Showing posts with label Cinemanila 2012. Show all posts
Showing posts with label Cinemanila 2012. Show all posts

Thursday, February 21, 2013

The Bladed Hand (Jay Ignacio, Cinemanila 2012)


Rizal Park is packed with people every day. Several groups wield canes for their arnis training. Towering over them is the bronze statue of Lapu Lapu, a master in eskrima. Further across the park is  the monument of Jose Rizal, a fencing aficionado. Although there is no concrete evidence of his having been trained in eskrima, Rizal was portrayed in the film Rizal sa Dapitan as having taught arnis/eskrima to local kids.

With an illustrious history and heroic practitioners behind it, arnis was declared as national martial art and sport of the Philippines in 2010. That event pushed various Filipino Martial Arts (FMA) groups to set aside differences and work together on a common goal: popularization of arnis/eskrima/kali.

The documentary film The Bladed Hand shows the growing clout of respected arnis/kali experts around the world. They help foreign police groups with their self defense training. They choreograph jaw-dropping action sequences for film productions.

Clips from the Jason Bourne film series showcase the efficiency of kali as a form of self defense. If only I’ve been exposed to these types of footage early in my life, then I would have enjoyed my arnis lessons in high school. Back then, I thought arnis is useful only with sticks. Boy, was I wrong. A mere ballpen in the hand of a kali expert is more than a writing implement. It becomes a deadly weapon. That scenario gives new meaning to the saying ‘the pen is mightier than the sword.’

With or without a weapon at hand, a kali expert uses blinding speed and coordinated movements to thwart enemies during close combat. In the documentary, politician Juan Miguel Zubiri shared his secret in winning an arnis competition. He narrated that he practiced learning one movement until it became second nature to him. He repeated it with every new movement. It is akin to the training regimen of Ralph Macchio’s character in the Karate Kid. Zubiri was responsible for the passage of the arnis bill into law.

There had been a crucial change in the world of arnis since 2009. In that year, a documentary titled Eskrimadors by Kerwin Go dealt with in-fighting among the numerous FMA groups. Nowadays, the focus is on standardization of techniques and forms and the creation of a unified system of rules. Those are major challenges to the popularization of arnis as a sport.

The task is doubly hard as other close combat sports such as taekwondo and wrestling, both of which risk losing their Olympic status, try to improve their own popularity. Another issue for arnis is the need for competitors to wear protective gear which hinders some movements, thus taking away the potent, enchanting mix of breathtaking speed and dangerous blows.

Still, arnis as an art is a wonder to behold. With the dazzling sequence of attacking and parrying movements and side-steps, it is akin to a dance. It is tinikling, self-defense, komedya, and cha-cha rolled into one. Now, that is what I call a beautiful, lethal concoction of mixed arts.

The Bladed Hand, just like its subject Filipino Martial Arts, is a work in progress. At the time of its screening at Cinemanila 2012, director Jay Ignacio came across more footages of interest. But, as it is, the work screened at the Market Market cinema is striking enough to lure more people to the world of arnis. So, who wants to take up arnis/eskrima and join the company of Matt Damon, Professor Felipe Jocano, Dan Inosanto, and the legendary Bruce Lee?

Friday, February 08, 2013

The Obscured Histories and Silent Longings of Daguluan's Children (Gutierrez Mangansakan II, Cinemanila 2012 Best Picture)



This film is the first ever project of Mindanao-based filmmaker Teng Mangansakan. It must have been so special and important to Mangansakan that it took him three long years to finish it. At least three other feature films of Mangansakan were released before we ever got a glimpse of the film titled The Obscured Histories and Silent Longings of Daguluan’s Children.

The film’s initial scene has a prostrated girl by the sewers. From that grim image alone, I sensed the influence of Sherad Anthony Sanchez. Sure enough, other scenes and segments seem to have been culled from Sanchez’s experimental epic Imburnal. A trio of gossiping girls by the river recalls the exchange of rated-R stories of juveniles by the mangroves. The non-narrative style is similar to that of Sanchez’s Imburnal film. The credits listed him as producer although he must have also acted as creative consultant, even though indirectly.

There’s a memorable, gripping image of a male child riding a bent trunk of a coconut tree. Towering nearly five meters over his playmates, he clings precariously on to the elephantine trunk without a care for the world. Meanwhile, his playmates seriously vow to attend his funeral in case he falls to his death. That image of the reckless child struck me as representative of people risking their lives in order to leave the southern island.

The war in Mindanao may not have been shown directly but its effects are there alright. Scores of people are leaving for greener pastures. Socioeconomic services do not reach people in war-torn areas. Human trafficking is rampant. Young girls nonchalantly talk about cherry popping. Water and electric utilities are scarce. The woven stories and tapestry of images portray Mindanao as a lost paradise.

While Imburnal showed dead-end, cockroach-laden paths for the doomed juvenile delinquents, Mangansakan’s film shows glimpses of hope in shots of wide-open fields and verdant mountains. The seeds of peace and progress are waiting to bloom.