young critics circle citations for 2008.pdf

8/14/2019 Young Critics Circle Citations for 2008.pdf

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The 19 Annual Circle Citations

for Distinguished Achievement in Film for

2008

and

Sine Sipat: Recasting Roles and ImagesStars, Awards and Criticism

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The Citation

1

Ibinigay ng Film Desk ng Young Critics Circle (YCC) ang

unang taunang pagkilala nito sa kahusayan sa pelikula noong 1991,ang taon pagkaraang maitatag ang YCC ng labinlimang tagapag-

rebyu at kritiko. Sa kanilang Deklarasyon ng mga Prinsipyo,ipinahayag ng mga miyembro ang paniniwala na laging bukas ang

mga tekstong kultural sa aktibong pagbasa, sa mga interaksiyon ng

iba't ibang mambabasa na may natatanging kakayahan parasumipat, magbigay kahulugan, at mag-isip... bumuo ng isang

dinamikong diskurso kung saan ang texto ay naghahamon para

lumikha ng mga pinaka-imahinatibong idea ng ating panahon.

Ang Film Desk ay lagi nang nagsisikap na talakayin angpelikula sa iba't ibang arena ng akademya at media, sa pag-asangmagsulong ng alternatibo at umuusbong na artikulasyon ngkritisismong pampelikula kahit sa loob ng nakababaldang kultura ngmga award.

The Film Desk of the Young Critics Circle (YCC) first gave its annual

citations in film achievement in 1991, a year after the YCC was organized by 15

reviewers and critics. In their Declaration of Principles, the members expressed

the belief that cultural texts always call for active readings, interactions in fact

among different readers who have the unique capacities to discern, to interpret,

and to reflect... evolving a dynamic discourse in which the text provokes the most

imaginative ideas of our time.

The Film Desk has always committed itself to the discussion of film in

the various arenas of academe and media, with the hope of fostering an

alternative and emergent articulation of film critical practice, even within the

severely debilitating culture of awards.


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2

Flaudette May V. Datuin

IN A WORLD OUT OF JOINT, amidst the detritus of the city, of whichher dwelling and its interior is made, Adela acts out a bygone era, anddeclaims performance level - the lines of a dialogue we hear from a

crackling old-model and battered radio. For a moment there, Adela is youngagain, and we see an elderly woman garbed in a worn and shapeless 'daster'transform into a radio drama queen. Momentarily, we imagine her reunitedwith her adoring fans who saw Adela only through her voice and who arethemselves living, conjuring and mobilizing similar fantasy scenes ofcollective oftentimes disappointed feminine desires and anxieties enduredwithin the contingencies of a life deemed puny, dimmed and discarded, likethe heap of waste on which their idol now lives wasted but still standing. Inthis scene of possible acting, collective but individually experienced pain

becomes a form of entertainment transmitted through an outdated but stillvery much in use technological conduit. As Adela finely portrayed by AnitaLinda, in one of the best performances I have witnessed so far - acts out aprivate melodrama in close proximity to a degraded political sphere, shetransports us to a world of the possible, where agency, borrowing thewords of Lauren Berlant, is somehow unconstrained by the normativeconventions of the real as it presents itself; and it holds the real accountableto what affective justice fantasy has constructed.

Disappointed but not Disenchanted


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What this fantasy holds into account is a public space in disarray weencounter - competently through diligent camera work and a meticulousproduction design - via Adela's radio from which springs the voice of awhistle blower at the height of protests against yet another form of

corruption in high places; and beyond Adela's window, where we seejeeploads of paid crowds being organized to support a leader a mostinfamous woman under siege. This political world is one being managed andmaintained by elites from colluding petty politicians like the barangay chairto the big political fishes, like the President of the Philippines herself - whoare interested only in reproducing the status quo, not in the well-being ofordinary people or life worlds. However, Adela the film did not present thesedismal conditions through the conventional social realist mode typicallyrevolving around catastrophic moments of death, sex and violence and

monumental sufferings of loss, trauma and bereavement but on smallsufferings of women in what Berlant calls intimate publics. Grounded on acommon emotional world, we witness in Adela's intimate public stories ofwomen giving birth (in the touching first scene where Adela midwifes a babywho cannot wait to be born in hospital but emerged right there and then onthe wasteland), growing old and pining for the arrival of loved ones (Adela


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and a friend), earning a living (the sex worker who continues to 'work' even atthe height of pregnancy), and pursuing sexual gratification with a muchyounger man (one of Adela's aging friends). Each of these stories offer relieffrom the public sphere of politics, of which these women are also a part, butfrom which they also exist apart, confined as they are in a space marked byanonymity and harsh, ordinary lives. This intimate public world of womensuffering the conditions of real existence throws into high relief the

depravity of a public political space - a threat to happiness, and one thatneeds reforming so that a better living can take place.

At the center of the story of what counts as life in this film, Adela lives in anintimate public expressed in the idiom of love, directed at loved ones whoare unable to express that love or reciprocate: the dead husband whom sheupdates with monologues in front of his grave; the children who are literallyand figuratively imprisoned in their respective confinements the son isserving time, one daughter is serving another household and a strict mistress;

and yet another child is serving strange people in a strange land. Allthroughout the film, we wait for these loved ones to make their appearanceand partake of the modest meal Adela lovingly prepared to celebrate her 80birthday. Instead, we witness a succession of surrogates - people who love

th


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Adela in their own limited, at times mercenary ways: the young girl-assistant who helps her carry and put away her groceries, the snatcher whosells her stolen goods, and whom she suspects of snitching her wedding ring(the mystery of the missing ring was never solved), the young father whorecruits her to provide warm body to the rally and extra income that will feeda newborn baby, the gay beautician who tends to her nails and indulges herreminiscences, a long lost comrade in the work place of her heydays, the

young men who miss the delicious soup she sells to daily wage earnerssomewhere in that wasteland. The arrivals and appearances of these peoplepunctuate the tense wait, ably sustained by the pacing and sequencing ofscenes that keep us riveted, suspended in hopeful anticipation for the arrivalof blood kin that never comes.

In the end, we witness a disappointment, one where Adela, the weepingwounded is called upon to testify, to bear witness to a host of contradictionsin a social and emotional world where extremity of hard life amidst the city's

discards and the ordinariness of a cluttered existence are conflated; wherefantasy - a zone of stop-loss, a demand for the ongoing present to be thescene of lived fulfillment- exists alongside women's heroic and pragmaticresponse to the urgencies of the ongoing moment; and where the politicalsphere the field of threat, chaos, degradation and trauma is critiqued and inlimited ways, restructured by and within the conditions of possibility offeredby the intimate public sphere of a grandmother's pain and grief. It is a sceneof disappointment, but it is one from where the disappointed rises and walksaway from amidst the cicadas' cheerful chirping - leaving us hopeful that

tomorrow will be another day in a world where people like Adela arelegitimated and have feelings and because there is an intelligence in whatthey feel that something about the world that, if it were listened to,could make things better. And where love is concerned, we remain hopingthat Adela's disappointment is a partner of enchantment and fulfillment, andnot the opposite.

knows

1

2

3

Lauren Berlant. 2008.Durham and London: DukeUniversityPress.

Berlant,

Berlant,

The Female Complaint. The Unfinished Business of Sentimentality in American Cultures.

Ibid.

Ibid.


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To RenderPatrick D. Flores

THE FILM SERBIS OF Brillante Mendoza lends itself well to the makingof a microcosm. It is rooted well within a locale, mired in the routine ofeveryday life in a movie theater that unreels porn in a city in Pampanga, a

province north of Manila. On the other hand, this seemingly banal,quotidian circumstance speaks to a wider context and community andconsequence: the cinema and its audience of strangers, a crowd in the darktransfixed on a silver screen, which takes it elsewhere. That the locus used tobe home to the American Bases charges the historical atmosphere of thisfilmpalacethathasgonetoseed.

This is one stratum. The other references a particular type of people thatgathers around the light of film in the theater: sex workers that dispense

sexual favors to a gay public. This is labor or service or colloquially "serbis,"which in Philippine gay parlance refers to ministrations performed by boysor men, becoming gay-for-pay or simply carrying out the task with theirmasculinity avowedly untouched, on a gay clientele.


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Another layer is the extended Pineda family that runs this rather rundownbusiness at a time when audiences flock to the cineplexes of gargantuanmalls or buy pirated vcds and dvds and watch them in the comforts of theirhouses. There is a matriarch that presides over this enduring but decayingstructure; she takes her bigamist husband to court and creates rifts withinthe clan, which includes a projectionist and a billboard painter.

The director builds his milieu around these levels of microcosm that weave awider world, but one that also reveals tropes of constriction, a semblance ofthe dead end. Petty thieves come and go, gay customers pick up theirhustlers, transvestites sashay into their imagined ramps. There is somethingtedious about this depiction, the ethnographic bent generating motifs of lifehappening without much spectacle, except for sex and squalor, fellatio andbad plumbing. Ultimately, it is abjection that is conjured as life transpiresunceremoniously, or better still, contrived to transpire unceremoniously.

This exercise, however, is not without its virtues. First, the technicalelements of cinema are harnessed well, rendered potent in therepresentation of the said tropes and the formation of a survivalist worldthat is flattened, or reduced to misery. Second, it pursues the director's cycleof films on Pampanga, a path that is instructive within the discourse oflocality in the context of a national cinema. Third, it may be able to sketchout emergent frameworks of political mediation in Philippine film thattranscend the strategies of Lino Brocka and Ishmael Bernal. And finally, thatthis cul de sac, the site where a man's boil ruptures, happens to be the

President's hometown can only be telling. Lines may be drawn between adecrepit cinema, both the architecture and the medium, and a corruptgovernment, between a matriarch at the helm of a failed fantasy and whosename translates into "prone to fatigue" and whatever sensational service it isthat has brought us excelsis, from glory to glory.


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Risk of PerformancePatrick D. Flores

THE PREMISE OF THE FILM is pregnant: nationalism isbedeviled by radical romance between a half-Spanish Filipino soldier and aFilipina whose father takes part in the revolution against the empire. The

narrative takes us to the siege of the church of Baler where the last Spanisharmy in the Philippines had taken their heroic stand. In the 1945 Spanish film, the men are cast as folk heroes. In the Filipino film on

the same subject, nearly everyone is a caricature, except the character essayedby Carlo Aquino.

He is the son of a rather shrill revolutionary who takes his vocation as asacristan to heart. This devotion reaches a point of treason: he is willing toturn his back on his nation and family so that he could be true to his faith.

While we may not consent to this personal and ideological decision, or whilenationalist discourse pressures us to dismiss this choice as reactionary, hetakes a stand and suffers the consequence. This makes his political mediationmore textured and compelling, resisting the instrumentalist tendency ofmuch post-colonial discourse to simplistically reduce the political to anadvocacy for the nation.

Baler

Los Ultimos de Filipinas


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At the core of the film is the tension between a search for love, honor,presence, and transcendence and the impossibility of its fulfillment in theface of the constraints of race, colonial politics, and the event itself of thesiege, which motivates the plot. This situation is carved out by thecontentious calling of patriotism: love for country and love that defiescountry, both of which are "revolutionary." The film ends with the scene ofthe lovelorn Filipina with her child, hybrid progeny of the post-colonial"Filipino." This is the germ of what could have been the complex cinema of

All told, the performance of Carlo Aquino is commensurate with thisperturbation, fleshing out a persona that is of substance, a defiant Filipinowho can neither be easily vilified as a traitor nor extolled as a hero. It is to thecredit of the young actor that this liminal sentiment surfaces. His talents areample and sharp and possess a sensitivity rare among his kind.

Baler.


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Hell on EarthEloisa May P. Hernandez

THIS IS NOT YOUR RUN-OF-THE MILLhorror movie. There areno special effects or computer-generated images to boast of. No monsters,no gory disfigured creatures. At the crux of Yanggaw is not the horror

instigated by the presence of an in a village in a remote town, it is theterror wrought on a family as a daughter is inflicted with an unknown diseasethat turns her into one.

Yanggaw dwells deep into the transformations - physical and otherwise, of ayoung woman turned and how her family is forced to deal with heraffliction. Yanggaw's explores the folklore of the , prevalent inPhilippine culture and society, as a disease that one contracts and that healthcenters and faith-healers do not have the remedy for. The premise of the

film, the focus on the family's moral dilemmas rather than on old, worn-outscare tactics for the sake of a few screams, was promising at the onset, butsadly proved to be its ruin in the end as the film uncontrollably degeneratesinto excessiveness.

aswang

aswangaswang

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Nevertheless, the initial directorial effort of Richard Somes in featurefilmmaking is laudable. Yanggaw is a well-made film employing sound, auralorchestration, visual design, cinematography and editing to strike terror inthe hearts of the viewers. The sound and aural orchestration is eerily filled

with silences and screams, grunts and groans, evoking fear of the unseen andunsightly. The cinematography is apposite concealing and revealing in apremeditated and studied manner. The visual design is commendable. Allthese elements make the fear palpable.

The presence of Tetchie Agbayani (as Inday), Joel Torre (as Dulpo) andRonnie Lazaro (as Junior) turns Yanggaw into an acting tour-de-force. But itis Ronnie Lazaro that bears the Herculean burden and moral dilemma inYanggaw. What does a father do when his daughter turns into an ?

Does he seclude her from the community but pose danger to the other familymembers? Or does he let her go free to hunt for survival and prey on thetownsfolk just so he can protect the other family members? Junior dictatesthe fate of his family - patriarchy at its finest and its worst. His entire familyfollows his lead into the film's gruesome denouement. Ronnie Lazarobrilliantly rises to the challenge - in the end, we witness Lazaro as he plungeshimself and his family into hell. And there is no turning back.

aswang

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Paghulma ng mga PasyaGalileo S. Zafra

MASASABING ANG PELIKULANG ay mapangahas. Mangyari'ynasa naratibo nito ang posibilidad ng pag-iral ng isang romantikong relasyonhindi lamang sa pagitan ng dalawang tao kundi ng tatloisang babae, isang

lalaki, isang bakla na magkakapisan sa iisang bahay. Isinasalaysay nito angkuwento ni Dante (Paolo Paraiso), isang taxi driver, na hinahati ang kaniyangpanahon at pag-ibig sa kaniyang asawang si Abby (Katherine Luna), isangdating waitress na ngayon ay nagtitinda ng kosmetiks, at kay Jonathan, angengineer na hindi lamang mapag-aruga kay Dante (Arnold Reyes) kundi patina rin sa asawa nito. Mapangahas ang representasyon sa mga tauhan dahilhindi na masyadong ginawang problema kung magsasama-sama sila (sa

Imoral


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kabila ng pagdududa ng kanilang landlady, ng pagpapaalala ng kapatid nababae ni Jonathan na dapat nang kumalas sa ganitong sitwasyon, ng pagigingabala ng ina ni Abby sa problema sa sariling asawa). Nagpasiya na ang tatlo. Satahimik na paraan, isinasabuhay na lamang sa pelikula ang dinamika ng araw-araw na pakikipagtunggali ng mga tauhan para sa kanilang kinakalingangpag-ibig.

Ngunit hindi ang nagsasariling ahensiya ng mga tauhan ang gustong ipamalasng pelikula. Sa tahimik at mapagpahiwatig na paraan, malalantad ang mgakontekstong humugis sa ganitong sitwasyonang pagkaulila ni Dante sa ina atpaghahanap ng pagmamahal sa ama, ang pambubugbog ng dating karelasyonni Abby na si Peter, ang mga karanasan ni Jonathan noong bata pa. Kunggayon, kahit ang mapangahas na desisyong lumihis sa nakamihasnang mga

relasyon ay tinatakdaan pa rin ng lipunan.

Mapapatampok pa ang ideang ito kapag sa gitna ng pelikula aymaengkuwentro ng mga tauhan ang isang bagong sitwasyonang di-inaasahang pagkaiwan ng malaking pera sa taxi na minamaneho ni Dante.Muli, kinailangang magpasiya ng mga pangunahing tauhan. Nais ni Dante nagamitin ang pera para sa kaniyang pakikipagsapalaran sa ibang bansa. Gustoni Abby na humiwalay na ng tirahan para masarili ang kaniyang bana.Pananaigin ni Jonathan ang sa palagay niya ay siyang wasto at nararapatang

isauli ang pera. Sa huli, maglalaho na lamang si Dante dala ang bag na puno ngsalapi. Maiiwang nasa alanganin at naghihinuha sina Abby at Jonathan.Maiiwan din sa manonood ang isang palaisipan upang sa proseso aymaipadanas ang pagpapairal ng sarili nating pagpapasiyang hinuhulma ngating mga personal at panlipunang kasaysayan.


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Filmografia PHILIPPINE CINEMA 20081 January 2008

9 January

16 January

23 January

30 January

6 February

13 February

20 February

27 February

5 March

12 March

22 March

26 March

2 April

9 April

16 April

(Tuesday)(MP Promotions) R13 Action

(Comguild Production Co.) R13 Action(Regal Entertainment) PG Comedy

(Wednesday)No RP regular release





(Wednesday)(Regal Entertainment;

GMA Films) G Romance

(Wednesday)

No RP regular release

(Wednesday)(Star Cinema; ABS-CBN Film

Productions) G Romance

(Wednesday)(Reality Entertainment) R13 Drama

(Forward Films) G Action

(Wednesday)


(Saturday)(Star Cinema; ABS-CBN Film

Productions) G Comedy



(Wednesday)(Bicycle Pictures) PG Drama

(Wednesday)(Regal Entertainment) PG

Comedy

Anak ng KumanderBanalDesperadas

My Best Friend's Girlfriend

My Big Love

AteThe Half Blood Samurai

Supah Papalicious

Kadin

Manay Po 2Overload

23 April

30 April

7 May

14 May

21 May

28 May

4 June

11 June

18 June

25 June

2 July

9 July

16 July

23 July

30 July

6 August


(Wednesday)(Panoramanila Pictures) G Drama

(Star Cinema; ABS-CBN FilmProductions) PG Romance


(Wednesday)(Viva Entertainment) PG Romance



Productions) G Drama


(Wednesday)


(Wednesday)(APT Entertainment) G Adventure

Animation

(Wednesday)(Centerstage Productions) R Drama

(Wednesday)(Regal Entertainment; GMA

Films) G Comedy




(Wednesday)(Star Cinema; ABS-CBNFilm Productions; Viva Entertainment) GRomance


PloningWhen Love Begins

Ikaw Pa Rin

Caregiver

Urduja

Serbis

My Monster Mom

A Very Special Love


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(Wednesday)(RVQ Productions; M-

Zet TV; APT Entertainment) G Comedy

(Wednesday)(Regal Entertainment) PG Youth

Romance(Viva Entertainment) R13 Drama


Productions) PG Romance


(Wednesday)(Aloha Pearl Film Productions) PG

Drama

(Wednesday)aka (GMA Films) G

Comedy


(Wednesday)(Regal Entertainment) PG

Horror




(Wednesday)

(Star Cinema; ABS-CBN FilmProductions) G Romance



(Wednesday)(GMA Films; Regal Entertainment)

PG Romance

(Wednesday)(APT Entertainment; M-Zet TV) PG

Comedy

13 August

20 August

27 August

3 September

10 September

17 September

24 September

1 October

8 October

15 October

22 October

29 October

5 November

12 November

19 November

26 November

Dobol TrobolReady 2 Rambol

Loving You

Torotot

For the First Time

Ay, Ayeng

Italy I Trust and Love You

Mag-ingat Ka sa Kulam

My Only U

One True Love

Scaregivers

3 December

10 December

17 December

25 December




(Thursday)(Viva Entertainment) G Drama

(Cutting EdgeProductions) G Animation

(Regal Entertainment) PG Comedy(Octoarts Films; APT

Entertainment; M-Zet TV) G Comedy(Maverick Films) PG Drama

(Octoarts Films; Canary Films)R13 Comedy

(Regal Entertainment)

PG Horror(Star Cinema; ABS-

CBN Film Productions) PG Comedy

BalerDayoSa Mundo ng Elementalia

Desperadas 2Iskul Bukul20 Years After

MagkaibiganOne Night Only

Shake, Rattle and Roll X

Ang Tanging Ina N'yong Lahat


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NON-REGULAR RELEASES

(Grupong Sinehan) R Digital Drama 010908(New Life Cinema) R Digital Drama 011608

(Breaking the Box Productions, Kamurayaw Pictures) PG Digital Drama 012308(Octoberian Films) R Digital Drama 020208

(Star View Productions) R Digital Drama 021308(ufo Pictures) R13 Digital Drama 021308

(Digital Viva) R Digital Drama 021308

(Bicycle Pictures) R Digital Drama 022008(Solito Arts Productions) G Digital Drama 022008

(ON Creative Production) R13 Digital Comedy 031208(Goldphin Entertainment) G Digital Musical 032208

(Diamond Jade Films; Viva Entertainment) R Digital Sex Drama 040908(Hubo Productions) R Digital Drama 042308 postponed

Digital Full RunRetasoSikilCondoRoxxxanneSelda

EndoAng Lihim ni Antonio

DaybreakPisayWhen Timawa Meets Delgado

AbadehaManikang PapelSa Pagdapo ng MariposaTelebisyonRoxxxannePitong TagpoSa Pagdapo ng MariposaKatorse Shorts

HugotTiradorPaupahan CrossroadsBarakoKambyoKalakalPaalam Aking BulalakawImoralProject XConfessionalYears When I Was a Child OutsideTambolistaEskandaloQuick TripRoom 213Teach Me to LoveBinyagSEB: Cyber Game of LoveSindie: GMA Workshop Series for Short FilmsLukaretAltarMaling AkalaKurap

Walang KawalaXenoaConcerto Davao War DiaryLalamunanSapiBosesEraserheadsThe Reunion ConcertCul de Sac100LovebirdsJay

AdelaKiss Meeh, Manananggal Meeh

(Back Focus Productions) PG Digital Drama 043008(Octoberian Films) R Digital Drama 050708 re-release

(Creative Futures) PG Digital Drama 051408(Hubo Productions) R Digital Drama 052108

(IFC) R13 Collected Digital Shorts 061108

(Phylum Productions) R Digital Drama 061808(Centerstage Productions) R Digital Drama 070208

aka (ATD Entertainment) R13 Digital Drama 070208(IFC; East Indie Pictures) PG Digital Drama 070908

(Digital Viva) R Digital Drama 070908(Star Image Productions) R Digital Drama 073008

(Filmless Films) PG Digital Drama 073008(Videoflick Productions; Bicycle Pictures) R Digital Drama 080608

(Leo Films) R Digital Drama 080608(Cinema One) R13 Digital Drama 081308

(IFC; John Torres) PG Digital Drama 082008(Cinema One) R Digital Drama 082708

(Sunflower Films) R13 Digital Sex Drama 082708(Sinehan Digitales) R Digital Drama 090308

(Viva Entertainment) R Digital Sex Drama 092408(IFC; Eddie Romero) PG Digital Drama 092408

(Sunflower Films; Green Light Entertainment) R Digital Drama 100808(Sinehan Digitales) PG Digital Drama 101508

(GMA Network) PG/G Various Shorts 101508(IFC; Synchronicity Films) R13 Digital Drama 102208

(IFC; Cinema One) PG Digital Horror 102908(IFC; Cinema One) PG Digital Drama 110508

(Silangan Pictures) R Digital Drama 111208

(DMV Entertainment) R Digital Drama 1112082 (Oxin Entertainment; Xion Studios) PG Digital Sci-fi Adventure 111208

(Solito Arts; Digital Spirit Productions) PG Digital Drama 111908(Leo Films) R Digital Sex Drama 111908

( Arnold Argao) R13 Digital Horror 111908(IFC; Erasto Prductions) PG Digital Drama 112608

(Pioneer Films) G Concert 112608(PLDT-Smart Cinemabuhay Foundation) R13 Digital Drama 120308

(ABS-CBN Film Productions; MartinezRivera Films) PG Digital Drama 120308(Pro.Pro) R Digital Drama 121008

(Francis Xavier Pasion) R13 Digital Drama 121008

(Bicycle Pictures) R13 Digital Drama 121708(Sinehan Digitales) PG Digital Drama 121708


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(Goldphin Entertainment) 021108(Leo Films) 030808

( Islands Entertainment) R13 031508(Phylum Productions) 042308

(Raya Martin) PG(Pagilas Pictures) Unrated Horror 062808

(Bicycle Pictures) 071108

(Arnel Mardoquio)(On Cam Productions) 080808

(Outline Films) Unrated Digital Drama 082108( Brooklyn Park Pictures) 082808

(Miranamedina) 092008(Breakthrough Entertainment) Unrated Digital Sex Drama 093008

(Outline Films) 102208(Cesar Buendia) 102208

(Hikbi Ko Productions) Unrated Drama 111508(samasamaGROUP) Unrated Drama 111908

(Cinemiles Productions) R13

(Bicycle Pictures) Unrated Drama 121508

Cinemalaya 071108(Arkeo Films)

(Erasto Productions)(Bonfire Productions)

(Digital Spirit Productions)(Paul Sta. Ana)

(Francis Xavier Pasion)(Dirty Kitchen Productions)

(Jay Abello)(Chris Martinez)

(Michael Christian Cardoz)

Moonrise

Sine Klasiks

.mov Filmfest

Cinemanila(Lav Diaz) R

(Bicycle Pictures) R13

(RD Gibraltar et al) PG(R. Jover and J. Amparo) G

(Rommel Sales) R13(Briccio Santos) R

(Ato Bautista) R(Cinema One) R13

(Paolo Herras) PG(Raya Martin) R

(Carl and Carl Productions) R13

Animahenasyon (Animation Council of the Philippines ) 111208

Cinema One (Creative Programs)(Ron Bryant) PG(Senedy Que) R

(Sherad Anthony Sanchez) R(Ruello Lozendo) PG

(Jon Red) R13

Premiere/Qualifying RunAbadehaSeksing PinayZombies: The BeginningHugotNow ShowingKasambahayAdela

Earth's WhisperSisaLatakThe Thank You GirlsSilent OdysseyTiltilMoving DreamsPadre de PamilyaHikbiHubadMedalya

Aurora

Baby AngeloBosesBrutusConcertoHuling PasadaJayMy Fake American AccentNamets100

Ranchero

MelancholiaAdela

Joy to the World ang ProsesyonMarlonTxt B4 MarriageAla Pobre , Ala SuerteCarnivoreImburnalAng ManghuhulaNext AttractionSisa

AlonDoseImburnalKoloreteMotorcycle


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UpcatYanggaw

Huling BiyaheEarth's Whisper Hunghong sa YutaOrapronobisJayBrutus

NametsMy Fake American AccentSignos

AdelaKurapImburnal

(Ramon Olivares) PG(Richard Somes) R13

Active Vista FF (Dakila Philippine Collective for Modern Heroism)(Rom Dongeto) R

aka (Arnel Mardoquio; Brothers of the Sacred Heart) PG(Lino Brocka) R

(Francis Xavier Pasion) R13(Tara Illenberger) PG

(Jay Abello) PG(Ned Trespeces) PG

(Mike de Leon; Asia Visions) PG

Cine Veritas(Adolf Alix)(Roni Bertubin)

(Cinema One)


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Mga Batayan

Pinakamahusay na Pelikula

Pinakamahusay na Dulang Pampelikula

Pinakamahusay sa Sinematograpiya at Disenyong Biswal

Pinakamahusay na Editing

Pinakamahusay na Tunog

Pinakamahusay na Pagganap

: tumutukoy sa pagdidirihe at bisyon nanagbibigay ng sensitibo at matalas na atensiyon kapwa sa lengguwahe ngpelikula (presentasyon) at panlipunang realidad (representasyon), sa prosesoinaayos at pinakikilos ang modo ng pagpapahayag ng pelikula sa realidad sakonteksto ng kakayahan nitong makipag-usap sa malawak na manonood atpukawin ang buhay ng publiko; sa gayon, naaangkin ito para isulong angkapangyarihan ng midyum at ang sulong na interes. Ang gawad para saPinakamahusay na Pelikula ay ibinibigay sa Direktor hindi dahil sa siya ang

o ang sentral na diwa ng pelikula, kundi dahil ang obra niya aynakalugar sa hugpungang nagbibigay koordinasyon sa paglikha ng pelikula.

: tumutukoy sa retorika ngpagsusulat para sa pelikula na nagpapahayag ng kasalimuotan ng buhay

panlipunan at personal na ligalig sa natatanging estruktura ng naratibo opolitikal na paniniwala; o sa pamamagitan ng pinag-isipang dramatikongtensiyon na sumisiyasat sa tunggalian ng personal at politikal, ng indibidwalat ng kolektibo, ng pribado at ng publiko. Iginagawad ang Pinakamahusay naDulang Pampelikula sa lahat ng manunulat ng pelikula.

: tumutukoy saat sa mga kalidad nitong biswal/plastik disenyong

pamproduksiyon, pag-iilaw, direksiyon ng sining, na nagbibigayanyo sa anumang representasyon na inilalantad sa telon; at ikinikintal ang

pagsasaanyo ng mga puwersang panlipunan at mga kultura sa mga sandali ngkontradiksiyon, pagsasanib, enkwentro, pagtatagpo, pakikipagtunggali opagkakaugnay sa bawat isa. Ipinagkakaloob ang Pinakamahusay naSinematograpiya at Disenyong Biswal sa sinematograper at sa taga-disenyong produksiyon.

: tumutukoy sa konpigurasyon ng mga ugnayanng panahon at espasyo sa mga eksena sa isang pelikulang may kakayahangmaglagom, makitunggali, bumuo at bumaklas ng mga pagkakaugnay sapamamagitan ng masalimuot na paggamit ng at . Ang

tropeo para sa Pinakamahusay na Editing ay pinagkakaloob sa mga editor.

tumutukoy sa paglalapatng mga aspektong may kinalaman sa tunog sa pelikula musika, likas natunog, habang ang mga ito ay isinasalungat sa o inaayon salengguwahe ng mga imahen, at kung gayon ay nagiging makahulugangsistema ng pananagisag mismo. Iginagawad ang Pinakamahusay na Tunogsa at sa tagapaglapat ng musika.

: tumutukoy sa pagganap ng isang papel o

karakter na nagsasangkot ng emosyon, damdamin, at karanasan sa mgapanlipunang kondisyon ng personal at sa politikal na ekonomiya ngkaugalian at kilos, at kung paano nakatutulong ang mga ito sapagsasakatauhan ng sarili. Ipinagkakaloob ang Pinakamahusay na Pagganapsa Gumanap, lalaki o babae, matanda o bata, sa isang pangunahin o pang-suportang papel, sa indibidwal o kolektibong pagganap.

auteur

mise-en-scenevisual effects

mise-en-scene montage

sound effects

sound engineer

at Orkestrasyong Awral:


25/33

19 Annual Circle Citations forDistinguished Achievement in Film for 2008

th

Conferred on 11 March 2009 at the Faculty Center Conference Hall

University of the Philippines, Diliman, Quezon City

BESTFILMOFTHEYEAR

BEST SCREENPLAY

BEST ACHIEVEMENT INCINEMATOGRAPHY AND

VISUAL DESIGN

Winner: directed by Adolfo AlixJr. (Bicycle Pictures and Visitfilms;Noel D. Ferrer and Adolfo Alix Jr.,Executive Producers; Arleen C. Cuevas,Producer; Maxie Evangelista, LineProducer)

Nominee: directed by Brillante

Mendoza (Centerstage Productionsand Swift Productions; Didier Costet,Executive Producer; Ferdinand Lapuz,Producer; Antonio del Rosario and JCNigado, Supervising Producers; RenatoEsguerra, Associate Producer)

Winner: (Bicycle Pictures;Visitfilms) Adolfo Alix Jr. and NickOlanka

N o m i n e e s : ( C e n t e r st a g eProductions; Swift Productions)Armando Lao; (Videoflick;Bicycle Pictures) Gerry Gracio

Winner: (Bicycle Pictures;Visitfilms) Albert Banzon, Director ofPhotography; Adolfo Alix Jr. andJerome Zamora, Production Designers

Nominees: (Centerstage

Productions; Swift Productions)O dy ss ey F lo re s, D ir ec to r o f Photography; Carlo Tabi je andB e n j am i n P ad e r o, P r o du c t i onDesigners; (Cinema One)Herman Claraval and Lyle Sacris,

Adela

Serbis

Adela

S e r b i s

Imoral

Adela

Serbis

Yanggaw

Directors of Photography; DonaldCamon and Michael N. Espanol,Production Designers

Wi nner: (Bicy cl e Pict ures;Visitfilms) Aleks Castaneda

Nomi ne es: (Centerstag eProductions; Swift Productions) ClaireVilla-Real; (Cinema One)Borgy Torre

Wi nner: (Bicy cl e Pict ures;Visitfilms) Mark Locsin and Jojo Jacinto,Sound Engineers; Ditoy Aguila and JunelValencia, Sound Designers

Nomi ne es: (Centerstag eProduct ions; Swift Product ions)Emmanuel Clemente, Sound Engineer;G ia n G ia na n, M us ic al D ir ec to r;

(Cinema One) Joey Santos

a n d E du a rd o Ve l as qu e z, So un dEngineers; Von de Guzman, MusicalDirector

Winner: in (BicyclePictures; Visitfilms

Nominees: in( V id e of l i ck ; B i cy c le P i ct u re s )

in (CinemaOne) in (VivaEntertainment)

BEST ACHIEVEMENT INFILM EDITING

BEST ACHIEVEMENT INSOUND AND AURAL

ORCHESTRATION

BEST PERFORMANCE

Adela

Imoral

YanggawBaler

Adela

S erbis

Yanggaw

Adela

S erbis

Yanggaw

Anita Linda

Paolo Paraiso

Ronnie LazaroCarlo Aquino

BY MALE OR FEMALE, ADULT ORCHILD, INDIVIDUAL OR ENSEMBLE IN

LEADING OR SUPPORTING ROLE

22


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Past Citations

1 Circle Citations,

1990

2 Circle Citations,1991

st

nd

GOLD PRIZE

SILVER PRIZE

INDIVIDUALACHIEVEMENT PRIZE

BEST PICTURE

BEST SCREENPLAY

BEST CINEMATOGRAPHYAND VISUAL DESIGN

Andrea, Paano Ba ang Maging IsangIna (Gil Portes)

Bakit Kay Tagal ng Sandali(Chito Roo)Kasalanan Bang Sambahin Ka(Chito Roo)Bakit Ikaw Pa Rin(Emmanuel Borlaza)Hahamakin Lahat (Lino Brocka)

Nora Aunor(actress, Andrea, Paano Ba angMaging Isang Ina)Ricardo Lee (screenwriter, Andrea,Paano Ba ang Maging Isang Ina andHahamakin Lahat)

Jun Pereira(cinematographer, Bakit Kay Tagalng Sandali)George Jarlego

(editor, Gumapang Ka sa Lusak)Augusto Salvador(director, Angel Molave)

( Lino Brocka)Class of '91 (Gil Portes)Ipagpatawad Mo (Laurice Guillen)

Ang Totoong Buhay ni Pacita M(Elwood Perez)

Joey Boy Munti (Maryo J. de losReyes)Dinampot Ka Lang sa Putik (Maryo

J. de los Reyes)

Ang Totoong Buhay ni Pacita M.Class of '91Ipagpatawad Mo

Hihintayin Kita sa LangitShake, Rattle and Roll III

Sa Kabila ng Lahat

Sa Kabila ng LahatDinampot Ka Lang sa Putik

Kailan Ka Magiging Akin

Pangako ng PusoSa Kabila ng Lahat

Joey Boy MuntiDinampot Ka Lang sa Putik

Sa Kabila ng LahatHihintayin Kita sa LangitShake, Rattle and Roll IIIDinampot Ka Lang sa Putik

Shake, Rattle and Roll IIISa Kabila ng Lahat

(Ang Totoong Buhay niPacita M.)

(Joey Boy Munti)Maricel Soriano (Dinampot Ka Langsa Putik)

Vilma Santos (Ipagpatawad Mo)Gina Alajar (Kailan Ka Magiging

Akin)

(CarlosSiguion-Reyna)Iisa Pa Lamang (Jose Javier Reyes)

Tayong Dalawa (Laurice Guillen)Lumayo Ka Man sa Akin (LauriceGuillen)

Tayong Dalawa

Ikaw Pa Lang ang MinahalHiram na MukhaLumayo Ka Man sa AkinIkaw ang Lahat sa Akin

Tayong DalawaNarito ang Puso Ko

Aswang

BEST EDITING

BEST SOUND AND AURALORCHESTRATION

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

Kailan Ka Magiging Akin

Hihintayin Kita sa Langit

Nora Aunor

Aga Muhlach

Ikaw Pa Lang ang Minahal

Ikaw Pa Lang ang MinahalIisa Pa Lamang

Tag-Araw, Tag-Ulan

Ikaw Pa Lang ang Minahal


rd



Hiram na Mukha

Maricel Soriano

Hindi Kita Malilimutan

Hindi Kita Malilimutan

Ikaw Lang

Aliwan Paradise

Kung Mawawala Ka Pa

Nora AunorAga Muhlach

Tag-Araw, Tag-UlanAswangIkaw Pa Lang ang Minahal

(Ikaw Pa Lang angMinahal)Lorna Tolentino (Narito ang PusoKo)Nanette Medved (Hiram na Mukha)Gabby Concepcion (TayongDalawa)

Dawn Zulueta (Iisa Pa Lamang)Maricel Laxa (Ikaw ang Lahat sa

Akin)Vilma Santos (Sinungaling MongPuso)Gabby Concepcion (Narito angPuso Ko)

(Jose JavierReyes)

Aliwan Paradise (Mike de Leon)Inay (Artemio Marquez)Ikaw (Joel Lamangan)Gaano Kita Kamahal (Butch Perez)

The Maricris Sioson Story: JapayukiAliwan Paradise

Aliwan ParadiseKung Mawawala Ka Pa

Ikaw LangKung Mawawala Ka Pa

Aliwan ParadiseIkaw Lang

(Inay)(Hindi Kita

Malilimutan)

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY

BEST CINEMATOGRAPHY

AND VISUAL DESIGN

BEST EDITING

BEST PERFORMANCE


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23


27/33

Vilma Santos (Dahil Mahal Kita:The Dolzura Cortez Story)Dawn Zulueta (Kung Mawawala KaPa)

(Joey Romero)(Joel

Lamangan)Wating (Ishmael Bernal)Sana Dalawa ang Puso Ko (LauriceGuillen)

VampiraPangako ng KahaponSana Dalawa ang Puso Ko

Massacre FilesSeparadaKadenang Bulaklak

WatingVampiraPangako ng KahaponSana Dalawa ang Puso Ko

Pangako ng KahaponWatingThe Fatima Buen Story

WatingPangako ng Kahapon

VampiraThe Fatima Buen Story

(Vampira)Dawn Zulueta (Buhay ng Buhay Ko)Maricel Soriano (Separada)Dina Bonnevie (Sana Dalawa angPuso Ko)

Alice Dixson (Bakit Ngayon KaLang)Carmina Villaroel (Wating)Snooky Serna (Koronang Itim)

(Ike Jarlego, Jr.)Sana Maulit Muli (Olivia Lamasan)

The Flor Contemplacion Story (JoelLamangan)



th

th

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

VampiraPangako ng Kahapon

Bakit Ngayon Ka Lang

The Fatima Buen Story

Vampira

Sana Dalawa ang Puso Ko

Maricel Soriano

Nena


C

BEST SCREENPLAY


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

Nena

The Flor Contemplacion Story

Dahas

Dahas

Nora Aunor

Mumbaki

Mumbaki

Isla

Isla

Sana Maulit MuliThe Flor Contemplacion StoryPare Ko

Nena

DahasSana Maulit MuliInagaw Mo ang Lahat sa AkinSa Ngalan ng Pag-ibig

Sa Ngalan ng Pag-ibigPare KoNena

Sa Ngalan ng Pag-ibigPare KoNena

(The FlorContemplacion Story)

Aga Muhlach (Sana Maulit Muli)Nora Aunor (Muling Umawit angPuso)

Jaclyn Jose (The Flor ContemplacionStory)Lorna Tolentino (Sa Ngalan ng Pag-ibig)

Amy Austria (Nena)Sharmaine Arnaiz (Ipaglaban Mo:

The Movie)Maricel Soriano (Dahas)

(Jose Antonio Perez)

SeguristaGanti ng Puso

MumbakiSegurista

MumbakiGanti ng PusoSegurista



th



Mumbaki

Christopher de Leon

Batang PX

Batang PX

Milagros

Milagros

Milagros

Patrick Garcia

Bata, Bata, Paano Ka Ginawa

Bata, Bata, Paano Ka Ginawa

Isla

(Madrasta)Nora Aunor (Bakit May Kahapon Pa)

Jaclyn Jose (May Nagmamahal sa Iyo)

(Jose Javier Reyes)Damong Ligaw (Jose Mari Avellana)

Minsan Lamang MagmamahalDamong Ligaw

Batang PXHanggang Kailan Kita Mamahalin

Batang PX

Damong LigawHanggang Kailan Kita Mamahalin

(Batang PX)Nora Aunor (Babae)Nonie Buencamino (Milagros)Maricel Soriano (Minsan LamangMagmamahal)Romnick Sarmenta (Damong Ligaw)Lorna Tolentino (Hanggang KailanKita Mamahalin)

(ChitoS. Roo)Babae sa Bubungang Lata(Mario O' Hara)Sana Pag-ibig Na (Jeffrey Jeturian)CurachaAng Babaeng Walang

Pahinga (Chito S. Roo)

Babae sa Bubungang LataSana Pag-ibig NaCurachaAng Babaeng WalangPahinga

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY



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th

24


28/33


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

BEST SOUND

BEST PERFORMANCE

Babae sa Bubungang Lata

Sana Pag-ibig Na

CurachaAng Babaeng Walang Pahinga

Vilma Santos

Sisa

Sisa

Pila Balde

Pila Balde

Phone Sex

Elizabeth Oropesa

CurachaAng Babaeng Walang PahingaBata, Bata, Paano Ka Ginawa

Bata, Bata, Paano Ka GinawaCurachaAng Babaeng Walang Pahinga

Bata, Bata, Paano Ka GinawaSana Pag-ibig Na

(Bata, Bata, Paano KaGinawa)Nida Blanca (Sana Pag-ibig Na)Serena Dalrymple (Bata, Bata, Paano

Ka Ginawa)Anita Linda (Babae sa BubungangLata)Cesar Montano (Jos Rizal)

(Mario O'Hara)Pila Balde (Jeffrey Jeturian)Saranggola (Gil M. Portes)

Phone Sex (Jose Javier Reyes)Bulaklak ng Maynila (Joel Lamangan)

Pila Balde

Phone SexBulaklak ng Maynila

SisaLuksong Tinik

Pila BaldeBulaklak ng Maynila

(Bulaklak ngMaynila)Lester Llansang (Saranggola)Christopher de Leon (Bulaklak ngMaynila)

Jhong Hilario (Muro-ami)



th


12 Circle Citations,

2001

th

th

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


Bayaning Third WorldTanging Yaman

Tanging Yaman

Bayaning Third World

Bayaning Third World

Bayaning Third WorldSugatang Puso

Entire Cast

Minsan May Isang Puso


Yamashita: The Tiger's Treasure

SenswalMother IgnaciaAng UliranSugatang Puso

SenswalMother IgnaciaAng Uliran

Pedrong PaladSenswalPangarap ng PusoLaro sa BagaMarkovaComfort Gay

Tanging Yaman

SenswalTanging Yaman

Tanging Yaman

(Tanging Yaman)Rio Locsin (Bayaning Third World)Elizabeth Oropesa (Senswal)

Alessandra de Rossi (Azucena)Dolphy (MarkovaComfort Gay)

Johnny Delgado (Tanging Yaman)Gloria Romero (Tanging Yaman)

(Jose Javier Reyes)Sa Huling Paghihintay (Erik Matti)

Yamashita: The Tiger's Treasure(Chito S. Roo)

Sa Huling PaghihintayYamashita: The Tiger's Treasure

Sa Huling PaghihintayMinsan May Isang PusoLa Vida Rosa


BEST EDITING

BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING

BEST PERFORMANCE




Jaclyn Jose

Dekada '70

Dekada '70

Ikaw Lamang Hanggang Ngayon

Diskarte

Dekada '70

Vilma SantosPiolo Pascual

Sa Huling PaghihintayLa Vida RosaHubog


Sa Huling PaghihintayHubog

(Minsan May Isang Puso)Mark Gil (Sa Huling Paghihintay)Carlo Aquino (Minsan May IsangPuso)Ricky Davao (Minsan May IsangPuso)Rosanna Roces (La Vida Rosa)

(Chito S. Roo)Buko Pandan (Uro Q. de la Cruz)Itlog (Francis Jun Posadas)Diskarte (Edgardo Boy Vinarao)Mga Munting Tinig (Gil M. Portes)

ItlogDiskarteMga Munting Tinig

Buko PandanItlogDiskarteMga Munting TinigDekada '70

Mga Munting TinigDekada '70

Buko PandanDiskarte

(Dekada '70)(Dekada '70)

Regine Velasquez (Ikaw LamangHanggang Ngayon)Celso Ad. Castillo (Itlog)




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25


29/33

BEST EDITING

BEST PERFORMANCE




Jaclyn Jose

Sa Huling PaghihintayLa Vida RosaHubog


Sa Huling PaghihintayHubog

(Minsan May Isang Puso)Mark Gil (Sa Huling Paghihintay)Carlo Aquino (Minsan May IsangPuso)Ricky Davao (Minsan May IsangPuso)Rosanna Roces (La Vida Rosa)




th

th

BEST PICTURE

BEST SCREENPLAY


BEST EDITING


BEST PERFORMANCE

BEST PICTURE

Babae sa Breakwater

Babae sa Breakwater

Babae sa Breakwater

Malikmata

Anghel sa Lupa

Katherine Luna

Minsan Pa

(Mario O'Hara)Anghel sa Lupa (Jose Javier Reyes)Homecoming (Gil M. Portes)Malikmata (Jose Javier Reyes)

Anghel sa Lupa

Anghel sa LupaMalikmata

Babae sa BreakwaterAnghel sa Lupa

Babae sa BreakwaterMalikmata

(Babae sa Breakwater)Maricel Soriano (Filipinas)Elizabeth Oropesa (Homecoming)Entire Cast (Malikmata)

(Jeffrey Jeturian)Sigaw (Yam Laranas)

BEST SCREENPLAY


BEST EDITING


BEST PERFORMANCE

Minsan Pa

Sigaw

Sigaw

Spirit of the Glass

Sigaw

Jomari YllanaDennis Trillo

Sigaw

Feng Shui

(Minsan Pa)(Aishite Imasu)

Nora Aunor (Naglalayag)Jericho Rosales (Santa Santita)



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th

BEST PICTURE

BEST SCREENPLAY


BEST EDITING


BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


Masahista

Masahista

Masahista

Masahista

Masahista

Coco Martin

Inang Yaya

Inang Yaya

Inang Yaya

(Brillante Mendoza)

Let the Love Begin

Paraiso

(Masahista)Entire Cast (Nasaan Ka Man)

Jaclyn Jose (Masahista)John Lloyd Cruz (Dubai)

(Pablo Biglang-Awa andVeronica Velasco)

(Veronica Velasco)

Kubrador


BEST PERFORMANCE

BEST PICTURE

BEST SCREENPLAY


BEST EDITING


BEST PERFORMANCE

Inang Yaya

Maricel Soriano

Foster Child

Foster Child

Endo

Endo

Jason Abalos

(Inang Yaya)Cherry Pie Picache (Kaleldo)Entire Cast (Inang Yaya)

(BrillanteMendoza)Endo (Jade Francis Castro)

(Ralston Jover)Endo (Jade Francis Castro, Michiko

Yamamoto and Raymond Lee)

(JD Domingo)Tirador

( Corinne de San Jose and MarkLocsin, Sound Engineers; Owel

Alvero, Musical Director)StillLife

Tirador

( Endo)Cherry Pie Picache (FosterChild)EugeneDomingo (Foster Child)Ron Capinding( Still Life)


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Death in the Landof Encantos( LavDiaz, Director of Photography;Dante Perez, Production Designer)Foster ChildStill LifeTirador

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30/33

The Circle

Ang Film Desk ay binubuo ngmga miyembro ng akademya na sa

loob nang matagal-tagal na ring

panahon ay naging mga matalas na

tagamasid ng pelikulang Filipino.Galing sa iba't ibang disiplina,linalapat nila sa pagsuri ng pelikula

ang interdisiplinaryong lapit.

Sa ganitong perspektiba, ang

salitang young sa Young Critics

Circle ay tumutukoy hindi sa literal na

pakahulugangaya ng edadkundi saisang metaporikal na pag-unawa sakabataang pananaw. Ang ibig sabihin,

ang young ay tumutukoy sa

pangangahas ng bago at sa giting ngpagsalungat.

The Film Desk of the Young Critics

Circle is composed of members of academe

who, through the years, have become attentive

observers of Philippine cinema. Comingfrom various disciplines, they bring into the

analysis of film an interdisciplinary

approach.

In this perspective, the word young

in the Young Critics Circle pertains not to a

literal mode of understandingas in agebut

rather to a metaphorical sense of appropriating youth. Young is construed

as the daring of the new and the courage to be

different.

Romulo P. Baquiran Jr. is a reviewer, editor, translator, andpoet. His articles appear inand the . He edited the classic ,

, and a number of literary anthologies, including and. He translated into Filipino Shakespeare's and He

won five times in the Filipino category of the Palanca Awards. His poetry books werepublished by Anvil Publishing in 1992, and most recently, by the University of the PhilippinesPress.

TodayPhilippine Daily Inquirer Urbana at Feliza ASEANO: Poems from

Southeast Asia Beauty for Ashes Kuwentong Siyudad The Tempest Anthony and Cleopatra.

Flaudette May V. Datuin(on leave) associate professor at the Department of Art Studies,UP Diliman, is co-founding editor of , a digital journal of contemporary art; co-founder and current chair of the House of Comfort Art Network or ARTHOC, a non-profitorganization that conducts art workshops for the underprivileged and the afflicted. A 2008Visiting Fellow (with grant) in the Research School of Humanities at the Australian NationalUniversity (2008), Datuin is also recipient of the Asian Scholarship Foundation (ASF) andAsian Public Intellectual (API) fellowships, which enabled her to conduct research oncontemporary women artists of China and Korea (2002-2003) and Indonesia, Thailand,Malaysia and Japan (2004-2005). Author of

(University of the Philippines Press, 2002), she also curates andorganizes international and local exhibits and publishes here and abroad. Datuin currently

teaches graduate and undergraduate courses on Art Theory and Aesthetics, Art History,Philippine Art and Society, and Art and Society, Asian contemporary art and aesthetics andgender issues in the arts. She obtained the MA and PHD in Philippines Studies from theUniversity of the Philippines .

Home Body Memory: Filipina Artists in the VisualArts, 19th Century to the Present

Ctrl+P

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Noel D. Ferrer

Patrick D. Flores

Eloisa May P. Hernandez

(on leave) is a Philosophy graduate of the Ateneo de ManilaUniversity where he took up his MA in Communication Arts. He taught literatureand media studies at the Departments of Filipino, English and Communication Artsof the Ateneo de Manila University as well as at UP Diliman. He is a producer,headwriter in various print and broadcast media projects. He recently ventured intoproducing his own films and presently, he works as consultant, project developmentmanager and head of synergy and promotions; and supervising producer for various

film outfits..

.is an Assistant Professor of the Department of Art

Studies, UP Diliman where she teaches art history, photography, cinema, and genderissues. She was awarded the UP Gawad Chanselor para sa Pinakamahusay na Guro in1999. She finished her BA Art Studies, MA in Art History, and is currently writingher dissertation on digital cinema in the Philippines for a PhD in Philippine Studiesin UP Diliman. A recipient of the Southeast Asian Studies Regional ExchangeProgram grant, she researched on digital cinema in Southeast Asia. She is the author

of .

is Professor of Art Studies at the University of the Philippines.He was Visiting Fellow at the Center for Advanced Study in the Visual Arts at theNational Gallery of Art in Washington, D.C. in 1999 and an Asian PublicIntellectuals Fellow from 2004 to 2005. He was one of the curators of the PositionPapers section of the 7th Gwangju Biennale and Curator of the National ArtGallery of the Philippines from 2004 to 2008. His publications include

(1998),(2008) and

(2008).

PaintingHistory: Revisions in Philippine Colonial Art Remarkable Collection:Art, History, and the National Museum Past Peripheral: Curation inSoutheast Asia

Eli R. Guieb III(on leave)is now preparing for his oral defense for a Ph.D. inAnthropology at McGill University in Montreal, Quebec, Canada. His researchfocuses on the historical political ecology of marine conservation in centralPhilippines. Heobtained bothhisB.A. in Broadcast Communication ( )and M.A. in Philippine Literature from the University of the Philippines-Diliman.He taught at the U.P. Departamento ng Filipino at Panitikan ng Pilipinas and theU.P. Department of Broadcast Communication. He has also taught a seminarcourse in International Development Studies at McGill. He is a seven-timePalanca awardee, and a recipient of awards for film, video, literature and radiobroadcast from the Cultural Center of the Philippines, Gantimpalang Ani, the

Catholic Mass Media Awards, the New York Festivals, and Sony-Japan VideoCompetition. Eli has published two anthologies of short stories: (Anvil,1994) and (U.P. P ress, 2 004).

cum laude

PitadaPamilya

HOMEBOUND: Women Visual Artists in 19 century Philippines

th

Jason P. Jacobo

Nonoy L. Lauzonis the programmer for screenings at the UP Film Institute. Hehas double degrees in Philosophy and Humanities from UP Diliman. He is a

published film critic and previously worked for a number of national newspapersincluding the and He used tocontribute a column for the old and now regularly writes for two of thecountry's leading national tabloid dailies He is currently pursuing an MA in MediaStudies major in Film at the UP College of Mass Communication.

(on leave) is currently in the United States pursuing his Ph.D. inComparative Literature at the State University of New York (SUNY) at Stony Brookthrough a J. William Fulbright Scholarship. Prior to coming to New York, he taughtLiterature at the Department of Filipino of the Ateneo de Manila University, wherehe graduated with anA.B., , (2002) and anM.A. (2003) inFilipino Literature.His critical work could be found in and .

cum laudeBulawan, Ideya, The Loyola Schools Review, Unitas

Philippine Journal, People's Journal The Manila Times.Mirror Weekly

.

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Eileen Legaspi-Ramirez

Gerard Lico

Jerry C. Respeto

Neil Martial R. Santillan

Galileo S. Zafra

is a faculty member of the Department of Art Studies,University of the Philippines and curatorial consultant at the Lopez Museum. Heressays have appeared in Philippine Humanities Review, Daluyan: Journal ng WikangFilipino, Pananaw, Phil. Journal of Visual Arts, Transit: A Quarterly of ArtDiscussion, Fine Art Forum, Forum on Contemporary Art and Society, n.paradoxa:international feminist art journal, RealTime+Onscreen, ArtIT in Japan and Asia-Pacific, Visual Arts Magazine, Indonesia, Metropolis M, C-Arts, ctrl+p, and theSunday Inquirer Magazine.

is an architect and art historian. He teaches at the College ofArchitecture University of the Philippines at Diliman and practices architecture asthe Campus Architect of the same institution. He is the author of Edifice Complex:Power, Myth, and Marcos State Architecture (2003) and a series of interactive cd-roms, Arkitekturang Filipino: Spaces and Places in History (2003), Through theLens of an American Soldier (2004), and "Building Modernity: A Century ofPhilippine Architecture and Allied Arts" (2008). For his research work in architecturalhistory and cultural studies, he was conferred the UP Gawad Chanselor para saPinakamahusay na Mananaliksik (Arts and Humanities) in the years 2002, 2004 and2005, installing him to its Hall of Fame. He was one of the recipients of the TenOutstanding Young Men (TOYM) in 2004. He is currently the Vice Head of theNational Committee on Architecture and Allied of the National Commission forCulture and the Arts and the Research Program Director of UP College ofArchitecture and the Curator of the Museum of Filipino Architecture in UP.

teaches Philippine Literature and Drama at the AteneodeManila University where he presently serves as Chairperson of the FilipinoDepartment. He finished his AB Social Science at UP Manila and his MA inPhilippine Literature at UP Diliman where he is currently pursuing his PhD inPhilippine Literature. He has translated plays for Dulaang UP, the PhilippineEducational Theater Association, Tanghalang Ateneo and the Tanghalang Pilipino ofthe Cultural Center of the Philippines.

teaches Philippine and Asian History at UPDiliman. He is a magna cum laude History graduate from the same institution wherehe completed his MA in History and pursues his PhD in the same discipline. He is aresearcher and writer on film history, contemporary Philippine history and Mindanaostudies. He is co-editor of a book of essays on Philippine history and culture. He ispresently conducting intensive research on the urbanhistory of Cagayande Oro.

is a summa cum laude graduate from UP Diliman where hesuccessfully completed his doctorate degree in Philippine Literature. He is currently aprofessor at the UP Department of Filipino and Philippine Literature. He has served

as Director for two terms of the UP Sentro ng Wikang Filipino which is tasked todevelop the Filipino language as the primary language of the academe. He will leavethis March for Osaka University in Japan for a three year stint as Visiting Professor. Heis an active writer, researcher, translator, editor in the fields of language, literature, andfilm.

(on leave)

(on leave)

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The Annual Circle Citations for Distinguished Achievement in Filmis presented in cooperation with

UP Diliman Office for Initiatives in Culture and the ArtsUP College of Arts and Letters

A C K N O W L E D G E M E N T

The Film Desk of the Young Critics Circlewould like to thank the following for all the support:

UP Film InstituteUP Department of Art Studies

Chancellor Segio S. CaoDr. Cynthia Grace Gregorio

Dir. Ruben D.F. DefeoDr. Virgilio S. Almario

andAll Other YCC Friends from Media, Academe and the Arts

19th

Film Desk of the Young Critics Circle:

Young Critics CirclePresidents, 1996-2004:

Annual Circle Citations for Distinguished Achievement in FilmKeynote Speakers, 1995-2004:

Young Critics CircleFounding Members:

Patrick D. Flores; Melissa Contreras (1990-1991); Joel David(1990-1991); Mike Feria (1990-1991); Charlson Ong (1990-1991); Nonoy L. Lauzon; Flaudette May V.Datuin; Romulo P. Baquiran Jr.; Noel D. Ferrer; Ariel N. Valerio (1994-2006); Clare Salaveria (1994-1999);Galileo S. Zafra; Ailyn A. Villamarin (1995-1999); Eli R. Guieb III; James Raeses (1997-1998); Jerry C.Respeto; Neil Martial R. Santillan; Eloi M. P. Hernandez; Jason P. Jacobo; Eileen C. Legaspi-Ramirez;GerardLico

Galileo S. Zafra (1996-1997); Romulo P. Baquiran Jr. (1997-1998); Ariel N. Valerio (1998-1999); Noel D. Ferrer (1999-2000); Flaudette May V. Datuin (2000-2001);Patrick D. Flores (2001-2002); Nonoy L. Lauzon (2002-2003);Jerry C. Respeto (2003-2004)

Petronilo Bn. Daroy (1995); Justino Dormiendo (1996); Benilda Santos (1997); Ma. Luisa F. Torres Reyes(1998); Alice G. Guillermo (1999); Teresita Gimenez-Maceda (2000); Brenda V. Fajardo (2001); BasilioEsteban Villaruz(2002); Albina P. Fernandez (2003); Ramon P. Santos(2004)

Chairman Mike Feria, Film and Theater Desks; Joy Barrios,

Theater Desk; Jojo Buenconsejo, Dance Desk; Eric Caruncho, Music Desk; Melissa Contreras, Film andTheater Desks; Jaime Daroy, Music Desk; Joel David, Film Desk; Gin de Mesa, Visual Arts Desk; Patrick D.Flores, Film, Theater and Broadcast Arts Desks; Francine Y. Medina, Visual Arts Desk; Charlson Ong, Filmand Literature Desks; Mozart A. T. Pastrano, Theater Desk; Danilo Reyes, Literature Desk; Antonio Tinio,

young critics circle citations for 2008.pdf

Documents