Ms sect b 20161127 sunday

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SUNDAY, NOVEMBER 27, 2016

Opinion

Adelle Chua, Editor mst.daydesk@gmail.com

EDITORIAL

LONG STORY SHORT ADELLE CHUA

TEMPESTS

Manila film festival 2016

REVENGE and bitterness on the one hand, and loss and guilt on the other. The Philippine Educational Theater Association, together with the Royal Academy of Dramatic Art, the British Council and The Japan Foundation, merges two stories, centuries apart, into a third one that tells of redemption, forgiveness and resilience as it transcends time and space. The Tempest Reimagined, well, reimagines The Tempest of William Shakespeare and intersperses it with stories of survivors of Typhoon “Yolanda,” which swept the Philippines in November 2013. A fisherman, Jaime, acts as narrator. The duke Prospero engages the help of the spirit, Ariel, in causing a tempest that would break a ship apart. It is no ordinary ship; it is one that contains his sister Alonsa and her companions on whom he wants to exact revenge. They plotted to throw him out of power 12 years ago just because he was too wrapped up in his books to actually rule. Alonsa and the queen of a neighboring city put Prospero and his daughter Miranda on a leaky boat which they set off into the unknown. It was a miracle father and daughter reached the island alive; they have been living on it ever since. On the same island are trapped four survivors of typhoon Yolanda, each with harrowing stories of destruction and loss. They confront their memories of that terrible, terrible day when the water rose and swept everything along its path. Talk about how they were caught unprepared even as they, being fishermen from Leyte, are supposed to have been used to typhoons all their lives. Discuss how the term “storm surge” was never explained to them. Remember what they were doing and how they felt amidst the storm. Come to terms with how they are gripped with terror at the softest sound of rain or thunder. Ponder why they may have survived when thousands died: What made them any better, worthier? They also behold the “gods”— representatives of the private sector, the national government and the local government—who so pointlessly discuss the matters of providing aid in terms of shelter, fishing boats, sanitation kits, and functioning kitchens and bathrooms. The survivors try to elevate their issues to these gods but they get so taken up with blaming each other that the issues are never resolved. These experiences are not imagined. They are culled from the accounts of actual people who participated in PETA’s Lingap Sining Project. Established in 2014, it is “geared towards developing safe schools and resilient communities using art- and culture-based approaches.” *** Finally the characters from Shakespeare and from Yolanda meet. The four survivors first chance upon Miranda and her newfound love, which turns out to be Ferdinand— her cousin and Alonsa’s son whom everybody thought perished in the

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INDEPENDENT CHOICES Y ear after year, cinema-going Filipinos find themselves with not much choice of movies to watch over the Christmas holidays.

Among the usual titles are franchises of movies that have aired for decades, with versions and actors changing but the stories revolving around the same themes. Usually they take the form of fantasy films. There is a hero who slays enemies, and the hero is funny and virtuous and frail all at the same time. The villains are eventually defeated—and the hero gets the beautiful girl, as well. Sometimes there are horror movies even if what is truly scary is the gall with which these pass themselves off as genuine entertainment. Yet other movies thrive on sentimen-

ies, which surprisingly do not include the usual titles that producers have imposed on us over the years. Instead, the festival’s organizers, the Metro Manila Development Authority—perhaps during a lucid break from the maddening traffic situation here— have chosen eight independent movies made by emerging filmmakers. The eight entries approved by the selection committee, chosen for their quality and representation of all genres, are “Die Beautiful,” “Vince & Kath & James,” “Seklusyon,” “Kabisera,” “Sunday Beauty Queen,”“Ang Babae Sa Septic Tank 2,”“Oro,” and “Saving Sally.” The producer of one of the usual film outfits notorious for feeding the public junk has aired her grievance on the matter—and it is amazing how just a few words betray the industry’s extremely low regard for the Filipino audience.

tality—playing on the Filipino’s penchant for melodrama, stereotypes and tried-and-tested formula. In recent years, other means of watching movies have emerged. Technology has allowed us to still be able to see movies of our liking without necessarily waiting for what is playing at the cinemas. Then again, this is for those Filipinos with home entertainment systems or at least personal computers and internet access. The rest of the population, though, is consigned, for a full week, to choose from the inane offerings during the Metro Manila Film Festival. Comes now the list of this year’s mov-

“All these poor people, they have bonuses. Once they get their bonus, they bring their whole family to the movies to watch. It’s just a pity—I feel sorry for the children,” said Regal Films’ Lily Monteverde. As far as we know, squandering one’s hard-earned bonus is not enough reason to inflict an entire bad movie on one’s family. On the contrary, we feel great about the children and the entire viewing public, whether they get their bonuses or not, who will this year be able to have a better range of movies to choose from. It’s a festival worth looking forward to, indeed. Woe to those who insult the people’s intelligence by thinking they are shallow, uncritical viewers who just want a quick fix. It’s time to prove them wrong and, with any luck, put them out of business.

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THE LIMITS OF FIRSTHAND REPORTS AND IMPORTANCE OF SCIENCE AND HISTORY By Pecier Decierdo RECENTLY, it became common to hear people belittle the discipline of history. To understand a past event, some say, you must have been there. It is said that the opinions of people who weren’t alive at the time are null.

At first glance, this sounds like a tempting notion. We humans, after all, have firm confidence in the accuracy of memories, which is why we put a premium on the stories told by firsthand witnesses. Reading about something in the news or from an academic source just doesn’t feel as convincing

as hearing it from someone who was really there in the thick of it, especially if that someone is a person you know and trust. The science, however, is clear: eyewitness reports, on their own, are never as reliable as hard data. Before we return to that point, let us

first look at how absurd the claim that only those who witnessed a past event can understand it. If we only relied on firsthand reports, both science and history would not be possible in the first place. Think for a moment about the fact Turn to B2

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