why older films are the complete antithesis to newer transient films. Older films demand your attention, they offer layers, they are rich in textures and they blur the lines between reality and fantasy that you are literally transported to a world that is dissimilar. Bergman is a master at that: he is able to make a different universe yet he reminds you that your own is not so different.

“Fanny and Alexander” is a self-confessed autobiographical take on his life growing up in an upper middle class family in Sweden. A movie that does not allow it to be restricted by what is expected, it tells the story of a sister and a brother, Fanny and Alexander, as they grow up surrounded by contrasting personalities and upbringing yet similar in dilemmas of existentialism and the forced realization of the finality of death. Or is it?

Jotting down events in this film is somewhat futile. Even if the movie only spans several months, which are spread out through several years, they encapsulate definitive themes on life and the idiosyncratic moments that surround them. As a fan of Bergman, I might just mention some things that truly validated my affinity towards his almost masochistic style of confirming that there is such thing as la dolce vita... no matter how it sometimes feel distant.

This movie is the first one that I have seen Bergman indulge in colour and I have to say that I much preferred him with black and white. Then again, I have always had this love and hate relationship towards colorless films – they convey a degree of stoic yet they portray reality in supernatural magnificence. In short: they freak me out. Who could forget that surreal and ominous nightmare scene in “Wild Strawberries”? Nor the silhouette of Death chained with Antonius Block among others in “The Seventh Seal” against the setting sun? I do not and will not. Even Bergman has my back on this: he was glued to the black and white medium even after the renaissance of colour, only pandering in it a couple of features later. Nevertheless, this movie can only be described as lush. And indulge he does.

Another aspect that stands out in this movie are the scenes that feature absolutely nothing yet is vital in the story telling. The cinematography in this movie is exceptional. It helps unravel the movie as if it were a play and it tells the story by itself, filling in the holes as we go through this labyrinthine society. Just by the cinematography, we can instantly identify Bergman’s universal themes of juxtaposed existence proving that sometimes even words can be superfluous. Sven Nykvist, Bergman’s almost personal cinematographer, goes through immeasurable lengths in translating a life from the garish to the banal... that Oscar is well deserved, indeed.

I could still remember the time when I indulged myself in Bergman. I spoiled myself in his relentless rant against the hypocrisy of religion, the importance of existentialism and the indifferent God. “Fanny and Alexander” encapsulates Bergman’s best moments as if it were the exclamation point to a sentence no amount of words could give justice to. This was in fact his grand version on translating life. This was, technically, in fact the last movie that he ever made. With his degree of thinking, I suddenly wonder: do words or even images give him justice? If his movies were already this malevolent, exciting and validating; I just couldn’t comprehend how much more are the concepts and ideas in his head that could not be translated into celluloid.

This movie is something that has to be seen to be believed. Yet, I do not recommend this to anyone... not just anyone. “Fanny and Alexander” is not just a movie but is a three hour experience. This movie is atmospheric and effective that it is effortless in allowing you to literally be in someone else’s shoes and allow you to immerse yourself in someone else’s existence: Bergman’s existence. I have to admit that I had a really hard time watching this movie. It embraced me with a passion that cannot be normally described as passion. But if you, too, do decide to accept that embrace, you will never be who you once were.

Words are failing me. The glass is getting thicker.

Concert: John Mayer

2006-11-06T11:25:00.000+13:00

Who: John Mayer
When: November 5, 2006
Where: St. James Theater, Auckland, New Zealand

My ears are still ringing. I think I’m getting old for rock concerts.

Last night, a friend and I went to John Mayer’s concert here in Auckland and it was a very, very good night indeed. I wouldn’t say that this was the first time I saw Mayer live because a few years ago, after the release of his “Heavier Things” album, we saw him at the North Shore Events Center. Compared to that performance, there is a definite contrast between his style and writing: it has become a bit more morbid. His latest album, “Continuum” laments about the war, inability to do things and the inability to get over things, really. Notably, through the course of his musical career, it has spiraled down to more organic beats accompanied by sad lyrics. Heck, even in upbeat tunes there is always something to bewail about in “Continuum”.

The concert last night was at the St. James. I really like that place because it has this theater-y ambiance yet it has the rundown charm of an old warehouse. The concert kicked off with a jazz trio who, I think, are called the Aggravators but I really couldn’t recall. What I could recall were the lead guy’s half-assed knock-knock jokes. Really. Ah well, it’s all in good fun.

As much as I try to prevent myself from listing, there are three things I will never forget about this concert:

One, the lady who was standing beside my friend was really having a good time – having so much of a good time that I was actually anticipating her to elbow my friend on the face. It was an interesting sight: she was like a hippie under a religious catharsis.

Two, there were two blokes who were standing in front of us… at a John Mayer concert. That was pretty weird, we thought. We assumed they were gay because on our far left; there were these two ladies who were *very friendly* with each other so, really, what would make them an exception? A few minutes later, we find them chatting with a girl and I was personally waiting for them to shut her down (we had to wait 30 minutes between the performances so one had to do things to pass the time). Then, when the concert started and three songs in, we discover that the gay thing was wrong conjecture: one of the guys was eating that girl’s face. It was an interesting sight, really – all the uncomfortable faces in a small radius, pretending to be nonchalant of the couple. After about thirty minutes, that was when it started to become really casual for everyone (it took that long). The couple ate each other’s faces throughout the concert, which was about an hour and then some: 30 hours shy of the world’s longest kiss. Good on them for trying, though. In retrospect, the same thing happened on that other John Mayer concert I went to. But let's not talk about that now.

Three, it is a given that in concerts, the musicians must throw equipment to the audience as a souvenir. The drummer was fairly creative: he bounced his stick on one of his drums, throwing the stick on a fairly high projectile. I saw how he did that as I looked to the right only to discover that the other piece of the pair was heading to the left: my immediate direction. The stick hit me on my collarbone, bouncing off to a girl a step away. My shoulder is still fairly sore, actually... then again, I might just be overrating to the experience.

Mayer is actually chattier this time, interacting with his audience through informal conversation like highlighting the difference between an archaic medley and a more contemporary ‘megamix’. He has definitely become more relaxed with what he does.

That’s about it. There is nothing more to say. I could hardly hear myself, still. It's like I'm acclimating myself up a stage away from the sea level. Oh, it is a bit curious that he didn’t play “Your Body Is A Wonderland”. I’m still ambivalent whether to celebrate that or not.

Tornatore: Malena

2006-10-13T21:56:00.002+13:00

Film: Malena
Directed by: Giuseppe Tornatore
Starring: Monica Belluci, Giuseppe Solfaro

“Malena” is considered by some as Tornatore’s redemption from cinematic obscurity. After the amazing and award winning “Cinema Paradiso”, he succumbed into about more than half a dozen films that seem to descend into the nether-world of foreign B-movies. With “Malena” he aims to prove that he can still pull it off, only that this time, it produced unfocused and confusing results.

This movie basically follows a simple formula of coming of age. We meet the eager Renato Amoroso in his prepubescent days and how the allure of Malena jump started his bottled feelings of desire, sexual curiosity and, dare I say it, love. Through him, we see Malena’s struggle to survive in a society that betrays her, gossips about her and pretty much destroys her inside because of her external beauty that seem to shimmer in a relatively bland and opaque obscure little Italian town.

Set under the rise and fall of Mussolini, the development of Renato through Malena parallels the rise and fall of the Third Reich and the eventual success of the Allies. In my opinion, this idea has stifled the success of this movie. This made it rather unnatural and forced and if I really try to argue this idea, I really wouldn’t have enough good enough reasons to support it.

Roughly, Malena symbolizes the non-conformists or “the others” and on how they are looked upon as dissimilar and how they can easily create imbalance in a relatively “balanced” society that dejects the different. This then poses the question: What is balance? What is normal? Even I am unconvinced of that question. Well, there is such a question… but I think believing that “Malena” ask such would be milking it. This movie tries to be obscure to what it wants to be that the movie itself is suffering an identity crisis.

Pseudo-psychoanalysis aside, this movie is great fun to watch. It creates caricatures that become reminiscent of Fellini films. It also creates genuine comedy that even if they were delivered by caricatures in a drawing book, it is still funny. The key to the “funny” in this movie is that Tornatore is able to create characters that we can empathize with even if they make decisions or are forced into decisions that the viewer would no doubt be distant to like perhaps the time when the father of Renato actually personally delivers him to the Red Light District and shall we say, it’s not because they sell good quality cigarettes.

This movie greatly depends upon the character Malena – her sadness and her desperation. I could honestly not imagine anyone else playing her but the alluring Monica Belluci. She has the appeal that could definitely be as high ranked as Helen of Troy and the actual guts to be involved in a movie like this that literally strips her bare – clothes, skin and hair. She is a talented actress who is able to evoke pathos even when she is walking away from the screen.

Given the shortcomings, “Malena” more than makes up for it through its music. Tornatore owes a big deal from Ennio Morricone who is able to orchestrate an amazing piece of music that could make walking down the hill nostalgic and lingering. As I listened to his score, all I could do was allow myself to be washed by its innocence and my heart to implode and sink. As with Monica Belluci, without the music, this movie would be nothing more than a simple Italian film that wants.

I’ve seen this movie several times now and I am still baffled by the question to whether Renato really loved Malena. At first, I thought it was just a crush. Then, I decided he was really in love with her. But then, in retrospect, I don’t really think he loved her. I think Malena has become his male figure that he looked up to. Malena, as feminine as she was, was able to portray courage, confidence and survival virtues in a society that totally ruined her – qualities that not even his father could exude without comedic slapping. This, I think, is what makes this movie special. And as we see her walking away from Renato and Renato walking away from her, all we can do is sigh because it is that very moment that Renato has finally become what he wanted to be all along – a man.

If not that, then all Tornatore wants us to learn from this film is that pretty people suffer, too. Right.

Haneke: Le Temps du Loup

2006-10-03T18:26:00.000+13:00

Film: Le Temps du Loup, "Time of the Wolf"
Directed by: Michael Haneke
Starring: Isabelle Huppert, Beatrice Dalle, Patrice Chereau

This film has got to be one of the hardest films that I ever had to watch.

Going into a Haneke film, one must know that: (a) you should be willing to spot the little details which, and will be, essential to the plot (if there is one), (b) be prepared to be ambiguously played around with and (c) see a movie that only people who over read things can really appreciate.

I have seen “The Piano Teacher” and “Cache” before (In fact, I might re-watch them again so that I can blog about it) and I thought I knew what I will be expecting. Billed as a Science Fiction apocalyptic tale of survival, it totally killed my perception about this movie. I came in expecting that, but I came out getting something totally different – making me feel rather disappointed and now, rather engulfed by the imagery and blatant cynicism I have been force fed with. This movie is way too disturbing, it hurts.

There are two ways to actually watch this film: one, as an ambiguous story of human desperation of survival and the other as an ambiguous drama about terror and how it must and will come full circle.

Set in an unnamed European city in the future (or maybe the past, or the present – I told you, it’s ambiguous), we are introduced to a somewhat normal nuclear family who’s lives will forever change. They arrive at their weekend home only to discover that it has been occupied by strangers, who will stop at nothing to acquire their food, their supplies and everything that keeps this particular family fairly sane (I, too, am being ambiguous). Nevertheless, from that point, all we know is that something particularly important had happened… important enough to destroy the social structures which molded the once civil and rational modern Europe. As we go through the movie, we are presented with how in a snap of a finger, apathy could destroy lives and how isolation, even in crowded rooms, can promote the idea of dread and no sense of security.

The silence is in this movie is deafening, the images in this movie is blinding. The sense of dread delivered by a dot of amber in a screen of black is really fucked up freaky.

In this movie, Haneke presents humans in their raw form: in a form wherein everything is stripped bare – justice, chastity, compassion and hope – and where nothing matters but the feeble anticipation that a train will actually save the expectants from what defies the phrase “middle of nowhere” (Channeling “Waiting for Godot”).

This movie made me really freak out. It’s not the kind that I got away from neither “Audition”, nor other films from the similar genre... it’s just that the ideas linger. Questions such as, “what would I actually do if something like this really happens?” or “can people really be as unsympathetic as this?” really bothers me and I’m quite sure will bother me until the next Haneke film I will see.

Onto more sinister themes (yes, I just said that), we, the willing people who watch these sort of films, are offered the ideas of innocence stripped bare and the eventual reconciliation of fear: the scary idea that fear can only be cured by facing fear. Yeah, that sounds rather cliché. In fact, so cliché that I think I’ve heard that for the nth time from “Fear Factor”. The difference between this and that reality show garbage is that “Time of the Wolf” accentuates what can be considered and what will be reality and not a synthetic mock-up of blended Madagascar hissing cockroaches.

For your information, the manufacturers actually thought that this movie might be too esoteric to the extent that the DVD actually came with a manual to help unravel the cryptic messages that this film had to offer. As I’ve said before, I’ve seen “Cache” and I absolutely loved it. I loved how he played with me and my motives for watching movies like this. Haneke knows where his power lies: in miniscule quantities of information and he willingly plays with us like that. In the case of “Time of the Wolf”, I am unwilling to comprehend this limited about of knowledge. I am unwilling to accept that this chaos… this disorder can be somewhat made sense of.

This movie is just so damn hard to accept. The motives, the characters, the situations in this movie is just so damn hard to accept. I was reading the manual and it said that this is Haneke’s most personal film yet, documenting what he says is reality, on how people would transcend instantly into wolves in the face of a disaster that questions the survival of kin and self. It also suggests that this movie has been portrayed somewhat realistically… so downright too real, that people really had a hard time accepting it.

And suddenly, I can see the light.

Additional Thoughts:

After further nonchalant and unintentional cross sectioning, I have uncovered another layer to this film. In this, Haneke explores existentialism, only that it took me about several weeks to actually unravel it.

I got this theme from the final shot: Haneke, from the other films that he’s made that I’ve seen, has always had an anti-cliffhanger in a sense that it’s a banal moment yet it packs something that one should always take note of and reconsider. In “Time of the Wolf”, Haneke’s parting shot involves our perspective in a train looking out the rolling hills across the mentioned un-named European country. We have to remember that this train is what the people, in that stranded refugee camp, are waiting for. This pretty much symbolizes that they are not crazy and/or hopeless (depending on how one interprets it)... because there is *such* a train. What we do not know however is that whether the protagonists are in it, or that the train is on its way, or that the train is on another direction. He simply teases us that it does exist.

With that, we are allowed into Haneke’s perspective about an omnipotent being. From this, Haneke may come off as someone who actually does acknowledge the existence of a God. And in this context, he may also promote the morbid idea that God is not listening or indifferent. He highlights that God is permitting such suffering towards his subjects to allow them to face fear by themselves. Other good examples of this exercise of omnipotence are within the countless shots of the barn and of our protagonists at a startling distance – highlighting detachment to the subjects.

With that, we can interpret this detachment in two ways: (1) God is indifferent. Period. (2) Or that God is smart enough to disassemble the training wheels off our bicycles. You choose... there is such thing as free will. But then again, "Amelie" does not think so.

This movie really is ambiguous – a total juxtaposition to mainstream films with an alpha and an omega. And darn it, it really worked for me.