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Ai Ai, Nora at Jaclyn, NGANGA sa Young Critics

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DATI pa man, kakaiba na ang Film Desk of the Young Critics Circle.

Ang obra ni Sheron Dayoc na Women of the Weeping River tungkol sa isang family caught in a bitter war with a rival clan ang Best Picture.

Ang bida nitong si Laila Putli P. Ulao, bested 14 other nominees to bag the Best Performance award, which the critics group bestows to the most outstanding leading or supporting actor/s regardless of gender.

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Tinalo niya sina Nora Aunor at Barbie Forteza ng Tuos, Ai Ai delas Alas ng Area, Jaclyn Jose ng Ma’Rosa at Patay Na Si Hesus, Joem Bascon at Sandino Martin ng Tulay Ng San Sebastian at marami pang iba.

Si Carlo Francisco Manatad ang nagwagi para sa Best Editing para sa perehong pelikula.

Wagi si Ralston Jover ng kanyang ika-apat ng YCC Best Screenplay award for Mrs., directed by Adolfo Alix, Jr.

Isa na lang award at papantay na si Ralston sa YCC record for most Best Screenplay wins, held by Jose Javier Reyes.

Isa pang pelikula from Mindanao, Baboy Halas, was cited for Best Cinematography and Visual Design, for the work of Raphael Meting and Mark Limbaga (cinematography) and Joel Geolamen (production design).

Ang sound at musical score ng Ang Tulay ng San Sebastian by Hiroko Nagai (original score) and Jess Carlos (sound engineer) was cited for Best Sound and Aural Orchestration.

Dalawang pelikula ang cited as Best First Features: Malinak Ya Labi (Jose Abdel Langit) and 2 Cool 2 Be 4gotten (Petersen Vargas).

It is worth noting that this year’s winners are products of several local film festivals.

Women of the Weeping River and Baboy Halas are from Qcinema.

Mrs. is from Sinag Maynila.

Ang Tulay ng San Sebastian is from CineFilipino, while both Malinak Ya Labi and 2 Cool 2 Be 4gotten are products of Cinema One Originals.

Ang awarding ceremony ay nakatakda sa last week of April sa University of the Philippines, Diliman.

Ang tanong, sa dami na ng nagbibigay at magbibigay pa ng parangal sa mga pelikula, bakit kulang na kulang pa rin ng mga tunay na matapang at kritikal na analysis sa mga pelikula at ang uri ng kritisismo na makakahatak din sa mga manonood na inaasahang tatangkilik dito?

Bakit salat pa rin?

Ano ba ang epekto ng ganitong parangal kapag kami-kami at tayu-tayo pa rin lang ang nagsusuportahan at may lost-in-translation sa takilya?