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Tag Archives: bea alonzo

Character Development in Four Sisters and a Wedding

20 Monday Jan 2020

Posted by cinetactic in Essays

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angel locsin, bea alonzo, Character Development, Four Sisters and a Wedding, Scriptwriting, Shaina Magdayao, star cinema, Toni Gonzaga

Good character development often happens in television shows where stories are stretched out for a long period of time and characters literally and figuratively grow. This is particularly notable in American television programs where shows are created annually or in seasons.

A simple exercise in assessing character development is to put the characters in a certain environment and expect their reaction to be what you expect him or her to react based on how they are branded by the show. It is where they respond to a new stimulus without losing who they are or how they have become known to the audience.

In the case of Philippine media, a good example of effective character development isn’t found on TV. One, because television series creators are not often given the ability to plan how to unfold their stories. When the show flops, the story must end prematurely. When it succeeds, the story is extended to the point of it being ugly. Hence, the best way to see character development in Philippine media is in cinema, a medium where the creators have much more control over how to tell stories i.e., length of the film and number of characters involved.

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Why is Eerie overrated?

29 Friday Nov 2019

Posted by cinetactic in Essays

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Asian cinema, bea alonzo, Charo Santos, Eerie, Horror, Michael Red, Movie review, Netflix, philippine cinema, Western horror

The genre of horror has always been looked down on in the international film scene. Critics look at horror films as crass and informal, not worthy of ‘serious’ analysis and examination. Often, they are categorized as either niche films or B movies. But for a third world country like the Philippines, where cultural workers serve as social critiques too, horror films are successful in the box office and with the critical audience. In fact, the longest-running film franchise in the country, is Shake Rattle and Roll, a horror film with 15 installments as of 2014. In this video essay, we examine a Filipino horror film that made rounds in the international film scene through its Netflix release – the 2018 film Eerie directed by Mikhail Red. We discuss how Eerie failed to fulfill two known categories in the horror genre.

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A Second Chance: Sustaining the kilig

19 Saturday Dec 2015

Posted by cinetactic in Movie Reviews

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A Second Chance, Basha, bea alonzo, film, John Lloyd Cruz, Movie review, One More Chance, Popoy, star cinema

by Heinrich Domingo

Sequels are meant to serve movie corporations more than the viewers. Banking on the fandom built by the successful first films, movie productions would often release an underdeveloped storyline for the sole purpose of profit. Many of us are lured to take a bite of One More Chance’s prequel with a promise that the movie experience will be new and equally rewarding. After watching the film, expectations were exceeded as A Second Chance took a path different from many pop films in the market today. It did not content itself in pleasing the loyal viewers but it elevated the discussion into marital life, financial struggles, and family building. As a result, the audience were gifted with a more critical discussion while maintaining the romance and kilig in the story.

LOOK A Second Chance official poster revealedphotoarticle

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The Love Affair: The Milking of Infidelity Stories

25 Tuesday Aug 2015

Posted by cinetactic in Movie Reviews

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2015, bea alonzo, dawn zulueta, infidelity, Movie review, nuel naval, pinoy films, richard gomez, star cinema, the love affair

by Heinrich Domingo

Back in 2013 to 2014, Philippine cinema had a myriad of stories on infidelity and third parties. The viewers, at that time, were receptive of plots set in patriarchal environments decorated with beautiful mistresses. In this cockfight featuring spiteful women willing to strike anytime, the Filipino bettors choose the character who delivers the ‘bitchiest’ line accompanied by the hardest slap.

It was undeniably a heyday for the mainstream film industry in the country. Big production houses such as Star Cinema and Viva Records have once again mined a valuable mineral that can be sold forever. The supply is infinite and the consumers are with endless appetite. Or so they thought. The showing of The Love Affair in cinemas this month proved that narratives of infidels have reached their point of exhaustion. They are at this point revolting.

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