By Ibarra C. Mateo

A play written by award-winning playwright Eljay Castro Deldoc and directed by Riki Benedicto will have its international gala performance on Sept. 9 in Quebec, Canada.

“13th of September” had been chosen as the Philippine official entry to the 9th Festival International de Theatre De Mont-Laurier and will be staged at the Espace Theatre located at 543 Rue du Pont Local in Quebec. It is also the only play selected from Southeast Asia to join the festival in Quebec.

13th of September had a series of performances at the Erehwon Performing Arts Theater in Quezon City and at the Zobel de Ayala Recital Hall, Maybank Performing Arts Theater in Taguig City before its Canadian gala.

The 9th Festival International de Theatre De Mont-Laurier is a biennial theater festival, which runs Sept. 5-11, with 25 companies from 19 countries participating.
The Philippines is the only Southeast Asian country which was selected to join the festival since its launch in 2003.

The following countries are participating: Algeria, Argentina, Bangladesh, Belgium, Canada, Colombia, Dominican Republic, Egypt, France, Italy, Morocco, Mexico, the Philippines, Poland, Romania, and Syria.

The artistic and production team of 13th of September is composed of: Benedicto (director), Deldoc (playwright), Drew Espenocilla (dramaturg / English translation), Jay Lorenz Conanan (production / costume designer), Katreen dela Cruz (stage manager), Roldan Lozano (lights designer), Ces Valera (projection artist), Paw Castillo (photo and graphic artist), and Jared Acuna (video artist).

Be Our Guest Theatricals is a group of professional theater and film practitioners based in Manila. The group’s major goal is to create and produce shows for different international theater festivals.

The group aims to boost the presence of the Philippine theater in the international scene.

13th of September is about Mary Girard who is preparing for her last night in Pennsylvania Asylum. Now, 56, her age is visible after more than two decades of re-living the moments of her life inside the asylum.

While doing her daily routine and preparation with other patients, her past is dawning inside her, the memories of her mother, husband, and her dear daughter are right in front of her. It seems like she’s “sane” once again.

As for her last night with the tranquilizing chair, she will fight and re-live the moments of lies and betrayal that have never been proven.

Adore Dominguez, Marco Edward Calilao, and Paolo Rodriguez are cast members.
Director Benedicto puts forward another universal concern in Deldoc’s 13th of September, where he aspires to “challenge society’s restrictive definition of sanity, gender, and sexuality or even one’s perception of truth – truth is relative.”

Be Our Guest Theatricals Image

By Ibarra C. Mateo

The 2019 Koryolab showcases five new contemporary dance pieces on Aug. 24 and 25 at the the Cultural Center of the Philippines’ Tanghalang Huseng Batute (CCP Studio Theater) at 2:00 pm and 6:00 pm.

Five new works by five dynamic young choreographers, mentored by Gawad CCP awardee Denisa Reyes and internationally renowned choreographer Myra Beltran, will be the focus of attention in this annual contemporary dance festival.

The contemporary pieces tackle memories of forgotten childhood in Sarah Samaniego’s Alala, and the unique world within the world of the malls in which we now live as shown in Mano: Fracture by Buboy Ruatico Jr.

Christopher Chan’s Men-Ta-Li-Tic opens our mind to how norms hinder us from accessing truth while Buhay Pag Asa by Dingdong Selga is a painful tale of children in cramped cells. 

Finally, Michael Barry Que’s Suggested for you deals with the contemporary phenomenon of Instagram.

“Bear witness to the birth of these new contemporary pieces. Works that truly reflect our truths, that tell stories. Works that express joy and sorry through the ineffable beauty of dance,” the announcement said.

Tickets are available at all TicketWorld outlets.  For more information, please call 832-1125 local 1409. CCP-Koryolab Images

By Ibarra C. Mateo

Director Arden Rod Condez’s “John Denver Trending” (JDT) was the first film I watched in the recently concluded 2019 Cinemalaya.

        For several years now, it has been my practice to watch all the competing Cinemalaya films only at the CCP Main Theater. With screenings scheduled at 10 am, 12:45 pm, 3:30 pm, 6:15 pm, and 9 pm, I could complete watching all the 10 full-length and 10 short films in competition in two days and three nights.

        Ateneo Prof. Glenn Sevilla Mas introduced me to Condez after the 10 am JDT maiden screening at the CCP on Aug. 3.

It was stormy outside, with gutter-deep floods all over Metro Manila, left-over of the heavy rains the night before. But people went to see the JDT and other Cinemalaya films showing then.

        It was a frustrating first day. Extremely frustrating. My Facebook friends asked me why I posted “very frustrated after watching three other films.”

        During the gala of two films on Aug. 3, long speeches bored the audience. The years before, I walked out on Cinemalaya films which did not excite nor stir me. This year, I decided to sleep inside the CCP Main Theater, while waiting for the next film screening. Several people in my row also drifted into rapid eye movement phase during screenings.

        However, there were those who walked out after the film screenings started, but they gave them a chance lasting 15-20 minutes. Despite an unnecessary overdose of butt-showing scenes and what tried to be a sci-fi movie, or whatever, the audience grew impatient.

        Director Thop Nazareno’s Edward was among the four full-length films shown on the second day. I felt that it will give JDT a good fight. Initially, I ranked Edward as my #1 film, slightly edging out JDT.

        The night of Aug. 5, the third night and last night of my annual “Cinemalaya triduum” passed unremarkably.

        Privately, I told friends who love films, notably Cinemalaya, “tapos na ang boksing.” “It is either JDT or Edward which will get the best film award,” I said.

        During the succeeding days and nights, I watched for the second and third time JDT and Edward. It was during this period that I slowly fell in love with JDT. I could go on watching it for several times, in the same manner that I caught Eljay Deldoc’s Si Maria Isabella at Ang Guryon ng Mga Tala 10 times.

        I even posted on FB that I am hoping for a tie, specifically for best film, best director, best actor, and best actress. But who am I to implore the jury members.

        Spin handlers and crisis managers of one particular film even called a media gathering to create a buzz for a film. Despite the teasers, however, the audience did not pay attention.

        Others attempted to insert the “cougar films” in the growing online discussion about JDT and Edward, by declaring that 2019 Cinemalaya was about “adolescent boys versus cougars.” Again, no passion was ignited to favor the cougar films.

        By the fourth day of the festival, it was clear that it would be a close fight between JDT and Edward. Screenings of the two films had been always sold-out in CCP venues.

In an unprecedented move, the CCP management gave an extra screening to JDT a few hours before the awards were to be announced.

        On Aug. 11, the 2019 Cinemalaya jury gave its unmistakable nod to Condez’s John Denver Trending.

JDT was declared the Best Film of the 2019 Cinemalaya Philippine Independent Film Festival.

The jury cited JDT’s for “its nearly epic sweep of its masterful use of the resources of cinema to depict a boy’s entrapment and doom.”

Similarly, the Network for the Promotion of Asian Cinema prize was also bestowed upon JDT. It was commended for “an unflinching look at mob mentality in the digital age, convincingly taking us through the psychological anguish of a victim of cyber bullying.”

JDT was the first directorial project by Condez.

The film also received four other awards, namely, Best Actor for Jansen Magpusao who made his debut in the film in the lead role, Best Original Music Score (Len Calvo), Best Editing (Benjo Ferrer III), and Best Cinematography (Rommel Sales), or a total of six awards.

JDT was also cited by the Cinemalaya jury “for its highly relevant subject matter, its highly convincing characters and effective ensemble acting by a cast of non-professional actors” and “for its coruscating critique of the social media as an engine of lies, hate, and destruction.”

Nazareno’s Edward, meanwhile, received the Special Jury Prize. It also bagged the awards for Best Actress (Ella Cruz) and Best Production Design (Alvin Francisco).

By Ibarra C. Mateo

Arden Rod Condez’s John Denver Trending was declared the Best Film of the 2019 Cinemalaya Philippine Independent Film Festival during the awards night on Aug. 11, 2019 at the Cultural Center of the Philippines Tanghalang Nicanor Abelardo.

The 15th Cinemalaya jury cited John Denver Trending for “its nearly epic sweep of its masterful use of the resources of cinema to depict a boy’s entrapment and doom.”

Meanwhile, the Network for the Promotion of Asian Cinema (Netpac) also gave its stamp of approval to John Denver Trending, commending it for “an unflinching look at mob mentality in the digital age, convincingly taking us through the psychological anguish of a victim of cyber bullying.”

John Denver Trending is the first directorial project by Condez. It is a film about a 14-year-old farm boy whose life is upended when a video of him brutally attacking a classmate went viral.

The film also garnered four awards, namely, Best Actor for Jansen Magpusao who made his debut in the film in the lead role, Best Original Music Score (Len Calvo), Best Editing (Benjo Ferrer III), and Best Cinematography (Rommel Sales), or a total of six awards.

John Denver Trending was also cited by the Cinemalaya jury “for its highly relevant subject matter, its highly convincing characters and effective ensemble acting by a cast of non-professional actors” and “for its coruscating critique of the social media as an engine of lies, hate, and destruction.”

The Special Jury Prize went to Thop Nazareno’s Edward, whose lead character comes of age as he is left alone to take care of his father in a public hospital.

Nazareno’s film also bagged the awards for Best Actress (Ella Cruz) and Best Production Design (Alvin Francisco).

The Best Direction award went to Eduardo Roy Jr. for F#*@ BOIS. The film also gave Ricky Davao the Best Supporting Actor award for his portrayal of a libidinous politician with a fondness for young men.  Davao was cited for “for lending the weight of his artistic acclaim and professional reputation to independent cinema, and for taking on a very daring role and effectively playing it without lapsing into parody or cliché.”

Theodor Boborol’s Iska, the story of an impoverished woman who lovingly cares for her autistic grandson, won Best Actress for Ruby Ruiz who played the lead role. The film also won Best Screenplay (Mary Rose Colindres) and Best Sound (Immanuel Verona).

In the Short Feature Category, the animated ‘Wag Mo Akong Kausapin by Josef Dielle Gacutan grabbed the Best Film plum “for its very unique depiction of the universal rift between generations and for its craftsmanship” while Special Jury Prize went to Shaira Advincula’s Tembong “for its poignant take on grieving and loss and its incisive character study of a man challenging culture and tradition.”

Also in the short Feature category, the Best Direction award went to Don Madula Senoc for Sa Among Agwat while Best Screenplay went to Gilb Baldoza for Kontrolado ni Girly ang Buhay Niya.

Special Mention for Subject Matter went to the film Hele ng Maharlika by Norvin De Los Santos for its “timely but sensitive handling of the trenchant reality of juvenile warriors.”

Disconnection Notice by Glenn Lowell Forneste Averia won the NETPAC award in the Short Feature category.

Audience Choice awards went to Joji Villanueva Alonso’s Belle Douleur in the full length feature category and Julius Renomeron Jr.’s Heist School in the short feature category.

Now on its 15^th year, Cinemalaya has supported and promoted the production of Filipino full feature independent films and short films. Many of these films have won awards in local and international competitions and festivals.

Through the annual festival, Cinemalaya has showcased over 1,000 works by independent filmmakers including full feature films, shorts, documentaries, Filipino film classics, and art films.

This year, Cinemalaya went nationwide.  It was held at the CCP from Aug. 2 to 11 and at selected Ayala Cinemas and Vista Malls in Manila, Pampanga, Naga and Legaspi in Bicol, Bacolod, Iloilo, and Davao Aug. 7-13.

Cinemalaya was established in 2005 with the aim to discover, encourage, and support the cinematic works of upcoming and veteran Filipino filmmakers who boldly articulate and freely interpret the Philippine experience with fresh insight and artistic integrity.

Photo by Kiko Cabuena / CCP

By Ibarra C. Mateo

In the tradition of “Ang Pagdadalaga ni Maximo Oliveros,” I am hoping for an “adolescent” film’s sweep in #2019Cinemalaya awards night. Original caption of the photo above which was posted on Aug. 11, 2014 was: “BINATA NA SI MAXIE! Remember Ang Pagdadalaga ni Maximo Oliveros? Here is Nathan Lopez, a grown-up man, fumbling with his lines onstage, but still endearing.

#2019Cinemalaya #2014Cinemalaya #MaximoOliveros #KanakanBalintagos #AngPagdadalagaNiMaximoOliveros

2019Cinemalaya #2014Cinemalaya #KnowYourCinemalayaHistory

HOPING FOR A ‘TIE’: Nora Aunor (right) and Eula Valdez (left) share a triumphant win as both were declared best actresses during the #2014Cinemalaya awards night. Aunor for Joel Lamangan’s Hustisya (Director’s Showcase) and Valdez for Giancarlo Abrahan’s Dagitab (New Breed). The announcement of a tie brought the house down.

By Ibarra C. Mateo

Award-winning playwright and director Chong Wishing is visiting Manila to grace the screenings of his film and for a series of discussions, which are among the highlights of the 2019 Japanese Film Festival in Manila (Eiga Sai).

Chong’s “Yakiniku Dragon” 焼肉ドラゴン (2018) will be screened on Aug. 16-17, 2019 at the UP Diliman’s Film Institute (UPFI) as part of the 22^nd edition of the Eiga Sai in Manila.

“Yakiniku Dragon” is the film adaptation of a successful stage play that explores the struggles of the Korean community in 1970s Osaka.

“Yakiniku Dragon offers its viewers a look into the vigorous life of a Korean community in the 1970s era Japan. In the outskirts of Osaka, in a squatter settlement on government property, a Korean family runs a barbecue restaurant. With a wife, three daughters and a son, the father Yong-gil lives with bravado, but is gradually bombarded by the tides of the times,” the Japan Foundation, Manila said in an announcement emailed to media.

In this film, Chong brings his successful theater production to the big screen. Yakiniku Dragon, the play, was a collaboration between the Seoul Arts Center and the New National Theatre Tokyo.

It has received numerous theater awards including the 8th Asahi Performing Arts Awards Grand Prix, the 12th Tsuruya Nanboku Drama Award, the 16th Yomiuri Theater Award for Best Play, and the 59th Minister of Education Award for Fine Arts.

Yakiniku Dragon, the film, was produced in 2018 and marks Chong’s first feature film as a director. It showcases a cast of leading Japanese and Korean actors including Mao Inoue, Yoko Maki, and Kim Sang-Ho.

Yakiniku Dragon was the opening film of the 19th Jeonju International Film Festival, a festival dedicated to alternative / independent films worldwide that supports freedom of expression in cinema.

As a third-generation Korean living in Japan himself, Chong’s life experiences reflect prominently in his works.

Chong was born in July 1957 in Japan and studied in the Department of Arts of the Yokohama Movie and Broadcasting College. In 1993, he won the 38th Kishida Prize for Drama for his play “The Terayama”, wherein the same year he branched out into film, and his movie “All Under the Moon” (1993) won the prize for Best Screenplay from both the Mainichi Film Competition and the Kinema Junpo Award.

He published a collection of essays “Andreas’s Hat” in 1995 then bagged  several  awards  for  his  movie  ‘Begging  for  Love”  (1998),  including  the Kinema Junpo Awards, Japan Academy, and the First Asia-Pacific Film Festival Award for Best Screenplay.

He also won the 2001 National Arts Festival Grand Prize for his TV drama “I’ll Be Eighteen Tomorrow” (2001).

Together with film producers Toru Emori and Hirotake Sasaki, he is scheduled for a Director’s Talk on Aug. 16, 2 pm and Aug. 17, 4:30 pm at UPFI Cine Adarna.

They will also take part in a talk and roundtable discussion on film production in Japan and the Philippines, together with award-winning producer-director Prof. Giancarlo Abrahan for select UP film students and filmmakers, at the UPFI Videotheque on Aug. 16, 1:30 pm.

Screenings of Yakiniku Dragon and other festival entries at UPFI on Aug. 14-17 are free of charge.

Note: Yakiniku Dragon (2018), running time 126 min | Drama, Feature | Color.

 Story: Film adaptation of the play that has been honored   with   numerous   theater   awards. Warm portrayal of the joys and sorrows of a Korean family  living  in  Japan,  set  in  the Kansai region when Japan’s economy was booming. Playwright Chong Wishing wrote the screenplay and makes his directorial debut with this film. In 1970, the Kansai region was jubilant over the World Expo in Osaka.

Follow the official EIGASAI Facebook Page for updates.

Japan Foundation, Manila Images

By Ibarra C. Mateo

2019Cinemalaya Note #1: One way to appreciate the official announcement that #JohnDenverTrending is the top-grosser of the #2019Cinemalaya is this: the Cinemalaya audience is hungry for the old Cinemalaya credo of taking risks, being edgy with a good script, new director, and fresh talent. BRAVI, TEAM JDT! / JDT PHOTO