{"id":10307,"date":"2025-08-16T16:51:12","date_gmt":"2025-08-16T16:51:12","guid":{"rendered":"https:\/\/asinovolablog.it\/?p=10307"},"modified":"2025-08-16T16:51:12","modified_gmt":"2025-08-16T16:51:12","slug":"focus-philippines-2022-2","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/focus-philippines-2022-2\/","title":{"rendered":"Focus Philippines – The reviews"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]\n

curated by Simone Bardoni and Margherita Fontana | reviews by Sofia Brugali<\/em><\/p>\n

T<\/span><\/strong>his year, Concorto explores Philippines\u2019 cinema, offering insight into a complex, layered mosaic of social and cultural tensions that take place in the background of the overflowing and wild nature, as well as of buzzy and cruel metropolises. The seven short films selected provide an unprecedented glimpse into an emerging cinema that is capable of combining narrative urgency and visual power.<\/p>\n

Radikals by Arvin Bellarmine takes us to the heart of youth culture, between rebellion and tradition. How to Die Young in Manila by Petersen Vargas focuses on the precariousness of queer identity in a violent and disillusioned urban context. With Junylin Has, Carlo Francisco Manatad reflects on the femininity and invisibility of sex workers in an ironic and piercing way. Animal Lovers by Aedrian Araojo is a tragicomic microcosm, a nativity scene revisited in an animist (or animalist?) way. The experimental animation It\u2019s Raining Frogs Outside by Maria Estela Paiso is a hypnotic and claustrophobic reflection on eco-anxiety. E. Del Mundo\u2019s Manong ng Pa-aling recalls the silent exertion of traditional fishing, transforming the seascape. Finally, Ang Ritwal by Alex Tiernan recreates a paradoxical and absurd visual parallelism, showing some of the human and spiritual contradictions that cross the social fabric of this large and multifaceted archipelago.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”20″ bottom_padding=”20″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”image_grid” images=”10321,10319,10317,10315,10313,10311,10309″ image_grid_loading=”default” display_title_caption=”true” layout=”fullwidth” item_spacing=”default” constrain_max_cols=”true” gallery_style=”3″ load_in_animation=”none” img_size=”600×403″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]\n

I film selezionati\u00a0<\/strong><\/h4>\n

curated by Simone Bardoni and Margherita Fontana<\/em><\/p>\n

Radikals<\/strong> by Arvin Belarmino, Philippines, USA, 2024, 20\u2032
\nAmpangabagat Nin Talakba Ha Likol (It\u2019s raining frogs outside)<\/strong> by Maria Estela Paiso, Philippines, 2021, 14\u2032
\nJunylin Has<\/strong> by Carlo Francisco Manatad, Philippines, 2018, 14\u2032
\nManong ng Pa-aling (Man of Pa-Aling)<\/strong> by E. Del Mundo, Philippines, USA, 2017, 15\u2032
\nHow to Die Young in Manila<\/strong> by Petersen Vargas, Philippines, 2020, 12\u2032
\nAnimal Lovers<\/strong> by Aedrian Araojo, Philippines, 2023, 17\u2032
\nAng Ritwal (The Ritual)<\/strong> by Alex Tiernan, Philippines, 2024, 7\u2032[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”padding-1-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text text_direction=”default”]Reviews by Sofia Brugali<\/em><\/p>\n

 <\/p>\n

Radikals<\/strong><\/p>\n

Selected for Critics\u2019 Week at the 2024 Cannes Film Festival, Arvin Belarmino\u2019s Radikals pays tribute to bakte, a traditional cavite\u00f1a dance, exploring its collective meaning of belonging and liberation. To the socially engaged notes of Tondo, by Horoscope Band, in a courtyard filled with (ominous) roosters and hens, a group of young people prepare to perform at a club. Dance becomes the driving force of a story that, following the protagonists\u2019 emancipatory movements, gradually breaks away from a descriptive style, venturing into a symbolic and surreal narration.<\/p>\n

 <\/p>\n

Junylin Has<\/strong><\/p>\n

In his first short film, which debuted at Locarno Film Festival in 2015 in the \u2018Pardi di domani\u2019 section, Carlo Francisco weaves the narrative with a thread of irony that links the Pope\u2019s visit to the Philippines with Junylin Has, a sex worker who lost her job as a result of this event. The result is a portray of Philippine society captured in its contradictions, developed in the forced encounter between local practices, Christianity, and globalisation: the epitome of this is the madame who, while introducing her subordinates to the new entertainment practices from Thailand, prays to God that business will soon return to normal.<\/p>\n

 <\/p>\n

How to Die Young in Manila<\/strong><\/p>\n

A young boy goes to the city centre, lying to his parents, for a date. He has only one clue: a black t-shirt, which will mislead him and take him wandering in the streets of Manila, chasing a group of hustlers. Along the way, amid bodies anonymized by violence and battered corpses that seem invisible to the eye, the figure of Saint Sebastian can be recognized: an arrow shot at Catholic morality.
\nIn How to Die Young in Manila, Petersen Vargas gives the viewer the experience of a queer person in the Philippine capital, communicating through a symbolic and threatening crescendo.<\/p>\n

 <\/p>\n

Animal Lovers<\/strong><\/p>\n

The harshness of farm work undergoes a bucolic reversal in Animal Lovers, a monochrome short film with a marked zooanthropological dimension. A man, his carabao (a native Filipino buffalo and national symbol), a woman and her dog are the four characters in a story that looks like an absurd reinterpretation of Greek tragedy\u2014or a more material version of Goethe\u2019s Elective Affinities. In this sense, human impulses and emotions take centre stage: as the relationship between the humans deteriorates and the verbal communication becomes increasingly conflictual, new possibilities emerge through the bond with the animal world.<\/p>\n

 <\/p>\n

Manong ng Pa-aling<\/strong><\/p>\n

A man and the sea: Manong ng Pa-aling ( Pa-aling\u2019s man) tells the story of a Filipino fisherman following his retirement. Much of the film is dedicated to the underwater life of the protagonist, who is devoted to the traditional Pa-aling fishing. The relationship between the fisherman and the water, namely the dependence of the former on the benevolent abundance of the latter, as insufficient fishing means a poor pay, is the real main character of this monochrome footage.. The theme of the sea as a source of sustainment is also combined with that of its danger, an underwater warning that accompanies the entire narrative.<\/p>\n

Ang Ritual<\/strong><\/p>\n

Filmed between the monumental cemetery of North Manila and the southern suburb of Taguig, Ang Ritual is a hymn-documentary that celebrates the culture of the inhabitants of the suburbs during the celebration for Undas, the Day of the Dead. Within the metropolis, folklore, religion and a passion for basketball mingle: an eclectic embrace that bonds local and imported traditions, creating unexpected urban rituals.<\/p>\n

 <\/p>\n

Ampangabagat Nin Talakba Ha Likol (It\u2019s raining frogs outside)<\/strong><\/p>\n

Childhood memories and disturbing, fluid visions blend with the main character\u2019s voice, who shares her own inner crisis with the viewer\/listener. It’s raining frogs outside: is it a plague? No, the biblical frogs rose from the slimy river mud. Its raining frogs outside: queens of metamorphosis, accompanying a transforming psyche just as the ever changing narrative style of the experimental short film by Maria Estela Paiso. A work that, in its frightful (ir)reality, describes the suffering of the self with utmost tenderness.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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