After being a high school literature teacher for ten years, Alemberg Ang shifted into a career of film producing. His filmmaking is shaped by his passion for socio-civic issues, and Philippine arts and literature. His films have traveled extensively to festivals in Busan, Cairo, Warsaw, Taipei, Tokyo, Shanghai, Torino and others, working with filmmakers like Loy Arcenas, Antoinette Jadaone, and Petersen Vargas. He was invited to the Unesco International Meeting of Independent Producers, Rotterdam Lab, Berlinale Talents, Talents Tokyo, and Seafic. His projects have participated at Cinemart, Locarno Open Doors, Tribeca Film Institute Network Hong Kong-Asia Film Financing Forum, and Busan's Asian Project Market.
On the occasion of his participation in Qcinema's film market, we talked with him about the role of the producer and the misconceptions involved, producing shorts, documentaries and features and their differences, post-productions, his work in “Plan 75”, “Divine Factory”, and “Liway”, the Filipino movie industry,...
On the occasion of his participation in Qcinema's film market, we talked with him about the role of the producer and the misconceptions involved, producing shorts, documentaries and features and their differences, post-productions, his work in “Plan 75”, “Divine Factory”, and “Liway”, the Filipino movie industry,...
- 11/26/2023
- by Panos Kotzathanasis
- AsianMoviePulse
Expanding on the homonymous short, “Greaseman” presents the comments of the original much more eloquently while adding more, through a presentation that points towards the music video, since there is no dialogue, but the presence of music is constant. The film was shot in one day and premiered at a pop-up outdoor screening outside the infamous Manila Film Center in 2001.
The film focuses on two radically different individuals. The Greaseman is a dirty bump roaming the streets of Manila with no shoes, barely dressed, trying to scrape anything he can to eat, while reading a book or being followed by children who seem to mock him but not being afraid of his terrible appearance. The Yuppie is a well-off man, living in a comfortable apartment, working in an office and spending his time visiting galleries or flirting with shop clerks. One night, however, the radically differently paths of the two men collide,...
The film focuses on two radically different individuals. The Greaseman is a dirty bump roaming the streets of Manila with no shoes, barely dressed, trying to scrape anything he can to eat, while reading a book or being followed by children who seem to mock him but not being afraid of his terrible appearance. The Yuppie is a well-off man, living in a comfortable apartment, working in an office and spending his time visiting galleries or flirting with shop clerks. One night, however, the radically differently paths of the two men collide,...
- 4/14/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Reviewing a film whose significance is so evident is always a hard task, and “Liway” definitely falls under this category. Kip Oebanda, however, has taken care of this issue for me, by directing a truly good film. Let us take things from the beginning, though.
Based on actual events, the story takes place in the mid-1980’s Philippines, in Camp Delgado, a makeshift prison inside a military camp for both rebels and criminals. Day and Ric (also a former commander), try to raise their 10-year old son Dakip (it means “captured”) and their infant daughter Malaya, both of which were born in captivity and have not seen the outside of the camp yet. In order to ease the consequences of their circumstances, Dei tells Dakip stories based on Philippine mythology, despite Ric’s protests, who wants the child to know the truth instead of indulging in fairy tales. One of these stories is about Liway,...
Based on actual events, the story takes place in the mid-1980’s Philippines, in Camp Delgado, a makeshift prison inside a military camp for both rebels and criminals. Day and Ric (also a former commander), try to raise their 10-year old son Dakip (it means “captured”) and their infant daughter Malaya, both of which were born in captivity and have not seen the outside of the camp yet. In order to ease the consequences of their circumstances, Dei tells Dakip stories based on Philippine mythology, despite Ric’s protests, who wants the child to know the truth instead of indulging in fairy tales. One of these stories is about Liway,...
- 10/28/2018
- by Panos Kotzathanasis
- AsianMoviePulse
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