Jessica Zafra, one of the invited few to the by-invitation only Kinatay premiere, has very nice things to say about the film. It’s good since, as y’all know, Miz Zafra is not known for mincing words.
Here’s an excerpt:
I don’t know what the enraged critics saw. Kinatay is not as horrendously violent, gruesome, or sexually explicit as their reviews have led us to believe. What the hell were they watching? This cannot be the same movie. Are they so delicate that they can’t watch this, or are we so jaded that nothing shocks us anymore? Kinatay is rigorous, disciplined, and yes, subdued.
The censors didn’t even bother to X it: Brillante Mendoza’s movie received an R-18 rating (Granted, there was pressure from the film and academic communities). You can barely see what’s going on, you only hear it and your brain fills in the horror. The rape scene is not titillating, the murder is not thrilling, the butchery not exciting at all. This is not entertainment, nor is it supposed to be; this is a challenge to your complacency. There are long stretches in which nothing seems to be happening and you don’t know what’s going on—just like life!
CLICK HERE to read Jessica Zafra’s full entry.
Why, oh why?
UP Film Institute holds exclusive invitational premiere for Kinatay
The UP Film Institute formally announces the holding of the much awaited Philippine premiere for Brillante Mendoza’s Cannes-winning film, Kinatay, this Thursday, 30 July 2009, at 7:30 p.m. The 35mm print with English subtitles of the film that won for Brillante Mendoza the Best Director prize in the world’s most prestigious film festival screens in an exclusive invitational affair at UP Film Institute’s Cine Adarna in UP Diliman, Quezon City.
An open forum immediately follows the screening with film director Mendoza.
Invited guests have until July 29 Wednesday to confirm their attendance. Please call 9263640 and 9262722 (UP Film Institute); 7476742 and 5319831 (CenterStage Productions).
Finally, Cannes Film Festival Best Director Brillante Mendoza’s Kinatay will have its Philippine premiere on July 30, Thursday, 7:30 p.m., at the U.P. Film Institute.
For those of you who do not know yet, the film stars Coco Martin, a.k.a. Ramon.
Tickets will sell for P150 at the venue.
Will you be watching? Ako medyo scared. I think I need a gang of five to watch it with me.
Kinatay is written by acclaimed scriptwriter Armando “Bing” Lao. WARNING: If you’re into escapist films with happy endings, this movie is NOT for you.
But if you wanna see what Quentin Tarantino saw,
then you better watch this film.
The new issue of One Philippines, the fastest-rising free newsmagazine for Pinoys abroad, is now on the web.
Get to read about him…
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To see the whole magazine and who made it on the cover, CLICK HERE.
(Photo credits: Aji Aggarao for Brillante Mendoza; Bicycle Pictures/MJM Productions, Mr. Adolf Alix and Ms. Arleen Cuevas for Manila and Independencia)
Dante Brillante Ma. Mendoza, the controversial director of this year’s Cannes Film Festival entry, Kinatay, received the Best Director Award. This is the first time that a Pinoy won Best Director in Cannes.
To me — a non-insider in the indie film circuit — it’s a very happy news. I don’t know, however, why some Pinoys seem to hate Mendoza so much, they criticize him for the littlest things like changing his name from Dante to Brillante then later to Brillate Ma. Stir.ph’s Edgar O. Cruz even insinuates that Mendoza has a “French Connection,” hence, his inclusion in Cannes for two years in a row (Mendoza has already denied this). Some call his works, including last year’s Cannes entry Serbis “exploitation cinema” or a disservice to “what Lino Brocka stands for” due to its “lack of anti-dictatorship stand.”
Ano ba? Bitter?
Anyway, I hope that this award will open more distribution deals abroad for Pinoy filmmakers. It is true that there are many talented Pinoy directors, writers, etc. in our country and a little funding and “kita” can go a long way.
My wish, though, is that screenwriters/writers get as much credit and exposure as the directors since a film’s worth all boils down to this: “Story is King.”