adela ( 2008 film )
‎adela (2008) directed by adolfo alix jr. • reviews, film + cast • letterboxd
dirs / scr: joel coen, ethan coen. us. 2008. 95mins .
at the beginning of 2008, together with jan kadlec jr. , he founds the production company k film plus .
her film credits include ang huling araw ng linggo (2006), adela (2008), the arte france telemovie, esclaves de mers (2009), and pink halo - halo (2010) .
this was the schedule of her day - to - day life until adela came along and changed her life immensely. adela was the cinemalaya entry of a woman going 90 and who celebrates her birthday alone when her children fail to visit her. the film directed by adolfo alix jr. opened the cinemalaya independent film festival and went on to win the young critics circle best film of 2008. it gave anita the best actress awards in the southeast asia film competition category of the cinemanila international film festival and at the gawad tanglaw awards by academicians .
ricardo antonio merlos cojulum 30 years old. he was once adela’s boyfriend. he used to work as a bus attendant but ends up in jail as a suspect of adela’s murder. he insists he is innocent .
the restored version of in the land of the head hunters recives its premiere at the getty research centre on 5 june 2008, with the score performed by the ucla philharmonia. various screening dates are then in place for june and november 2008, with more to follow .
hi oggs! nice review! got some excerpts from your article on adela for my anita linda post. thanks !
as an art director and production designer, he worked under his father for k film studio kadlec, as well as for numerous international productions, before co - founding k film plus with tomas rotnagl. from january 2008 he presents at famu (film and tv school of the academy of performing arts in prague) the seminar
visual formulation of film: film scenography .
birthday with an uncertain hope and much pain. the film ended with a disturbing scene where adela went to a bush place and leaves the audience hanging what happened .
the fourth edition of the cinemalaya film festival opens with a film by adolfo alix, jr. ever since alix debuted his first feature film
alix returned to cinemalaya in the new breed category in 2007 with “kadin, ” a film about two children who traipse all over the batanes landscape searching for their lost goat. his films “adela” and “manila” (he co - directed manila with raya martin) have the distinction of opening cinemalaya in 2008 and 2009 .
adela celebrates her 80th birthday in the slums of manila. alone and without support, she longs for the family and stability of years gone by. mundane events take on heightened meaning as adela gauges her life against those of the sea of hu
* แนะนำหนังในกลุ่ม * * ordinary lives, ordinary people หรือหนังเกี่ยวกับชีวิตคนธรรมดาที่เราชอบสุดๆ * * 44. * * the same old sea วันนี้ทะเลมีคลื่น (2008, pisut sri ...
adela, however much she dominates the narrative, is by no means the only character here, and one of the great strengths of alix’s film is the broad view he affords us of the environment that adela exists in. before we are introduced to adela, we first follow a very pregnant woman who catches her mate having sex with another woman, whom the pregnant woman is in debt to – whether this other woman is her landlady or some other sort of benefactor is not quite clear. as she fights and hits her philandering partner, she suddenly goes into labor, and is helped through it by adela, who becomes an impromptu midwife, helping the woman deliver her baby. adela’s other neighbors are just as colorful – other important characters include: a ne’er - do - well who habitually steals from people’s homes and tries to sell off his ill - gotten goods afterward, and who may or may not have stolen adela’s wedding ring; the boisterous and very effeminate neighbor who gives adela a manicure; and in the film’s most amusing scene, a neighbor and fellow grandmother whom adela walks in on as she is having sex with a much younger man, justifying her behavior as a necessary way to stave off loneliness and fulfill her sexual needs. “besides, i won’t get pregnant, anyway, ” she tells adela. most pertinently to our understanding of adela’s character, this friend asks adela, “are you happy? ” the silence that follows this query speaks volumes .
angeli began her professional theater career in 2002 when she joined the tanghalang pilipino actors’ company, resident theater company of the cultural center of the philippines. her film credits include ang huling araw ng linggo (2006), adela (2008), the arte france telemovie, esclaves de mers (2009), and pink halo‐halo (2010) .
adela is the first film shown in this year’s cinemalaya 2008. this is directed by adolfo borinaga alix jr. (donsol, kadin) as a tribute to one of the philippines finest actresses, anita linda. together in this film are joem basco, jason abalos, ricky davao, arnold reyes, kenneth ocampo, armado reyes with special participation of iza calzado, german moreno and perla bautista .
adela, (philippines' screen legend anita linda) a former radio personality, celebrates her 80th birthday. alone, and without support, she longs for the family and stability of years gone by. mundane events take on heightened meaning as adela gauges her life against those of the sea of humanity. adela is about the quiet moments in life that can fill us with either joy or sorrow .
“god must love me, ” she asserts. “perhaps, they recognized you from adela and tayong dalawa, ” we tell her .
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crew: camera (color, widescreen), damian garcia; editor, jorge macaya; music, roque banos; production designer, sandra cabriada; costume designer, adela cortazar; sound (dolby digital), andres franco; casting, manuel teil. reviewed at tribeca film festival (competing), april 29, 2008. (also in cannes film festival - - market .) running time: 86 min .
adela, a former radio personality, celebrates her 80th birthday in the slums of manila. alone, and without support, she longs for the family and stability of years gone by. mundane events take on heightened meaning as adela gauges her life against those of the sea of humanity .
roh gyeong - tae’s “land of scarecrows” – 2008 pusan international film festival review for a jaded filmgoer and film festivalgoer like me, surprises can often be few and far between. whether it is the latest hollywood super - spectacle or the most obscure, experimental art [ … ] ...
today adela turns 80 years old, but her day seems like every other day. birthday seems like every other day. she shops for groceries, helps her neighbors though she expects little in return. she expects a visit from her daughter. is there anything special in store for adela today ?
adela is a movie starring anita linda, jason abalos, and joem bascon. adela celebrates her 80th birthday in the slums of manila. alone and without support, she longs for the family and stability of years gone by. mundane events take on heightened meaning as... see full summary »
adela, a former radio personality, celebrates her 80th birthday alone in the slums of manila, longing for her family and the stability of years gone by .
k film plus s. r. o. was founded at the beginning of 2008 as a subsidiary of k film, studio kadlec, s. r. o. , whose founder was producer jan kadlec, a notable figure of the beginnings of czech film service production. under his supervision over 150 foreign projects were completed. at the same time k film, studio kadlec produced such czech films as řad, fany, náhrdelník, etc .
birthday. the film started with a pregnant woman crossing the highway. as she goes home, she discovered her partner, pj, is sleeping with a neighbour’s daughter. to her dismay, she accidentally gave birth. thanks to adela, a former midwife and radio voice talent, the baby is in good condition. for adela this is a special day coz she is celebrating her 80
internationally, she is most known for her roles in filipino auteur lav diaz’s films. her first lav diaz film, the 9 ½ - hour kagadanan sa banwaan ning mga engkanto (death in the land of encantos, 2007) was awarded the special mention prize, orizzonti at the 64th venice international film festival. in 2008, angeli was presented the vic silayan award for best actress – international category at the dekada cinemanila awards for her second lav diaz film, melancholia (2008). the 8 - hour epic was awarded the premio orizzonti at the 65th venice international film festival. she was nominated in the 32nd gawad urian 2009 for the same role .
sorry, but if i would know adela profundly probably i' d rate it much more. i' m sure she is very kind and respected in philippines .
in 2008, angeli was presented the vic silayan award for best actress – international category at the dekada cinemanila awards for her second lav diaz film, melancholia (2008). the 8‐hour epic was awarded the premio orizzonti at the 65th venice international film festival. she was nominated in the 32nd gawad urian 2009 for the same role. in 2013 she stars in lav diaz’s norte, hangganan ng kasaysayan which has been selected for the un certain regard section of the cannes international film festival. angeli received a gawad buhay citation for outstanding female lead performance for playing monette (irina) in tanghalang pilipino’s adaptation of anton chekhov’s three sisters, tatlong mariya (2010) .
the second one was after the party, when adela walks into the house of the new mother she helped that morning. she chances upon the mother breastfeeding the baby. the camera then concentrates on adela' s face which changes from delight to sadness, where a heartfelt smile becomes soaked with tears. if the first important scene emphasized the passive emotion of reminiscence, this second scene attempts to break the character, pushing adela to react to the heartbreaking fact that she has become alone, while the rest of the world has somebody to love and love them back .
thankyou very much for the reveiw it was very useful for people outside the country with a little help from myfreind i' ve just finished adela and it still left some sadness inside me .
dina donis she is ricardo’s young defense lawyer. she is pregnant throughout the court hearings. she too is certain of ricardo’s innocence and attempts to delegitimize adela, accusing her of drinking alcohol .
hi oggs, beatiful review. anita is great. i watched the movie lourdes (1954) in anticipation of adela, too bad i missed it. i only had time for one screening .
rebeca eunice perez rebeca is four years adela’s senior. she is a single mother of five and has accepted adela’s three children as her own as well. she helps her mother with their home - based tortilla business and struggles to make ends meet. after a 9 - hour shift of making tortillas and caring for the children at home, she pounds the pavement to make things happen for adela’s murder case on almost a daily basis. she has countless setbacks along the way, but that only fortifies her fight and keeps her going. she is able to transform her pain into a collective healing process and emerges as a feminist leader in her community .
the 33rd edition of the toronto international film festival unspools sept. 4 - 13 .
, linda plays the titular character, a retired radio voice talent who is celebrating her eightieth birthday. the film accounts for that supposedly special day in the life of adela. we first see her alighting from a tricycle, hurrying past a crowd of useless onlookers, to help a neighbor who is giving birth right in the middle of the commotion. the day goes on, with routine mixing with the clever turns of circumstance. adela misplaces her wedding ring, gets swindled by the neighborhood fence, hears mass, visits her son in prison, chances upon a co - worker, and finally travels to the outermost area in her seaside dump site to conclude that special day. the film is introspective, forcing the viewers to experience the starkness of living alone in the world through the profound mundaneness of adela' s birthday .
the other founder of k film plus is tomáš rotnágl, film production manager who has also worked on dozens of commercial advertisements and music videos. he led the film crew on local feature film productions including sklapni a zastřel mě (shut up and shoot me), panic je nanic, tajnosti, bathory, the honeymoon, clownwise and kooky .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
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the third scene happens near the end of the film. adela sets up her picnic blanket, prepares the noodles she cooked, and against the backdrop of manila bay, contemplates on her situation: aged and even amidst the the crowdedness of her neighborhood, alone. again, the camera centers on adela' s face. this time, there is no pretense of joy. she is just there, crying precisely because of the fact that everyone has physically (previous to her picnic, the entire neighborhood attends a political rally, leaving her behind) and symbolically left her alone. she walks past the bushes before the film ends, with an air of thought - provoking ambiguity .
with all the elements considered, i will give this film 4 out of 5 jupiter star power .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
lean isn' t on his a - game here, but the film isn' t bad .
a remarkable depiction of loneliness of elderly people. it' s all around us, but we don' t (want to ?) see it. this film doesn' t specially highlight the issue. instead, it merges it with every day going - ons of everyone around adela, going - ons she isn' t part of. it feels as if she can merely watch life passing by. its sheer simplicity makes the film all the more powerful .
michael flores, a los angeles - based latino editor, is a previous film independent program fellow, a recipient of the rodolfo montes memorial scholarship, and a recipient of the national hispanic foundation for the arts entertainment scholarship. his editing credits include the cost of living (2008 student emmy - winning television pilot), the courtyard (2007), the girls in the band, and what on earth? (2009) .
karera, his screenwriting debut, is one of the finalists for the cinemalaya netpac (network for the promotion of asian cinema) prize of the 2009 cinemalaya independent film festival and had its european premiere at the spectrum section of 2010 international film festival rotterdam and screened at the golden horse film festival in taiwan .
* sydney film festival 2014 * as the programmer of the sydney film festival hub, i live in town hall during the festival, and don' t get to see many films. bu ...
kimberly bautista is a los angeles - based colombian and irish - american filmmaker. she was a princess grace award recipient in 2008 and a latino producers academy fellow in 2010. she was also the recipient of the prestigious yearlong latino artists mentorship from the national association of latino independent producers (nalip) in 2010. kimberly’s debut feature - length documentary film, justice for my sister, received the 2012 hbo - nalip documentary cash award .
there are at least three important scenes that astounded me, on the basis that these scenes are emotional crests in a film that is deprived of an explicit plot. the first one was when adela was listening to the radio drama, she suddenly changes her voice to match the two characters in the radio drama, seamlessly shifting from the high pitched pleas of the daughter to the stern alto of the angry mom. it' s a beautiful scene for the simple fact that it both showcases linda' s acting prowess and it emphasizes the feeling of reminiscence (of a former, unattainable past) that hounds the character of adela that day .
eduardo roy jr. graduated from philippine school of interior design (psid) last year and immediately followed this up with a workshop on found story under bing lao. hence, aside from designing living and working spaces for clients, he busies himself with directing and writing screenplays. his two previous works ulirat won the film academy of the philippines (fap) for best short film in 2002; his second film ang pinakamahabang one night stand was exhibited at the festival del mar ibiza, grand canaria film festival in spain and reeling film festival in chicago. bahay bata is eduardo roy jr.' s first full length feature film .
the entertaining story of hardy’s personal engagement with film is told in matthew sweet’s book inventing the victorians. hardy was first approached by a film company in 1911. the warwick trading company, a british business, wanted to film tess of the d’urbervilles, offering hardy ten per cent of the gross turnover. hardy told his agent :
with its art - perfect snapshot of a community - in - flux, adela calls to mind pedro costa' s similarly rigorous slum - life portrait colossal youth .
village voice
anita linda gives a quietly transfixing performance .
new york times
artfully observed .
variety
might very well be alix' s best film to date. alix has anita linda to thank for that .
before founding k film swiss and co - founding k film plus he was production designer on some 70 commercials, both local and international, and in 2000 production designer on his first film the damned in the czech republic, after which followed shadows of the deceased, viy, august fools, honeymoon, clownwise, garden story etc .
meniscus magazine is an arts, entertainment & lifestyle publication focusing on asian culture, film, fashion & much more .
starred in juana change: the movie, a political satire film written by rody vera and directed by jade castro .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
each month, a different local band picks a silent film and composes a score for live accompaniment. this will be the fourth concert / film showing in the series, following buster keaton’s “the general, ” scored by samuel james; fritz lang’s “metropolis, ” scored by the improvisational string quartet; and the classic german vampire film “nosferatu, ” scored by the jazz group tempera .
this conference screening will be the premiere of the restored mary pickford film the dawn of a tomorrow, a film that was considered lost until a tinted nitrate print with swedish inter - titles surfaced in 2005. the film is set in london and pickford plays glad, ”the poorest and happiest of all orphans”. during the course of the film, this angel in a dickensian world gives shelter to an evicted mother and child, prevents a suicide, intervenes to inhibit domestic violence, and convinces her sweetheart to reform. the beauty of the close - ups displays an extraordinary preciseness of expression that makes this long lost pickford film a revelation to watch .
now on its seventh year, cinemalaya, which is probably the philippines’ most important indie film festival, started out as a digital indie film competition for young and neophyte directors but expanded to include established and veteran filmmakers by opening the directors’ showcase category last year .
13: 45–16: 00 parallel sessions 1. 2 conceptualizing “female pioneers” shelley stamp – lois weber’s ”feminine hand” at rex karen ward mahar – working girls: the masculinization of american business in film and advice literature in the 1920s isabel arredondo – forgetting women film pioneers: juliet rublee and the myth of the avant - garde mark lynn anderson – the real dorothy: mrs. wallace reid, the newspaper, and feminist film historiography monica dall’asta – what means to be a woman: theorizing feminist film history beyond the essentialism / constructionism divide
fortissimo films has acquired documentary feature food, inc. , which is set to receive its world premiere at the upcoming toronto film festival. produced and directed by robert kenner (pbs documentary series the american experience), the film examines the american food industry and how conditions
in all film there is the desire to capture the motion of life, to refuse immobility ,
agnes varda has noted. …
my writing – about music, not film, at the moment – can currently be found at my new blog: reddy brown objects .
lean' s visually appealing film frequently connects as a social satire and a mystical melodrama of transgressors looking for footholds in psychically threatening territory .
scarcely overwhelming enthusiasm at the prospect of seeing his work filmed, though hardy did sign the contract (the film did not get made). he also accepted money from hubert von herkomer, the artist turned filmmaker, who wanted to film far from the madding crowd and the mayor of castebridge. neither was produced, and hardy was onto a nice little earner without a film having made it to the screen .
brian owens has been hired as artistic director of the nashville film festival, which is gearing up for its 40th anniversary celebrations from april 16 - 23, 2009. owens previously served as artistic director of the indianapolis international film festival, which he founded in 2003. during his tenure
she was nominated as best supporting actress for her role in ka oryang (2011) in the cinema one originals 2011 and the 35th gawad urian. she recently starred in juana change: the movie, a political satire film written by rody vera and directed by jade castro. this is angeli bayani’s first film involvement outside the philippines. for her role as teresa, she was nominated best actress at the asia pacific film festival .
here! films has acquired north american rights to icelandic film - maker olaf de fleur' s the amazing truth about queen raquela. sister company regent releasing will distribute the film in select cities this autumn starting with new york and los angeles on september 26. the amazing truth about queen
a baker' s dozen of asian films and 10 spanish - language movies have been added to the toronto international film festival' s growing lineup .
internationally, she is most known for her roles in filipino auteur lav diaz’s films. her first lav diaz film, the 9 ½‐hour kagadanan sa banwaan ning mga engkanto (death in the land of encantos, 2007) was awarded the special mention prize, orizzonti at the 64th venice international film festival .
the film has great cinematic shots and lots of interpretations and unspoken dialogs. i love the mix of these elements brilliantly presented in just one day. there are political, moral and financial issues presented in the film which gave the film a relevant and realistic view how hard to live a better life now a days. acting and technical aspects were superb. the only comment i can make is that there are a lot of dead shots which ultimately consumes most on the movie playtime. i like how the story progressed and allowing the audience to wonder about the ending. honestly i don’t know if adela committed suicide, went home or leave the place. maybe i should contact the director and ask him what happened… so sir adolf please enlightened us if ever you came and looked at this post. please give us further discussion on about this film. i was just ashamed to ask you after the show. i was just overwhelmed i guess because i’m just a nobody shaking hands to an accomplished indie director .
a movie about the much - debated war on drugs is officially serving as re - launch pad for a local film outfit that last produced ...
the 2nd cinema digital seoul film festival (cindi) closed with a screening of yu guangyi' s survival song, which won the international directors jury' s red chameleon award yesterday (aug 26). the jury, led by korean chinese director zhang lu, praised the film for' continually shooting even in
dutch trailer from the presumed lost asta nielsen film die gesunkenen (1925), a drama based on a scenario by ruth goetz after the novel diebe (thieves) by luise westkirch. the dutch censorship board noted about the film (2340 meters, + 117 minutes): ‘rough milieu’, ‘cocaine abuse’, ‘prostitution’, ‘ladies and gents of suspect repute’. in addition to nielsen, the film featured the actors william dieterle, otto gebühr, olga tschechowa and hans albers .
huge efforts were therefore made to bring together practically every available film for the period (fiction film, that is – non - fiction film, ever the bridesmaid, was not included). 1900 to 1906 was chosen so as to avoid the contentious 1890s (which could have ended up as a ‘we - invented - the - cinema’ exercise in futile national boasting) while examining film form and style before the era of cinemas brought about its changes. the experience of seeing so many films for a well - defined period, allowing scholars to make reasoned assessments for film at this time based on unmatched access to the projected films themselves, had considerable repercussions. as said, hardly any writer on early film can avoid noting 1978 as a major milestone, if not starting point, for the whole field. out of that gathering of academics eventually came the organisation, domitor, which still represents scholarly interest in early film studies. tom gunning and andré gaudreault’s notion of the ‘cinema of attractions’ (another essential reference point for practically any writing on early cinema) was undoubtedly formed to some degree by the experience .
paborito kong excuse ang “maling audience” kapag nanonood ako ng mga experimental film sa pinas. gusto ko ang mga pelikulang pinapag - isip ako pero hesita ...
* the notebook is the north american home for locarno film festival artistic director carlo chatrian' s blog. chatrian has been writing thoughtful blog entri ...
for the 2018 re - publishing of his 1971 book transcendental style in film, paul schrader composed to illustrate his new introduction a chart for durational ...
the american ruth ann baldwin was a journalist turned screenwriter, film editor and director. 49 - 17 is a parody western, starring jean hersholt. it was her only feature (she directed several two - reelers), though apparently it was a hit, and the remainder of her film credits are for scriptwriting .
considered the first full - length anthropological documentary, the film follows a year in the life of inuits in arctic canada. it was made by robert flaherty, who went to hudson bay looking for iron ore on behalf of the canadian northern railroad. while there, he became intensely interested in capturing inuit life on film .
birthday. she is expecting her daughter to come along with her grand children. also in this day, pj invited aling adela for a gathering to celebrate the birth of his baby and the same time the barangay captain also is convincing her to join the prayer rally for pgma. as she prepares to go to church, here comes joem to sell some stolen appliance to adela. she then gave way and bough the cellphone charger and toaster for p300. she then discovered her wedding ring was gone. she went to a junk shop manager and found out that the appliances her bought are stolen from the oung snacher’s mother. she confronted the young snatcher and pleaded for her ring back but he won’t simply admit it. she simply went to church to pray and give thanks for this special day but she then saw the young snatchers activities. she also met her former co - league in the radio. there were chit - chats and adela refuses to discuss how lonely her life is. near the church, she also bought toys and decorations for her apos. she went also to the local prison to visit her son only to find out that her son is about to be convicted and be transferred in the muntinglupa. she then decided to attend the pj’s celebration with all the drinking and karaoke singing. while all the gang is singing “luha”, she got a call from her daughter. it is unclear but based on the reaction of adela, her daughter won’t be able to come. she went home, gave some pancit to her neighbour. she also went to the young snatcher’s mother and gave the appliance back only to discover an illicit love affair with a stud .
you have the mandate to start the national film archive. i have heard that your first priority project in relation to archiving is the digitization of some ...
perhaps the most acclaimed film in rainer werner fassbinder’s inimitable oeuvre, * the bitter tears of petra von kant * deals with issues of obsession and j ...
one of the two founders of k film plus is jan kadlec jr. , visual artist, film architect, and production designer. it’s credits include series of domestic and foreign exhibitions. we can pick from feature - length films such as shadows of the deceased, viy, august fools, honeymoon, clownwise, garden story etc .
the fifth international women and the silent screen conference is being held at stockholm university, sweden, 11–13 june 2008, and a full programme with screenings has now been published. the aim of the conference is to “celebrate the diversity of women’s engagement with silent cinemas across the globe”, and it’s very interesting to see the current issues being covered by the papers and some of the unfamiliar films which are being put back on the screens in response to such new debates. this is why we have research; so we can see more .
* the 61st san francisco international film festival began two weeks ago and ends today. each day during the festival i' ve posted about a festival selection ...
in november 2017 i was invited to the singapore international film festival (sgiff) to take part in their asian bonds program. sgiff flew me from and bac ...
despite having lived until 1928, hardy does not seem to have been filmed himself. the nearest we get is film of his funeral, which you can see on urltoken .
it’s a fairly slow process. at a recent rehearsal, band members estimated it took maybe four hours or more to get about 25 minutes’ worth of music for the film .
the dawn of a tomorrow / nattens skuggor (usa, 1915) 35mm colour print from the archival film collections of the swedish film institute 1283 meters, 66 mins (17 fps) swedish inter - titles prod: famous players film co. director: james kirkwood script: eve unsell, based on the novel and the play the dawn of a tomorrow by frances hodgson burnett principal cast: mary pickford (glad), david powell (dandy), forrest robinson (sir oliver holt), robert cain (his nephew )
to compose the score, mckane, robbins and richard have been gathering in the basement of mckane’s north deering home. they got a copy of the film from netflix and watched it on a laptop computer as they composed and played. when they got a piece they liked, they went back to make sure it matched up with a segment of film .
an early example of cross - dressing in swedish film, a restored version of the comedy flickan i frack will be screened at the conference for the first time ever. magda holm plays katja, a bright, small - town daughter of an inventor who cares more for the upbringing of his son than his daughter. when katja’s request for money to buy a new dress for the examination ball is turned down by her father, she decides to attend the ball dressed in tails, creating a further scandal by drinking and smoking cigars. flickan i frack was karin swanström’s fourth and last film as a director, and she also plays one of the leading parts in the film. the film was remade in 1956 .
respeto, treb monteras ii’s debut film about a young rapper living in a manila slum who meets his match in an aging poet living in his neighborhood, tops t ...
the film is very much' a full theatrical meal,' and one that conveys a lot of' the multiplicity of life' one seldom sees on the screen these days .
lamangan believes that the merits of the commercial film should not be disregarded. “the commercial film is the film that is seen by the majority of filipinos; it is seen by the national audience. you can’t exist in a vacuum. your film needs to be viewed by an audience. if you want to be versatile, you need to learn from both mainstream and independent. young directors nowadays seem to prefer to serve the festival audience, the international audience, rather than the filipino audience. it would be good if they can communicate first to the filipino audience. young directors must not negate the mainstream. both the mainstream and independent should learn from each other. there should be no dichotomy, ” he says .
the festival has increased its focus on the vibrant film communities in these regions, paving the way for a significant presence of asian cinema at this year' s festival .
the third dvd, the red kimona (1925) was directed by dorothy davenport reid, better known as mrs wallace reid (right), the wife of the wretched wallace reid. he was the actor whose death through drug addiction so shocked hollywood and the nation, leading his wife to appear in the impassioned anti - drug film human wreckage (1923), which featured in the bioscope festival of lost films. after the success of that film she formed her own production company, and made this concerned drama (based on a true story) of a young woman lured into a life of prostitution, starring priscilla bonner. its notable female credits continue, with a story by future director dorothy arzner and screenplay by adela rogers st. john. she continued to have some success as a director into the 1930s and thereafter as a screenwriter .
the devil and daniel webster (1941). jeff here: last week, the latest in our series of “observations on film art” videos dropped on filmstruck. the topic t ...
14: 00–15: 45 parallel sessions 2. 3 stardom and intermediality anne morey – geraldine farrar: a film star from another medium victoria duckett – a new anachronism: sarah bernhardt and the modern theatrical film elena mosconi – the star as an artist: italian divas between symbolism and liberty maria elena d’amelio – damned queens. two case studies on the dark ladies in cabiria and maciste all’inferno films
there is an ingenious bit of cheek about this whole exercise, but the more you think about it the smarter it is. i don’t know what the dvd producers think, but they are not going to lose anything by it. one or two of the original accompanists on those dvds might feel a bit miffed. as for select group of punters, i suspect they are going to welcome the opportunity for choice. the beauty of experiencing silent films live is that you never encounter the same film twice, because the (generally) improvised score is different every time. once you’ve bought the dvd you have just one film. altscore introduces a small element of variety, based on an understanding that the silent film is a protean beast that, ideally, should never be the same film twice .
among the few silent trailers of the filmmuseum collection, this stylish trailer is remarkable for the drawings it contains. discovered and preserved in 2004 during the international mary pickford research project by christel schmidt, this film has only been shown in amsterdam during the pickford program. although the trailer shows nothing of the film itself, it constitutes an important evidence to prove the popularity of mary pickford with dutch audiences .
the website currently makes available a handful of clips of the unrestored version, with the promise of clips from the restored version to follow soon. the remainder of the website explains in incisive detail the film’s history, restoration, score, images and above all its relatation to and reflection of kwakwaka’wakw culture. it is significant that in giving the history of the film’s production the site reverses the usual narrative by relating things from the kwakwaka’wakw perspective. from this point of view, the kwakwaka’wakw had significant control over the film’s production – agreeing to its being made in the first place, vetoing inauthentic scenes, while actively encouraging scenes which recreated customs that were on the wane or archaic in part through the assimilationist policies of the canadian government. the film therefore became an important means for their cultural self - expression .
along with her fellow actors in the film presa (2010), she was presented the gawad tanglaw award for best actress (ensemble). she was also involved in “the erotic man” (2010) by danish poet and film director, jørgen leth, friend and mentor to filmmaker lars von trier. her recent plays are care divas (2011) and noli me tangere the musical (2011) .
here is the shot i got after the film. seen here are eric santos, boy abunda, anita linda and pearla bautista. sorry for the other guy actor, i now sure his name is .
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since the 1970s, curtis’s film has been treated as a documentary, adorning the halls of natural history and anthropology museums and being criticized for its staging of savage scenes from a “pre - contact” past as if they were part of the everyday life of contemporary tribal communities (as was also the case with his photography). yet the film was intended as an innovation in feature film—one meant to stand out in the already crowded field of popular westerns or “indian pictures” of the time—because of its exclusive use of “authentic” native actors, its on - location shooting, its dynamic camera work, its spectacular color tinting and toning, and its ambitious musical score. the film truly represents an active, artistic collaboration between two dramatic traditions: the rich kwakwaka’wakw history of staged ceremonialism and the then - emergent mass - market colossus of american narrative cinema .
so to look on in the land of the head hunters as either drama or documentary is merely to hold up both terms for their inadequacy. the film used the tools of the cinema to express a collaboration between two cultures, to document through drama. this is not to say that it is not a problematic film – that sensationalist title alone betrays curtis’ muddled sympathies. but for a cinema where ‘cowboys and indians’ were predominant, any tale which put the native people (there are no white performers in the film) and the commemoration of a culture first was radical and affirmative. no wonder it failed at the box office .
notes. bumped to the top of my blog for easy access. 20 films. chronological. 1 film per director. i have given my top 5 special pictures. i do plan to expa ...
the venue presents a mix of live music, dance, film and other performances and was known as the center for cultural exchange before the current owners bought the building and reopened as one longfellow square last july .
they’ll perform the music live while the 79 - minute film is shown next wednesday and thursday at one longfellow square in portland as part of the 200 - seat venue’s monthly series, “local scores, silent films. ”
some of the images in busong have been in solito’s mind since childhood, through his mother’s bedtime stories. to make a palawan feature film, for solito, was the penultimate dream. “it has been gestating in my mind for 15 years. this film is about my roots. about my tribe, the palaw’an. it is about people and land being one. our ancient culture and our struggle to survive in this modern age. ”
since he joined cinemalaya in 2006, alix has gone far as a film director, reaping laurels here and abroad. yet, he keeps returning to cinemalaya and with his isda, joins the heavyweights in the directors’ showcase .
the celebrated film “ang pagdadalaga ni maximo oliveros” (2005), which he directed and which was written by michiko yamamoto, catapulted him to directorial stardom. “pisay” (2007), finalist in the new breed full length feature category, “was my ode to my high school life. ” this year, solito joins the directors’ showcase with “busong (palawan fate), ” which he describes as the fruition of his life as a film artist .
i am a university graduate too. i have obtained two ba titles at faculty of arts (masaryk university, brno, czech republic): art history - french language and literature; audiovisual studies - film history and theory .
“fruit fly” review – 2009 asian american international film festival while the plot of
fruit fly
focuses on main character bethesda' s
coming of age ,
it is not clear what she has really learned... .
auraeus solito is another cinemalaya baby who has gone on to win worldwide accolades for his work. “cinemalaya made me, ” he declares. “it is through this festival that i made my first feature film and my big breakthrough. ”
leave a home and family in shambles; and the struggle of a townspeople caught in the crossfire of armed conflict to keep their children in school – these are the tales told by film directors adolfo alix jr. , auraeus solito, jeffrey jeturian and joel lamangan, all raconteurs of the first order, in their entries to the directors’ showcase of this year’s cinemalaya philippine independent film festival and competition on july 15 - 24 at the cultural center of the philippines and greenbelt 3 .
( re) discovering female filmmakers 1 nathalie morris – “alma isn’t talking”: the early career of alma reville aka mrs alfred hitchcock claudia preschl and elisabeth streit – making noice (proud to be loud). women in the silent - period of austrian film history anne bachmann – parallel stories? ebba lindkvist’s brief career and the film version of a theatrical play annemone ligensa – “a cinematography of feminine thought”: the novel the dangerous age (1910) by karin michaelis and its filmic adaptations
such riches, and such attitudes, were evidenced by metro pictures, which optioned tess for an astonishing $ 50, 000, but the next hardy film came from a far humbler source, the progress film company of shoreham - by - sea on england’s south coast. the tale of the artist / theatrical community in what was affectionately known as ‘bungalow town’ is charmingly told on the bungalow town website. the mayor of casterbidge was made there in 1921, directed by sidney morgan and starring fred groves as michael henchard. hardy was receiving more and more offers from film companies, and seems to have selected according to the degree to which the treatment indicated a sympathetic understanding of his original. for the progress proposal he wrote :
the last film to be made of his work while hardy was still alive was metro - goldwyn - mayer’s tess of the d’urbervilles, in 1924. this was a top - notch hollywood effort (evidenced by that $ 50, 000 payment for the rights), with blanche sweet as tess, conrad nagel as angel clare and stuart holmes as alec. scenes were filmed in dorechester, but hardy never saw the film. given that the film updated much of the action to the 1920s, with motor cars and nightclubs, it is perhaps best that he did not. interestingly, it seems to have been made with two endings, exhibitors being given the option whether to choose tess being hanged or tess escaping the gallows .
when adela got all that attention from critics and the press, the broadcast medium remembered her once again and cast her as the bad lola in tayong dalawa for abs - cbn. then followed amamanhig, a story of the undead who pass on the curse from generation to generation. she was even given a surprise tribute with colleagues in attendance at the teatrino. on her way there aboard a taxi by herself, she and the taxi driver were accosted by two hold - uppers in the midst of traffic on edsa. they got away with the driver’s earnings for the day, but left anita unscathed with her belongings intact .
* the face withheld - a secret. * * 1. * * the nonface in class picture1 * * [ this article was published in kino punch (issue 3), u. p. cinema' s film critiqu ...
being a documentary, it’s very different from most of the classic silent films that often get shown today with live musical accompaniment. horror films, epics and slapstick comedies are the usual suspects for this kind of silent film / live music series .
isa’s father, a wealthy gentleman of the countryside, wants her to marry jürgen. however, jürgen is rather prejudiced towards country women. furthermore, he is attracted to a rich girl from the city. upon hearing this, isa, who doesn’t want to get married anyway, swears to teach jürgen a lesson. for this purpose, she leaves her house and applies for a job (disguised as a boy) at jürgen’s household. this fast - paced comedy, written and directed by rosa porten herself, appears in almost no written sources. it is therefore no surprise that this film was lost for many years, until this incomplete print appeared in the nederlands filmmuseum collection, carrying the original german titles. die landpomeranze has been preserved in 2008 in order to be presented for the very first time at this conference. given the impossibility to complete the missing ending, due to complete lack of written sources, the preserved print has an open end, in hope that the missing reel (s) get discovered somewhere in the future.
adela is a 2008 filipino drama independent film starring the philippine screen legend , anita linda . the film was a tribute for the award-winning film veteran which won best actress awards from the gawad tanglaw , 10th cinemanila international film festival ( southeast asia film competition ) and young critics circle for her portrayal of the titular character . the story of adela , which takes place in a span of one day , is a heartbreaking story of a woman who longs for the company of her loved ones . some of the stars tapped to act as adela 's neighbors are jason abalos , angeli bayani , and iza calzado . 
adela is a 2008 filipino drama independent film starring the philippine screen legend, anita linda. the film was a tribute for the award-winning film veteran which won best actress awards from the gawad tanglaw, 10th cinemanila international film festival (southeast asia film competition) and young critics circle for her portrayal of the titular character. the story of adela, which takes place in a span of one day, is a heartbreaking story of a woman who longs for the company of her loved ones. some of the stars tapped to act as adela's neighbors are jason abalos, angeli bayani, and iza calzado.
adela is a 2008 filipino drama independent film starring the philippine screen legend, anita linda. the film was a tribute for the award-winning film veteran which won best actress awards from the gawad tanglaw, 10th cinemanila international film festival (southeast asia film competition) and young critics circle for her portrayal of the titular character. the story of adela, which takes place in a span of one day, is a heartbreaking story of a woman who longs for the company of her loved ones. some of the stars tapped to act as adela's neighbors are jason abalos, angeli bayani, and iza calzado.