Showing posts with label International Silent Film Festival. Show all posts
Showing posts with label International Silent Film Festival. Show all posts

Sunday, November 28, 2021

The antiquated and the relevant at the 15th International Silent Film Festival


Despite feeling more like a press preview due to the limited number of audience in attendance, the opening of the 15th International Silent Film Festival signalled the gradual return of on site events in Metro Manila. And it was fitting that this event was held at the newly restored Manila Metropolitan Theater that is making a grand comeback reopening this December.

Ben Suzuki
Director, Japan Foundation Manila

Hosted by the Japan Foundation, Manila, the screening of the opening film, Orochi, was a return to ISFF pre-pandemic times with the band Munimuni providing the live music score as the film was shown.

In Futagawa Buntarō's Orochi, Bandō Tsumasaburō stars as Heisaburo Kuritomi, a samurai who despite his honesty and honorable nature, is met by injustice and misfortune. The film features swashbuckling action scenes that was groundreaking at the time. Munimuni's score featured a versatile flute, pounding drums, and layered vocals that showcased the music pallette of this four man band.

Munimuni

The following day, the online screenings for the international silent films began streaming at the FDCP channel.

These films dating from 1911-1925 showed what was life back then. It cannot be denied that views from the early 20th century would be very problematic now. The depiction of women in Japan's Orochi, Spain's Carceleras, and France's The Foreman see them as merely love interests, defined only by their men, and often times subject to harassment and abuse. Also an antiquated view of those times is the caricature and stereotypical depiction of indigenous and ethnic characters. In Italy's Pinocchio, the Native Americans, referred to as Indians, were seen as primitive savages who were eventually massacred by the Canadians. Another example of a caricature is the lecherous Caliph in Germany's Das Wachsfigurenkabinett.

On the contrary, UK's Dr. Wise on Influenza has remained eerily relevant up to now. Despite the advancement of medicine after a century, the advice given in the film on how to stop the spread of the deadly influenza during the pandemic of 1918-1919 still holds true.

Soprano Bianca Lopez and tenor Ivan Nery

If one sees these films from a bygone era as purely a form of entertainment, then it could e problematic. Silent films have now become historical artifacts that have vividly documented how society was back then. And when one views them with this in mind, then silent films can offer a lot more to modern audiences than what one sees projected on screen. Most importantly, this should be a reminder that mankind must never revert back to these antiquated views.

The six international silent films are viewable on demand from November 28-30, 2021 at the FDCP channel. The nine Mit Out Sound Silent Film Competition entries will be streaming on December 1-2, 2021. The winners of the competition will be announced at the Closing Ceremony to be held online on December 3, 2021.

Organizers of the 15th International Silent Film Festival Manila

The 15th International Silent Film Festival Manila is organized by the Japan Foundation, Manila, the Philippine Italian Association, Instituto Cervantes de Manila, the Goethe-Institut, the British Council in the Philippines, the Embassy of France, and the Film Development Council of the Philippines, in partnership with Embassy of Italy, the Embassy of Japan, the Embassy of Spain, the Manila Metropolitan Theatre, the National Commission on Culture and The Arts, Ortigas Cinemas, Absolut Mediem, Cineteca di Milano, CNC, Alliance Française, BFI, Filmoteca Española and Matsuda Film Productions.

Tuesday, December 01, 2020

14th International Silent Film Festival Manila goes online


The International Silent Film Festival (ISFF) Manila, the first and oldest silent film festival in Asia has always been a unique movie viewing experience for the past 13 years. Screened during the festival are films from the silent era (with a few exceptions now and then) featuring a live score performed by different music acts from a wide variety of genres.

The ISFF’s 14th edition, presented by the Embassy of France to the Philippines, the Japan Foundation, Manila, the Philippine Italian Association, the Goethe Institut, and the Film Development Council of the Philippines, in partnership with iWatchMore.com, has also made the move to go online, a decision that surprises no one since the world is still under the shadow of the Covid-19 pandemic.

So on December 4-6, 2020, a selection of 10 silent films from Japan, Italy, France, and Germany with music scores by Filipino musicians will be streamed online for free at www.iwatchmore.com. And in keeping with the tradition of single screenings since the festival’s inception, the films will be available for viewing on the scheduled time only.

The Japan Foundation Manila opens the festival on December 4, 2020, 6:00 PM with six silent animated shorts from the Japanese Animation classics collection, digitized and subtitled in English by the National Film Archive of Japan (NFAJ). Leading the selection is The Dull Sword (1917) by Junichi Kouchi which is the oldest existing Japanese animated film.

The other animated shorts include Burglars of “Baghdad” Castle (1926), The Animal Olympics (1928), Two Worlds (1929), Old Man Goichi (1931), and A Day after a Hundred Years (1933).

The music score for these animated classics will be by the HJH Composers Collective composed of Hiroko Nagai, Jordan Peralta, and Harold Andre Santos. The collective is made up of contemporary music composers with a diverse musical palette of pop, classical, folk, jazz, electronic music, and traditional Philippine and Japanese music.

On December 5, the films from Italy will be screened. First to be shown at 11:00 AM is The Silent Killer (2020), directed by Ruben Maria Soriquez and produced by See Thru Pictures. With a score by Franco Eco, this timely film narrates a mother’s journey back home admist the Covid-19 pandemic and is alternated with interviews with scientists, politicians, ordinary people, and Covid-19 chronicles from all over the world. 

The second Italian offering, presented by the Philippine Italian Association, in collaboration with the Cineteca di Bologna, is Malombra (1917) by Carmine Gallone. The film, showing at 6:00 PM will feature music composed and performed by internationally renowned pianist Raul Sunico who for me is probably the most surprising music act in the festival’s 14 year history.

On December 6, 2020, 11:00 AM, the Embassy of France presents Le Manoir de la peur/The Manor of Fear (1927) by Alfred Machin. The silent noir film will be scored by Michael Mark Guevarra, one the country’s top saxophone players.

At 6:00 PM, the festival will be capped by a classic from Germany that is one of the major releases from the silent film era: Fritz Lang’s Metropolis (1927). Presented by the Goethe Institut, this monumental movie will be scored by Alyana Cabral aka Teenage Granny composed of Kent Pesito, Miguel Nuñez, Jon Olarte, Joee Mejias, Tristan Ortega, and Kiko Nuñez.


An educational component has always been part of the ISFF. For this year, a webinar about film and cultural preservation will be offered to film institutions, schools, and the general public.


Billed as Saving Memory: Making Silent Films Talk to Us, the webinar happening on December 4, 2020, 3:00 PM, will feature experts from Japan, Italy, France, Germany, and the Philippines discussing the practices and initiatives done to preserve film heritage like archiving and restoration.

Speakers at the webinar will include Don Gervin Arawan, lead officer Philippine Film Archive at the Film Development Council of the Philippines; Daibo Masaki, Head of Film Collections at the National Film Archive of Japan (NFAJ); Andrea Meneghelli, Curator of the Film Collections at Cineteca di Bologna (Italy); Beatrice de Pastre, Photographic and Cinematographic Archive Specialist of France’s Centre National du Cinéma (CNC); and Luciano Palumbo, Filmrestaurator at FW Murnau Foundation (Germany). Filipino filmmaker Doy del Mundo serves as the webinar’s moderator. Interested participants can pre-register here.

The 14th International Silent Film Festival Manila is presented by the Embassy of France to the Philippines, the Japan Foundation Manila, the Philippine Italian Association, the Goethe Institut, and the Film Development Council of the Philippines, in partnership with iWatchMore.com. 

Monday, August 26, 2019

Concert like experience as 13th International Silent Film Festival moves to bigger venue


A more concert-like experience is in store for the 13th International Silent Film Festival this August 30-September 1, 2019 as it makes the move to a much bigger venue which is the Samsung Hall at the SM Aura Premier in BGC, Taguig.

By now after twelve years, everybody knows the drill with the ISFF: films from the silent era (with some exceptions along the way) from different countries are shown each with accompanied by a music act providing a live score. Each screening, which has always been for free, is done only once guaranteeing a unique film viewing experience for those lucky enough to secure a seat.

The organizers and musicians of the 13th International Silent Film Festival

For this edition, a total of six countries, namely Austria, Germany, Italy, Japan, Philippines, and Spain are participating. This year's festival, still known as the only one of its kind in Asia, will also feature a lecture by Nick Deocampo. Additionally, the opening night will also be part of the celebrations for the 100 Years of Philippine Cinema.

Munimuni

Kicking off the festival on August 30, 2019 is the screening of Native Life in the Philippines, a 1913 documentary film by Dean Worcester about the Kalingas. Providing the live score is the indie band Munimuni. The opening night and film screening is presented by the Film Development Council of the Philippines.

On the next day August 31, 2019, author and film historian Nick Decoampo will have a lecture on The Beginnings of Cinema in Asia touching upon topics like the arrival of cinema in the region and how the locals reacted to it. He will give emphasis on the Philippines and how the Spanish and American colonial culture shaped local cinema.

Kaduma ni Karol

Following the lecture is the screening of the Japanese film Orizuru Osen (The Downfall of Osen) by the Japan Foundation, Manila. This 1935 movie directed by Kenji Mizoguchi will be accompanied by Kaduma ni Karol, a band from Mindanao led by the Queen of chants, Karol Bello.

Tarsius

Instituto Cervantes' presents the Spanish film Es mi hombre (He's My Man) with Manila based duo Tarsius scoring the film. The 1927 film by Carlos Fernández Cuenca is about Don Antonio, a down on his luck man trying to fend for his daughter Leonor. Tarsius, made up of Diego Mapa and Jay Gapasin, were participants of Instituto Cervantes's Posporos music project back in 2016.

Saxophonist Stef&no
Stef&no

For Italy's offering, the Philippine-Italian Association will present L'onestà del peccato (The Wife He Neglected), a 1918 film by Italian film pioneer Augusto Genina. Philippine based Italian saxophonist Stef&no, along with a handful of local musicians making up a Pocket Orchestra, will provide live music accompaniment for this film.

Anima Tierra
Anima Tierra

On September 1, the Goethe Institut screens Von Morgen bis Mitternachts, a film from 1920 by Karlheinz Martin. The band Anima Tierra will provide the live score infused with the ensemble's world music sound.

Tanya Markova

Lastly, the Embassy of Austria presents the all-ages, family friendly offering Kalif Storch to close out the festival. The 1924 film by Hans Berger and Ladislaus Tuszynski featuring exotic locales, extravagant costumes, and a quirky plot, will have the visually stimulating Tanya Markova providing live music accompaniment.

Speaking of the new venue this year, the Samsung Hall at SM Aura Premier will have around 200 more seats compared to the last year's SM Megamall Cinema. This is roughly around a 50% increase in seating capacity from last year. The Samsung Hall, a flexible space that can easily configured to suit various setups, isn't typically a venue for film screenings.

I remember that back in October, Call Me By Your Name that was accompanied by the Manila Symphony Orchestra was held at the Samsung Hall, probably the most similar event to the ISFF held at the venue so far. Viewers who were at the event were letdown by the use of LED screens instead of the usual movie projectors that is typically expected when watching a movie inside the cinemas. But I was told that the 13th Silent Film Festival will not be going that route and will be projecting the movie at a screen instead. It will be definitely odd if LED screens will be used which is not in line with how films were shown back then.

Here is the schedule for the 13th International Silent Film Festival, at the Samsung Hall in SM Aura, Premier.

August 30, 2019
8:30 PM Native Life in the Philippines w/ Munimuni (Philippines)

August 31, 2019
1:00 PM The Beginnings of Cinema in Asia by Nick Deocampo (Lecture)
3:00 PM Orizusu Osen with Kaduma ni Karol (Japan)
5:30 PM Es mi hombre with Tarsius (Spain)
8:30 PM L'onestà del peccato with Stef&no and Pocket Orchestra (Italy)

September 1, 2019
4:00 PM Von Morgen bis Mitternachts with Anima Tierra (Germany)
7:30 PM Kalif Storch with Tanya Markova (Austria)

Wednesday, August 27, 2014

Charlie Chaplin’s film centennial celebration at the 8th International Silent Film Festival


August 28-31, 2014
Shang Cineplex (Cinema 2), Shangri-La Plaza
Mandaluyong

August 28, 2014
8:00 PM City Lights feat. Radioactive Sago Project (USA)
*invitational; limited seats to the general public

August 29, 2014
5:00 PM Der müde Tod feat. Pierre Oser and Manila Composers Lab (Germany)
7:30 PM Verdun: visions d’histoire feat. Hakim Bentchoula-Golobitch (France)

August 30, 2014
5:00 PM Ma l’amor mio non muore! feat. Caliph8 and Fame Flores (Italy)
7:30 PM Chuji Tabi Nikki feat. KaapiN (Japan)

August 31, 2014
5:00 PM Curro Vargas feat. Glass Cherry Breakers (Spain)
7:30 PM Ang Tigmo sa Aking Pagpauli feat. Kalayo (Philippines)

The much anticipated film event, the International Silent Film Festival returns for its 8th edition this August 28-31, 2014 at the Shang Cineplex. Making this year’s edition more special is the celebration of film icon Charlie Chaplin’s 100th year anniversary in film and the return of France to the festival.

Opening the festival on August 28, 2014, 8:00 PM is the invitational screening of City Lights, presented by the USA, with the Radioactive Sago Project providing live music accompaniment. Considered as Charlie Chaplin’s most cherished film, it tells the story of a blind, flower seller who falls in love with someone whom she mistook as a millionaire.

On August 29, Germany presents Der müde Tod (Destiny) at 5:00 PM accompanied by music students from UP performing original music composed by the Manila Composers Lab, founded by Dr. Jonas Baes, and the returning Pierre Oser from Germany. The film takes the viewer to different exotic locales as a young woman pleads to Death to resurrect her deceased lover. Right after at 7:30 PM, France makes its return to the festival through the film Verdun: visions d’histoire (Verdun:  versions of history). The newly restored film, which used actual soldiers who were in the trenches during the First World War as actors, is currently traveling the world along with French pianist/composer Hakim Bentchoula-Golobitch who will provide the live music in this festival as well.


On August 30, Italy presents Ma l’amor mio non muore! (Love Everlasting) with Caliph8 collaborating with classical crossover artist Fame Flores for the live music. The film, starring Lyda Borelli, a popular actress during her time, is considered as one of the diva films that highlighted the actress’s acting prowess. Japan then presents Chuji Tabi Nikki (A Diary of Chuji’s Travels) at 7:30 PM. The band providing the music for this film is KaapiN composed of Michael Nuesca and Rotsanjani Mojica. This marks the first time a music act not based in Manila participating in the festival.

On the final day of the festival (August 31), Spain presents Curro Vargas with the Glass Cherry Breakers at 5:00 PM. This film was adapted from the zarzwela and it was said that there’s a possibility that it was shown here in the country before World War II when the zarzuela/sarswela was still very popular. Finally at 7:30 PM, the Philippines will present the film, Ang Tigmo sa Aking Pagpauli (Riddles of my Homecoming) with Kalayo providing the music. This film stands out from the rest as the only one with a still living director (Arnel Mardoquio) since it was first released only in 2013.


The 8th International Silent Film Festival Manila is presented by the Japan Foundation Manila, Instituto Cervantes, the Goethe-Institut Philippinen, the Film Development Council of the Philippines and the Embassies of Italy, United States of America, and France.

Ticket price:
Free admission. First-come, first-served basis

For inquiries:
City Lights
andrademkp@state.gov

Der müde Tod
program@manila.goethe.org

Verdun: visions d’histoire
audiovisuel.ambafrance.manille@gmail.com

Ma l’amor mio non muore!
culturale.manila@esteri.it

Chuji Tabi Nikki
Japan Foundation, Manila 811-6155 to 58

Curro Vargas
Instituto Cervantes 526-1482

Ang Tigmo sa Aking Pagpauli
846-2496 local 108, embassyfest@fdcp.ph

For other inquiries:
370-2500
www.shangrila-plaza.com

Monday, September 16, 2013

7th International Silent Film Festival Experience Part 2


The third and final day of the 7th International Silent Film Festival Experience at the Shang Cineplex had three screenings. And with Razorback being one of the music acts performing, the day was expected to be quite exhausting and possibly nerve wracking. Thankfully, my experience with Cinemalaya 2013, especially having to watch four screenings in one day, has prepared me very well for any possible scenario that could happen for this day.

The Phantom of the Opera

The film The Phantom of the Opera (1925) alone would’ve drawn the crowds for sure. But add to that the legendary band Razorback providing live music and it didn’t matter if the screening for this film happened right after lunch time as people showed up and lined up in droves. This film directed by Rupert Julian and starring Lon Chaney, is the most faithful adaptation of Gaston Leroux’s novel. But I bet that Leroux didn’t imagine that his work would be set to current rock music courtesy of Razorback. I was blown away by the ballet scene at the beginning since I was extremely curious to find out how the band would score that scene. And it was an awesome scene to see the whole ballet company dancing to Razorback music. It automatically made me wonder if a collaboration with Razroback and classical ballet companies like Ballet Philippines, Philippine Ballet Theatre or Ballet Manila is remotely possible. While The Phantom of the Opera is already very famous, I couldn’t help that the film was overshadowed by having Razorback. Fans of the band probably didn’t mind since they were treated to what could be a preview for their upcoming album. Kevin Roy sang some lyrics relating to the film but I doubt that they would keep those words for the album. I asked the band’s manager Patrick Pulumbarit when their next album is due, he responded hopefully by next year. The Phantom of the Opera was presented by the Embassy of the United States of America with the Ambassador Harry K. Thomas himself attending and delivering the welcome remarks prior to the showing of the film.


El Abuelo

The Spanish film El Abuelo (1925) was the most serious film that I’ve seen in the entire festival this year. Directed by José Buchs and adapted from the novel El Abuelo by Benito Pérez Galdós, the film told the story of Count Albrit, who has an indestructible mountain for his pride, trying to figure out who among his two granddaughters is the legitimate one. I never imagined such cruelty to exist back in the day since he even contemplated on killing the illegitimate granddaughter to retain the honor of his family. This film was scored by Earthmover, one of the younger bands participating in the festival. Composed of Dru Ubaldo (percussions and samples), Daniel Garcia (guitars) and Gerald Guerrero (bass), the band showed that they could really play and create music that could work well at a live gig. But they felt short in scoring a silent film. The seriousness, melodrama, the confusion and cruelty shown in the film didn’t reflect on the music that I was able to hear. This film was presented by Instituto Cervantes, Manila.

Kamera Obskura

The Philippines has no surviving copy from the silent film era so the Film Development Council of the Philippines chose a fairly recent film to be screened for this year, Raymond Red’s Kamera Obskura. This film was part of Cinemalaya 2012 and it was among the bunch from that year that I failed to see. So it was a treat for me to have the chance to finally see the film. It was also a treat for those who managed to see the film on this night for several stars of the film were there like Nanding Josef, Abe Pagtama, Suzette Ranillo and Flor Salanga. The music was provided by super band SPY composed of Sammy Asuncion (guitar), Louie Talan (bass) and Reli de Vera (drums). And this band provided the music highlight of the entire festival for me. The blues music that they played was already enjoyable on its own and still, they managed to cleverly match the riffs with the scenes, mood and even the lines in the film. I wanted to ask Nanding Josef his reaction to the film with the new music but he admitted that this was actually the first time he was able to see it. Flor Salanga, on the other hand, had seen the film prior to this one and she said that having the live music along with the screening was a new experience for her. She was surprised though since she had no idea what the 7th International Silent Film Festival was all about in the first place. What surprised me about the film was how political and timely the story is in the midst of the current scandal several lawmakers find themselves in.

Capping the night at Brotzeit

As expected, the organizers along with some of the musicians headed once again to Brotzeit to celebrate the success of the festival and also to discuss a bit how to improve things in order to avoid disgruntled audience members. I also expressed my opinion that in the festival’s upcoming editions, the music acts, especially the young ones, should be able to step up, go beyond their usual repertoire, and be able create new material that would suit the film a lot better.

7th International Silent Film Festival Experience Part 1


The 7th International Silent FilmFestival at the Shang Cineplex showed just six films, each accompanied by a music act providing a live score. With each of the films having only one screening, it comes as no surprise that this has become one of the hottest ticket items in the local film festival circuit. And along with it comes what has become a staple in the festival in recent years: numerous complaints from people who weren’t able to let in inside the cinemas.

This has posed a problem for some of the films, especially those accompanied by music acts with a dedicated fanbase who couldn’t pass the chance to see their idols perform free of charge. The system of distributing tickets has also become a source of confusion as one had to make reservations for every film that they wanted to watch. And this didn’t sit well with walk in audience members who felt that they lined up for nothing. But for those who were fortunate enough to see the films, they were in for a rare treat of seeing silent films from a bygone era accompanied by local music acts who were either seasoned performers or one of those up and coming bands.

Keisatsukan

The festival started with the Japanese film, Keisatsukan, courtesy of the Japan Foundation, Manila. It is a police procedure film released in 1933 and directed by Tomu Uchida. It felt like Fyodor Dostoevsky’s Crime and Punishment but from the perspective of the policeman Itami (Isamu Kosugi) who is trying to solve a crime which was actually committed by his childhood best friend Tetsuo (Eiji Nakano). The flashback scenes recalling their teenage years felt a bit too homoerotic for a serious film such as this. And it was amusing to read propaganda heralding the virtues of police officers in Japan towards the end since no one probably expected that to be inserted at all in the film. It made me wonder if that was the norm in Japan back then. A young band Pulso composed of Robby M on guitar, Matt W on bass and Franco M on drums accompanied the film. They did a decent job in capturing the film noir mood but their music didn’t have much variation to suit the film fully. The tempo mostly had a very steady pulse (pardon the pun) only going on double time occasionally. But they’re still a young band and the music that I’ve heard would be great if I were in a live gig.

Franco M from Pulso

La Grazia

The Aldo de Benedetti directed La Grazia from Italy, presented by the Embassy of Italy, premiered back in 1929. As much as I wanted to see this film and hear the music of Sinosikat?, my schedule didn’t allow me to see it. But I managed to get inside the theater and listen to the music at the sidelines. I was able to hear strains of the music from the band that featured some string solos, played via a keyboard, which made me wish that they’ve actual string players in the lineup for a sound with depth and more organic.

Ich möchte kein Mann sein

The Goethe-Institut presented the shortest film in the festival, the 45 minute comedy Ich möchte kein Mann sein. This film from Germany, directed by Ernst Lubitsch was first shown in 1918, and therefore offered a glimpse of pre-war Berlin. The music for this film was composed by Pierre Oser and the Composers’ Lab fully utilizing a small ensemble made up of the piano, violin, cello, clarinet and the trombone. It was a delight hearing the music that was tailor made for the film but also giving each instrument a chance to shine. The mood, feel and the lightness of the film were emphasized through the use of music. Composers’ Lab’s output usually ventured into avant garde territory which not everyone can appreciate, but for this film, they stepped back in time, almost 100 years ago to try to recreate the music style back then.

Silent Film Festival organizers hanging out in the sidelines

I was disappointed that I had to miss one film again this year and it coincidentally had to be the one that was accompanied by Sinosikat? as well. In order to ease my disappointment, I capped the night by joining the festival organizers and some of the musicians for some drinks over at Brotzeit which was the caterer during the opening night cocktails.

7th International Silent Film Festival Experience Part 2

Sunday, August 18, 2013

Horror classic Phantom of the Opera to be screened at the 7th International Silent Film Festival


August 23 -25, 2013
Shang Cineplex (Cinema 2), Shangri-La Plaza
Mandaluyong

August 23, 2013
7:30 PM Keisatsukan feat. Pulso (Japan)

August 24, 2013
5:00 PM La Grazia feat. Sinosikat? (Italy)
8:00 PM Ich möchte kein Mann sein feat. Pierre Oser and Composers’ Lab (Germany)

August 25, 2013
2:00 PM The Phantom of the Opera feat. Razorback (USA)
5:00 PM El Abuelo feat. Earthmover (Spain)
8:00 PM Kamera Obskura feat. SPY (Philippines)

The Shang Cineplex will soon be the place where cinema and music join forces together to create a unique film viewing experience as the Japan Foundation, Manila, the Embassy of Italy, the Goethe-Institut, the Embassy of the United States of America, Instituto Cervantes and the Film Development Council of the Philippines present the 7th International Silent Film Festival, Manila this August 23-25, 2013 at the Cinema 2 of the Shangri-La Plaza Mall.

For three days, the festival will screen six films while being accompanied by live music acts. Tomu Uchida’s Keisatsukan from Japan, Aldo De Benedetti’s La Grazia from Italy; Ernst Lubitsch’s Ich möchte kein Mann sein from Germany, Rupert Julian’s, The Phantom of the Opera from the USA, José Buchs’ El Abuelo from Spain and Raymond Red’s Kamera Obskura from the Philippines are this year’s lineup. The list of music acts providing the live score during each screening are Pulso, Sinosikat?, Composers Lab with Jonas Baes and Germany’s Pierre Oser, Razorback, Earthmover and SPY. Sinosikat? and Razorback are the only acts this year who had been part of previous editions of the festival.


During a recent press conference held at the Shang Cineplex, Kat Agarrado of Sinosikat? expressed her relief upon learning that La Grazia will be only half as long than the epic three hours that the band along with Ignacio Plaza did last year with La Casa de la Troya. But despite the length of that film, Kat was very pleased to know that the audience remained with them throughout the viewing. Razorback on the other hand will be tackling the horror classic The Phantom of the Opera that starred Lon Chaney. Kevin said that they won’t be using old riffs and rehashing old material like they did with L’inferno back in 2011. He said that the music that they will play this year will also be a teaser for their upcoming album. So this should clear out any confusion that Razorback will be playing Andrew Lloyd Webber music. It would be very odd and disturbing to hear Kevin Roy doing Music of the Night.

Pierre Oser, a seasoned performer and composer at silent film screenings will be collaborating with Composers Lab headed by Jonas Baes. Baes said that he and Oser will try to recreate through music the feel of 1918, which was when the film Ich möchte kein Mann sein was originally shown. He said that they are pegging L'Histoire du soldat by Igor Stravinsky that premiered on 1918 too.


Dru Ubaldo of Earthmover said that his group’s music tends to be cinematic and being part of the Silent Film Festival was really something that he aimed for. The group will be accompanying El Abuelo. Along with Earthmover, Pulso is another music act that I haven’t encountered prior to the Silent Film Festival press conference. Robby M of Pulso said that he and his band are honored to be part of the festival. They will be accompanying the opening film Keisatsukan. SPY, the trio who will be accompanying Kamera Obskura was given creative/artistic freedom by Raymond Red. Red, the only living filmmaker in the bunch, said that he wants whoever is accompanying his film to be given the same freedom as the rest of the acts participating at the festival.

As always, admission to the festival is free but one had to make prior reservations via the respective embassies/cultural institutions screening the films. And based on my experience during the past couple of years, seats do get filled up very quickly. The 7th International Silent Film Festival is presented in partnership with the Embassy of Spain, Philippine-Italian Association, EUNIC Cluster Philippines, The National Film Center - The National Museum of Modern Art, Tokyo, Pelikulared, and the FDCP’s Film Cultural Exchange Program (FCEP).


For tickets:
Tickets for the screenings will be distributed by the respective embassies and cultural agencies

Keisatsukan
The Japan Foundation, Manila 811-6155 to 58, email@jfmo.org.ph

La Grazia
Embassy of Italy 815-1310, culturale.manila@esterti.it

Ich möchte kein Mann sein
Goethe-Institut 817-0978, program@manila.goethe.org

The Phantom of the Opera
Embassy of the United States of America 301-2597, limlinganbc@state.gov

El Abuelo
Instituto Cervantes 526-1482 local 106, cultmni@cervantes.es

Kamera Obskura
Film Development Council of the Philippines/Pelikulared 817-0978

For other inquiries:
370-2500
www.shangrila-plaza.com