The Manila Film Center is one of the most notorious buildings of the Philippines, particularly due to the accident that occurred during its construction on November 17, 1981, due to the rush to complete it in time for the 1st International Manila Film Festival. An entire floor and six giant beams collapsed and crashed down to the main theater, burying 169 workers in newly dried cement and a tangle of wood and steel. Marcos’s regime tried to conceal the magnitude of the disaster, with the rescue operations starting after nine hours and ending rather briefly in order for the construction to continue, with the festival actually happening in the building from the 18th to the 29th of January 1982.
In “Pilak: The Manila Film Center Invasion” Khavn narrates the story through text on black screen in silent film style, before introducing his trademark absurdity, by suggesting that one of the workers was an alien,...
In “Pilak: The Manila Film Center Invasion” Khavn narrates the story through text on black screen in silent film style, before introducing his trademark absurdity, by suggesting that one of the workers was an alien,...
- 7/13/2020
- by Panos Kotzathanasis
- AsianMoviePulse
At first glance, Sherad Sanchez's Jungle Love seems needlessly indulgent. Rebelling against traditional concepts of what is deemed to be acceptable and tasteful in cinema, the film is littered with exposed flesh, dark, wrinkled, blonzed or tattooed, interacting with each other in wild abandon. Its loose narrative deflects any easy reading that could defend the abundant sexuality. If it weren't for the deliciously ambiguous atmosphere so efficiently conjured by the images framed and lighted by cinematographers Malay Javier and Gym Lumbera and the mystical sounds inflicted by scorer Teresa Barrozo, Sanchez's film could have been something more akin to exotic erotica than art. Jungle Love, of course, is far from being plainly titillating. It is draped in irreverence, starting with its repetitious use of a...
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- 2/17/2013
- Screen Anarchy
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