SINGAPORE—The Philippines is the country of focus (CF) in this year’s Singapore Media Festival (SMF), which will run until Dec....
To close National Arts Month (NAM), the National Commission for Culture and the Arts will hand out the Ani ng...
Filmmaker Lav Diaz gave Philippine cinema another shining moment when his “The Woman Who Left” (Ang Babaeng Humayo) won the...
Cinematheque Centre Manila is rescreening Lav Diaz’s “Hele sa Hiwagang Hapis” this month.
We told Angeli Bayani to come as she wanted to be photographed, and she came as herself.
Rody Vera is everywhere, and there is no way you can miss him. Just this year, he adapted the Bicolano epic “Ibalong” into a thundering dance-musical for Tanghalang Pilipino; he wrote the libretto for the Ninoy and Cory Aquino tribute musical “Pamana” for the Philippine Educational Theater Association; he transposed Shakespeare’s “Twelfth Night” into a bittersweet reverie for the bygone studio system of Philippine movies in Peta’s “D’Wonder Twins of Boac”; and, most recently, along with Tuxqs Rutaquio, he fleshed out new ways of looking at the Bard’s “The Merchant of Venice” with a bold reimagining, now called “Der Kaufmann/Ang Negosyante ng Venecia” (the show has remaining performances at CCP’s Little Theater on Saturday, 3 p.m. and 8 p.m., and Sunday, 3 p.m.).
Bistro RJ was part of our youth in the late 1980s, although we can’t really recall a particular gig that we would always remember. In fact our most memorable night at its old branch on Quezon Avenue was an incident involving our Jingle Chordbook Magazine colleague turned filmmaker Lav Diaz, who was refused entry because he was wearing sandals.
Time for an honest appraisal. Let’s pause from all this jingoism, put things in their proper places, and call a...
