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Continue reading →: Silong: Extremities of Loveby Heinrich Domingo Silong deviates from the predictable narrative of Pinoy thriller films. The supposedly one dimensional story of a murderer at large was made complicated by the inclusion of issues on marital woes, domestic violence, and women rights. The movie is a breath of fresh air from the typical…
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Continue reading →: Bridge of Spies: The art in subtleties
by Heinrich Domingo Cinema and its audience are found in an embattled relationship. The former, as a subjective art, is blunt in asserting its principles and ideologies. The latter, acting like a valued customer, denies to be lectured on what is good and right. Bridge of Spies offers a solution…
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Continue reading →: Pan: Outgrowing the boy who wouldn’t grow up
by Heinrich Domingo Pan banks on nostalgia as its sole hope in engaging an audience too familiar with a storyline. It brings back to the crowd the beautiful young boy who taught the world that believing can be everything. Being a prequel, the film has the tendency to hold firm…
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Continue reading →: Ninja Party: When Sinag Maynila lost its light
by Heinrich Domingo In our juvenile days, we did things that are intended to be taken with us in our graves. They are unpleasant. They are never to be remembered. Yet, these nightmares will continue to wake us up in the middle of the night and remind us of our…
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Continue reading →: Felix Manalo: Preaching to the choir
by Heinrich Domingo The subjectivity of art in cinema can be construed as having the freedom to interpret and understand. But, as any filmmaker would attest, the notion of independent thinking ceases when the camera starts rolling. The lens zooms in to specific shots, frames are selective of certain environment,…
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