#anna cayco

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“There was an idea...”

by Renzo Guevara

edited by Anna Cayco

Avengers: Infinity War (2018) is the 19th film in the Marvel Cinematic Universe (MCU), a franchise that has been relatively consistent in terms of quality and vision for the last 10 years. It’s the massive culminating event that has constantly been set up with the three phases of movies with each of the individual heroes’ adventures leading up to this film.

But Marvel’s massive reputation and cultural impact was not as prominent as it is today. They sold some of their most recognizable characters’ movie rights to other companies such as the X-men and the Fantastic Four to 20th Century Fox and Spiderman to Sony. Their first movie, Iron Man (2008) was a risk to say the least. The concept of an Avengers movie was merely just a thought but never an actual legitimate vision. A fun little innocent scene was placed at the end of the credits, showcasing Samuel L. Jackson’s now iconic character Nick Fury showing up to talk to Robert Downey Jr.’s Tony Stark about the Avengers initiative. Conversations about this scene grew until Marvel Studios revealed its plan to produce more superhero movies to lead up to an Avengers film. Thus, the MCU was born.

The first real culminating event was 2012’s Avengers directed by Joss Whedon. To say that the film was a success is an understatement compared to how exactly fans and critics responded to it. It featured breathtaking action sequences, entertaining interactions between the characters and a carefully crafted three-act structure that successfully combined all the elements that were set-up during the standalone movies. Included in Phase 2 was its sequel, Avengers: Age of Ultron (2015), which featured new characters such as Scarlett Witch, Quicksilver and Vision. Unlike its predecessor, it was met with mixed reactions between the audience and critics. Some commended it for the sheer spectacle on display and seeing our heroes assemble again but in time people soon accepted the fact that the film had a disjointed narrative, a disappointing villain and a few unlikeable characters.

Regardless, these first two Avengers films successfully assembled the heroes and characters we’ve all come to love. It’s not wrong to say that some of us may have garnered some sort of attachment to them that naturally makes us care for what happens throughout the series, especially in Infinity War where stakes are at an all-time high with talks of possible permanent deaths and ending of contracts of certain actors.

What could possibly have created this attachment to this universe is how these movies always tried to set themselves apart not just in their tonality also in the production behind it. The directors the studio hired were not your typical action filmmakers but were more story, character and comedy focused. And it’s also not uncommon to see the MCU go with the recent trend of giving blockbuster projects to directors who mostly made a name for themselves in the indie scene or in television. Filmmakers Anthony and Joe Russo, who were mostly known for the TV series Community (2009-2015), were hired for Captain America: The Winter Soldier (2014) and then for Civil War (2016). Both films were met with commercial and critical praise. With engaging plots that were grounded in reality setting it apart from the rest of the MCU, it was a clear choice for Feige to call upon the Russo brothers again to work their magic. And boy did they deliver with Infinity War.

The 3rd Avengers film features an incredible roster of every hero that has been established alongside the Guardians of the Galaxy. This feat has been so monumental in scale and scope that it has often been regarded as the most ambitious crossover event in cinematic history and if I’m being completely honest, it definitely earns that title.

Immediately, the film starts off incredibly strong with the chilling rightful introduction of the main event, Thanos. Gone are the days of post credit setups or small cameos, here we are placed face to face with him alongside his team who are not to be messed with. Thanos as a villain is truly an achievement for the film. You would think that him being a purely CGI creation would make him feel weightless and absent but that’s far from the case. Josh Brolin gives a hauntingly calculated performance that was beautifully motion captured as real emotions were seen, and true terror was felt whenever he was on screen. The MCU has always faced criticism about its villains but recently they have been nailing it in that department especially with Thanos. When people say that Infinity War is a Thanos movie instead of an Avengers one, it’s a valid statement to say. This is ultimately Thanos’ story and the Avengers are simply background characters. Some could even look at them as the real antagonists of the story as Thanos’ actions may be grim but once you deconstruct his motivations, they actually present a proper argument to a certain extent.

A massive cast is something that’s unavoidable with this being a culmination of 10 years’ worth of movies. At times, the film, struggles with the weight it has to carry as it tries to give each character their own individual adventures that all come down to stopping Thanos. Despite this, it doesn’t feel overly bloated. Each of the heroes get a decent amount of screen time. Some may shine more than others, but this can easily be forgiven given that this is technically a two-part storyline and the film was already nearly three hours long.

Considering the run time, the film is still a rollercoaster ride that rarely lets you take a breather. Just from the very first shot all the way to the last you will be left speechless and in pure state of either awe or shock. If in previous MCU movies, the stakes were rarely felt and a sense of danger was minimal, Infinity War turns this over your head and whacks you with it continuously. I wouldn’t say that there were certain throwaway scenes that could’ve been left on the cutting room floor but there were definitely some moments where I was more invested in than others. This can mainly be due to personal attachments to certain characters or just a simple desire to get back to the action. Character moments between our heroes are highly entertaining with the filmmakers and writers taking advantage of each of their quirks and antics that play off of each other. But what’s more impressive is that in its core, the identity of its characters remains intact. When the Guardians are on screen, it feels like a Guardians movie and so on.

But it’s also worth noting that some characters may not act the way we were accustomed to them in their solo movies. This should be expected given the difference of directors and writers and visions towards what and who they are. None were too different to the point where it’s a complete 180 of a character trait but just subtle enough to be noticed a bit or can be argued as part of their arc.

The action sequences in Infinity War are spectacle in its purest form. The Russo brother’s first two films in the MCU, The Winter Soldier and Civil War both contained amazing action scenes but most of them would regularly use quick jump cuts and an overly reliance on shaky and handheld camera work. Infinity War is arguably their first “fantastical” movie as their previous projects in the Captain America franchise were mostly grounded in reality. Thankfully they improved their craft in this one utilizing mostly wide shots and steady cams. The fight choreography and the breathtaking visual effects that supplement them invoke an epic feeling that is so much more emphasized with the familiar iconic score of the Avengers theme. One moment in particular near the climax had all these elements come together to create one bombastic moment that had the entire theater screaming in delight.

On the topic of the Avengers theme, Alan Silvestri’s score for this film also deserves much praise for what it accomplished. Although it should be expected given that the Avengers score is one of the most recognizable themes today, Silvestri’s new pieces in this film are as memorable and impactful as the scene themselves. The action sequences are injected with auditory adrenaline rush coupled with the masterful sound design and mixing but even the slower, more emotionally driven moments in the film contain some of the best scores to come out of the MCU.

All in all, it really was incredible to witness the development of the MCU franchise from its humble beginnings with Iron Man all the way down to Infinity War. All the stories the directors have told and all the elements they had to set up all coming into fruition in this one epic cinematic event. The Russo brothers deserve all the praise they could get for accomplishing this monumental task. Many have tried and failed to launch a cinematic universe such as the DCEU or Universal Studio’s Dark Universe, but it’s with the MCU that truly believes in its own vision and in the stories they tell.

All the beats in Infinity War hit when they need to. Wonder and spectacle alongside tension and emotion jell together for one massive sweep that generally satisfies majority of the hype that developed over the years. A global cinematic event that deserves to be seen and a proper payoff to all those years of excellence. Infinity War is definitely up there with the best of the MCU and it cements itself as one we would be talking about years down the line. The future of the franchise looks bright and with the continuation of the storyline scheduled to release next year, it’s only a matter of time till we see our favorite heroes assemble once again.

Photo sources: 1 2 3 4 5 6

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6 razones para empezar a seguir el grupo de Kpop BTS.

La cultura pop coreana ha ido tomando lentamente la vida de todos en Filipinas. Y ahora, estamos viendo música pop coreana lentamente arrastrándose a nuestras vidas. Grandes grupos de ídols en Corea, como EXO o Twice, ya tienen una base de seguidores sólida en el país, pero el grupo que ha hecho olas aquí y en aguas internacionales es el grupo de chicos BTS.

Los siete miembros están actualmente en el país para su concierto de dos días para su gira mundial BTS Live Trilogy Episodio III, el 6 y el 7 de mayo. Han estado en la industria durante cuatro años y lentamente se han arrastrado hasta llegar a la fama en Corea y en el resto del mundo. Han batido récords como el vídeo más visto en 24 horas en YouTube y se han convertido en  el primer grupo de K-pop en el ranking mundial semanal de Álbumes de Billboard durante 16 semanas consecutivas.

¿Cuál es la razón detrás de su éxito? Aparte de su buena apariencia, BTS es diferente de cualquier otro grupo de ídols en la industria. Aquí hay seis razones por las que debes comenzar a seguir BTS, CUANTO ANTES.

# 1 Son ídols que componen por si solos.

Los artistas que producen su propia música son muy respetados en Corea e incluso en el resto del mundo. BTS es conocido por uno de los pocos "ídols que producen por si mismos ", haciendo su propia música desde que debutaron hace cuatro años. Rap Monster y Suga son los principales letristas (es un escritor que se especializa en la creación de letras para canciones.) y compositores del grupo, pero otros miembros han participado en la producción de  canciones también. En su último álbum, cada miembro ha tenido su propia canción en solitario que compusieron por si solos , algo muy raramente hecho en el mundo K-pop.

# 2 No tienen miedo de ir en contra del sistema Corea tiene estrictas leyes de censura, pero eso nunca impedía a BTS escribir canciones sobre los males de la sociedad. Este ha sido uno de sus factores más distintivos de otros grupos que están restringidos por sus empresas. En su reciente álbum "You Never Walk Alone", la canción "Am I Wrong" arroja sombra a un político coreano, mientras que "Not Today" menciona romper el techo de cristal, una barrera no dicha en las profesiones contra las mujeres y las minorías.

# 3 Respetan el hip-hop Los músicos han ido a menudo bajo el fuego para apropiarse de la cultura afro sólo por su apariencia o la etiqueta, BTS no fue una excepción. Cuando debutaron, hicieron hincapié en ser un grupo de hip-hop usando cadenas, jerseys deportivos y snapbacks. Pero más adelante en su carrera, su CEO decidió volar a Los Ángeles para aprender las raíces y el verdadero significado del hip-hop. Comenzaron a instalarse en su propia piel y olvidaron tratar de parecer un grupo de hip-hop "genuino". Comenzaron a expresar libremente historias y opiniones más personales en sus raps y versos, que a su vez refleja otro lado del hip-hop.

# 4 Su coreografía está fuera de este mundo Ser capaz de bailar es esencial para el K-pop. La mayoría de las canciones tienen coreografías correspondientes y BTS sobresale en ellas, desde el trabajo de pies rápidos y elegantes en "Dope" y "Fire" hasta los movimientos contemporáneos lentos de "Spring Day" y "Butterfly" . Lo irónico de ellos es que no todos Los miembros son mega talentosos bailarines. Sin embargo, los espectadores no se dieron cuenta de esto debido a su coordinación  y la sincronización como un grupo. Los chicos trabajan duro para perfeccionar los movimientos de baile insanos, especialmente J-Hope, que aplica  como instructor de baile para el equipo.

# 5 Son hilarantes Incluso si sus canciones abordan temas serios, BTS es un grupo histérico de chicos. Tienen dos programas de variedades BTS Gayo y BTS Run que se transmiten actualmente en VLive, la plataforma de K-pop en directo. Ambos programas muestran sus ridículas tonterías  y personalidades entretenidas que normalmente no se ven en las entrevistas. Echa un vistazo a su canal de YouTube, así como para los clips de detrás de las escenas de BTS.

# 6 Son amables

Según los periodistas de la industria del K-pop, la bondad genuina de BTS es lo que los separa del resto. Puede ser difícil imaginar que estas estrellas del pop tengan buenas personalidades, ya que es difícil permanecer con los pies en la tierra  cuando se alcanza un cierto nivel de fama. Pero los reporteros creen que la verdadera pasión de BTS por la música es lo que los mantiene humildes . Además, a principios de este año, el público se enteró de que han donado individualmente 10 millones de won  a las familias y las víctimas del incidente del naufragio de Sewol . Un representante de su compañía dijo que era su propia decisión de hacerlo sin que nadie se enterara.

Tras Esp: Admin. G

 Cr articulo original: Anna Cayco

http://preen.inquirer.net/46305/6-reasons-start-following-k-pop-group-bts

Bang Bangtan 2017

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Never Not Love You is the Film of Our Generation

by Anna Cayco

edited by Jessica Brown

Lead actors Nadine Lustre and James Reid have been known to live outside the familiarity of showbiz love teams. With Antonette Jadaone, who directed That Thing Called Tadhana (2014), at the forefront as its director and writer, there was high expectation for the film to not be a typical Philippine romance film.

And it is. Never Not Love You (2018) is the love story of our generation.

Let’s address the elephant in the room. The cinematography and editing are world class, and this can be seen in scenes such as the tattoo shop where Gio (Reid) frequents, the grand urban streets of London, or the bright yellow mountains of Joanne's (Lustre) home in Zambales. Potentially, this may have been done It could to appeal to a generation that constantly sees high definition landscape and urban photography on their timeline. This is reflective with visually stunning films such as Kita-Kita (2017) and Siargao (2017). What is refreshing, however, are the small moments the camera captures in equal quality, such the embraces Gio and Joanne share in bed after a long day at work.

What makes the film stand out from the other Philippine romance films is the verisimilitude of the conflict. The film does away with cliches found in similar mainstream films. Nobody is diagnosed with terminal cancer. Nobody cheats. My expectation of a car accident was very much not met.

The drama, instead, is internal. It arises from the clash of ambitions among Gio and Joanne. After being cut-off from his father, Gio is forced to find stability in his very unstable profession, freelance graphic design. With the choice to take a job in London, he risks being separated from Joanne for who knows how long. Joanne, on the other hand, has fought tooth and nail to get a position in a high-profile marketing firm in Makati and is about to be promoted as brand manager. To leave the Philippines would be corporate suicide.

This is a problem that many young professionals – or any Filipino for that case. Better opportunities do exist outside the country. However, what often isn't considered are the repercussions that come with moving.

Gio doesn't deal well these repercussions. He is our typical bad boy (a character that Reid has played before) who sees the world in black and white. For him, it's either giving up his dream to stay with Joanne or forcing her to leave her dream and go with him to London. Joanne is left with little to choose from.

Eventually, she chooses to move to London with him, becoming miserable when she downgrades to waitress while Gio is living his dream. When she tells Gio she wants to return back to Manila, he lashes out, calling her selfish and ungrateful..

We don't like Gio. On the one hand, We want them to break up. On the other hand, we also don't want them to break up and waste all the moments they've gone through. What we do want is Gio to change.

He does change, but not enough to catch up with Joanne. He learns to set her free and they decide to have a long distance relationship. Joanne instantly gets her life back together back in Manila. She gets a car for herself, uplifts her family from poverty, and is happy with her own group of friends. Gio, however, is doing well in London yet still has his bouts of anger against Joanne. It comes out through flashes of jealousy in seeing her celebrating with a male friend or even as small as a side-comment on the color of her new car.

He knows that Joanne has outgrown him. After two years, he returns to Manila and confesses to Joanne, "I'm in love with this Joanne in my head. And in my heart... but when I look at you now, I don't know. It's different."

They don't break up. They never broke up throughout the entire film despite all the fighting and distance. Joanne reassures Gio that they will make it work. If anything, this is a lesson that every person of this generation needs to know. Self-love is equated to dropping toxic people like hot potatoes but we will never find a person who we love that is incapable of hurting us.

Right before the ending, Gio and Joanne return to the tattoo shop to get their tattoos - bands of blank ink on their ring fingers - retouched. Indeed, love can fade but love can also be saved.

Photo sources: 1 2 3 4

Special thanks to the JaDine Nation for inviting us to watch the film! 

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IsaPelikula 3: Sound and Editing

by Miguel A. Santiago

edited by Anna Cayco

Afternoon light colors your wide shot in such a way that no amount of post-processing can imitate. Fancy cameras capture the distance being closed between your two leading actors in a climactic kiss. Your innovative angles capture the world in motion no other film has ever done before.

Mastering these aspects of film are incredible feats on their own. But painting the world you want to make on screen with palettes of sound requires a totally different skillset. And weaving everything together to form a coherent masterpiece is a completely different beast to tame.

The third IsaPelikula (IsaPe) class provided members of the Loyola Film Circle (LFC) with tips on how to tackle these issues. On November 20, 2017, a class on Sound and Editing was held at Room 280A in the Social Sciences building. From 5-7 P.M., LFC was treated to lectures provided by names in the film industry with movies that have recently started making waves in Filipino mainstream culture.

The first lecturer for the night was Galileo Teo. He served as editor of Ang Manananggal sa Unit 23B (2016), The Debutante (2017), and Project Runway Philippines. He spent his session discussing his own editing process, and providing little tips as to how he makes the process easier for him. One thing that he emphasized throughout his segment was the importance of organization – to create folders upon folders. An “Audio” folder should be separated into the raw sounds and exported sounds while an “Edit” folder should be filled with the project files. One should keep a record of all the files that have already been exported and organize everything according to the camera used. All of these things are guaranteed to make the editing process easier.

The last segment of the class was hosted by Adi Lopez, the music producer of I’m Drunk, I Love You (2017) and Patintero: Ang Alamat ni Meng Patalo (2015). She introduced the different ways sound and music interacted with a scene or provided different layers of emotion. Throughout the lesson, she played commercials that she had helped create, and gave her insight on the processes relevant to her role in a particular production. To ease logistical concerns abounded in the lecture, when filming in a public place, it would help to time your shooting so that the space would be least occupied. Songs are cheaper to have covered than to purchase the actual track. Google can be a reliable search engine for SFX, foley, and other basic necessities for sound.

Both speakers were met with thunderous applause at the end of their segments. And despite this IsaPe class being scheduled on a Monday, with everyone still grumbling over the end of the weekend, their post-weekend lethargy did nothing to dampen their passion for learning about film.

Photos by Rica Bautista

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Blue Screen 2017

by Mika Moosh Reyes and Anna Cayco

edited by Jessica Brown

Local films have been gaining more traction over the years, with films such as Heneral Luna (2015) and Sleepless (2017) instantly coming to mind. These films range in popularity from mainstream blockbuster local hits to the indie films that have been critically acclaimed international. Blue Screen, an event brought back to life by the Loyola Film Circle and the Ateneo Association of Communication Majors, gave the Atenean community and beyond to experience these films, specifically Bar Boys (2017), Kita Kita (2017), Respeto (2017), and Patay na si Hesus (2017). These films were quite popular among the students for they either tackled socially relevant problems in the country or merely provided a breather from academic life. The films were shown from October the 23rd to the 26th.

An open forum ended the film festival on the 27th, featuring Fatrick Tabada, writer of Patay na si Hesus, Treb Monteras, director of Respeto, Karen Mae Testibia, associate producer of Bar Boys, and Sigrid Andrea Bernardo, director of Kita Kita. It provided an avenue for everyone to interact with another and have a discussion on film. Students interested in the films expressed their expectations for the discussion. Most wished to gain knowledge regarding the production of these films while others wished to learn about the rationale behind the conceptualization.

But these film personalities themselves were also eager to learn from the students. Bernardo was expecting to learn the views and reactions of Ateneans to her film in particular. Some many different types of people have watched her film and have reacted differently to it. For her, it was interesting to see how people at the collegiate level would react to her film and she was not disappointed in the feedback.

The importance of research was echoed in Bernardo, Testibia, and Tabada's input in the discussion. For Bernardo, research is imperative when shooting abroad, especially without doing an ocular prior to shooting. One of the biggest obstacles for her, as a writer, was to make two Filipino characters seem like natives in Hokkaido. Testibia recalled how Director Kip Oebanda still had to do research on his characters, even if the people he was researching on were his friends.

Tabada and Testibia both shared how personal their respective films were for themselves. Testibia recalled a quote from the movie uttered by the Justice Fernandez, "Do you fight or do you quit?" At that time, she was experiencing financial, emotional, and family hardships. What was all the more interesting was that Patay na si Hesus was Tabada's ode to his single mother and his two siblings.

Both students and film personalities said that Blue Screen is definitely an event that should be continued. The event only made students hungrier to expand their tastes in local film. The open forum as well opened students’ eyes to the difficulties and the fulfillment that comes when creating a film. Even Tabada shared that he wants projects like these to not only continue in Ateneo but beyond the gates of the Ateneo community, especially in his province of Cebu, where local films are much more limited. Indeed, the bar has been set for the future of film festivals here on campus as well as beyond campus.

Photos by Johan Nepomuceno and Gabriel Medina

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Film Review: Three Billboards Outside Ebbing, Missouri

by Benjie Bernal

edited by Anna Cayco

*Spoilers ahead

Mildred Hayes (Frances McDormand) is a mother who puts up three controversial billboards outside of the mid-Western town of Ebbing Missouri for the lack of progress for the rape and murder of her daughter. The bright orange signs strikingly read: “Raped while dying”, “And still no arrests”, and “How come Chief Willoughby?” The film is a battle amidst emotions: with Mildred’s relentless hunger for justice—headstrong and motivated—versus a town that inherently supports her, but continuously calls for her to be more understanding, if not yield her efforts.

Throughout the film, Frances McDormand’s portrayal of an unhindered Mildred is flawless as the cops’ attempts to bully her are no match for her stone-cold personality as she continuously pokes innuendos of the cops’ reputation for brutality, making the dynamic between her and the cops serious, while at the same time oddly playful and amusing. But when Bill Willoughby (Woody Harrelson) appeals to Mildred for pity disclosing that he has cancer, Mildred, having already developed an ruthless sense of apathy, ignores his appeal. And just as the movie reaches a stalemate between Mildred and the cops’ for the billboards, Bill, with the harmless intention of not wanting to have his family have a bad memory of him dying of cancer in the succeeding months, kills himself, therefore framing Mildred’s billboards as the cause of Bill’s suicide. As a marvelous battle of violent emotional reactions is set off across the town, it’s clear that Mildred isn’t the only one angry in the town anymore: it’s everyone— at her.

In this battle, writer and director Martin McDonagh’s screenplay shines, overtly highlighting the police’s racist, homophobic and violently impulsive tendencies. This is through the character of Jason Dixon (Sam Rockwell), who’s humorously known throughout the town as one of its racist and impulsive cops. Sam Rockwell amazingly absorbs his role as the stereotypical impulsive moron, who at one point goes as far as brutally assaulting and then throwing the billboard manager out a window in a beautiful one-take sequence that speaks multitudes about the social issue. But Jason’s Character isn’t just for the movie to make its political gesture. Martin at the same time ingeniously highlights Jason’s relationship with his mother that despite being old and frail, we see that hate is indeed something that’s enculturated and learned. But the absolute highlight of the film is the letter sent by Bill Willoughby before his death that sends Jason Dixon on a path of redemption practically resembling Darth Vader’s in the last moments of Star Wars: The Return of the Jedi (1983). Jason gets an intense visible change in his character, and not just because he himself gets brutally disfigured, but because he finds new emotions to fuel his actions and the film portrays this shift with a correlation in how he treats and gets received by people.

Three Billboards is it doesn’t just simply follow along in Mildred’s affliction of seeking justice or attempt to highlight the pain of her loss— which the film actually does well with the peculiar dialogues she has with herself, a flashback sequence, and the portrayal of a scarred family — but also emphasizes the senseless anger and tendency for violence and disparity people have when they deal with loss. Dormand and Rockwell's performances encapsulate the complexity of their grief. No wonder they both won Best Actress and Supporting Actor respectably in this year’s Academy Awards. Two two’s propensity to keep on creating conflict are contingent, making the battle in, or more specifically of, the Three Billboards a joy to watch.

Photo sources: 1 2 3

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Psychological Effects of Romance Films

Written by Bea Odi Edited by Anna Cayco

Serendipity (2001)

With the portrayals of characters in romance films as being epitomes of love and perfection, we view the scenarios that they partake in as seemingly possible – that a happily-ever-after is not just one for the books (or movies, to be exact). 

Cringe-worthy and cliché as they may be, we find ourselves giggling and pondering that we will soon get there. We’ll have that chance to deliver those lines, or have those lines delivered to us by our significant other. We’ll get there. Just you wait.

And, as we binged and missed nights’ worth of sleep over these films, contemplating and deciphering their construct, we may not have realized that we have been sucked in by the system.

And that’s when things go trippy. Psychologically.

The Fault In Our Stars (2014)

With standards set high by the film industry, studies have shown that people have modelled their expectations within their respective relationships with those portrayed on the big screen – and these films are not exactly a mirror of the real world.

Based on a study conducted by researchers at Heriot Watt University’s Family and Personal Relationships Laboratory, a common problem between couples raised during counseling was rooted on misconceptions of love and romance depicted in romantic comedies. The unrealistic presumptions, such as the belief of predestined love and perfect relationships, brought upon by these Hollywood films, were likely to have caused disappointment and dispute.

However, these may not be the only suspects. In a journal published by the National Communication Association, a survey conducted on young adults stated that these concepts of love, such as of soulmates or of “love at first sight”, were just minor culprits. Rather, the promotion of romantic ideals that a person perceives and projects of his or her partner - ideas of flawlessness and complete devotion based on Hollywood’s standards – were the ones to blame. Idealization of one’s partner can turn a relationship sour when these “standards” are not met, but this may not always the case.

10 Things I Hate About You (1999)

The big question of “why” a person watches the film plays a more significant role as to how the person may comprehend romantic films. According Veronica Hefner, Ph.D. of the Communication Studies at Chapman University, those who watch the films as a means to interpret and discern the concept of love are more likely to promote such romantic ideals. Such endorsements of viewing one’s better half as perfect and fantastic may possibly lead to higher levels of satisfaction, and thus, be beneficial to one’s relationship. 

Also, watching romance films may improve a person’s ethical sensitivity based on another study conducted by professors at the University of Buffalo. Revolving on the concept of moral intuitions that are “variations in human morality”, the research found that a person increases in their sensitivity to care, fairness, loyalty, and respect for authority when exposed to these kinds of films repeatedly.

So, the next time you watch a tear-jerking, heart-wrenching romance film with that special someone, just remember: romantic films can be bittersweet, but we can learn from them and still hope. Just be a bit more aware. A bit more critical. And, maybe you would realize that the popcorn beside may just be a bit salty. 

Enjoy!

References: XXXX Photo 1: X Photo 2: X Photo 3: X

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Breakups And Downs

Written by Anna Cayco Edited by David Belmonte

Am I a cynic for saying that breakup movies are the best examples when it comes to accurately portraying love? Think about it. Romance movies only have happy endings because the screenwriter decided to end their script at the most joyous moment in the couple's life. A true happy ending would end in death of both parties at the exact same time.  

Breakup movies, on the other hand, carefully juxtapose the happiest moments in a couple's relationship with the aftermath of the saddest and most damaging moments. They show the ugly side of being with someone and how it can possibly eventually lead to the couple splitting.

I’ve taken two popular romance films to give two different perspectives on failing relationships and breakups. Eternal Sunshine of the Spotless Mind (2004) shows that there is no painless way of getting over someone, but there can always be a sliver of hope. On the other hand, La La Land (2016) tells the story of a breakup that everyone should aspire for.

“Remember me. Try your best.”

Eternal Sunshine of the Spotless Mind ends on a more hopeful note compared to most breakup movies, but it still can bring you to tears. It begins with a ridiculous and very much desired way of getting over an ex. For Lacuna Inc. the perfect way to get over an ex is to make sure there was never an ex to begin with. This of course means erasing every existing memory you have of them, from the most hurtful arguments to the happiest moments.

Why Joel (Jim Carrey) and Clementine (Kate Winslet) broke up is definitely not unique. They have the quintessential problem of couples who find themselves sick of each others’ polar opposite personalities. Joel is just too boring and Clementine is just too impulsive. Their relationship turns sour and they start to hate each other, and themselves…

…so they both go under the procedure that Lacuna Inc. offers, and it was a far from painless process. Joel ends up regretting the procedure midway, and Clementine, or Clem, is left emotionally unstable - as if there’s something being ripped out of her life. But serendipitously, Joel and Clem find each other again and begin anew. But this time they are given what most young couples desire for: a prophecy on how they will breakup. Normally, if given this people would try as much as possible to avoid the conflict that awaits them. Instead, they accept it. They accept the challenge to love beyond their differences, squabbles, and the ominous possibility of losing each other at any given time.

“I’m always gonna love you.”

But not all failed relationships can be restarted. Not all people are as hopeful as Joel and Clem. Insert one of 2016's best movies: La La Land. Aside from its impeccable direction, visuals, soundtrack, acting, and more; what distinguishes La La Land from many romance films is the unconventional relationship between Mia (Emma Stone) and Sebastian (Ryan Gosling).

Their relationship exists as a typical enemies-to-lovers trope, but their breakup is far from cliché. It isn’t because of their polar-opposite personalities, but rather based on what they want from life - their primary goals. Mia wants to become a successful actress, while Sebastian wants to become a successful and authentic jazz musician. Their dreams just don’t have enough room for each other. I believe that this reason is highly under-represented in cinema because this entails very well-written characters with specific goals in mind.

However, just like Joel and Clem, Sebastian and Mia decide not to let this breakup get in the way of their love for each other. Even after they go their separate ways, Sebastian continues to be supportive to Mia, and pushes her to be at her best. This is what places this film above Eternal Sunshine of the Spotless Mind: how their love goes beyond romantic.

The ending is neither sad nor happy, it just leaves you satisfied. Honestly when I see people feel so sad that they aren't together anymore I get confused. It wouldn't be love if Sebastian convinced Mia to cheat (again) on her husband and ruin her family. That shared smile at the end was enough closure for the audience. That smile showed that their promise to love each other till the end still stands.

Breakup movies and happy endings don’t have to be mutually exclusive. I think those are the best kinds of breakup movies. Of course those are supposed to reduce you into a sobbing mess of snot and tears, but the best ones are the ones that give you even just the tiniest glimmer of hope. These are the breakups we should aspire for.

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Five Uncommon Date Movies

Written by Anna Cayco Edited by David Belmonte

Let’s admit it, romantic comedies can get old. There’s always a charming but not overly handsome young man who’s a jerk with a heart of gold. The girl is moderately pretty who seems to freak out over everything and is slightly a badass with underlying insecurities. Sometimes the roles are reversed but the cliché remains.

But here’s a thought: how about not watching a romantic movie just because you’re on a date? Every couple has different tastes in films. The list below provides some films to accommodate those preferences.

For the adrenaline junkies: Kill Bill: Volume 1 (2003) and 2 (2004)

There's a fine line between tasteful violence and unnecessary gore in Tarantino movies. Kill Bill Vol. 1 and 2 fall under tastefully violent. The gore is so overdone that it’s become  appropriately contrasted with the predominantly monotone acting. Quench your bloodthirst as you and your date vehemently root for The Bride as she slashes, maims and skins her enemies with her signature sword in all her yellow tracksuited glory.

For the horror lovers: The Shining (1980)

Horror movies make a great first date movie. It initiates the classic movie date move: person A is scared out of their wits and cowers into person B's chest, while person B slings their arm around their shoulder to comfort them. The Shining offers many opportunities for you to comfort your date. Its first person camera at the hallway scenes enables the viewer not only watch the suspense unravel but experience it themselves. But maybe it might not work if the two of you end up clutching each other in fear when the twins appear… unless that’s what you wanted all along.

For the ones looking for a good laugh: Deadpool (2016)

The great thing about watching such a light movie is that you could enjoy your partner's presence and laugh at the meta-humour while not paying attention to the overall plot at all. The movie itself has a cliché origin story of an experiment gone wrong with a side of revenge and a dash of damsel in distress. Deadpool's redeeming aspect falls in its comedy. This movie will test the just how far twisted your date’s humour is. That's a good thing. If they don't laugh at the brony innuendos, dick jokes, and fourth-wall breaking humour, you might want to reconsider who you're dating.

For the animation appreciators: Kubo and the Two Strings (2016)

Laika yet again delivers fantastically handcrafted animation with this particular film, especially in how it incorporates Japanese feudal themes. But you and your date won't be able to dwell on the animation details for the story pulls at your heartstrings, and not just once. It’s a wonderful story about a young boy who sets out into adventure, riddled with action and magic, to save what’s left of his family. Expect to share a ride on an emotional rollercoaster and prepare to transform into a singular sobbing mess at the very end.

For the foodies: Chef (2014)

As much of a meme this movie has already been made of, the two of you could still enjoy a heartfelt story of how a father attempts to bridge the gap between him and his son, not to mention the mouth-watering cinematography. But the main reason why you should have Chef as your date movie is to inspire each other with hunger to go out on a second date and find food as good as on the screen.

Be gone with those cliché and possibly problematic romcoms. Just because you’re on a date doesn’t necessarily mean that the movie should be brimming with kissing in the rain scenes, clumsy female leads, or enemies-turned-lovers. Cater to what the two of you actually like and you’ll find yourselves talking for hours as you nitpick the details… from the cheap gore of Kill Bill all the way to the metaphor of Carl’s restrained cooking in Chef.

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Film Review: The Greatest Showman

by Renzo Guevara

edited by Anna Cayco

The musical film genre has slowly but steadily been making its comeback to modern cinemas, as proven by the recent successes of film franchise Pitch Perfect and the hugely popular La La Land (2016). While some films may be more loved than others, there’s no denying that studios nowadays have been warming up to the idea of a musically driven narrative. People may not realize easily at first, but directing a musical is arguably harder than a normal film. Other than the fact that the director has to oversee the acting, writing, cinematography, etc., they must also make sure that the music and choreography hits the right beats when it comes to how and when they show up and how well they fit into the narrative. All these stacked on top of each other while making sure the pacing stays both consistent and engaging.

This is one of the biggest strengths of The Greatest Showman (2018), considering that it was directed by a relatively inexperienced director. For Michael Gracey, who’s mostly known for his visual effects work, this was his first directorial role and that in it of itself has its pros and cons.

To the film’s credit, it starts off with a high note with a musical number introducing us to the main character, P.T. Barnum (Hugh Jackman). The dream sequence reveals his troubled childhood and his mediocre job that barely supports his family. These first few minutes presents to us the main theme of what the film stands for: dreams. With songs like “The Greatest Show” and “A Million Dreams” coming in early in the film’s runtime, it immediately pulls in the viewer for one sublime experience that will definitely ignite some sort of spark inside. Throughout the entire runtime of the movie, a sense of passion and drive is felt with everything the characters do.  It also helps with the fact that the film’s cinematography is visually stunning, considering Gracey’s experience. Though it may not have elaborated long takes or unique angles, every shot is still oozing with bright colors that pop and it does a great job at keeping things fresh and interesting.

A good example of this would be the sequence of the highly popular “Rewrite the Stars”. This was arguably the most popular song amongst the general public leading up to the film’s release to the point where it was already being played in the local radio stations. Going into the theater, I expected the song’s part in the film would feel somewhat redundant and all too familiar. Although the build up towards this moment is almost non-existent, the way the camera tracks Anne Wheeler (Zendaya) from the side while she walks away from Phillip (Zac Efron), who begins to sing the famous first few lines, was simple yet effective and had the entire theater I was in scream in delight.

Within all that shine and spectacle though comes a painfully mediocre script. This may have been a story about hopes and dreams but the heart of it has to come down to characters, who were so forgettable that I had to Google their names for me to be able to identify them. Other than P.T. Barnum and Charity Barnum (Michelle Williams), you’d be lucky to remember any of the names of the other characters, including Zac Efron and Zendaya’s. What’s mostly to blame here is the non-existent character development whatsoever. Even the cast of P.T. Barnum’s circus, who gave out a performance of their lives, was barely named and can only be remembered by their excellent costume and makeup design.

The highly anticipated love story between Zac Efron’s and Zendaya’s character had no development or build-up in any way. One scene would be them meeting for the first time and the next would be them immediately trying to awkwardly hold hands. It’s a shame that the backbone of this romance had a powerful message, especially in the time period the story takes place, but ultimately disappoints and results being no better than an above average romance sub-plot in a superhero movie.

Ultimately, The Greatest Showman can only be categorized as a “moments” film. It has some good parts that hit the high notes but has a hollow skeleton connecting those scenes. The problems the characters encounter don’t feel like they have much weight to them because they are either solved or brushed off with just a few scenes later. Consequences, if they exist at all don’t feel like they’re taking a toll which is a shame considering that this story could have easily benefited from a little bit of tension.

The Greatest Showman’s bland writing and flat direction are only saved by the amazing soundtrack and vibrant cinematography at play. It’s a safe and fun watch for the whole family that will for sure tug at some heart strings. But in the end, it fails to meet its potential with its characters and becomes an underwhelming film all in all.

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Nexus: LFC 20′s Homecoming

by Miguel Santiago

edited by Anna Cayco

This can be how worldly things are transformed into works of art: through a lens, through lines upon lines of dialogue typed out across a word document, and through a cursor hovering above wavelengths of color and sound. As part of a film organization, most of our movies are fruits of our labor. We can think to ourselves, as we gaze upon a completed film: this must be what passion feels like. Presented in such a way, calling filmmaking a “hobby” is almost an understatement.

What does it even mean for something to be considered as “just a hobby”? This question is inevitable. So, too, are the following ones: “Is this something I want to keep on doing? Even after I graduate?” “Can I earn enough money for this to support myself?” Questions like these were no doubt at the forefront of every undergraduate’s mind when they were faced with LFC’s alumni, those who ended up pursuing their passion into the “real world.”

And isn’t this the real challenge? Outside of school, real life rarely provides you with the symmetry and natural lighting that fits your aesthetic. The future is unknowable, and because of this, it garners for itself a terrifying reputation. Establishing a support system, therefore, is considered a must for every aspiring filmmaker to “make it” with a future in that strange and unknowable industry. This is one of the many things that the LFC has stood for in what has now been twenty years.

On January 13, 2018, the organization celebrated this milestone in the form of a homecoming targeted to include both its graduates and undergraduates. Held at the Armory in Quezon City, the program was hosted by the current President, Erika Tempongko and Promotions Deputy, Thea Soriano. It featured a beautifully cut montage of films that LFC has produced over the years. 

“Seeing our old work on screen at Homecoming really brought me back to the days we'd run around campus in the heat trying to get the best shot possible,” Janina Ignacio admitted, a graduate from Batch 2015 who is currently working for the Branding Department of a well-renowned hotel company.

But the past is not without its sorrows: presented also were videos dedicated to two beloved people of the LFC community that have already passed away: Francis Pasion, LFC’s founder, and Fr. Nick Cruz SJ, a film professor and critic who was well known for his cinema classes in the Ateneo.

Francis Pasion was fondly remembered for being outspoken about his love for filmmaking, and how it was because of his desire to share that love that the LFC was born. Fr. Nick was soft-spoken, but was just as passionate, with his classes serving to open a window into film appreciation that can be considered unrivaled. And despite technical difficulties, most of the returning alumni still felt the pull of nostalgia as they reminisced over these two dearly departed mentors.   

Afterwards, the rest of the night was left open for the attendees to make the most out of. This, Tempongko claimed, is what she was most excited about that night, “There’s going to be games and stuff that will allow old and new members to mingle with each other, and I’m excited to see how that turns out!” 

Previous and current members were given the freedom to mingle with each other in every way they could. Bonding by the beer pong table, doing their best to aim through the haze of smoke and free beer. Talking by the bar, leaning their heads together to have their voices heard over the throbbing bass. Dancing in front of the DJ, laughing at the image of raised hands and swaying hips under flashing lights.

Abby Cruz, from Batch 2015, admitted that she felt fortunate to be able to see her college barkada more often than others. However, she also said that it was “…more interesting [to see] the younger generations of LFC and [to meet] a lot of new and cool people. It’s always interesting to see who’s carrying on the LFC blood.”

Her statement is proof that there had been more to that night than those party-girl visions: a community had flourished then, lovers of a craft whose passions had been enriched by being allowed to mingle with generations past. In that brief moment in time, the future stopped being a completely frightening place. Here were people who “made it”, and they did so by doing what they loved. And if they could do it, then I can, too.

Trish Ocampo, from Batch 2015, served as the Internals VP during her time in the Ateneo. She is currently working as a musical theater actor. When asked if she had any advice for the undergraduates, for those who fear for passion fading under the harsh demands of the “real world,” she offered this heartfelt sentiment:

“Cheesy as it sounds: chase your dreams, go after your passions. Take it from someone who grew up around sentiments like: ‘An actor? Really?’ … Life's no walk in the park, it's true. There are gonna be challenges and crises no matter where you go or what industry you enter, but when you remind yourself everyday that you love what you're doing, you have a reason to fight on.”