Journey of Eros

When Egyptian-born terrorist suspect Anwar El-Ibrahimi (Omar Metwally) disappears on a flight from South Africa to Washington, D.C., his American wife, Isabella (Reese Witherspoon), travels to Washington to try and learn the reason for his disappearance. Meanwhile, at a secret detention facility somewhere outside the United States, CIA analyst Douglas Freeman (Jake Gyllenhaal) is forced to question his assignment in an attempt to save thousands as he becomes a party to the torture of El-Ibrahimi.

The film’s theme reminds me of "Babel" and two upcoming movies with the same theme "A Mighty Heart "(Angelina Jolie) and "The Kingdom" all of which speak about terrorism in different forms and tackle it in different perspectives. This led me to think if the need for public awareness about world terrorism is essential. Which further led me to think about the ways how popular culture work. At the top, producers generate "ideas" which they believe will be of public interest which, if reception is great, would mean money.

However, the number of moviegoers inside the theater I went to proved the film’s not a runaway hit. Well, this is quite understandable since Filipinos are not really interested in drama especially if it’s Hollywood.

Roger Ebert, a notable film critic, gave the film four stars out of four, saying that, "Rendition is valuable and rare. It is a movie about the theory and practice of two things: torture and personal responsibility. And it is wise about what is right, and what is wrong."

It’s valuable, but it’s not really rare. The film’s strongest point is it’s subject: rendition. Next would be how the complications (characters’ dilemma) build up. They swirl upward until they reach the boiling point. The characters face the hardest decision, and you as a viewer struggle in your seat too if what they’ve done is right or wrong. You’d say "Oh, please don’t do that." "Idiot, why did you do that?"

The torture scenes lack terrifying elements. You can hardly feel the victim’s pain. You wouldn’t care too if he’s telling the truth.

Gyllenhaal plays a heroic character - his is the most admirable. He does what he thinks is right. One scene I liked the most is the one which Gyllenhaal hangs up when his supervisor (he works for the CIA) asks him where the suspect is - at that point, embarking on a trip back to the US - whom he has just saved. Grave consequences await, but he’s determined to save the one whom they accuse.

I almost shed a tear when Anwar El-Ibrahimi arrives at their home, his son recognizes him. It must be hard to live life again after the terror he’s gone into.

A friend of mine thinks Witherspoon and Meryll Streep’s presence are not essential in the movie. He pointed out it’s because they’re shadowed by the main protoganist who is played by a not-so-popular actor. I argued by telling him, that why I liked it more. Popular stars on the side of the circle!

There are still a lot of things I want to discuss in this movie but I’m afraid this review’s getting longer. And there are things that are better left unsaid.

I still believe "No Reservations" is a good movie eventhough Jessica Zafra wrote a negative review about it in her blog.

There’s something about Star Cinema movie productions which compels people to watch it. I for one look forward to their films, however sappy or sloppy they may be.

"I’ve Fallen For You" is one exception though. I didn’t intend to see it. But when friend Sheng invited me to go watch it the day after her birthday, I didn’t refuse.  Invites from friends whom you don’t see that often are hard to decline. There was another option - to watch "No Reservations" instead but Sheng was the birthday girl and she had complimentary tickets so she was the master.

I liked Kim Chiu in PBB but not in movies. I am not entertained with the way she delivers her lines. Feels like she’s being choked or squeezed. She’s hysterical sometimes too. She needs an extensive acting workshop. Gerald Anderson is equally incompetent as an actor. His expression is flat regardless of the scene.

Plot is typical. Rich boy falls in love with poor girl. Problem arises when they find out that their parents were lovers in high school. That affects their relationship. And as a Pinoy commercial love story, all should end well. You can guess what the ending is.

October 3-7, 2007 at the Shangrila Plaza Mall, Mandaluyong.

Have a chance to win a free trip for two to Australia. Every movie ticket is equivalent to one raffle entry. Which means the more entry you send, the more chances of winning.

October 3-4 at the UP Film Center.  

The first time I saw Shia Lebeouf was in the movie "A Guide to Recognizing Your saints" in which he played as the young Dito Montiel (Robert Downey Jr.). Inding-indie ang acting at hitsura. I wished I could see him again in other films.

And I did. In Transformers and most recently, in Disturbia. I heard he’s in Indiana Jones too.

He seems to be almost everywhere now.

Blame it to his acting prowess. The kid really acts well. Though a friend noticed his acting in Disturbia is almost similar in Transformers. I see the similarities too but I still believe he’s a good actor.

I like it when he acts as if he’s retarted. He’s good at talking to himself.

So far, the following titles have been taken:
-Belle de Jour
-Amarcord
-Secrets and Lies
-My Own Private Idaho
-All About my Mother
-Pulp Fiction
-In the Mood for Love
-Ken Park

-Ghetto
-Irreversible

Keep posted for additional titles. Thanks!

 

Cody, from the latest animated film of Sony Pictures, says "I hate it when the trailers give away the ending" or something like that (Don’t hate me if I got the character wrong). This blogger hates it when he’s about to see the ending and his computer hangs and he can’t find it to work after rebooting.

His immediate recourse is the Internet which provides him the textual detail of the ending. He thinks Wikipedia is a kiss-ass info provider, since he no longer have to use a search engine that will direct him to myriad sites, that often provide inadequate info.

He reads this there: "The movie ends with the two boys slow-dancing in the courtyard of their council flats to the tune of the Cass Elliot classic, Dream a Little Dream of Me, while a guarding Sandra dances defiantly at their side with Leah, as the local residents look on, some of them shocked, some of them enjoying the moment themselves."

The scene may ring a bell to you if you happened to watch "Beautiful Thing," directed by Hettie MacDonald, which tells about the tender love story of Jaime and Ste, two high school students, that began during a hot summer on a South-East London housing estate. Jamie, a relatively unpopular lad who bunks off school to avoid football, lives next door to Ste, a more popular athletic lad but who is frequently beaten up by his father and older brother. Such an episode of violence brings Jamie and Ste together.

Love scenes are minimal and except for the some kissing scenes, the movie could pass as R-13 if shown here in the Philippines.

 

It was Sir JP (whose film Hilo had a world premiere at the recent Cinemalaya Festival) who introduced us to Dogme 95, an avant-garde filmmaking movement started in 1995 by the Danish directors, with the film Festen, which is considered as Dogme number 1. The film class instantly fell in love with the movie even though its suject is not lovable, so to speak. My female classmates thought the main character was cute too, their infatuation was obviously due to the actor’s great acting. As I myself easily get attracted to good performers, I understood their admiration as valid.

The story is rather simple. Respected family patriarch and businessman Helge is celebrating his 60th birthday at their magnificent villa. Gathered together are his loyal wife, Elsa, his daugther Helene, his sons Michael and Christian and other guests. 

Without any warning, Christian makes a speech to the family in which he accuses Helge of sexually abusing him and his late sister, Linda. His family and friends friends initially reject the accusations and try to avoid or ignore the issue. Christian battels with their responses in a way that echoes his own battle to accept the truth that he has smothered for so long. (Synopsis copied from Wikipedia.)

It’s the style and the concept behind the production that caused admiration to all of us. That admiration was extended to the person who introduced such film to us. As my former professor put it, mukhang nasilaw kami sa liwanag. Sir JP also took us to the world of less known artists, John Casevetes and Mike Leigh, whose works serve as his inspiration. Half way during that semester, he gleamed upon learning that we took extra time to watch the film he recommended "Babae sa Breakwater" which he adores.

Festen is one of the best examples of naturalist films where everything is depicted real within the realms of here and now. As I couldn’t find it in Carriedo, I was hoping that Sir JP would let me borrow his copy. Badly need it for my report in Naturalism. Hopes all gone after I texted him, I think I can persuade the class to believe that Dancer in the Dark is an example of Dogme 95, though it isn’t since the director of that film confessed he broke the law of the movement by using articial music and studio.

I just hope nobody reacts.

 

Forrest Gump is right to say that life is like a box of chocolate, you’ll never know what you’re gonna get. I found my favorite chocolates yesterday in Carriedo.

Secrets and Lies by Mike Leigh / Dancer in the Dark by Lar Von Tier / Pepi, Lucy and Bom by Pedro Almodovar / Irreversible by Gaspar Noe/ Salo by Piere Paolo Pasolini / Don’t Tell by Cristina Comencini / Belle de Jour by Luis Buñuel

The DVD store attendant was kind enough to let me know that they have a new set of classic films scattered on the floors, still in bundles. Hmm, I now realize that they refer art and foreign language films as classic. I grabbed those that my money could afford. A guy was browsing too and kept on asking me if I have seen this and that, giving suggestions and movie plots - reminds me of spoilers. 

I’d certainly be back next week. If I’d be lucky again, I could find another rare collection. Envious was I when a friend told me she had found a DVD copy of Almodovar’s film collection in Carriedo. Though she was willing to share it with me, I still wanted to have my own copy. Unfortunately, my search seems to have been futile. Hmm, maybe she was just pulling my leg since I’m an Almodovar fan.

I miss her, Jacqui, she who gave me a VCD copy of Y Tu Mama Tambien on my 20th birthday.   

My plans last Saturday, July 28, were predictable - get up early to catch the first film in Cinemalaya, invite friends to come over and watch the last day of the festival, spend the rest of the day in CCP and try to watch all the films in competition. Unfortunately, I missed two in the full-length category: Tribu and Endo. I’d have to catch Tribu’s rerun at the UP Film Center. I just wish it doesn’t conflict with my work sched.

A friend of mine was able to watch it  - she says it’s very dark and the director’s speech before the screening seemed to question the CCP ushers’ discrimatory behavior toward them. She adds she was bothered by the sporadic giggles and cheers from the audience. Later, she realized it was the group of actors of the film. Interesting.

It’s also interesting to watch this year’s ads - new breed of directors, cinematographers and writers in children’s form. Artistic.

Artistic. Word that will best describe "Still Life." I overheard someone from the audience that it’s like the Korean version of the overrated movie "The Lakehouse." The protagonist’s perspective being rendered in a painting form is very refreshing, a unique idea that’s never been used in other films. Ron Capinding deserves a citation in the best-performance-by-an-actor award. Memorable line: "Walang masayang art."

The lead actor in "Ligaw Liham" could have won the best actor award if not for the gross moment where he’s seen crying, sticky fluid cascading from his nose. I liked and dreaded the possibility of letters being held hostage by a corrupt public official. A friend of mine thinks the film is a miscast - Karylle is too pop, she ruined the film (this is not my idea). Seeing Peque Gallaga’s name in most of the credits made me think he’s the director. Memorable line: "Nakakaadik."  

"Gulong" ‘cycles’ in a common idea: the nobility of children. It’s like watching "Magnifico", minus the tears. A feel-good movie which you’ll easily forget afterwards. Memorable line: I couldn’t think of any. Memorable scene: when the child catches rats.

Pisay - an intelligent film. Audience choice. I’m sure after a month or two, this will be run-away hit in theaters. And my friend is a hundred percent sure, there’ll be no Aureus in the next Cinemalaya. Memorable line: "Baskayon na naman."

Most think that Tukso is a modern-day version of Rashomon. I quite agree. Different versions of truth from several characters is a reminiscent rendition of the Japanese tale. I’d like to know the reaction of feminists in this film. As someone from the audience aptly puts it, "Everyone’s life became better after the girl’s death. Where’s the justice?" By the way, Mr. Marasigan was my professor in Production Design in UP Manila.

Among the movie posters, "Sinungaling na Buwan" is my favorite. Reminds me of foreign language films I browse in Carriedo. Poster pa lang malupit na. It would have been my most favorite too if not for the weak confrontation scene toward the ending. It’s too sudden and the viewer is lost as to what is happening. Kalila Aguilus, due to her superb acting, was my bet for the best actress award. If fans of JR Valentin expects some flesh here, they’d not be at all disappointed. 

I’m not sure if I was the only soul in the Nicanor Abelardo theater who felt bored with the looooong opening scene in "Kadin", you’d wonder if it will ever end. Good thing it’s consistent for the most part - the trouble is it wastes time. Again, my friend reckons it shows how life goes in Batanes: slow.

If a friend reads this, she’d think it’s her blog. By the way, you can read her own review here

The next Cinemalaya is definitely something to be looked forward to.