“Directors Factory Philippines,” an omnibus film project initiated by the Cannes Directors’ Fortnight, has completed production in the historic city of Dapitan.
Operating since 2013, when it kicked off in Taiwan, the Directors’ Factory works with a new partner country each year to mentor eight budding filmmakers who are preparing ambitious first or second feature projects that they will make in pairs. The Philippines was selected in November.
The four resulting co-written and co-directed short films will be screened as part of the Directors’ Fortnight (aka Quinzaine des Cineastes) in May.
Dapitan, a city in The Philippines’ Zamboanga Peninsula, known for its many shrines and as the place of exile of Philippines’ national hero, Jose Rizal. These days it is a hub for domestic and international tourism.
Eve Baswel (Philippines) and Gogularaajan Rajendran (Malaysia) directed the short film “Walay Balay”, the portrait of a mother and daughter, evacuated during wartime to...
Operating since 2013, when it kicked off in Taiwan, the Directors’ Factory works with a new partner country each year to mentor eight budding filmmakers who are preparing ambitious first or second feature projects that they will make in pairs. The Philippines was selected in November.
The four resulting co-written and co-directed short films will be screened as part of the Directors’ Fortnight (aka Quinzaine des Cineastes) in May.
Dapitan, a city in The Philippines’ Zamboanga Peninsula, known for its many shrines and as the place of exile of Philippines’ national hero, Jose Rizal. These days it is a hub for domestic and international tourism.
Eve Baswel (Philippines) and Gogularaajan Rajendran (Malaysia) directed the short film “Walay Balay”, the portrait of a mother and daughter, evacuated during wartime to...
- 3/27/2024
- by Patrick Frater
- Variety Film + TV
Cannes’ Directors Fortnight section has joined forces with The Philippines for the latest edition of its Directors Factory professional training program.
Operating since 2013, when it kicked off in Taiwan, the Directors’ Factory works with a new partner country each year to mentor eight budding filmmakers who are preparing ambitious first or second feature projects that they will make in pairs.
The four resulting co-written and co-directed short films will be screened as part of the Directors’ Fortnight (aka Quinzaine des Cineastes) in May.
Four pairs were selected in Manila in October: Eve Baswel (Philippines) and Gogularaajan Rajendran (Malaysia); Maria Estela Paiso (Philippines) and Ashok Vish (India); Arvin Belarmino (Philippines) and Lomorpich Rithy (aka YoKi) (Cambodia); Don Josephus Raphael Eblahan (Philippines) and Tan Siyou (Singapore).
They have now begun writing their screenplays and are expected to shoot their films March in Dapitan, a city in The Philippines’ Zamboanga Peninsula, known for...
Operating since 2013, when it kicked off in Taiwan, the Directors’ Factory works with a new partner country each year to mentor eight budding filmmakers who are preparing ambitious first or second feature projects that they will make in pairs.
The four resulting co-written and co-directed short films will be screened as part of the Directors’ Fortnight (aka Quinzaine des Cineastes) in May.
Four pairs were selected in Manila in October: Eve Baswel (Philippines) and Gogularaajan Rajendran (Malaysia); Maria Estela Paiso (Philippines) and Ashok Vish (India); Arvin Belarmino (Philippines) and Lomorpich Rithy (aka YoKi) (Cambodia); Don Josephus Raphael Eblahan (Philippines) and Tan Siyou (Singapore).
They have now begun writing their screenplays and are expected to shoot their films March in Dapitan, a city in The Philippines’ Zamboanga Peninsula, known for...
- 11/22/2023
- by Patrick Frater
- Variety Film + TV
That three out of the Top 13 best Filipino Films listed by Asian Movie Pulse from the period of 70s to 80s were directed by Marilou Diaz-Abaya already speaks volumes of her singularity as a filmmaker. Discomfiting, dissenting, disturbing are just some of the characteristics that could describe her body of work, but they could also just be characterized by this statement: death to the patriarchy.
This, and shame to women's own internalized misogyny. Abaya was inexorably critical of enablers even before this word became ubiquitous in contemporary online spaces, exposing the chain of relations and connections which destroy, downplay and dilute a woman's identity. Concomitant to this is her questioning of false dichotomies and relentless encouragement to go beyond convenient labels, an audacious and necessary pursuit which she did in films that pushed the Filipino to question dominant and trite narratives about his own history.
Below are just some the...
This, and shame to women's own internalized misogyny. Abaya was inexorably critical of enablers even before this word became ubiquitous in contemporary online spaces, exposing the chain of relations and connections which destroy, downplay and dilute a woman's identity. Concomitant to this is her questioning of false dichotomies and relentless encouragement to go beyond convenient labels, an audacious and necessary pursuit which she did in films that pushed the Filipino to question dominant and trite narratives about his own history.
Below are just some the...
- 5/18/2023
- by Purple Romero
- AsianMoviePulse
Under the aegis of the dictatorial regime in the 1970s, the Ministry of Human Settlements introduced a shelter program that would fulfill basic housing needs. The housing project called the Bagong Lipunan (New Society) Improvement of Sites and Services (Bliss) was envisioned as a self-sustaining program that would help foster the development of its residents while serving as a model urban community. Former First Lady Imelda Marcos, who led the ministry in 1979, planned for the settlement to house 50 to 100 families in a two-and-a-half hectare area (Lico 2008). Despite the instability of the times, its offerings were promising for both low and middle-income families alike. The residents were to receive subsidies, livelihood opportunities and services, and the formation of a close-knit community was facilitated by inviting members to participate in group activities promoted by duly registered community associations. The physical dwellings were standard building types comprised of several floors, each building consisting of 16 to 32 units,...
- 12/7/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Khavn’s statement about the film: In 2005, the organizers of the La Palma International Digital Film Festival posted a challenge to the filmmakers in attendance: create a short film within the span of the festival. I finished twelve. The following year, I decided to challenge myself further: I tried to make a full-length film within the week of the festival. This is the result.
Khavn directs another experimental film, which functions as both a tribute to Philippine National Hero Jose Rizal through the poem he wrote before his execution in 1896 titled “Mi Ultimo Adios”, and a kind of a tour guide to Las Palmas. In that fashion, the narrative follows a path that includes black-and white shots from various locations of the island, frequently featuring dancing sequences, which are interrupted by black screens with lyrics from Rizal’s poem, in a style similar to that of silent movies. There is no dialogue,...
Khavn directs another experimental film, which functions as both a tribute to Philippine National Hero Jose Rizal through the poem he wrote before his execution in 1896 titled “Mi Ultimo Adios”, and a kind of a tour guide to Las Palmas. In that fashion, the narrative follows a path that includes black-and white shots from various locations of the island, frequently featuring dancing sequences, which are interrupted by black screens with lyrics from Rizal’s poem, in a style similar to that of silent movies. There is no dialogue,...
- 10/4/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Close-Up is a column that spotlights films now playing on Mubi. Lav Diaz's Elegy to the Visitor from the Revolution (2011) is playing January 12 - February 10, 2017. Lav Diaz’s Elegy to the Visitor from the Revolution is a unique example of how texts inform each other. In the film, elements of the past inform and comprise those of the present, while exposition ultimately informs images of the present. As a viewer, one can reasonably make a case that this was Diaz’s intention given the film’s story and structure: While its premise is relatively simple—a mysterious woman appears in various places in a 20th century city—Diaz tells it primarily with wordless storytelling, mostly images and extended takes. While the viewer gathers that the woman is the titular ‘visitor from the revolution,’ implying that she is from the late 1890s (the Philippine Revolution), it is only late...
- 1/15/2017
- MUBI
Conventional limitations on cinematic runtimes, often driven by basic practical and commercial concerns, are at once arbitrary and enduring. Under 90 minutes is short; over 150 minutes is long. Short films lie on one end of the spectrum and Andy Warhol on the other. But even limiting discussion to non-experimental feature films reveals a wide variation in the use of massive duration, discussions of which tend to be obscured by the hyperbole (in both directions) that such films often elicit. (This hyperbolic tendency also extends to trilogies, multi-part films, or even novels and literature in general. Just ask anyone who’s seen Sátántangó or read Infinite Jest.) Nonetheless, such films tend to be fascinating opportunities for exploration, both in their justification for and use of such length. And on the occasion of Mubi’s retrospective of Lav Diaz’s filmography (the body of work that most consistently makes use of duration), three vastly different 2016 films,...
- 11/29/2016
- MUBI
Jhett Tolentino, three-time Tony Award-winning producer and Deputy Chapter Commander of The Order of the Knights of Rizal-n.Y., a nonprofit that upholds the ideologies of the Philippines' National Hero, Jose Rizal, held a fundraiser last Friday, June 24, which simultaneously celebrated Filipino-American FilAm Broadway actress Ali Ewoldt's recent career milestone becoming the first woman of color to play the coveted role of Christine Daae in The Phantom Of The Opera, Broadway's longest-running musical.
- 6/26/2016
- by Oliver Oliveros
- BroadwayWorld.com
Jun Lana started his career in film writing screenplays for directors Marilou Diaz-Abaya and Maryo J. de los Reyes, among others. In the several years where the country was starving for quality films, he penned films like Diaz-Abaya's Sa Pusod ng Dagat (In the Navel of the Sea, 1998), Jose Rizal (1998), and Muro-ami (1999), tasteful alternatives to the crass, titillating films that were being produced by the dozens. Interestingly, Gigil (2006), Lana's directorial debut, capitalized largely on babes clad in bikinis, parading both their bodies and loose morals in the beach. He then dabbled in various other genres, directing disposable horrors like Mag-ingat ka sa... Kulam (2008) and Tarot (2009) and sleazy dramas like Roxxxanne (2007) and My Neighbor's Wife (2011) for various...
- 9/10/2012
- Screen Anarchy
Jun Lana started his career in film writing screenplays for directors Marilou Diaz-Abaya and Maryo J. de los Reyes, among others. In the several years where the country was starving for quality films, he penned films like Diaz-Abaya's Sa Pusod ng Dagat (In the Navel of the Sea, 1998), Jose Rizal (1998), and Muro-ami (1999), tasteful alternatives to the crass titillating films that were being produced by the dozens.Interestingly, Gigil (2006), Lana's directorial debut, capitalized largely on babes clad in bikinis, parading both their bodies and loose morals in the beach. He then dabbled in various other genres, directing disposable horrors like Mag-ingat ka sa... Kulam (2008) and Tarot (2009) and sleazy dramas like Roxxxanne (2007) and My Neighbor's Wife (2011) for various studios...
- 7/30/2012
- Screen Anarchy
Philippine cinema has never been one that is deeply related with literature. Except for adaptations of Jose Rizal's Noli me Tangere and El Filibusterismo, Francisco Baltazar's Florante at Laura, and other revered texts of national importance, adaptations are mostly limited to popular comics and romance novels. Perhaps the reason why there is that gaping separation between cinema and literature in the country is because literature, except for the texts that are used for school and the comics and romance novels that are used for escapism, is unprofitable. Consequently, cinema based on literature is also unprofitable, catering only to the sophisticated and the learned elite and not to the general movie-going populace. Ligo na Ü, Lapit na Me (Star-Crossed Love), based on Eros Atalia's bestselling...
- 10/2/2011
- Screen Anarchy
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