Film Log 2017

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Death star.

January

  • Jan 4: American Honey (Andrea Arnold / US-UK / 2016) – ****
  • Jan 4: Cinema Paradiso (Giuseppe Tornatore / Italy / 1988) – *** – RW
  • Jan 5: Presque Rien (Come Undone / Sébastien Lifshitz /  France / 2000) – ***
  • Jan 7: The Back-up Plan (Alan Poul / US / 2010) – *
  • Jan 9: War Dogs (Todd Phillips / USA / 2016) – ***
  • Jan 12: Batang PX (Jose Javier Reyes / PH / 1997) – **
  • Jan 14: Raise the Red Lantern (Zhang Yimou / China / 1991) – ****
  • Jan 15: The Fourth Man Out (Andrew Nackman / US / 2015) – **
  • Jan 16: Arrival (Denis Villeneuve / US / 2016) – ***
  • Jan 17:  The Motorcycle Diaries (Walter Salles / Argentina / 2004) – *** – RW
  • Jan 18: Manila By Night (Ishmael Bernal / PH / 1980) – ***** – RW
  • Jan 23: Absolutely Fabulous: The Movie (Mandie Fletcher / UK / 2016) – ***
  • Jan 23: The Pearl Button (Patricio Guzman / Chile / 2015) – ***** 
  • Jan 25: Moonlight (Barry Jenkins / US / 2016) – *****
  • Jan 26: Ganito Kami Noon… Paano Kayo Ngayon? (Eddie Romero / PH / 1975) – RW –  *****
  • Jan 29: La La Land (Damien Chazelle / US / 2016) – **

February

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Trixie: Hanggang kailan pa?

  • Feb 1: Orapronobis (Lino Brocka / PH / 1989) – ***** – RW
  • Feb 2: Taste of Cherry (Abbas Kiarostami / Iran / 1997) – ***** – RW
  • Feb 4: Oro Plata Mata (Peque Gallaga / PH / 1982) – **** – RW
  • Feb 8: Tokyo Story (Yasujiro Ozu / Japan / 1953) – **** – RW
  • Feb 9: Perfumed Night (Kidlat Tahimik / PH / 1977) – ***** – RW
  • Feb 10: Citizen Kane (Orson Welles / US / 1941) – **** – RW
  • Feb 12: Hacksaw Ridge (Mel Gibson / US / 2016) – ***
  • Feb 13: Deepwater Horizon (Peter Berg / US / 2016) – ***
  • Feb 17: 24/7 In Love (Mae Czarina Cruz-Alviar, John D. Lazatin, Frasco Mortiz, Dado C. Lumibao / PH / 2012) – *
  • Feb 19: Working Beks (Chris Martinez / PH / 2016) – **
  • Feb 21: I’m Drunk, I Love You (J.P. Habac / PH / 2017) – **
  • Feb 22: A Street Cat Named Bob (Roger Spottiswoode / UK / 2016) – **
  • Feb 23: Hidden Figures (Theodore Melfi / US / 2016) _ **
  • Feb 25: A Hard Day (Kim Seong-hun / South Korea / 2014) – ***
  • Feb 25: Sully (Clint Eastwood / US / 2016) – **
  • Feb 27: Passengers (Morten Tyldum / US / 2016) – *

March

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This film is to be considered a collaboration with Sam Bush, optical printer at Western Cine, in the sense that I was the composer, he the visual musician.

  • Mar 1: Black Ice (Stan Brakhage / US / 1994) – *****
  • Mar 5: The 20th Century Woman (Mike Mills / US / 2016) – ***
  • Mar 10: I Don’t Want to Sleep Alone (Tsai Ming-Liang / Taiwan-Malaysia / 2006) – ****
  • Mar 11: I, Daniel Blake (Ken Loach / UK / 2016) – ****
  • Mar 12: Four Moons (Sergio Tovar Velarde / Mexico / 2014) – ***
  • Mar 12: Melancholia (Lars von Trier / Denmark / 2011) – ***
  • Mar 14: Still Feeling Blue About Color Separation (Christine Lucy Latimer / US /2015) – *** [link]
  • Mar 14: Iceland Spar (Alexander Stewart / US / 2009) – ***** – [link] – A visual study of the complex flatness of cinema’s audio-visual dimension.

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from Palms (2015)

  • Mar 15: Palms (Mary Helena Clark / US / 2015) – ***** [link] – Postulates to the intersection of visuality and subjectivity: Mary Helena Clark’s short experimental film PALMS (2015) is a visual problematique of the age-old problem of the complex relation between vision and human subjectivity. The film is comprised of four separate but interrelated audio-visual images: a pair of hands, a pair of headlights approaching and receding the screen as if engulfed by a black gradient of nothingness, a subjective shot of a ‘tennis’ ball bouncing on a tennis court, and, in black and white overlay, a waving flag of (Japan?).

    In the first image, Clark assembles a pair of hands that possibly come from one person. Clark’s interest is not essentially to show the hands as itself, as objects or parts of the body, but rather to show the pair of hands as a form of gestural non-congruence, of non-correspondence between body parts, of difference-in-itself. Here we find Clark’s first postulate for human subjectivity: that gesture is a materialist force, a force immanent to the body, radical enough to disrupt any presupposition or conceptual notion of the body-as-whole and indivisible. The first image perceptually engages with a force of difference-in-itself as generative of gesture.

    More on this in the future.

  • Mar 18: From Afar (Lorenzo Vigas / Venezuela / 2015) – ***
  • Mar 18: Talk to Her (Pedro Almodovar / Spain / 2002 ) – **** – RW

  • Mar 19: Secret Sunshine (Lee Chang-dong / South Korea / 2007) – ***** – RW
  • Mar 20: 2 Cool 2 Be 4Gotten (Petersen Vargas / PH / 2016) – **
  • Mar 21: Mistress America (Noam Baumbach / US / 2015) – ****
  • Mar 26: The Housemaid (Im Sang-Soo / South Korea / 2011) – ***
  • Mar 26: XX (Jovanka Vuckovic, Annie Clark, Roxanne Benjamin and Karyn Kusama / US / 2017) – *
  • Mar 26: No Regret (Leesong Hee-il / South Korea / 2016) – ***

April

Deadlines.

  • Apr 2: Dagitab (Giancarlo Abrahan / PH / 2014) – *** – RW
  • Apr 2: Ang Nawawala (Marie Jamora / PH / 2012) – ** – RW
  • Apr 5: Barcelona: A Love Untold (Olivia Lamasan / PH / 2016) – *
  • Apr 9: This Time (Nuel Chrisostomo / PH / 2016) – *
  • Apr 9: Fabricated City (Park Kwang-hyun / South Korea / 2017) – ***
  • Apr 15: Ang Araw Bago ang Wakas (Lav Diaz / PH / 2016) – ****
  • Apr 15: Wiener-Dog (Todd Solondz / USA / 2016) – ****
  • Apr 23: Womb (Scott Barley / UK / 2017) – ***** 
  • Apr 23: Elle (Paul Verhoeven / France-USA / 2016) – ****

May – nada

June

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Becoming-object / Unbeastly beast

  • June 18 – Beauty and the Beast (Bill Condon / US / 2017) – **