In his second year in Cinemalaya shorts, Glenn Barit creates another film that calls more attention to its form than its content. In Nangungupahan, Glenn translates into cinema the ability of a space (such as an apartment room) to transcend time. In his depiction, Glenn captures on screen the abstract notions of nostalgia, permanence and transition, and the cause-and-effect nature of time and space.
Regional films are treading on a very thin line: they either snob their rural context and environment or they do so much to the point of exoticization. Amusin Pa traverses this line at ease. It situates the audience in a Southern Tagalog setting without necessarily alienating them or the characters in the narrative.
By Heinrich Domingo
Many of the short films today command popularity due to their ability to surprise the audience. They would begin with an exposition of a narrative and then later on provide a catch or a punch line in the latter part of the film. It is a faint attempt to make the audience go back to the plot, attempt to read it again, and hopefully appreciate the filmmaker’s attempt to make them think. Although such style invokes attention of the crowd, this treatment has been incessantly used that the viewing public no longer sees it effective.
People tend to cast stone to any item put on the pedestal. The case of Kung ang Ulan ay Gawa sa Tsokolate is no different. Being awarded as CineFilipino’s 2016 best short film, the movie’s flaws and shortcomings were emphasized. Sans the first prize award, it could have passed off as a decent film piece.