Category Archive for: kalalakihan

komentaryo

the fight for the RH Bill: the failure of those who party

you know I am all for the Reproductive Health Bill, ready to fight for its passing into law, no matter how gruesome that end looks: from being called names to losing the respect of relatives/friends/students who are more conservative than me, who believe in this Church more than I ever will.

to me, the fight for the RH Bill is the most logical one for any Filipino woman. it’s the most matter-of-fact law that’s painfully long in coming that we should want for ourselves, regardless of our religious inclinations. (and maybe after we can talk about divorce.)

to me, the fight for the RH Bill has always been about fighting for it to the last syllable I can speak and last letter I can type out, calling a spade a spade, the Pinoy Church what it actually is. to me, it needs to be said that the Pinoy Church is different from the bigger Catholic Church, just because it is here in third world Philippines that it has been allowed to be devil: governments have acceded to this Pinoy Church’s wishes to the detriment of its citizens.

here in the land where our notion(s) of being woman are created, the Church is certain and consistent; NOT like the Pope who has come to admit certain realities to be true.

but as much as I will critique the Pinoy Church’s ways of dealing with the RH Bill’s passing, I will know to see when the fight for the RH Bill’s passing is failing, if not just wrong, plain wrong. and so it must be said that this whole discourse of ex-communication is the worst thing to have come out of this fight for the RH Bill. the worst.

I admire Carlos Celdran, who has more balls than many of us combined, and who will also call that spade, a spade, AND a hoe for good measure because he can. but really? after his Damaso performance at the Manila Cathedral, we SHOULD NOT have: 1. ridden on the Damaso bandwagon, because in fact it is old and untrue at this point, and 2. latched on to the question of ex-communication, and thinking it a valid guidepost to this fight for the RH Bill. I’ve said this once, and I’ll say it again: when Carlos did his Damaso performance, it was powerful and sparked debate about the RH Bill.

when the Pinoy Church mentioned the possibility of ex-communication, it was laughable at most. what does it say about the RH Bill advocates now that they’ve used ex-communication as part of their campaign tagline, even wanting to party in its name? yes, they are going to party. they’re selling tickets for it, too.

I always thought that the end of debates about reproductive health has to be discussions not so much on choice, but on conception and when it happens. at what point is something preventing pregnancy? at what point is something an abortifacient? I always thought that this process of fighting for the RH Bill wasn’t so much about debating with the Pinoy Church but about discussing reproductive health so intelligently and truthfully that at the very least it would mean more women having a better sense of their choices, and learning that they have this right to their bodies. I always thought the RH Bill was about our rights as women to health services that are exactly for us, and this the debates on birth control and family planning needed to point out.

I always thought the point here was to convince more and more women of whatever religion to see that the RH Bill is her right, and that it will not be a judgment on her that she chooses to exercise this right. I thought that in the process of discussing the RH Bill, with as much intelligence and compassion as we can, that we would also be able to address the crisis that befalls the Pinoy Catholic, in the face of her faith vis a vis her notion of her rights.

because every woman has a personal stake in the RH Bill. and it requires an amount of truthfulness and honesty to face it and come clean on our own misconceptions and missteps given the lack of it in our lives, given the lack of respect for our rights as women. I thought this would be the point: to talk about our own individual feelings, memories, notions of our bodies vis a vis our religiosity and conservatism, and see that every bit of us is there, is here, in this debate about our right to our reproductive health. mine is here, my personal stake, is here.

I always thought the point of the RH Bill was to teach women to speak up about their needs as women, as women who live and use their bodies every day. I thought it would mean a lot of truthfulness about our bodies and the religion(s) and belief(s) we hold dear, and how this means a crisis on the level of the female individual. I always thought that intelligent discussions with regards the RH Bill would mean truly talking about our lives as women in third world Philippines living with the Pinoy Church, in the hope of letting other women see that it’s possible to live the contradictions, because this is our right to life, to our bodies, to our choices.

I thought that the point was to NOT stoop down to the level of the Pinoy Church, at the very least, not be faced with them Katoliko-sarados and not know what to say — NOT KNOW WHAT TO SAY!– in the face of being called names.

sadly, the fight for the RH Bill has been sidetracked — perfectly, mind you — by the Church. the fight for the RH Bill has become about ladies who want to party and celebrate ex-communication, come on do it to us! they scream, as if this is the point at all. they fail to see that they latched on to something that’s beside the point, something that the Pinoy Church has articulated, something that was a funny threat at most, an irrelevant one in truth.

because if you didn’t care for the Pinoy Church, if you aren’t a practicing Catholic, and therefore you don’t mind being ex-communicated, shouldn’t that give you more teeth to sink into this topic? if you don’t mind being ex-communicated, then the goal must be to speak out about the things that the Pinoy Church would surely ex-communicate you for: at least speaking out would mean getting more people on your side, deadma na sa ex-communication, wala ka namang paki do’n.

but this whole ex-communication party? goodness. it is a failure on all counts, if not a display of the stark class divide that exists for the women in this country. it will also surely get more Catholics back on the Church’s side, no matter how critical they’ve been of it, no matter that they believe in the RH Bill.

this party is the perfect example of a failure in the fight for the RH Bill. it fails every woman who needs the RH Bill so she may be protected, it fails the poor woman for whom the RH Bill was created — she who DOESN’T WANT to be excommunicated and might not even know the word.

i wish this was a case of the blind leading the blind, but stuartsantiago seems to be right: it’s a lack of critical thinking. what a waste of time and money, energy and media mileage. and in light of the countless women who die every day because there’s no RH Bill, this party is as pointless as the Pinoy Church’s refusal to enter the 21th century.

it can also only be as tragic.

kultura

what needs to be said about Manny Pacquiao

No, my household didn’t spend that Sunday morning and the rest of the day excited about Manny Pacquiao’s fight. Papa was fast asleep and woke up only to leave for work. Mama woke up and asked: “May live ba tayo?” To which my answer was no, as always. Not one of the channels on our cable subscription could deliver a real live telecast of the Pacquiao-Margarito fight. Like the past eight other fights, we depend on over-acting super biased radio announcers on AM and FM radio to get a sense of what’s going on.
This time though my Twitter contacts kept me updated; Mama was looking at a live blow-by-blow on Yahoo; one of Mama’s FB contacts posted a link to some free live streaming of the fight – it was a dead link. The radio announcers were ecstatic and announced that the fight was Manny’s. Our TV was still on delayed telecast, showing an earlier non-Pacquiao fight: we were shaking our heads in disappointment. Manny’s advertisements came on one after the other; we shook our heads at the absurdity.

Even more so when it was tweeted that Mommy Dionisia had fainted, and the source of information was nobody else but Vicki Belo; even more so when the image of Jinkee, Manny’s wife, appeared on TV, in a slinky red dress and sleek straight hair, looking whiter than usual. Maybe just different.

All these inform this different perspective I take in viewing Manny, as I look at his particular celebrity and find that while it’s borne of his being the greatest boxer of our time, it is also extraneous to it at this point given its largeness, its breadth. Athletes like Manny are few and far between for this nation, maybe that’s why we don’t know how to reckon with what his fame has become, all-pervasive in the way that only a pop star’s celebrity is. Yes, even when we can’t watch the darn fight like the rest of the pay-per-view world.

the rest of “Pacquiao in Perspective” is here!

kultura

Layang Bilanggo frees us from the indie!

the discussions and debates on local indie films come from a place of uncertainty and spectatorship: who views these films, and therefore are we making them for those viewers? is the prevalence of sex and poverty and violence in the indie something that’s overly used to feed the first world’s need to validate themselves?  after all to insist on seeing the bowels of third world Philippines and saying bravo bravo! could also mean yehey! they’re still as poor as we’d like to think!

and then there are stories that are about poverty with some violence and some sex, that just get out of the rut that too many indie films are in. Layang Bilanggo directed by Michael Angelo Dagñalan and written by him with Ma-an L. Asuncion, Melchor DF. Escarcha (Kuwentista Productions), is exactly this story, without it being too self-consciously pa-artist or pa-difficult. instead what it is becomes what an indie should be able to do: speak of the times in a way that deems it as important as the past and the future, in situations that might be cliché but which are handled with a new perspective and a different voice.

because on the one hand, it’s clear that we know of the ex-con story, yet we rarely speak of how corruption within the police allows for the probability that the ex-con is freed, kept under the radar, and used as a hitman. because on the one hand, we’ve seen the story of the ex-con father seeking the abandoned child, yet we don’t know of the probability that this child’s life is so affected by the palpable absence that abandonment creates, making a reunion just impossible.

in Layang Bilanggo this basic story has a layer of what is both funny and tragic about age and aging, within the spaces of a provincial home for the aged, where the exchanges between nurses and boarders are always truthfully painful, making fun as they do of the absurd situation(s) that aging creates, that those who think they haven’t aged actually subsist on. it’s difficult now to think of any movie or TV show that has dealt with senior citizenship in the way that Layang Bilanggo successfully did, where the conversations, the moments of distress and anger, the emotional rollercoaster that abandonment and loneliness wreaks, are all so real. if not in our faces, reminding us of our own inabilities and incapabilities, reminding us how much of ourselves is in the ways in which we let our old get old, our senior citizens deal with age by themselves.

having said this, it must be said too: Jaime Fabregas, Pocholo Montes, Pen Medina, outdo themselves in the roles of senior citizenship, where the witty repartee is layered with a whole lot of disgust and distress at the way(s) they’ve aged, and why they’re within the space they’re in, where friendships are tongue in cheek, where the end is dealt with as a matter of fact, and not as something that’s unsaid.

that later on it is the ex-Metrocom officer who helps out the ex-con, that later on, this friendship will be tested in the decision to be captured again, do not run away it is said, becomes one of the more touching moments in the film. soon after, we are faced with an ending we don’t like or want or expect, and yet seems to be the only way a movie like this could end, with redemption only in the way of death, only the way that the person who survives holds a gun to someone’s head, and runs away through the forests that are unfamiliar.

and on concrete lies the man who only wanted to be forgiven, more for the crime that is abandonment versus any other one that the law speaks of. down the street, an old man is reading what’s left of the one who could only be a father until the end. within the gates of the old people’s home, a daughter doesn’t know the truth just yet, and will die a couple of deaths upon finding out who her father is.

and right in front of the movie screen, as the strains from the Johnoy Danao original theme song began, it was difficult to hold back tears. because there is no redemption, there is no happy ending. all that there is, we realize, is a world where abandonment is truth but rarely spoken of, a space where love can only be possible given a blanket of lies, where fathers and daughters are unbound but aren’t free, and the freedom we seek isn’t about walls or limits, but about what we aren’t allowed to become given the past we cannot shake off, given the future that can only be uncertain.

and then we realize that maybe the point isn’t to forget, nor is it to be forgiven. the point is to live now, and know to look peace in the eye, and take it on, even when we have yet to think we deserve it. the universe has its own way of judging us worthy. and letting us free.

***

note number 1: Layang Bilanggo won the Cinema One Originals 2010 best picture and best screenplay, with its director winning best director and lead actor winning best actor. and yes, the redundancy is killing me. Miriam Quiambao deserves some praise for acting that was truthful, she seems to be over her learning curve. Pen Medina as lead actor here isn’t just the best, he outdoes himself too, requiring a whole lot of bad words that only the most admirable would know to be about being overwhelmed.

note number 2: the last day of the the Cinema One Originals 2010 film fest was on a non-working holiday (November 16), and the filled theaters for Third World Happy and Dagim were unexpected for someone like me who’s been watching in half-filled theaters for most of the festival. suffice it to say that i was happy for these indie movies, but sad that i didn’t get to watch both movies.

kultura

impotence in Astro Mayabang

Jason Paul Laxamana was obviously overwhelmed when he welcomed the audience to the gala screening of his movie Astro Mayabang, as was the crowd most of whom were in t-shirts with the movie’s title, Philippine flags (which i couldn’t understand), and banners for Aaron Villaflor who plays the title role. this is the difference between an indie with Ronnie Lazaro and an indie with a young commercial star.

i would wear a t-shirt with Ronnie Lazaro’s name anytime.

maybe Aaron Villafor’s name too, but let me give him a couple more indie films, and a decade more? in the movies. because if there’s anything that saves this movie it’s Aaron’s existence as Astro Mayabang. he is effective as the Kapampangan boy who walks in no direction other than the literal, who lives the days one at a time, who only cares for nation in as superficial a way as wearing his shoes. Aaron here is actually a surprise given his youth, and it was difficult not to feel for him when things fell apart, and think him crazy by the time the story ended.

and yes, i get ahead of the story because other than what happens, there isn’t much to say about this story other than it is brave, yes, in its use of Pampanga as context, the Kapampangan language throughout the movie, a look at contemporary Kapampangan culture. that is what’s brave about this movie. but the storytelling, the narrative, the world that was of Astro Mayabang’s, living in the bowels of Kapampangan society, is farthest from being special.

it’s like a soap opera really. Astro has a drunkard father and catatonic mother, one friend, a tiny room, and too many Pinoy pride paraphernalia. but what he owns figuratively is the park and people’s attention: Astro is called mayabang for a reason. he talks about his sexual experiences with the other park tambays, he fights with a white guy who refuses to give a beggar some coins, dances in the middle of the park by himself, makes and flies a kite like he owns the place. he walks through the streets as if he owns it, scolds the boy at the pirated dvd stall for not having more OPM, is easily irritated and seems to always be in a rush. which is a surprise because Astro Mayabang actually has nothing urgent going on in his life, save for buying Pinoy pride merchandise to celebrate his, uh, Pinoy pride.

but easily the question has to be about money and where he gets it, and in this movie Astro earns it via a relationship with a homosexual man who does nothing but sit in front of his laptop playing games. periodically, a man dressed as a holy week ritual flagellation sacrifice arrives in a mask, no shirt and loose pants, dances for him and gets some viagra. and always, after these instances, Astro holds money in his hands. of course this masked man is Astro, but that was suppose to be a surprise later on in the story, when Astro actually comes not for the money but for the viagra because he’s got a girl Dawn who he met in the park (where else?), and the movie reveals that he’s actually impotent. of course as with the masked dancing boy, this too was suppose to be a surprise. but given the way the story was told here, none of it was.

there was no big reveal here, and that is what made the story impotent. it could not be anything other than a superficial story about a boy who’s mayabang, who has a false sense of nationalism, and a false sense of his value to the world, and whose motivations are unclear, his anger at the Lord unexplained. when Dawn talks to Astro and tells him being Pinoy ain’t about what clothes one wears, and what one says, because what matters is what’s in the heart, this is almost an explanation for the movie’s whole point, and yet.

and yet, it also seemed so pointless here because when Dawn finally articulates these smart words (no matter that they are cliche), it’s barely important in the face of their hormones, the possibilities in an empty house, and Astro’s, uh, extra challenge of impotence. then it just become absurd: Astro travels from one end of the city to another, gets some viagra from gay fag then leaves him waiting, goes back to the other side of the city, forces Dawn to get it on with him because he’s ready, and suddenly a fight scene: Dawn throws him out of the house, he asks for everything he ever gave her, including a tiny bag of butong pakwan. and then Astro’s already non-life falls apart: he wants one of the limited edition jackets at the Pinoy pride store, finds out that the old fag now doesn’t care for him, he gets into a fight with the other boys in the fag’s house, loses the money he had to buy the t-shirt with, all this come to a head and he breaks down, tearing off all the posters of world famous Pinoys from his room’s walls, screaming “Wala ka, Astro!” over and over again, at some point hitting his thighs hard over and over again.

then Pacquiao has a fight, but he isn’t there. he’s in church talking to God saying that he’s unfair because he didn’t create men equal. and cut to next scene: the park, people murmuring about Astro, and him as loud as always, talking about the Lord. yabang transformed into preaching.

the point of course is that Astro shifted gods from nation to, well, God. the point of course is that he has found himself, but at this point this cannot be literal at all. it just becomes as absurd as the rest of the movie. and i don’t mean that in a good way.

kultura

redefining the Pinoy action movie: or in love with Ishmael

Now I never like disclaimers before watching a movie, and usually don’t read reviews beforehand either. But boy, was I thankful director Richard Somes introduced his film by saying (among other things) that this was his homage to the Pinoy action film ala FPJ, Ramon Revilla, Dante Varona. Of course it still wasn’t enough to prepare me, at least not for the gore.

Because if there is one spoiler I will give you before you go and watch Ishmael, it’s that prepare yourself for some blood. Other than that, I think it would do every other Pinoy good to go and watch this movie, if only for two things: one, Ronnie Lazaro, and two, the Pinoy action film redefined.

Granted I would love to see Lazaro doing a movie where he ain’t a bad guy, here at least he was given something else to bite into instead of the standard fare. And so was Pen Medina. And Mark Gil. And as audience, we also had something new to be enthralled by, and yes this is an action flick, and I’m the girl who cannot for the life of her watch a Manny Pacquiao fight with conviction. For Ishmael, what does work though is the fact of it being an indie film, amorphous as the definition for that has become, confused as it currently is. For all intents and purposes the label of “indie” at least to me, allows for expectations to be suspended and surprise to be expected, in the way that new unfamiliar things do.

And here it is this. Lazaro as Ishmael is obviously farthest from being the clean-cut and the always clean action star in Pinoy movies, who will fight the bad guys, throw punches and kicks, without ruining his hair or getting his shirt bloody. Lazaro also doesn’t do death-defying stunts with motorcycles or helicopters, not even with a car. There is too the fact of age, that is, some middle age spread for Lazaro, though still quite the sexy guy walking through the darn town as if he owned it. Let’s not even begin with the tight-fitting shirts and jeans, and those boots.

The music and make-up had a lot to do with how this movie worked. Much of the scenes that established characterizations and were important moments happened to the tune of the music of good ol’ action, the kind that’s old school but so familiar I was bobbing my head to the beat. And goodness, the make-up was fantastic (save for Agnes having some glittery eyeshadow obvious in some of her close-ups), especially for Ishmael’s final wounds.

There were also no fake action sequences, everything was real suntukan, saksakan, mano-mano.

And all of it works. Lazaro as the ex-soldier who’s been toughened up by jail and is pretty much hopeless. Gil the man who the town has seen as saviour, sleazy and scary in equal turns. Medina as the blind man who traversed the line between friendship and religiosity, a history with one man and the truth of survival with another. Ria Garcia as the young girl Agnes who is symbol for ultimate oppression and abuse, the one that needs to be saved (and who I pray will not be enticed by commercial acting jobs because I tell you it will ruin the bright eyed acting she did so well in this movie).

But Ishmael ain’t just about its unconventional actors, it’s also about a lot of the new and modern and the now in the action genre. Yes, even when direk Somes insists that there was nothing here but “may pinatay, may naghiganti, ganon lang yon!”

I say, not at all. In this story of Ishmael, it’s clear that many things in the storytelling come into play, things which the Pinoy action film of old didn’t have. There’s the fact of space being important, the removed island that was setting the reason for such an absurd religious cult to be all-powerful, and the reason for escape to be almost impossible. There’s the truth of tragedy and any community’s contingent need for saviours and heroes, no matter that all they have is the gift of words and speech. There’s the fact of forgiveness and the dire lack of it in any Pinoy space, for those who have paid their dues in jail, but will never be forgiven by society.

Here is where the story of one guy Ishmael is delivered to us in medias res, because much of his life is over and done with, as the line about what’s done being done is repeated. Given his personal history, Ishmael is ready to die and therefore is the perfect character to be given a reason to live. Any other action bida would take heroism by the horns, but Ishmael resists it and in fact refuses it until the end.

Or maybe outdoes it to its surprising end.

Suffice it to say that there is nothing in this movie that is quite expected. Halfway through, I thought the movie was over. Yet when it continued I thought, how great that it did, and without clear redemption or forgiveness or life through to its end, though with a tinge of love and possibility, I thought it was the most beautiful Pinoy action movie I’ve seen in forever. Yes, the blood and gore notwithstanding.

Ishmael is one of seven films competing in the 6th Cinema One Originals Digital Film Festival 2010 at the Cineplex of Shangrila EDSA. The festival runs until the 16th. Tickets are at P150, and for Ishmael it is SO worth it.

Ishmael screening schedule as of November 11, 8AM:
Thursday — Nov 11 — 12 nn
Friday — Nov 12 — 4 pm
Saturday — Nov 13 — 3:30 pm
Monday — Nov 15 — 9 pm
Tuesday — Nov 16 — 8 pm