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Village Voice on "Woman on a Tin Roof" / New Cinemanila Sked

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  • Noel Vera
    Here is the July 26 - August 1 article of Elliot Stein of The Village Voice on Woman on a Tin Roof, showing at the Celebrating Philippine Cinema: New
    Message 1 of 1 , Jul 29, 2000
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      Here is the July 26 - August 1 article of Elliot
      Stein of The Village Voice on Woman on a Tin Roof,
      showing at the "Celebrating Philippine Cinema: New
      Directions 2000," Walter Reade Theater in New
      York, July 26 to August 7.

      I think it cribs a few ideas from the notes by
      Tony Rayns for the Vancouver Film Festival...which
      cribs from my own notes for the Hong Kong Film
      Festival. Still, it's nice that the film got

      Manila Wafers by Elliott Stein

      The high point of the Walter Reade's last
      Philippine series in 1998 was its bracing Lino
      Brocka retro. Brocka, a brazen, openly gay
      filmmaker whose depiction of underclass life made
      him metteur-en-scène non grata during the Marcos
      regime, was the major figure of his country's
      cinema for over 15 years, until his untimely death
      in a 1991 car accident left a void that has never
      been filled. It's therefore no surprise that one
      of the most rewarding entries in this year's
      survey devoted to "the best works of the '90s,"
      Woman on a Tin Roof (1999), was written and
      directed by Mario O'Hara, a protégé of Brocka who
      acted in several of his movies and scripted
      Insiang (1976), the late director's great
      breakthrough film.

      Woman follows the troubled marriage of a young
      stuntman and his wife-both sleep with men for
      money. To save on rent, they move in with his
      aunt, a faded movie queen who squats in a
      mausoleum in Manila's North Cemetery, amid the
      tombs of the rich and famous. Much of the
      picture's charm lies in its unsparing portrait of
      a cat-and-dog community of dreamers and exploiters
      commingled with elegiac scenes recalling the good
      old days of the local movie industry. Anita Linda,
      a star of early Brocka flicks, walks off with the
      show in a bravura performance as the dithering
      boneyard diva.

      Also, Cinemanila the Undead, back on Glorietta 4

      Call Glorietta 4 752 7880 to 84, or Cinemanila
      office at 411 9436 or go to www.cinemanila.com.ph
      for details

      (films showing for the whole day, unless otherwise

      August 2, Wed.

      Fire, Deepa Mehta's controversial film about
      lesbian love, was shut down by religious fanatics
      during its commercial run in India--with tacit
      consent from government authorities. Most
      controversial recent film in India.

      (at 6 pm only) Il Portaborse

      An Italian film by Daniele Luchetti. Luciano, a
      young talented teacher of literature rounds out
      his income by writing the books of a famous
      novelist, whose creative vein has dried up. One
      day a powerful minister calls him to Rome and asks
      him to be his ghost-writer. Luciano learns to
      like the privileges of power, but also learns
      about the corruption that is often intimately
      connected with that power.

      August 3: Tales of the Kish

      An Iranian film made up of three segments, all
      taking place on the island of Kish. Nasser
      Taghval’s “The Greek Ship” is about a ship wrecked
      off the coast of the island, and the effect on the
      island people when crates from the ship are washed
      onshore. Abolfazi Jalili’s “The Ring” is about a
      young man who cannot afford an education, coming
      to the island to look for a job. “The Door” is
      possibly the simplest of the three--about a man
      whose only possession in the whole world is the
      door to his former house. The last segment is
      directed by renowned Iranian filmmaker Mohsen
      Makhmalbaf, whose previous works include “Gabbeh”
      and “Salaam Cinema”. The film was an official
      entry into the Cannes International Film Festival,
      Competition Section.

      August 4 & 5: Nang Nak

      Nonzee Nimibutr (Indonesia). The latest film from
      the director of “Dang Birely’s and the Young
      Gangsters,” “Nang Nak” is the story of a wife and
      child who die while the husband is gone, except no
      one, least of all the wife and child, realize
      this. The husband returns home to find them
      waiting for him as usual, unaware that they are
      dead. A supernatural drama with tragic

      August 6: Color of Paradise

      By Majid Majidi (Iran). Winner of the Lino Brocka
      award, Cinemanila’s highest honor, the film is
      about a father and his troubled relationship with
      his son, who is blind. The father is about to be
      married a second time, and thinks that the blind
      boy presents too much of a burden to him. He
      sends his son away to become apprentice to a blind
      carpenter. The son, played by Mohsen Ramezani,
      also won Best Actor at the Cinemanila awards

      Aside from the Lino Brocka Award, the film won
      the Grand Prix at the Montreal Film Festival and
      the Gijon International Film Festival, and will be
      Iran’s official entry to next years Academy

      August 7: Tales of the Kish

      August 8: Once Were Warriors

      Lee Tamahori's powerful study of a Maori woman and
      the brutal husband who beats her. Beth and Jake
      live life and love each other passionately; the
      dark side of this is that Jake is also a powerful
      man with a violent temper. Beth’s beatings at the
      hands of Jake are terrifying outbursts of
      violence--all the more frightening because Beth is
      a strong, proud and not entirely defenseless
      woman, yet Jake is still able to pound her into
      submission. Tamahori brings a gritty intensity to
      the domestic scenes, at the same time capturing
      some of New Zealand’s gorgeously orange light.
      Rena Owen is unforgettable as the battered Beth
      Heke. Awarded Best Film by the Montreal Film
      Festival and New Zealand Film Awards and Best
      First Film by the Venice Film Festival.
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