Film Log 2016

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The eternal engine.

January

  • Jan 1: Snowpiercer (Bong Joon-ho / US-South Korea / 2013) – ****
  • Jan 1: Kingsman: The Secret Service (Matthew Vaughn / US-UK / 2014) – **** – RW
  • Jan 1: The Impossible (Juan Antonio Bayona / US / 2012) – **** – RW
  • Jan 3: Jupiter Ascending (Andy Wachowski, Lana Wachowski / US / 2015) – ** – RW
  • Jan 6: Beauty and the Bestie (Wenn Deramas / PH / 2015) – *
  • Jan 8: The Green Inferno (Eli Roth / US / 2015) – ****
  • Jan 9: Ant-Man (Peyton Reed / US / 2015) – **
  • Jan 10: Cinderella (Kenneth Branagh / US / 2015) – ****

Notes: As a Branagh film, Cinderella (2015) sits in the ontological precipice that it cannot be just a Disney film alone but a work of brilliant theater artist. Branagh is notoriously famous for his unabridged adaptation of Shakespearean plays in film. In my film production class last semester, we discussed in great length the genius behind Branagh’s 4-hour adaptation of Hamlet (1996), which was shot in the rarely used 70-mm film. The lavishness of costumes and colors in Cinderella is, to me, a continuity of Branagh’s distinctively meticulous artistic choices since Hamlet.  There is also a noticeable ‘queerness’ in the constitution of Cinderella‘s filmworld, as the eye of the viewer drifts towards the frame’s most awkward details: the bulge of Prince Charming (Richard Madden), the dark and brooding elegance of Cate Blanchett’s green-tinge dress exposing further her glowing white skin, the pinkish glow of Lily James’ cheeks, etc. Cinderella’s decorative play with costume and color is reminiscent of the narratological importance of establishing a stylish wardrobe in constituting the filmworld of The Wizard of Oz (1939). 

  • Jan 13: Her (Spike Jonze / US / 2013) – ***
  • Jan 14: Lola (Rainer Werner Fassbinder / Germany / 1981) – *****
  • Jan 16: Li’l Quinquin (Bruno Dumont / France / 2014) – *****
  • Jan 16: Maps to the Stars  (David Cronenberg / US / 2014) – ***
  • Jan 16: Tuhog (Veronica Velasco / PH / 2013) – ***
  • Jan 17: Cloud Atlas (Tom Tykwer, Lana Wachowski, Andy Wachowski / US-Germany / 2012) – ****

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Notes: This is another re-imagination of Friedrich Nietzsche’s concept of the ‘eternal recurrence’ and I wonder why it garnered a lot of negative reviews. It is a beautiful piece of ontology. Any film, any form of narrativization, is a practice of ontological thinking: a making of the All. I think Cloud Atlas should be approached at that level, as a proposition of the World, whose teleological importance may not necessarily involve it getting a five-star or a no-star from a film blogger. It may have been constituted as visual compass for artists and visionaries to rethink the All, the similar ontological gesture Terrence Mallick did in his film The Tree of Life (2011). Although, of course, the main reason perhaps for disliking this work is its political ramifications. I cannot discount that the political logic it tries to have is born from a simplified conceptualization of human society, a society of causal relations. The cause-effect constitution of a particular sociality may be the detrimental concept comprising the film because no sociality of such magnitude exist. What Cloud Atlas tries to envision is Nietzsche’s ‘eternal recurrence’ as a socio-political force by which societies are constituted by, quoting Sonmi-451’s revolutionary speech, a rebirth of the future. But admittedly, there was never really anything Nietzschean in form in Cloud Atlas: there was never an overcoming of anything. The film is still docile and obedient to the rules of representation, to the logostructure of Hollywood. But, from time to time, in its many leaps and jumps across its made-up historical tracings, the film maintains a playful relationship with philosophical concepts like the eternal recurrence, the future and time, a play which may have rendered it likable to me at the very least.

  • Jan 17: The Five-Year Engagement (Nicholas Stoller / US / 2012) – *
  • Jan 18: Anino Sa Likod ng Buwan (Jun Lana / PH / 2015) – *** – RW

Notes: Anino presents a world of contradictions. The film may have been masterfully Derridean as it playfully constructs a power struggle within a layer of language. In some of the speaking lines of Emma, language wields the location of struggle of power, as it conceals and reveals the Secret. The Secret within and outside the logos is what binds the film. In the film, the impenetrable Secret doubles as a Home and a Foreign Land – the Home in which one may find the truth, or the Foreign Land in which the truth hides. Is Emma the envois of truth, the vehicle of presence or the presencing of improbability, the Improbable Woman? In her repose, she confronts the ‘Enemy’ with a gun, the Signifier of the Phallus. This is, for Lana, a liberative form of a Woman: the Woman as a Dominatrix embodying not only the improbability of the feminine but also the self-assurance of the male phallus. In her gesture of killing the ‘Enemy’ with a gun, not only did she become a monstrous-feminine, she, a Woman, also has taken refuge inside the desecrated and inverted womb of the Patriarch. This turning of the Woman into the Order of the Phallus is for me the reason why the film felt like a disemboweled carcass. The Phallic inversion is unwanted and discomforting; and it may have been because the creative agent for such an inversion is Jun Lana himself, an admitted homosexual, who may still inhabit the logos of the Phallus. The film lacked a great deal of vigor in exploring what could have been a masterful replay of the myth of Prometheus, Epimetheus and Pandora.

  • Jan 20: She’s Dating a Gangster (Cathy Garcia-Molina / PH / 2014) – **
  • Jan 20: All About Eve (Joseph L. Mankiewicz / US / 1950) – ****
  • Jan 20: Gone Girl (David Fincher / US / 2014) – ***
  • Jan 21: Blue Jasmine (Woody Allen / US / 2013) – ***
  • Jan 21: Apocalypse Child (Mario Cornejo / PH / 2015) – **
  • Jan 21: Two Funerals (Gil Portes / PH / 2010) – **
  • Jan 22: Love Streams (John Cassavetes / US / 1984) – *****
  • Jan 22: The 5th Wave (J Blakeson / US / 2016) – *
  • Jan 23: Ligo na Ü, Lapit na Me (Erick C. Salud / PH / 2011) – **
  • Jan 24: Marguerite de la Nuit (Claude Autant-Lara / France / 1955) – ***
  • Jan 24: L’Invitation au Voyage (Germaine Dulac / France / 1927) – ****
  • Jan 25: The Creators of Shopping Worlds (Harun Farocki / Germany / 2001) – ***
  • Jan 25: Cine > Sine: Spanish Beginnings of Philippine Cinema (Nick Deocampo / PH / 2012) – ***
  • Jan 25: Audio Perpetua (Ivy Universe Baldoza / PH / 2015) – ***
  • Jan 25: Hubad sa Ilalim ng Buwan (Lav Diaz / PH / 1999) – ****
  • Jan 26: CitizenFour (Laura Poitras / US-Germany / 2014) – ****
  • Jan 27: Serbis (Brillante Ma. Mendoza /PH / 2008) – **** – RW
  • Jan 28: The Present (Jacob Frey / US / 2014) – **
  • Jan 28: Everything About Her (Joyce E. Bernal / PH / 2016) – ***
  • Jan 29: Slumber Party (Emmanuel dela Cruz / PH / 2012) – **
  • Jan 30: Xenogenesis (James Cameron / US / 1978) – **
  • Jan 30: There’s Only One Sun (Wong Kar-Wai / US-HK / 2007) – ***
  • Jan 30: Destinee (Luca Guadagnino / France / 2012) – **
  • Jan 30: Street of Dreams (Martin Scorsese / US / 2013) – **
  • Jan 30: Mind the Gap (Nigel Holness / London-Taiwan /2013) – *
  • Jan 30: Wanting (Igor Tiff / Russia / 2013) – ***
  • Jan 30: The Big Shave (Martin Scorsese / US /1968) – ****
  • Jan 30: The Bread and the Alley (Abbas Kiarostami / Iran / 1970) – **** – RW
  • Jan 30: Doodlebug (Christopher Nolan / US / 1997) – ****
  • Jan 30: True (Tom Tykwer / Germany / 2004) – ***
  • Jan 30: Firelight (Steven Spielberg / US / 1967) – ***
  • Jan 31: Astig (Giuseppe Bede Sampedro / PH / 2009) – ***

January  = 48 films

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Superimpositions of desires. 

February

  • Feb 1: Macho Dancer (Lino Brocka / PH / 1988) – ****
  • Feb 3: Din of Celestial Birds (E. Elias Merhige /US / 2006) – *****
  • Feb 4: VHS (various / US / 2012) – ***
  • Feb 6: Kung Fury (David Sandberg / US /2015) – *****
  • Feb 6: Mama (Andres Muschietti  / Spain / 2008) – *** – RW
  • Feb 6: Luna (Antonio Perez /Mexico / 2013) – **
  • Feb 6: The Crush (Michael Creagh / Ireland /2010) – **
  • Feb 8: Out 1: Noli mi Tangere (Jacques Rivette / France / 1971) – *****
  • Feb 10: Foster Child (Brillante Ma. Mendoza / PH / 2007) – ****
  • Feb 10: Bridal Shower (Jeffrey Jeturian /PH / 2004) – **
  • Feb 10: Baybayin (Auraeus Solito / PH / 2012) – *** – RW
  • Feb 11: A Touch of Sin (Jia Zhangke / China /2013) – ****

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The brilliance of Jia Zhangke lies in his mise-en-scene/frame compositions. Why? Just look at this frame (snapped from the first few frames of the opening scene). It is sufficient enough to construct the socio-political context of the film: China’s premature and haphazard industrialization and the painful road taken by its people.

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What a powerful self-reflexive concluding image! The Chinese people facing a provocation from a traditional Chinese play that asks the question: “Do you understand your sin?” But who constitutes the ‘sin’, to whom does the ‘sin’ belong? In a sweeping frame composition, Jia enlarges the scope of the sin as not only localized to an individual in a singular instant, but he re-configures the ‘sin’ in an ontological space of the “All”. It is, in a way, Jia’s form of political critique – that the ‘sin’ has become indeed a systemic problem, a crisis, or perhaps that the ‘sin’ was preconditioned by the system itself. The title of the film is a ‘play’ in itself. It pays homage to A Touch of Zen (1971), an award-winning wuxia film from Taiwan.

  • Feb 12: Dog Days (Hundstage / Ulrich Seidl / Austria / 2001) – ****

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In the end, the dog died, along with all human frailties coming to a close with the words: ‘People are so cruel’, in a closing montage. Ulrich Seidl takes the moral stand of, surprisingly, an affirmer of life. The film, which criticizes the human condition and the deterioration of its value system, is reminiscent of a famous Nietzschean phrase: “Human, all too human.”

  • Feb 12: Love is Blind (Jason Paul Laxaman / PH /2016) – ***
  • Feb 13: Aparisyon (Vincent Sandoval / PH / 2012) – *** – RW
  • Feb 14: Philippino Story (Benjie Garcia / PH / 2014) – **
  • Feb 14: Cabin in the Woods (Drew Goddard / US / 2012) – ***
  • Feb 17: To the Wonder (Terrence Mallick / US / 2012) – ****

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The Dancing Camera. In To the Wonder, Malick and Lubezki formally extends their invitation to us for a renewal of our vision of the world. Have you noticed the distinct dance-like cinematography of Emmanuel Lubezki in Terrence Malick’s To the Wonder (2012) and The Tree of Life (2011)? In the opening sequence of To the Wonder, there are two noticeable aspects of Lubezki’s dancing camera/s technique that also portrays two things: 1) intimacy (the camera as an explorer of the gestural layer of characters’ relations), 2) divergence (the camera invoking an infinity beyond the frame/mise-en-scene).

Looking-Ahead, Moving-Towards. The first aspect is Lubezki’s use of the ‘forward movement’ in most of his shots in the opening sequence. Notice how the camera lunges ‘towards’ a character or with the character in a seemingly unbreakable tracking or crane shot. There is a stability to the movement, but it’s the playfulness of the movement that is more apparent and visible. The movement is a ‘flow’. It is always ‘looking-ahead’ and ‘moving-towards’ – a movement of pure futurity. This visual idiom is Malick’s way of temporalizing the intimacy between the characters: to craft a moment in time where the possibilities afronting them are endless. By virtue of this cinematographic play, one can say that they are indeed in love, always looking-ahead and never looking-back.

The Dancing Frame. The second aspect is Lubezki’s moving mise-en-scene (should we call it a ‘dancing frame’?) in which the object of the frame – the characters – often drifts off-frame and off-center. The dancing frame is Malick’s way to invoke, arguably, the spiritual. But what kind of spirituality is invoked? Taking the subjects’ faces and bodies off-frame and off-center are ways to disrupt the spectatorial gaze, exposing and revealing, in a blink of an eye, a world beyond the center of things, where the spectatorial gaze is transformed into a revelatory gaze – an opening of the eye. To me, the camera mimics the ‘dance of the wind’ and indeed, as one of Kiarostami’s film title says: “the wind will carry us away.” Unlike the representational ‘spirituality’ that Tarkovsky’s moving wind in The Mirror (1975) articulates, the ‘wind-like spirituality’ that Malick depicts is deeply embedded in his stylized use of camera movement wherein the camera becomes a dancing spirit, and the frame functioning as our renewed vision of the world.

Film-Philosophical Notes. But what is dance but a performance! The dancing camera in To the Wonder articulates a form of spirituality we can call Performative Spirituality. Performative spirituality is seeing things off-center and off-the-frame, away from the center of things towards the margins, to have a spirit that mimics the indeterminable movement of the wind, always “looking-ahead” and “moving-forward”. Performative spirituality is convalescent dancing, a spirituality of a body and spirit in perpetual movement. And such a dancing spirit can be traced back to Nietzsche when he wrote in Thus Spoke Zarathustra: “I tell you: one must have chaos in one, to give birth to a dancing star: I tell you: you still have chaos in you.” (link)

  • Feb 19: The Kid with a Bike (Jean-Luc and Pierre Dardennes / France / 2011) – ****
  • Feb 19:  Room (Lenny Abrahamson / US / 2015) – ****
  • Feb 20: Skyfall (Sam Mendes / US / 2012) – ***
  • Feb 23: Six Degrees of Separation from Lilia Cuntapay (Antoinette Jadaone / PH / 2011) – *** – RW
  • Feb 24: Mekong Hotel (Apichatpong Weerasethakul / Thailand / 2012) – ***
  • Feb 24: Surreal Random MMS Texts para ed Ina, Agui tan Kaamong ya Makaiiliw ed Sika: Gurgurlis ed Banua (Christopher Gozum / PH / 2008) – *****
  • Feb 25: Prisoners (Denis Villeneuve / US / 2013) – ****
  • Feb 25: In the Heart of the Sea (Ron Howard / US / 2015) – ***
  • Feb 27: Cinéma d’été (Open-Air Cinema / Raymond Depardon  / France / 2007) – **
  • Feb 27: One Fine Day (Takeshi Kitano  / Japan / 2007) – ***
  • Feb 27: Trois minutes (Three Minutes / Theo Angelopoulos  / Greece / 2007) – ****
  • Feb 27: Dans le noir (In the Dark / Andrei Konchalovsky  / Russia / 2007) – ***
  • Feb 27: Diario di uno spettatore (Diary of a Moviegoer / Nanni Moretti  / Italy / 2007) – ***
  • Feb 27: The Electric Princess Picture House (Hou Hsiao-Hsien  / Taiwan / 2007) – *****
  • Feb 27: Dans l’obscurité (Darkness / Jean-Pierre and Luc Dardenne  / France / 2007) – ***
  • Feb 27: World Cinema (Joel and Ethan Coen  / US / 2007)  – ***
  • Feb 27: Anna (Alejandro González Iñárritu  / Mexico / 2007)  – ***
  • Feb 27: En regardant le film (Movie Night / Zhang Yimou  / China / 2007)  – ***
  • Feb 27: Le Dibbouk de Haifa (The Dybbuk of Haifa / Amos Gitai  / Israel / 2007)  – ***
  • Feb 27: The Lady Bug (Jane Campion  / New Zealand / 2007)  – ***
  • Feb 27: Artaud Double Bill (Atom Egoyan  / Canada / 2007) – ****
  • Feb 27: La Fonderie (The Foundry / Aki Kaurismäki  / Finland / 2007)  – ***
  • Feb 27: Recrudescence (Upsurge / Olivier Assayas  / France / 2007)  – ***
  • Feb 27: 47 ans après (47 Years Later / Youssef Chahine  / Egypt / 2007)  – ***
  • Feb 27: It’s a Dream (Tsai Ming-liang  / Taiwan / 2007) – ****
  • Feb 27: Occupations (Lars von Trier  / Denmark / 2007) – ****
  • Feb 27: Le Don (The Gift / Raoul Ruiz  / Chile / 2007) – ****
  • Feb 27: Cinéma de boulevard (The Cinema Around the Corner / Claude Lelouch  / France / 2007)  – ***
  • Feb 27: First Kiss (Gus Van Sant  / US / 2007)  – ***
  • Feb 27: Cinéma érotique (Roman Polanski  / US / 2007)  – ***
  • Feb 27: No Translation Needed (Michael Cimino  / US / 2007) –  ***
  • Feb 27: At the Suicide of the Last Jew in the World in the Last Cinema in the World (David Cronenberg  / US / 2007) –  ***
  • Feb 27: I Travelled 9000 km To Give It To You (Wong Kar-wai  / Hong Kong / 2007)  – ***
  • Feb 27: Where Is My Romeo? (Abbas Kiarostami  / Iran / 2007)  – ***
  • Feb 27: The Last Dating Show (Bille August  / Denmark / 2007)  – ***
  • Feb 27: Irtebak (Awkward / Elia Suleiman  / Palestine / 2007)  – ***
  • Feb 27: Rencontre unique (Sole Meeting / Manoel de Oliveira  / Portugal / 2007)  – ***
  • Feb 27: À 8 944 km de Cannes (5,557 Miles From Cannes / Walter Salles  / Brazil / 2007)  – ***
  • Feb 27: War in Peace (Wim Wenders  / Germany / 2007) – *****
  • Feb 27: Zhanxiou Village (Chen Kaige  / China / 2007) – ****
  • Feb 27: Happy Ending (Ken Loach  / UK / 2007)  – ***
  • Feb 28: Absurda (David Lynch  / US / 2007)  – *****
  • Feb 28: In the Middle of an End (Ryanne Murcia / PH / 2016) – **
  • Feb 28: Ganito Kami Noon… Paano Kayo Ngayon? (Eddie Romero / PH / 1976) – ****

February = 61 films

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A Pure Cinematic Rendering of a Bakhtinian Carnivalesque

March

  • Mar 1: The Martian (Ridley Scott / US / 2015) – ***
  • Mar 2: Unreleased film (KJE) – **
  • Mar 2: Ruined Heart (Khavn dela Cruz / PH / 2014) – *****
  • Mar 3: Gummo (Harmony Korine / US / 1997) – ****
  • Mar 3: 4:44: Last Day on Earth (Abel Ferrara / US / 2011) –  ***
  • Mar 3: The Finest Hours (Craig Gillespie / US / 2016) – ***
  • Mar 4: Bakit Di ka Crush ng Crush Mo? (Joyce Bernal / PH / 2013)  – **
  • Mar 4: Bride for Rent (Mae Czarina Cruz-Alviar / PH / 2014) – **
  • Mar 5: The Revenant (Alejandro González Iñárritu / US / 2015) – ****
  • Mar 11: Magic Mike XXL (Gregory Jacobs / US / 2015) – ***
  • Mar 12: Pinoy Sunday (Wi Ding Ho / Taiwan-PH / 2009) – ***
  • Mar 12: Sta. Niña (Emmanuel Palo / PH / 2012) – *** – RW
  • Mar 13: Jay (Francis Xavier E. Pasion / PH / 2008) – ***
  • Mar 23: Allegiant: Part I (Robert Schwentke / US / 2016) – **
  • Mar 24: Miracle in Cell No. 7 (Lee Hwan-kyung  / South Korea / 2013) – **
  • Mar 26: Hele sa Hiwagang Hapis (Lav Diaz / PH / 2016) – *** – Long blog article soon.
  • Mar 28: The Dawn of Freedom [MacArthur Version] (Abe Yutaka  / Japan-PH  / 1944)  – ****
  • Mar 29: Etiquette for Mistresses (Chito S. Roño / PH / 2015) – **
  • Mar 29: All You Need is Pag-Ibig (Antoinette Jadaone / PH / 2015) – **
  • Mar 30: The Breakup Playlist (Dan Villegas / PH / 2015) – ***

March = 20 films

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‘Extractive Colonialism’

April

  • Apr 3: Harry Potter and the Prisoner of Azkaban (Alfonso Cuaron / UK / 2004) – *** – RW
  • Apr 4: Tatlo, Dalawa, Isa: Hellow, Soldier (Lino Brocka / PH / 1974) – *****
  • Apr 5: Harry Potter and the Goblet of Fire (Mike Newell / US / 2005) – *** – RW
  • Apr 7: Harry Potter and the Order of the Phoenix (David Yates / US / 2007) – *** – RW
  • Apr 9: The Gospel According to the St. Matthew (Pier Paolo Pasolini / Italy / 1964) – *****
  • Apr 10: Harry Potter and the Half-Blood Prince (David Yates / US / 2009) – *** – RW
  • Apr 10: Harry Potter and the Deathly Hallows – Part 1 (David Yates / US / 2010) – *** – RW
  • Apr 10: Harry Potter and the Deathly Hallows – Part 2 (David Yates / US / 2011) – *** – RW
  • Apr 12: Mountains May Depart (Jia Zhang-Ke / China / 2015) – ****
  • Apr 12: You’re My Boss (Antoinette Jadaone / PH / 2015) – **
  • Apr 13: My Illegal Wife (Tony Y. Reyes / PH / 2014 ) – *
  • Apr 15: Batman v Superman: Dawn of Justice (Zack Snyder / US / 2016) – ***
  • Apr 16: Spotlight (Tom McCarthy / US / 2015) – ***
  • Apr 18: Must Date a Playboy (Mae Cruz-Alviar / PH / 2015) – **
  • Apr 20: The Gifted (Chris Martinez / PH / 2014) – **
  • Apr 21: I Do Bidoo Bidoo (Chris Martinez  / PH / 2012) – ***
  • Apr 22: Mission Impossible: Rogue Nation (Christopher McQuarrie / US / 2015) – **
  • Apr 23: Ohayo (Satoshi Kon / Japan / 2007) – ***
  • Apr 23: The Prenup (Jun Lana / PH / 2015) – **
  • Apr 24: Gods of Egypt (Alex Proyas / US / 2016) – **
  • Apr 26: Oblivion (Joseph Kosinski / US / 2013)  – ***
  • Apr 26: Father & Son (Sarawut Intaraprom / Thailand / 2014) – **
  • Apr 28: Akira (Katsuhiro Otomo  / Japan / 1984) – ****
  • Apr 28: Tangerine (Sean Baker / USA / 2015) – ****
  • Apr 29: Beauty in a Bottle (Antoinette Jadaone / PH / 2014) – ***
  • Apr 30: Past Tense (Mae Cruz-Alviar / PH / 2015) – **

April = 26 films

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This belongs to infinity.

May

  • May 4: Maybe this Time (Jerry Lopez Sineneng / PH / 2014) – **
  • May 7: Ten Minutes Older (Herz Frank / Latvia/Israel / 1978) – ****
  • May 7: The Enlightenment (Volker Schlöndorff / Germany / 2002) – ***
  • May 7: Dans le noir du temps (Jean-Luc Godard / France / 2002) – *****
  • May 7: The Skywalk is Gone (Tsai Ming-Liang / Taiwan / 2002) – ****
  • May 7: Enemy (Denis Villeneuve / Canada / 2013) – ****
  • May 8: Taxi (Jafar Panahi / Iran / 2015) – *****
  • May 8: Trick (Jim Fall / US / 1999) – ***
  • May 11: Starting Over Again (Olivia M. Lamasan / Philippines / 2014) – *** – RW
  • May 17: 9 (Shane Acker / USA / 2009) – ***
  • May 17: Eel Girl (Paul Champion / New Zealand / 2008) – **
  • May 17: Death (from 42 One Dream Rush / Kenneth Anger / 2010) – ****
  • May 18: X-Men: Apocalypse (Bryan Singer / US / 2016) – **
  • May 19 – 23(?): She’s the One (Mae Czarina Cruz-Alviar / PH / 2013) – **
  • May 24: Dirty Grandpa (Dan Mazer / US / 2016) – *

May = 15 films

June

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Ghosts of modern life

  • June 4: Shame (Steve McQueen / US / 2011) – ****
  • June 6: Johnny English Reborn (Oliver Parker / UK / 2011) – **
  • June 8: Masahista (Brillante Mendoza/ PH / 2005) – **** – RW
  • June 11:  The VVitch (Robert Eggers / US / 2015) – ****
  • June 12:  Zombadings 1: Patayin sa shokot si Remington (Jade Castro / PH / 2011) – ***
  • June 14: Quick Change (Eduardo Roy Jr. / PH / 2013) – **** – RW
  • June 16: The Conjuring 2 (James Wan / US / 2016) – ***
  • June 17: Dawn of the Planet of the Apes (Matt Reeves / US / 2014) – **
  • June 17: Wedding Tayo, Wedding Hindi (Jose Javier Reyes / PH / 2011) – *
  • June 18: Carol (Todd Haynes / US / 2015) – ****
  • June 19: Bulong (Chito S. Roño / PH / 2011) – **
  • June 19: DOA: Dead or Alive (Corey Yuen / US / 2006) – ***
  • June 23: Point Break (Ericson Core / US / 2015) – **

July


6a6f4-criesandwhispers12Metaphysical horror.

  • July 1 – Cries and Whispers (Ingmar Bergman / Sweden / 1974) – *****
  • July 3 – Ku’te (Ronaldo Bertubin / PH / 2016) – **
  • July 3 – EDSA (Alvin Yapan / PH / 2016) – **
  • July 5 – Wanted (Timur Bekmambetov / US / 2008) – ** – RW
  • July 6 – I Love You to Death (Lawrence Kadashan / PH / 2016) – ***
  • July 13 – Ma’Rosa (Brillante Mendoza / PH / 2016) – ***

August

  • I Won’t Last a Day Without You (Raz dela Torre /  PH / 2011) – ***

September

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From Lumiere’s Arrival of the Train at La Ciotat (1895) to Train to Busan (2016)

  • Sept. 3: Train to Busan (Yeon Sang-ho / South Korea / 2016) – ****
  • Sept. 4: The Neon Demon (Nicolas Winding Refn / US / 2016) – ****

October

November

December