It is precisely the parenthetical reminder in the title that compels me to pay closer attention to Irene Villamor’s Sid & Aya (Not A Love Story). The textual framing calls attention to itself. It is gimmicky, sure, but it is also an unveiling of directorial intent and an invitation for the viewers to examine what exactly makes this movie not a love story.
From this examination stems what I deem to be the film’s ambition. Sid & Aya centers on the familiar Rich Boy Poor Girl coupling, but it swerves around the typical trajectory from Meet-cute to Happily Ever After. The film instead parses a familiar premise and plays around the tried-and-tested formula of the cross-class romance genre .
It’s that time of the year again. It’s Metro Manila Film Festival. Again.
Much has been said about the MMFF. To expound on how shitty and commercialized this festival has become is to just preach to the choir at this point.
But I wonder if this year’s festival would earn just as much as last year’s, considering the failed economic policies that plagued the Philippines in 2018. The enactment of TRAIN Law and the rising inflation have greatly affected the typical MMFF market, and the people with money to spare are too disillusioned (or too high brow) to watch Vice Ganda deliver the same tired jokes over and over again.
(Un)fortunately I don’t have access to any of the Magic 8 movies. Still I watched the trailers and I wrote some notes too.
A little bit of historical context is needed to fully appreciate Jean-Luc Godard’s Breathless. This has been my third viewing of the film and, thanks to the fact that it is also one of the most celebrated products of the French New Wave, I am now more equipped to see the film beyond the literal sense.
One thing that bothered me the first time I saw it was the brush-the-lip gesture Michel (Jean Paul Belmondo) kept doing all throughout the movie. Apparently it was a nod to Hollywood actor Humphrey Bogart who is vital to the development of the protagonist’s character. Michel, a man on the run for shooting a police officer, is trying to emulate the charisma and bad-assery of Bogart known for his roles in iconic movies such as Casablanca.
Humphrey Bogart | Screenshot
Without recognizing who Bogart is and the fact that he’s American while Michel is obviously French, one could get easily lost in the cultural significance of Breathless. It was made following a pact between France and the US which opened the French market for American products including cultural creations such as movies. Breathless, then, becomes not only a demonstration of technical innovation in film-making but also an exploration of a nation’s identity during the early stages of American cultural imperialism.
Stanley Kubrick’s Dr. Strangelove is strangely not about its eponymous character. The doctor was only in three major scenes in this movie that is ultimately a satirical take on the 50s nuclear war tension when the Cold War was at its iciest.