A heartfelt film about a forgetful mother, and a diverse set of shorts: from the bleak to the charming, even the experimental.
Direction & Screenplay: Denise O’Hara
Mamang depicts an old woman’s struggle against the senility of old age.
In Mamang, the eponymous character (played by the renowned Celeste Legaspi) confronts the relentless hallucinations brought by her creeping dementia. These visions are populated by personalities from her past: her husband, his mistress, a suitor, even a constabulary officer—the ghosts of her memory, characters summoned by the failing faculties of her mind rather than haunted beings coming from a supernatural realm. It is a familiar unreliable-narrator story, where the narrator is an elder beset by senility, although the film interestingly frames its conflict as the choice between normal reality and a more vibrant, more colorful memory-dream world. The reappearance of people long gone confounds Mamang at first, but in the end, the film tells us it is up to her which world she desires to live in; she is a victim, but she is not helpless. Her disability gives her, more than mere suffering, a choice, an option that would in fact be unavailable were it not for her affliction. This way, Mamang places senility under a different light.
Continue reading “Reviews: ‘Mamang’ and short films (Cinemalaya 2018)”
It wants to “change the conversation,” but, at worst, it showcases unhelpful ‘inspiration porn’.
On a rainy Independence Day evening, Leni Robredo, the vice president of the republic, delivered a speech in the theaters of the posh Glorietta mall in Makati City. It was the premiere night for her latest project, the Istorya ng Pag-asa Film Festival. Ten hours earlier she had led the ceremonies at Luneta Park, saluting the national flag under the rain; now, she appeared before a crowd that included a senator, celebrities, filmmakers, the press, and her countrymen from the fringes of society, that sector she had always pledged loyalty and service to. Her twenty-minute message, albeit ceremonial, was a consistent restatement of her commendable advocacy. Towards the end, she weaved together the themes of the day:
Independence is not just freedom from a foreign invader or colonizers from another nation. It is freedom to choose the meals we want to eat, the places we want to go, the schools where we want to study, the careers where we want to prove our mettle, the things we want to say—and where to say them. This is the kind of freedom I wish for every man, woman, and child in our country today.
As the second highest official of the country, she has much stature but little power, and she has turned to this, embodying moral leadership, turning her office into a beacon of positivity. With the film festival, she issues a call to “spread hope in these dark and difficult times.”
Continue reading “Istorya ng Pag-asa Film Festival: hoping against reason”