EDSA on my Mind – The Grantees of EDSAngangdaan: The EDSA Stories Film Festival
Who are the filmmakers whose works will be exhibited at EDSAngangdaan: The EDSA Stories Film Festival, on December 7 at the UP Film Center and December 8 at the Bantayog ng mga Bayani auditorium?
They make, naturally enough, for a diverse bunch. Here we have teachers and writers, university students, freelancers and full-fledged professionals. Then, of course, are their films themselves. A smattering of fiction films on this side, a semi-biography on the other. Some works are documentaries, whereas another visibly caricatures the documentary form. A number of productions share the stories of women who were embroiled in the storm and stress of EDSA 1986. Others probe into the lives of haves and have-nots closer to the present time.
Ma. Angela Garrido has been making films professionally since 2004. In the course of her work, she has created videos and films for the international organization Oxfam, the government agency National Commission on Culture and the Arts (NCCA), Cinemalaya, as well as for business groups such as SM. Since 2005, she has also been the president and organizer of the art film festival of the Philippine Women’s University Independent Film Group. In her film “1985,” a woman loses her husband and is permanently scarred by a hot oil spill amidst the EDSA uprising. Nine years after, having given birth to a son, she tries to come to terms with her losses.
Hubert Tibi, who usually collaborates with Garrido, previously won the Best Screenplay prize in the short film category of the 2006 Cinemalaya Philippine Independent Film Festival for “Parang Pelikula.” He also directed other Cinemalaya short films like “Maikling Kuwento,” “Si Bok at ang Trumpo,” and “Hay Pinhod Oh Ya Scooter.” For EDSAngangdaan, he directed “Mani,” where two teenage peanut peddlers struggle to make ends meet until they discover that stealing metal railings along EDSA can be more lucrative than their current trades. The biggest catch of all, it seems, is nothing less than pilfering the railings along the historic EDSA Shrine.
Meanwhile, Eva Aurora Callueng is currently pursuing her doctoral studies at the University of the Philippines College of Education. She also teaches at the University of the East and works on various projects related to reproductive health with the Probe Media Foundation, while serving as the editor of the Pinoy LGBT (lesbians, gay, bisexual, and transgender) channel at Philippine Online Chronicles. Her documentary film “Kaba, Takot at Pangamba ng EDSA” narrates the stories and perspectives of the mothers and wives of soldiers in the three EDSA protest movements, and explores the influence of these women throughout the duration of these events.
Representing the youth sector are Andrea Regine Reyes and her teammates JJ Collins, Randy Valdez, Vianca Baliao, Christa Balonkita, Marj Calingo, Dek Carillo, Mia Sinagunian and Ada Umali, students taking up different courses at Miriam College. In their short film “Bagong Buhay,” a mother and her daughter leave their old home and try to build a new life together. Over the years, however, the mother’s unending pursuit of perfection takes its toll on her daughter, putting their relationship on a collision course.
Then there is the team of producer Eloisa Espino-Sanchez and award-winning filmmaker Richard Soriano Legaspi, who wrote and directed the Cinema One Originals Special Jury Prize and Audience Award winner “Paano Ko Sasabihin?” Espino-Sanchez has already produced a number of award-winning short films and documentaries. Legaspi teaches video production and advertising at the University of the East College of Fine Arts and was a fellow of the 2007 Asian Film Academy in Busan, South Korea. They teamed up again in “Pamatid-Gutom,” (Hunger Pangs), a stark rendition of electoral politics in post-EDSA. Mercedes Cabral plays the role of a mother, desperate to feed her child, who takes part in the feeding program of a city mayor, yet ends up being used by the politician and his wife for his electoral campaign promotions.
Finally, Seymour Sanchez is a director and writer of Red Room Media Productions and a Mass Communication professor. He won the grand prize for his short film “Lababo” (Kitchen Sink) and third place for “Shorts” in two Viva – Pinoy Box Office Digitales short film contests and topped the screenplay category of the 2009 Carlos Palanca Memorial Awards for Literature for “Hiwaga” (Mystery). His “Patron ng Laging Saklolo” (Patronage Politics) is a “mockumentary” (mock documentary) of enduring patterns of patronage politics in the Philippines. It chronicles the activities of a barangay throughout typical election season. By examining the fiesta mentality of Filipinos, and their attitudes towards politics, several gripping comparisons will be drawn.
What weaves all of their works together is their unremitting focus on EDSA, and the society that has arisen around EDSA – present-day Philippines. Funded by the EDSA Mo, EDSA Ko! Film Grants extended by Focus on the Global South-Philippines earlier this year, they have been tasked to produce short films on a theme no less ambitious than “Reimagining EDSA” – for a new generation of Filipinos, and according to the experiences of that generation.
In EDSAngangdaan: The EDSA Stories Film Festival all these retellings of EDSA will be presented to the general public for the first time ever. Where from and where to with EDSA? – join the filmmakers as they take us to the crossroads, exploring these and other questions.
Not to be outdone, Focus is coming out with its own documentary entitled “EDSAngangdaan: Mga Kwento ng Pagtatagpo’t Pagpapasya.” Twenty five years after EDSA, the project follows a farmer, a university student and a laundrywoman as they seek to connect the circumstances of their everyday lives with the broader historical phenomenon of EDSA. The conclusions that they make, and the questions that they raise, are not always flattering or reassuring.
EDSAngangdaan: The EDSA Stories Film Festival officially opens on December 7, 4 p.m. at the University of the Philippines Film Center, as part of its annual Cine Veritas Human Rights Film Festival. Alongside the six short films and Focus’ documentary, in-depth discussions of their content will also take place on the second screening day, December 8, beginning 9:30 a.m., at the Bantayog ng mga Bayani auditorium in Quezon City.
For more information about EDSAngangdaan: The EDSA Stories Film Festival please email Jerik Cruz at firstname.lastname@example.org, or call at 4330899 or 433-3387. Alternatively, please check the EDSA Stories website for updates at http://edsastories.focusweb.org/.
As part of the World Film Festival of Bangkok, Produire au Sud is a biennial workshop in which indie producers and directors get a chance to talk with industry figures about their films and how to get funding for them. This year’s Produire au Sud Bangkok workshop will be held from October 29 to November 1. Six projects have been chosen:
* Stratosphere (Thailand) – producer Hassaya Rimphanawat; director Patavee Viranuvat
* I Carried You Home (Thailand) – producer Thacksakorn Pradubpongsa; director Tongpong Chantarangkul
* The Tour (Malaysia) – producer Joanna Lee; director Chris Chong
* Shadows of Noon (Philippines) – producer Elisse Aquino; director Ivy Universe Baldosa
* Balaan (Philippines) – producer Oscar Nava, director Ray Gibraltar
* Remembrance (Philippines) – producer Eloisa Espino-Sanchez, director Seymour Sanchez
They will make their pitch to producer Elise Jalladeau, screenwriter Miguel Machalski and sales agent Emilie Georges.
I Carried You Home previously came away with cash from the Asian Cinema Fund. Director Tongpong’s short, Wings of Blue Angels, is part of this year’s World fest program.
Here is more about Produire au Sud (Producing in the South), from the World Film Festival of Bangkok’s blog:
“Created in Nantes (France) in 2000 by the Festival of 3 Continents, Produire au Sud is a workshop aimed at Asian, African and South American producers.
In fact, if the state of worldwide film production covers heteogeneous realities, the problems that must be overcome for the development of a full-length film are often similar.
The main goal of Produire au Sud is thus to help and support the producers of these specific geographical areas with the learning and fulfilment of their job.
It is undoubtedly in the viewpoint of exchanging tips, skills and ideas that the Produire au Sud workshops are taking place each year in Nantes during the Festival of 3 Continents but also abroad in the framework of several partnerships with some international film festivals.”
One of the projects from the Bangkok workshop will be selected to attend the Nantes festival for further talks and workshopping.
Supported by the French embassy, the Bangkok workshop was started at the 3rd World Film Festival of Bangkok in 2005. O Nathapon’s A Moment in June was the first film selected. It recently premiered at the Pusan International Film Festival and is the opener of this year’s World fest. The workshop was held again in 2006 (since then it will be biennial) and Malaysian director Liew Seng Tat’s In What City Does It Live? was chosen.
The first annual Muhr AsiaAfrica Competition at the Dubai International Film Festival (DIFF) offers a selection of short films from Africa, Central Asia and the Far East that offer a bouquet of stories at once, organizers said today.
The Muhr AfricaAsia competition was introduced this year to stimulate and expose filmmaking from emerging markets. Nashen Moodley, Director of AsiaAfrica Programming for DIFF, said: “Short films remain important because they are where a lot of filmmakers cut their teeth, while some directors prefer to remain in the form because its limitations challenge them. For audiences, a short programme is a delight because it allows them to sample stories from a vast region, incorporating a variety of different themes and forms. Viewers that prefer diversity should consider our short programmes, which will not disappoint.”
Three of the films originate from Africa: The Birthday is a submission by Burkina Faso’s legendary filmmaker Idrissa Ouedraogo which sees the beautiful Awa decide to marry for money rather than love; in Expectations, a young man returns to his village in Chad tired and listless, but must confront the people who lent him the money for his journey; Jesus and the Giant, set in Johannesburg, follows an avenging woman who seeks out the man that battered her friend.
Further to the east, Iran’s 35 Metriye Sathe Ab (35 Metres from the Water) depicts moments of connection and beauty between unlikely lovers; in Ayak Al Tinda (Downstairs), a Turkish manual worker’s monotonous life is shattered by a striking revelation; Kam Sanabanyz (Everything is OK),Kyrgyzstani director Akjol Bekbolotov’s film on the plight of the thousands of homeless children of Bishkek, is an impressive and moving glimpse of life on the streets; from Kazakhstan, Bakhytzhamal depicts a mentally disturbed man runs away from a sanatorium to meet his old flame, while India’s Dhin Tak Dha depicts another escape—a village garage mechanic who falls in with a troupe of traditional touring performers.
From East Asia, Japanese black comedy Daichi O Tataku Onna (Woman Who Is Beating the Earth) depicts a lonely and bored butcher. Shifting gears, Ambulancia (Ambulance) introduces a group of desperate Pilipino ambulance drivers who believe that running over stray street animals can save dying patients’ lives, while Shao Nian Xue (Young Blood) takes us on a fun ride to a crowded housing complex in late 1980s Shanghai where teenage hormones run rampant.
The Taiwanese Tian Hei (The End of the Tunnel) is another take on young love, wherein a blind high school student bonds with an unlikely friend by using his piano skills, and Malaysia’s Chicken Rice Mystery shows a young boy as he ponders one of the greatest mysteries of his life: why is his mother’s cooking so appalling?
Muhr AsiaAfrica shorts will be screened in three separate programmes during the fifth annual Dubai International Film Festival, from December 11 to 18. For further information or to buy tickets, please visit the festival website at http://www.dubaifil mfest.com/ en/films- explorer/ ?id=1375
The Daily Tribune
If filmmakers could rewrite The Creation of the World, a lot of things would certainly change — it would be in digital format, black and white, linear, deleted scenes, re-takes and extras. But it would still begin with “Let there be light” — followed by camera and action.
.MOV (dot-mov) — the first digital film festival in the country — is a week-long festival that will showcase innovative films from independent filmmakers both from the local and international arena starting Sept. 30 to Oct. 4, at Robinsons Movieworld, Robinsons Galleria.
.MOV is the first digital film festival in the Philippines. Dedicated to the exhibition and promotion of digital filmmaking, the festival spotlights the future of filmmaking with a dynamic line-up of film screenings, in-depth panel discussions and hands-on technology presentations.
Digital Dekalogo 10×10
.MOV will have an exhibition of 10 of the very best local and international independently produced digital features explained through 10 local filmmakers with aims of mentoring the Filipino audience to appreciate world cinema with an expert’s eye and Filipino sensibilities.
Cineastes may look forward to .MOV’s tribute to local filmmaking mavericks — Lav Diaz, Roxlee and Kidlat Tahimik — with a book, CD and DVD launch plus premieres of Melancholia, Green Rocking Chair and Maikli at Tahimik.
A retrospective on the wild, wired, digital world of prominent movers in digital filmmaking with this year’s theme of “Extreme Cinema Wasakero” highlights films and filmmakers that challenge the norm with the themes of their movies.
The inaugural event will also have a program called Shorts.MOV, a showcase of the best digital short films in the world from two of the most prestigious international short film festivals, Clemont-Ferrand (France) and Oberhausen (Germany).
A short film competition for students and professionals will range from narrative, experimental, documentary, animation, to music video. Finalists for the student category include: 123, Anomi, June 9, Kamatis, Kumot, Papelove, Pisi, Stop, Play and Pause, Ultra and Publico Makata. Finalists for the open category include: # Café, Ambulancia, Ampo, Andong, Libingan, Nekro, Saling Pusa, The Prayer, Tiangge and VTR.
A special programming of rare, out-of-print Filipino classic films scored live by the country’s most recognized independent bands such as Radioactive Sago Project, Pedicab and Queso will be featured with a digital twist that underscores the festival’s aim to showcase film’s ever changing language.
Cinemo: Young Artists Initiative
To develop a new breed of filmmakers to follow these legends’ footsteps, .MOV will have workshops led by world-renowned industry experts, as well as a young critics’ initiative that focuses on teaching how to write about films by tackling a new wave of criticism, retrospection, and commentary on films to help artists to interface with the international community.
So The Creation of the first digital international film festival was rewritten, reedited and redirected, and there was .MOV. And the film gods saw that it was good.
The event is sponsored by Filmless Films, Robinsons Movieworld, Swiftsure Group and Clermont-Ferrand International Short Film Festival. For more information, visit http://www.movfest.com or e-mail email@example.com.
3 September 2008 | 8:57 AM
Anna Isabelle Matutina won the Miglior Montaggio or Best Editing Award for Richard Legaspi’s short film “Ambulancia” at the 14th San Gio International Video Festival held recently in the Courtyard of the Old Court, Scaligeri Palaces of Verona, Italy.
The good news was relayed to Legaspi via email by San Gio festival director Ugo Brusaporco. The festival (http://www.sangiofestival.it), an international extension of video and images in motion, was judged by Spanish actress Maria Jesus Hoyos, critic Juan Ferrer, Italian actor Alain Libolt, actress Donatella Mei, and writer Vanessa Picciarelli.
Alen Drlievic’s “Esma” (Bosnia – Herzegovina), which tells the lasting search of a woman named Esma for her missing husband, who was abducted by the Bosnian Serb Army inside a United Nations peace camp, won the grand prize Miglior Video or Best Video Award.
The other winners are Nebojša Slijepcevic’s “Za 4 Godine” / “In 4 Years” (Croatia) for Best Direction, Milos Tomic’s “Plivnuti Polibkem” / “Splitted by Kiss” (Czech Republic) for Best Screenplay, Tibor Banoczki’s “Milk Teeth” (United Kingdom) for Best Animation, Ragnar Neljandi of Mari-Liis Bassovskaja’s and Jelena Girlin’s “Kleit” / “The Dress” (Estonia) for Best Cinematography, Ollie Davis of Sally Arthur’s “A-Z” (United Kingdom) for Best Music, Rikke Lyllof of Anna Goldblum Treiman’s “Gaven” / “The Gift” (Denmark) for Best Interpretation, and Jadwiga Kowalska’s “Tãt ou tard” (Switzerland) for the Soave Ways Award.
“Ambulancia,” which tells of a painful twist in an ambulance driver’s belief that a dying patient can be saved by running over stray animals on the street, was also selected as one of ten finalists in the Open Category of Silvershorts, the short film competition section of the 3rd .MOV International Digital Film Festival (www.movfest.com), which will run from September 24 to October 7 in selected Robinsons Movieworld cinemas.
Aside from Ambulancia, also vying for the P100,000 grand prize in the Silvershorts Open are Jan Philippe “JP” Carpio’s “VTR,” Antoinette Jadaone’s “Saling Pusa,” Milo Tolentino’s “Andong,” Jose Maria Basa’s “Ampo,” Ray Gibraltar’s “Tiangge,” J.I.E. Teodoro’s “The Prayer,” CJ Andaluz’s “Nekro,” Ramon del Prado’s “Libingan,” and Leo Valencia’s “#cafe.”
Matutina and Legaspi are both part of the Katorse Writers Group, graduates of Ricky Lee’s 14th scriptwriting workshop for film and television (katorseshorts.wordpress.com). The latter, a faculty of the University of the East College of Fine Arts, is a fellow of the 2007 Asian Film Academy, an educational program of the Pusan International Film Festival, South Korea, while the former is also an independent filmmaker and a freelance editor for film and television.
“Ambulancia” will next compete in the 10th International Panorama of Independent Film and Video in Greece, 14th Bite the Mango Film Festival in the United Kingdom, and 11th Pyongyang International Film Festival in North Korea. It earlier won the grand prize in the Viva – Pinoy Box Office (PBO) Digitales 2 short film competition and the best short narrative film in the first Quisumbing-Escandor Film Festival for Health. It also competed in the 32nd Open-Air Film Festival Weiterstadt in Germany and 5th Naoussa International Film Festival in Greece.
“Shorts,” a short film about a young copywriter/production designer who seems to have gone crazy, will compete in the 12th Thai Shor Film and Video Festival, which will run from August 29 to Septembe 14 at the Bangkok Art and Culture Center, Pathumwan Junction.
Seymour Barros Sanchez’s “mockumentary” will vie for the award in the
festival’s R.D. Pestonji International Short Competition section, which will be shown on September 6. The other finalists are Asaf Saban’s “Mapping” (Israel), Marie Helene-Panisset’s “On Pretty Happy Dame” (Canada), Tubmi Koukou’s “Place” (Japan), Wong Jong-shik’s “Watermelon Chicken” (South Korea), Vicent Burgevin’s and Franck Lebon’s “Edwards in Wonderland” (France), Emanuel Rossi’s “Clara’s Child” (Italy), Jystyna Nowak’s “Dragonfly”
(Poland), Karl Tebbe’s “Karaoke Show” (Germany), Thomas Adamicka’s “The Limits” (Germany), Conor Ferguson’s “The Wednesday (Ireland), and Anders Skog’s “Tag!” (Sweden). The award is named in honor of R.D. Pestonji, regarded as the father of contemporary Thai film.
Two other Filipino films, Raya Martin’s “Childhood in the Philippines Islands, undated” (Infancia en las Islas de Filipinas, sin fecha) and Marlon Fuentes’ “Bontoc Eulogy,” will be screened as part of the S-Express Philippines program on September 10. S-Express is a traveling short film program of some of the region’s most outstandin and notable independent filmmakers to be presented by the respective curators from each country.
Film festival project coordinator Sanchai Chotirosseranee, also an S-Express Thailand programmer, revealed that “the tougher short competition program (was) selected from more than 400 shorts from around the world.” The jury for this section are Ekachai Uekrongtham, director of “Beautiful Boxer” (Panorama in Berlinale 2003) and “Pleasure Factory” (premiere at Un Certain Regard 2007), and Prawich Tangeaksorn, a noted Thai film critic and lecturer.
The festival will also offer special short programs which have never been shown or premiered in Thailand. Exclusively granted the green light, this year’s festival proudly presents the best selection fro Clermont-Ferrand Short Film Festival, the world’s biggest film festival of its kind, to be attended by French programmer Roger Gonin, the Queer Shorts program which selects international shorts to celebrate the variety and fluidity of human sexuality, the Airplay program portraying the behind-the-scene of the à la mode music video from popular British singers and bands, and award-winning Thai shorts arraying in the international film festival circuit during the recent years. Martin Thau of the Munich Film and Television Academy will also conduct a special screenwriting workshop from August 23 to 27.
“Shorts” stars commercial model Peejay Lanot, Nora Ruth Aquino, Jhovannie Santos, John Emmanuel Bautista, and Andy Del Rosario, with cameo appearances by award-winning actress Gina Pareño, director Jeffrey Jeturian and Sockie Fernandez, University of Makati Center for Performing and Digital Arts executive director Mary Acel German, former Yes FM DJ Edu Mansanas/Jobert Monteras and DZXL/UNTV/Bantay OFW host Marvin Javier.
The short film earlier won third prize in the Viva – Pinoy Box Office (PBO) Digitales 2 short film competition and will also compete in the Bite the Mango Film Festival from September 19 to 25 at the National Media Museum in Bradford, West Yorkshire, United Kingdom.