I can detect some progressive agenda in Confessional (critique of local-govt political roguery) and in Mangatyanan (womanist agency). There’s also a reason why Laya chose to forgive her mother instead of her father who molested her.Ģ. There’s a reason why Laya’s mother is named Luzviminda. Side note re Mangatyanan: the film was an attempt at allegorical filmmaking.
In Mangatyanan, cultural (albeit disguised). In Confessional, the conclusions are on a socio-political level. I imagine the plots of all three films as clotheslines from which we hang the real concerns of the trilogy, which would be, among other things, the loss of innocence and the resulting compromises we’re forced to make to reach certain truths – maybe there’s some cognitive dissonance at work in the characters’ lives. They may be trivial but they add to overall visual integrity. the wide two-shot with characters facing each other). Visual similarties exist particularly in shot composition during certain important events (e.g. Plot similarities: main character goes to the province, his/her life is changed, comes back with what we expect is a new hopeful outlook on life but actually reaches a compromise. The 3 films have characters who own & operate cameras. These have to do with the larger work, the Camera Trilogy. Hello Jerrold, I hope you don’t mind if I ask you directly some questions which I need for fully evaluating Sana Dati. Last film of what’s called the Camera Trilogy. ) Will there be further screenings lined up for it? Won’t be returning until February next year. Was Sana Dati part of the trilogy that includes Confessional and Mangatyanan? (If so, what’s the title of the trilogy if you don’t mind? I read it somewhere and noted it but I left those notes behind in Korea. Congratulations on the Cinemalaya results. After having been nodding acquaintances for several years (in the course of which Velasco’s sudden departure occurred), I managed to reconnect with him on the social network.
He was a major at the College of Music, located beside the College of Mass Communication, and was dropping by for a quick hello. I had been introduced to Tarog by Johven Velasco, his mentor at the University of the Philippines Film Institute. I’m including the buildup to the exchange on Heneral Luna between me and Jerrold Tarog, the film’s director and co-writer.
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