Joanna Lerio
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Tag Archives: Abraham Abdullah
FILM REVIEW Mula sa Kung Ano ang Noon (From What is Before): Ganun pa rin Ngayon
Inilathala rin sa Pinoyweekly.org Kapirasong kasaysayan mula sa alaala ng mga misteryo at histerya sa nayon sa panahong niluluto ng Rehimeng Ferdinand Marcos ang Batas Militar. Mga simbolikong larawang bukas sa maraming pagtuklas at pag-unawa. Ito ang mga ibinahagi ni … Continue reading →
Posted in Pelikula / New Media
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Tagged Abraham Abdullah, Amado Guerrero, Asian cinema, autism, Bambi Beltran, Batangas, batas militar, Bureau of Health, CAFGU, Catholic, CHDF, Ching Valdes-Aran, Civilian Home Defense Forces, clearing operation, covert operation, Crisostomo Ibarra, Culion Island, dekada 70, Demokratikong Rebolusyong Bayan, desaparesidos, dictatorship, DOH, epiko, Evelyn Vargas, facism, FDCP, Filim Development Council of the Philippines, Filipino-Swiss, film criticism, film verite, Fragments of a Nightmare, From What is Before, Golden Leopard Award, hacienda system, hacking of cows, Hazel Orencio, human rights, Ian Lomongo, independent film, intelligence work, Islam, Joel Saracho, kapre, karapatang pantao, Karenina Haniel, Kris Aquino, Kristine Kintana, Lamlaman, leper colony, Locarno International Film Festival, Lumad, Luzon, Madonna, Maguindanao chant, Maguindanao ritual, Mailes Kanapi, Malay ritual, Marcos ill-gotten wealth, martial law, memory film, Mindanao, Mula sa Kung Ano ang Noon, mysticism, national democracy, NCCA, nostalgia in film, NPA, Palawan, pambansang demokrasya, Pang. Corazon Aquino, paniniktik, para-militar, pasismo, peace and order, peace based on justice, Perry Dizon, Philippine Cinema, Philippine epic, Philippine history, Philippines, Pilipinas, Pinoyweekly, political killings, Pres. Ferdinand Marcos, Pres. Fidel Ramos, PWDs, revolutionary justice, Reynan Abcede, Roeder Camanag, slow cinema, supernatural, Swiss Bank, Switzerland, symbolism in film, Teng Mangansakan, violence studies, Visayas, war, wild dove
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