Tag Archives: love stories

kultura

Attempted rape as teenage dream?

At the onset, having a light romance / romantic-comedy as part of the Metro Manila Film Festival’s self-proclaimed “change” and “revolution” was a good thing: it tells us that they weren’t deciding against certain genres just because these are considered “pop” and “therefore shallow” — it is after all easy to presume that all love stories are about the happy endings, and one can spot the formula from a mile away.

But even formula has allowed for an amount of creativity in the rom-com through the years (1) and it is with this sense of how the genre has evolved that one was hopeful about Vince And Kath And James (directed by Theodore Boborol, written by Daisy G. Cayanan, Kim R. Noromor, Anjanette M. Haw), because there is so much more to the rom-com now than just lead stars with chemistry: there is good writing and well-threshed out situations, the specificity of social class and gender politics. (more…)

kultura

unexpected romances

I’ve been told with disdain that I have too much hope for local movies, puwede namang hintayin na lang na ipalabas saTV ang pelikula.

But it isn’t with hope that I go to the cinemas to watch Pinoy films. It is with excitement, always: I enter a cinema willing to be surprised, having as context what is usual or normal for movies on our shores. It isn’t with notion(s) of hope, as it is with a sense of how things have changed, and how there are still plenty of possibilities.

So I was willing to be surprised by My Valentine Girls (Regal Films and GMA Films), the trailer of which promised a trilogy, one that’s rarely done for romantic comedies these days, unless we count as love stories too the overdone Shake Rattle & Roll horror franchise.

The conclusions for this movie are easy, the enjoyment even more so. I chalk it up to two things: one, the limited amount of time for each episode made for storytelling that was quick, with no minute wasted on long stretches of nothing; two, creative directors are all you need, the ones who have a sense of how love stories are supposed to look, how comfortable love can be, and how sexual tension need not be about pretty boys and girls, and rarely happens in the most ideal of moments. It’s also never easy.

My only question is: who was directing the story beyond the three episodes? Richard Guttierez plays a writer with a deadline, and we are treated to his novel-in-progress by quick shifts to the three love stories within it.

the rest is here!

kultura

Missing Popoy and Basha: or What Do You Take Me For? Crazy?

Of course I Miss You Like Crazy had everything going for it. We still remember Popoy and Basha of One More Chance, even know some lines from the movie, and even now speak of UST’s soccer field in relation to it. The three-month rule of breakups has now become law, seeing as Popoy invoked it when he thought Basha had found another guy (and kailangan talaga si Derek Ramsey and mapagsususpetsahang bagong boyfriend). And their barkada, really, was what made that movie. They were macho and bakla, serious and funny, judgmental and liberal, all at the same time. All these were only allowed by the movie’s well-written script that was real to us all, middle class and unapologetic.

Suffice it to say that One More Chance was enough reason to step out and watch I Miss You Like Crazy. But in the first conversation that Mia and Alex have in the movie, something is so obviously off right away. I look at L who’s watching the movie with me, and we realize, it’s Mia’s laughter. It was uncomfortable, obviously put-on, and undoubtedly lost in translation. It wasn’t trying to be ironic, i.e., hiding the sadness through laughter; nor did it sound like real laughter.  Parang bad acting lang? (more…)

kultura

why say sorry?

or the dynamic of women’s choices.

the romance as a genre in philippine movies has, since the turn of the millennium, been common and surprising in turn. the surprises i personally trace back to regine velasquez’s foray into her julia-roberts-type of romantic films, where situations are perfectly created for both her limited acting skills, and for the middle class women that she portrays (and has as audience). although it can be said that much much earlier than that, judy ann santos and piolo pascual, as well that ricoyan-claudinebarretto-dietherocampo movie were the beginnings of more interesting takes on the romance (hello, boksingero si judy ann? naman). (more…)