Part of the Dox:Lab workshop, an international cooperation in which filmmakers from Scandinavian countries were linked to filmmakers from developing countries, in order to present creative documentaries. And creative “Son of God” certainly is.
The documentary begins in Manila during the “Black Nazarene” where scores of Roman Catholics gather around a centuries-old black wooden statue of Jesus Christ believed to have healing powers. Among the people there, a number of Messiahs (?) are present, but no one seems to be more popular than Son of God, a dwarf in a blond wig, who is dressed as a bishop and actually worshipped as a true miracle maker. The two directors follow the Son of God, in an effort to find out if his claims and the beliefs of his followers are true or figments of Christian fantasy. Soon, however, their research leads them to paths that are uncanny, as much as dangerous.
The documentary begins in Manila during the “Black Nazarene” where scores of Roman Catholics gather around a centuries-old black wooden statue of Jesus Christ believed to have healing powers. Among the people there, a number of Messiahs (?) are present, but no one seems to be more popular than Son of God, a dwarf in a blond wig, who is dressed as a bishop and actually worshipped as a true miracle maker. The two directors follow the Son of God, in an effort to find out if his claims and the beliefs of his followers are true or figments of Christian fantasy. Soon, however, their research leads them to paths that are uncanny, as much as dangerous.
- 11/19/2020
- by Panos Kotzathanasis
- AsianMoviePulse
The Manila Film Center is one of the most notorious buildings of the Philippines, particularly due to the accident that occurred during its construction on November 17, 1981, due to the rush to complete it in time for the 1st International Manila Film Festival. An entire floor and six giant beams collapsed and crashed down to the main theater, burying 169 workers in newly dried cement and a tangle of wood and steel. Marcos’s regime tried to conceal the magnitude of the disaster, with the rescue operations starting after nine hours and ending rather briefly in order for the construction to continue, with the festival actually happening in the building from the 18th to the 29th of January 1982.
In “Pilak: The Manila Film Center Invasion” Khavn narrates the story through text on black screen in silent film style, before introducing his trademark absurdity, by suggesting that one of the workers was an alien,...
In “Pilak: The Manila Film Center Invasion” Khavn narrates the story through text on black screen in silent film style, before introducing his trademark absurdity, by suggesting that one of the workers was an alien,...
- 7/13/2020
- by Panos Kotzathanasis
- AsianMoviePulse
The film description, which seems to be truthful, apart from the last sentence which was probably written by Khavn, states: The first film made in the Philippines to feature optically recorded sound was George Musser’s Ang Aswang (The Vampire). In 1932, Musser imported 50,000 Php worth of optical sound equipment and turned his house into a studio. He spent a year shooting the film with Charles Miller as his cinematographer and William Smith as his soundman. Despite its Tagalog title, the film was actually recorded in Spanish and English. The film opened to acclaim at the Lyric on January 1, 1933, then at the Tivoli on January 4. Unfortunately, according to some observers, the sound was sometimes out of sync and inaudible.
According to www.aswangproject.com, no known prints of the film exist. Inspired by this whole concept, Khavn presents his own take of what such a film could look like.
The 7-minute...
According to www.aswangproject.com, no known prints of the film exist. Inspired by this whole concept, Khavn presents his own take of what such a film could look like.
The 7-minute...
- 6/13/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Kristine Kintana is a production manager, at least when she is not acting, designing costumes, subtitling or doing anything in fact, for the films of Lav Diaz and Khavn for the most part. Occasionally she also programs for festivals like Cinemanila and QCinema.
On the occasion of our #TheKhavnProject, we speak with her about her life, career, programming, working in movies, the way the industry works in the Philippines, the festival reality after the pandemic, and of course, Khavn.
Can you give us some info on your background on cinema?
My first course was computer science in the University of the Philippines in Los Baños, and then I was kicked out. I had to move back to Manila, and start again from scratch. I ended up studying Mass Communications in Far Eastern University. It took me eight years in total to finish college.
My first ‘job’ in the film industry...
On the occasion of our #TheKhavnProject, we speak with her about her life, career, programming, working in movies, the way the industry works in the Philippines, the festival reality after the pandemic, and of course, Khavn.
Can you give us some info on your background on cinema?
My first course was computer science in the University of the Philippines in Los Baños, and then I was kicked out. I had to move back to Manila, and start again from scratch. I ended up studying Mass Communications in Far Eastern University. It took me eight years in total to finish college.
My first ‘job’ in the film industry...
- 5/18/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Mubi is proud to present the first-ever online retrospective of renowned Filipino auteur Lav Diaz. To give audiences the proper time to spend immersed in Diaz’s cinema, Mubi will debut one film each month during the retrospective.Illustration by Leah BravoFilmmaker Lavrente Indico Diaz, named after Soviet statesman Lavrentiy Beria (1899-1953), was born on December 30th 1958 in the municipality of Datu Paglas, province of Maguindanao, Mindanao Island, Southern Philippines. The son of a fervently Catholic woman from the Visayas (Central Philippines) and a Socialist intellectual from Ilocos (Northern Philippines) who, firmly believing that education is the key to improve Man's condition, devoted their lives to schooling peasants in the poorest, remotest Maguindanao villages, Diaz has always had an utilitarian conception of culture and, by extension, of all forms of artistic expression. To Diaz, art should not be an end to itself, a purely formalist exercise, but—to paraphrase a...
- 10/8/2016
- MUBI
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