Only a few frames from completely wallowing in its relentless, almost-stifling realism, director Roderick Cabrido’s debut feature Children’s Show swivels to the truly weird and beams us out of the film, where it is most necessary. Knowing when to retreat back a step shows calculation in his film’s ultra-violent madness;
Tag: Drama
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Gino M. Santos’s follow-up to his exuberant if shrouded debut The Animals is set once again within a circle of upper-class, party-‘till-drop youth (here, a quartet of twenty-somethings) frequenting night bars as if they were their sacred intersections, flush in neon lights and pumped with skittering beats and booming synths. The
Mariquina
Jerrold Tarog’s ingenious work in last year’s Cinemalaya-entry Sana Dati distinguishes him as a man of fine, filmic talent: his film, closing the famed Camera Trilogy (sided with Confessional and Mangatyanan), is about acceptance and closure; yet it goes in all sorts of direction, transforming a simple romantic tale into
K’na, the Dreamweaver
“When Kana, a young T’boli woman, becomes a dreamweaver, she has the chance to weave together her village’s warring clans. But, will she give up true love to do so?”
Asintado
“In the middle of the preparation for Taong Putik Festival, a young man penniless and in love, takes on a drug courier job that goes terribly wrong. To save him, his mother now makes the most difficult decision of her life.”
Snowpiercer
Korean auteur Bong Joon-ho marks his momentous English-debut in Snowpiercer, a subversive, genre-melding and timely contemplation of an all-consuming society, confronted with an earth-wide layer of permafrost that renders humanity to near-extinction. What success The Wachowskis’ have achieved with their multi-dimensional odyssey that is The Matrix, Bong successfully achieves here with only
