Mines View Park, Baguio City, Philippines
Submitted by louiegomez
For the record, that is Che Guevarra. Retired rockstar who fathered 90’s music sweetheart, Tootsie.
Thanks, Yen, for the punchline.
Senator Bong Revilla Scandal
Transcript:
Kaya itong labanan na ito, siguraduhan, di tayo papatalo dito. Nakataya dito ang pangalang Revilla, ang pangalan ko, nakataya dito ang 2010 ko. Araw-araw nakatutok na ako sa Bacoor at hindi ko hahayaang matalo ang kapatid ko. Atin ang Pulis.
(Eh iyong Hepe?)
[ Hepe ng] Bacoor na iyan papalitan na iyan.
Ang Comelec mahirap mang sabihin, kung hindi neutral, pero hindi tayo papadaya diyan, malamang tayo pa ang mandaya.Matikman naman nila sila’y madaya, mga putangina nila. Hidni kayo nagkamali ng taya, at siguradong panalo ito. Malacanang nakasuporta din sa atin. Kung sino man nanghaharass sa inyo, kunin niyo ang pangalan, taga-saan at kami na ang bahala dun.
(via)
Babala: Ang naturang tape record ay hindi pa nave-verify. Kayo na ang bahalang humusga.
baka yung kamay eh Pinoy ang may-ari…
Baka iyong suot ni Conan gawa sa Laguna at iyong bracelet niya bigay ni Manny Villar.
Love in the Form of Size 8 1/2 Stilettos
by Jansen MusicoThe Red Shoes (2010)
D: Raul Jorolan
S: Marvin Agustin, Nikki Gil, Tessie TomasShoes, a pair of size 8 ½ red stilettos owned by Imelda Marcos to be exact, that is how the movie starts. A young boy named Lucas stole them so he could give one to his widowed mother and the other to his first love. A decade later, Lucas finds himself in a situation that would eventually lead him to bring those two pieces back together. It is this pair of shoes that drives the many different arcs played out by this movie’s colorful cast.
The lead roles are filled by Marvin Agustin and Nikki Gil. Marvin provides the kind of malumanay acting that you would expect from him, breathy and subdued. Whether that’s good or bad is a matter of personal taste. What I liked about his performance is that, amidst the weaknesses of his overt theatrics, his eyes always work for the benefit of his character. He knows how to project sadness, child-like bewilderment, and even sexual passion by the subtle inflections of his deep brown eyes. Nikki Gil balances out this pairing, although it can be said that her acting is far more superior. The girl can cry on cue and you would sympathize with her. The moment her mouth spews out the heavy sounding “’tang ina mo” (“You son of a bitch”) repeatedly, you believe it. Every cutesy scene she ever did in the past is trumped by her genuine disappearance into her character.
The casting definitely needs to be applauded. No film could go wrong when your group of supporting actors is comprised of Liza Lorena, Techie Agbayani, Tirso Cruz III, and even Iwa Moto whose public notoriety fits her role very well. But the best part went to the seasoned Tessie Tomas. Her foray into a two-bit Imelda Marcos fanatic is deserving of high merits.
But the genius of this film really lies in the writing. It didn’t try too hard to be indie nor didn’t try to stoop down to the level of mainstream. James Ladioray found a way to bridge the gap. By cleverly using subtle metaphors and brilliant pieces of Filipino folklore, he was able to muddle the lines between these two contrasting bodies that make up contemporary Philippine cinema. The story doesn’t take itself too seriously, but mind you, it is intelligent—not the kind that calls attention to itself, but the one that levels with you. The movie’s only as deep as you make it.
Whether it’ll be shown to an art house crowd or a cinema packed with bakya moviegoers, it is guaranteed to please. There is just something innately Filipino in the way it was written. Not only is it rich in history and self-reflective of our current society, it also makes use of cinematic traits that are truly and undoubtedly Pinoy, may it be the unnecessary musical number or those cliché and quotable Star Cinema one-liners.
I can’t be all praises though. The movie has one glaring fault that will leave you disoriented for a few good minutes. Whoever recorded and edited the sounds and film score needs to be strapped to a chair and forced to listen to the uneven splicing of ambient noise, music, and dialogue. Given a week or two of extra post-production, it could have been fixed with serious tweaking at a sound studio. Aside from this shortcoming, the movie is technically good. Ike Avellana did a masterful job of cinematography. Whether the shots were handheld or aided, he knew exactly how to accentuate the elements necessary for each scene.
The movie is a love story, by the way. Even with its overt political annotations, it’s still a story about relationships. There have been far too many romances projected on-screen, so why is this film worth the watch? Well, there are three reasons: the good production, it’s fresh take on our country’s grim history, and lastly, the story is unpredictable. It is this very trait that makes the movie all the more endearing. The film starts with shoes and it ends with shoes, but not the way you think it will.
The Red Shoes will start screening in theaters nationwide on March 10. You can check out the official website here.
If you’re in Puerto Princesa, never leave without visiting Ka Lui along Rizal Ave. And you should not let this baby pass: Tubbataha salad. Fresh(est) tuna with tropical fruit chunks beneath. Heavun ito.
Mikey Amistoso just Tweeted this: Andrew E’s Humanap Ka Ng Panget is not an original.
My life = ruined.
zombiemergencyresponseoperations:
My next Tattoo: For RIP JBee “Jollibee” Borbajo (09/09/09)
my 1st draft (crappy) to be fixed and tattoed by Camsy Shwamsy (W/ Crossbones and banner “hukbong HEMP-papa-WEED”) TONIGHT!
This tattoo is what JBee was: light-hearted, Funny, Pro-pinoy and F-U-N! (Puso ng banda)
Q: Why that freakin’ bee?
A: to HONOR my bandmate and PINOY pride (instead of the usual Phil Flag)
“hindi ako onaks na nagkukunwaring pinoy, jologs ‘to chong! hardcore Jollibee over McBullshit anyday!”
