16
METROVANINDEPENDENT.COM
November 2015
ENTERTAINMENT
The three Crosscut Asia directors Brillante Mendoza (Philippines), Yukisada Isao (Japan), and Sotho Kulikar (Cambodia).
Photo by Vanju Alvaira
Turning Japanese at Tokyo
International Film Festival
PINOY MIXX
By Rene Orobia Durian
Of all the International Film Festivals
that I have attended with the highly
acclaimed filmmaker, Brillante Mendoza,
the Tokyo International Filmfest was one
of the most memorable.
I am blessed to have the opportunity
of being invited to some of the most prestigious international film festivals, as the
publicist of Brillante Mendoza.
As a first timer in the Land of the Rising
Sun, I only relied on the information I read
and watched on films and television about
Japan. I knew how beautiful Japan is and
how disciplined the Japanese are. I also
knew how organized and systematic they
are based on the emails I had with one of
the organizers, Ms. Ayumi Seki.
The 28th Tokyo International Film
Festival was held from October 22-31 this
year at the Roppongi Hills. The fabulous
grand opening was held at the Grand Hyatt
Hotel where all the participating delegates
from around the globe walked the red
carpet.
Hollywood celebrities like Hillary Swank
and Helen Mirren among others were there
to grace the occasion.
Cross Cut Asia
The 28th Tokyo International Film
Festival Cross Cut section has featured
Philippine films. This was a great opportunity for the Filipino filmmakers to be t he
focus of attention in this year’s TIFF.
(From left to right) Vanju Alvaira, Carlo Valenzona, Aaron Rivera, Ruby Ruiz, Brillante Mendoza, Larry
Castillo, Raymund Gutierrez, Rene Durian
It was no less than Ms. Akimoto Sayaka,
Tourism Ambassador to the Philippines,
who specifically mentioned in her congratulatory message that she has not seen any
Filipino films in Japan.
“I am very interested in the films
of world known director Brillante Ma
Mendoza, a youthful drama featuring
Manny Pacquiao’s childhood and great
actress Nora Aunor’s masterpiece, all of
which will be shown in the section”, Ms.
Sayaka said in her message.
Meanwhile, Nakata Hideo, prominent
Japanese horror director, and Ishizaka
Kenji, program director for Cross Cut film,
also expressed their unforgettable experience with Philippine cinema when they
were reunited when the latter interviewed
Nakata.
Nakata and Ishizaka knew each other
back in their school days and had common friends in the film industry in Japan.
Both became very much interested in film
as Nakata focused his study by his thesis
on “Philippine Cinema: The Golden Age of
the 1950s.”
Nakata’s exposure to Philippine cinema
was very exhaustive. He was able to meet
the pioneer of independent filmmaking
Kidlat Tahimik and the heirs of the leading
film production outfit during the 50’s, LVN
studio, owned by the de Leon family. Film
director Mike de Leon is now managing it.
It is interesting to know that the Tokyo
University film archive has the works of
Filipino filmmakers Gerry de Leon and
Lamberto Avellana.
The conver sation of these t wo
Japanese film stalwarts had covered most
of the classic films ever produced during
the 50’s. Both are so knowledgeable and
so conversant regarding the so-called
Golden Age of Philippine Cinema during
the 50’s.
This year, Cross Cut Asia featured 9
Filipino films: Brillante Mendoza’s “Taklub”,
“Foster Child”, “Serbis”, “Lola”, and “Thy
Womb”; Lawrence Fajardo’s “Imbisibol”;
Paul Sta. Ana’s“Balut Country”; Paul
Soriano’s “Kid Kulafu”; Ishmael Bernal’s
“Himala”; and Kidlat Tahimik’s “Balikbayan
#1 Memories of Overdevelopment Redux
III.5”.
In the meantime, Japan Foundation
Asia Center and TIFF launched “Asian
Three-fold Mirror” project that aims to produce an omnibus film with three episodes
by three accomplished directors from
Asia. The three directors include Brillante
Mendoza (Philippines); Yukisada Isao
(Japan); and Sotho Kulikar (Cambodia).
The common theme of the project is
“Live Together in Asia” which envisions the
three directors to create their stories.
According to Ishizaka Kenji, TIFF
Programming Director, “the “Asian Threefold Mirror” will have each episode link to
the others, and combine them into one
coherent film. It will be premiered at the
Tokyo Film Festivals and will be presented
at film festivals around the world and
released inside and outside Japan”.
Too bad I only had a four-day stay in
Tokyo, but it was worth the trip. I was not
able to see the closing ceremony. The
Tokyo experience left a lasting memory in
my mind.
Given the special recognition bestowed
on the Philippine films by TIFF this year, it
is expected that Filipino filmmakers have
something to look forward to in 2016.