INDIE FILM: Pagdadalaga nI Maximo Oliveros woot!

[potterboy]

---

nathan is a good actor. a versatile one at his age.

[Graecia]

I loved the movie pro... ang script.. usahay mrag theatrical.. pro okei ra sad...

[Flame alchemist]

I'm eagerly awaiting this new film by Arkeofilms, BIG TIME
http://www.arkeofilms.com/

[tolstoi]

is this the first INDIE film to go on release nationwide?

[diem]

@tolstoi, i think not-- the first perhaps could have been another gay-themed film 'Mga Pusang Gala'(Stray Cats) starring Ricky Davao and Irma Adlawan--

[Flame alchemist]

is this the first INDIE film to go on release nationwide?

actually, first indie film released nationwide with the backing of a big distributor, Star Cinema.

pussanggala was screened at theaters independty.

[Flame alchemist]

a counter to Ishko Lopez's article...
taken from cinemanila yahoogroups by Paolo Herras

Hmmm... It's great to see that the films
Masahista and Pagdadalaga have been reasons for
discussions and discourse "announced" in this group.
But unlike the exoticism that Masahista tries to
portray (which is hardly real and tries to bank on a
world audience that follows Sibak, and other gay
oriented films that exhibits lower class males that
are "exploited" by filipino homosexuals and not the
way around,) what is noticeable is that the reason why
Pagdadalaga is a family film is that it affirms that
homosexuals are not anymore seen as a negative image
in the basic unit of Filipino society. Well, not
totally, but it has been more (I cringe by saying)
tolerant, or more flexible. What it's trying to
affirm is that, yes, there are families that accept
gayness, which is why it's ahead of its time.
In reference to Lopez' recent claim/post that
Pagdadalaga is not REAL, then maybe it's because he
may be living in a middle class family that conditions
him to think that the notion of gayness is still seen
as negative (well, it isn't a dominant group, but it
already has a voice and representatives) if not
stereotypically loud, effeminate and evil. Bumabalik
tayo kasi sa mga problema ng 1990s which is not the
case anymore.
Lopez' notion of gayness is in reference to Freud
wherein gender is like a box, you're either straight,
gay or bi. However, it is worth noting that the Asian
concept of gender is similar to the yin and yang,
where in masculinity and femininity are part of one's
gender and its fluidity creates images of people who
can swing from one *** to another, unless that person
chooses to be feminine or masculine.
And to say that it is "romantic" is hardly the
case, because Pagdadalaga affirms that there are gays,
flambouyant or not, who can claim that they had a
happy childhood that accepted their gayness.
Pagdadalaga revolutionized the notion that gays are
acceptable, and yes, it is also a possibility that
they are loved by their fathers and brothers even if
this is a macho and patriarchal society. Look at mass
media, the gay icons are all flambouyant. Look at how
PBB's Uma is lambasted because he does not fit the
generic notion of "gayness" that discombobulates the
straight crowd. Who is to say that gays should act in
one way or the other? Who should say that straights
should act in a particular way either? For whose
convenience is it?
Yes, Mr. Lopez, Pagdadalaga has a gay hero. Does
it therefore make it a gay film? If the artist is
gay, is the artwork gay also? Isn't it beautiful that
for once, people see past the gayness? Which leads to
the bigger social issues which you are referring to
(but did not mention), which are more politically
correct, where in gay boys like Maxi have a space to
exist like everyone else?
To say that it is not Filipino for families to
accept gayness, or to those that don't, "tolerate"
gayness, is more hypocritical, and you may be living
on the other side of the suburbs.
There are still a lot of Maxis and older Maximos
that still need to be loved and accepted, and
Pagdadalaga, as a social tool that exhibits
Filipinoness (through its milieu) affirms that need
and that desire, which is what makes it different and
"filipino." To say that it is abnormal, and that
society tolerates transvestites (like who? please
differentiate from cross dressers and variety and talk
show hosts, you are stepping on a lot of hardworking
people) goes back again, to what gender critics and
scholars try to address since the 90s or even earlier,
that yes, gays and lesbians ARE normal, they are a
part of society, they have a history, they are born
everyday and they have existed since time immemorial.
Yes, gay icons are still flambouyant and effeminate,
but that's because that's what the producers think
what the masa wants them to think of gayness, but that
doesn't make it exactly REAL or CORRECT.
And please, every time a Filipino film is talked
about, there is always an issue of ORIGINALITY. There
is no such thing as ORIGINAL anymore. ALL the stories
that could've been written have been written by the
MASTERS of literature. There is, however, such a
thing as CONTEMPORARY, which makes romeo and juliet
stories work 100 times over and over again.
Pagdadalaga may not be an original love story, but its
the times, its the theme that makes it contemporary.
I hope everyone has been through and through with
stereotypes, which is what Pagdadalaga is not about.
It's not your typical family, or policeman because it
reinvents it. Digital Films exhibit stories THAT
AREN'T DONE by major film outfits because it's an
"OTHER." And to make that "other" part of mainstream
cinema is quite astounding in itself.
Cheers to the filmmakers of Pagdadalaga. May you
astound and reinvent stories that may overwhelm the
world over again (if not in this country.)

[vanceloma]

as of now, the film is being prepped for Sundance 2006, higpit kaayo sila ug requirements, HD format ila pangayo...

[Flame alchemist]

yo! international ISTORYANS!! we're gonna need your support once this film gets inside SUNDANCE 2006!

until then, mabuhay ang independent filmmaking!

There are talks of a re-swhoing of the film after the MMFF (holocaust) in january maybe sa E-mall.

GODSPEED!

[tolstoi]

^^did u said HOLOCAUST