Thursday, January 15, 2009

Video Feature / Interview on Julian Duque


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UNICEF's Endorsement of BOSES

UNICEF supports Cinemalaya film on child abuse

A moving tale about rebirth and the power of friendship, “Boses,” is the latest cinematic masterpiece by veteran writer-director-producer Ellen Ongkeko-Marfil, of the award-winning film “Mga Pusang Gala.” The Cinemalaya entry supported by UNICEF tells the story of Onyok (Julian Duque), a battered child rescued from an abusive father (Ricky Davao). Onyok is sent to a shelter where he learns how to smile again, forming a bond with a reclusive violinist (Coke Bolipata) through their shared love of music.

Onyok’s story is shared by thousands of abused Filipino children across the country who suffer in silence from various forms of violence. According to the National Statistical Coordination Board, there were 6,933 child abuse cases served by the DSWD in 2007. These children were either neglected, physically or sexually abused or exploited, abandoned or made to work.

By supporting this film, UNICEF calls for a concerted effort to end child abuse and steps up its Children Against Violence campaign. UNICEF is encouraging children to support each other with their “Ate at Kuya” initiative, helping children to speak out and seek help for violence or abuse. These activities and interventions reinforce all children’s right to be protected from violence and abuse, as enshrined in the Convention of the Rights of the Child.

“Boses is a landmark film made in the name of abused children all over the Philippines. It is a story of triumph which illustrates the enduring spirit of a boy, and his amazing capacity to heal, love and forgive despite being a victim of violence and neglect,” UNICEF’s Ani Saguisag said.

Director Ellen Ongkeko-Marfil considers the film extra special because it marries art and advocacy. Most of all, it is a film which she could share with her son. Marfil, who grew up in the world of theater, believes that each child is a precious gem just waiting to be discovered.

“In ‘Boses,’ the battered boy Onyok turns out to be a child prodigy. Very dramatic perhaps, but that happens in real life. Imagine if we can free all those millions of Filipino children from the culture of violence they live with—physical, emotional, spiritual violence—whew, the Philippines would be so rich!” she reveals.

“Boses” is a digital film entry at Cinemalaya 2008. It is sponsored by UNICEF, DSWD and Council for the Welfare of Children (CWC). With grants from NCCA and FDCP, the film’s gala night is on July 16, 6:15 pm at the CCP Main Theater. Other screenings are on July 13, 18 and 19.
# # #

About UNICEF
UNICEF is on the ground in over 150 countries and territories to help children survive and thrive, from early childhood through adolescence. The world’s largest provider of vaccines for developing countries, UNICEF supports child health and nutrition, good water and sanitation, quality basic education for all boys and girls, and the protection of children from violence, exploitation, and AIDS. UNICEF is funded entirely by the voluntary contributions of individuals, businesses, foundations and governments.

Wednesday, January 14, 2009

BOSES Trailer and Synopsis

Synopsis

Rescued by a concerned neighbor from his abusive father, 7-year old Onyok is brought to a shelter for abused children. Amanda, the shelter's owner-founder realizes that Onyok is unable to speak, caused by a physical trauma that damaged his larynx. On the first day of his stay in the shelter he hears the faint sound of a violin being played from far off. This strange but beautiful music that has captivated Onyok's attention comes from Amanda's reclusive brother Ariel, who has turned back on his career as a concert violinist in Manila and came back to the family house bearing a terrible guilt.This is the beginning of a simple, yet moving friendship between Onyok and Ariel. Ariel's initial cynicism over his sister's commitment to caring for abused children slowly melts when he sees Onyok's intrinsic inclination to the violin. Onyok proves to have inborn talents to the instrument that leads Ariel to teach the mute little boy.Amanda begins to worry, however, when Ariel begins to push Onyok beyond his limits, leading the boy away from dealing with his own emotional issues as well as straining his new-found friendship with Shirley, a young precocious child in the shelter.In the course of the film, Ariel's secret guilt over the death of his sweetheart protege is revealed. The question of Ariel's motives about him pushing Onyok's gifted talents to a similar level comes to the fore. Does Ariel really care for Onyok's condition, or is he pushing Onyok to fulfill a shattered dream?Onyok's abusive father is slowly rehabilitated and the shelter is eventually preparing for a reconciliation between father and son. Ariel realizes that he does not own the child. And their friendship will have to encompass both their individual issues -- hardly similar and yet resonant to both of them.Nobody knows whether Onyok's reconciliation with an abusive parent will succeed. But one thing has remained inevitably clear: he has regained his voice.


Schedule, Location, Subways, Refreshments

WHEN: Friday, May 1, 2009 , 6pm - 10pm

WHERE: Saint Paul at Lincoln Center, 60th Street and Columbus Avenue in Manhattan

(A,C,D,B, 1,2,3 subways to Columbus Circle,

N,R,Q subways to 57th St.)

PROGRAM:

  • 6:15-7:00 - Reception
  • 7:00-7:15 - Introductions
  • 7:15-8:45 - Boses Film Screening
  • 8:45-9:00 - Q&A with Director Ellen Ongkiko Marfil and Ricky Davao
  • 9:00-9:15 - Intermission
  • 9:15-10:00 - Musical Concert by Ricky Davao

REFRESHMENTS:

Light refreshments will be served during the reception. A food concession will also be open for food purchase.

The Cast: Ricky Davao with Rehearsal Video


Ricky Davao is a multi awarded stage, film and television actor in the Philippines. In November 2008, he was elevated to the Aliw Awards' Hall of Fame for having thrice been awarded Best Actor for his stage work. Ricky played his most memorable stage roles in Insiang, Speaking in Tongues, and Bong-Bong and Kris. He has also garnered Best Actor awards for Saranggola (official entry in the foreign film category of the 2001 Oscar Awards), and Minsan May Isang Puso and a Best Supporting Actor disctinction for Ipaglaban Mo (a film by Marilou Diaz Abaya). In July 2008, he was named Best Supporting Actor for Signos. at the UK Film Festival.

Ricky loves New York. He is best remembered by New Yorkers for his role as Gerry, the closeted gay man, in the 2001 indie hit American Adobo, a film about the lives of five Filipino friends living in Queens, Manhattan and Long Island. In 2006, he directed the film "Marie" for Gawad Kalinga. "Marie" is the story of Marie Rose Abad, an American executive from Long Island, who perished in the World Trade Center on September 11. Several years after her death, her Filipino husband Rudy donated her insurance money to Gawad Kalinga to build the Marie Rose Village in the slum area of Baseco, Tondo. Ricky said he was able to draw from own his personal connection to New York City to bring her story to life.

Ricky is one of the forerunners of the independent film movement in the Philippines. He usually has several entries in the Cinemalaya independent film festivals that have been running for the past four years. Even if it is common knowledge that these are meagerly budgeted films that do not translate into monetary rewards for the actors and the production crew, Ricky unselfishly dedicates his time and talent working with young and upcoming filmakers who are changing the face of Philippine cinema locally and abroad. In recent years, Philippine independent films such as Ellen Ongkeko-Marfil's Mga Pusang Gala (Stray Cats), Kubrador (The Collector), Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Max Oliveros), Signos (The Signs) among others have not just exhibited internationally, but have also won awards and have been the banner films for some of the festivals. "I do it for my passion and love for my craft," Ricky often says when queried on his leadership presence in the industry. That passion has translated into a body of work of over 100 films,stage dramas and musicals,and memorable roles on television.

But he does not just act, he also sings (and dances). He has, through the years, earned the reputation of "AIM" - -"ayaw ipasa ang mike" as once he gets hold of the microphone he is unstoppable and will belt out old time favorites, pop tunes and even arias from his favorite operas. For his New York performance, he will introduce us to "Salinawits" - - old classics translated beautifully into Tagalog by acclaimed writer Pete Lacaba.

Ricky is proud to partner with Assumption for this project. His two younger sisters are Assumption alumnae and through them he has experienced the value of an Assumption education. In September, BOSES screened in Assumption San Lorenzo so he was able to re-visit a campus he is quite familiar with. Ricky said he has visited the Antipolo and San Lorenzo campuses many times in the past to pick up his sisters and he says, with a twinkle in his eye, that it was always a "chore" he enjoyed doing!

Ricky Rehearsing


Ricky Davao from Nix on Vimeo.

Ricky Davao Rehearsing - Video


Ricky Davao from Nix on Vimeo.

The Cast: Julian Duque

Comiong soon.

Friday, January 2, 2009

How Can You Buy Tickets?

Tickets are $25.00

- For tickets sales contact:
- Vina Francisco at 646 203-1611
- Linden Martinez at 201 224-7739
- Ching Legarda at 914 793-5351
- Rissa Hidalgo at 908 397-7206
- or send an email to Assumptionforever@yahoo.com

On-line purchase option available

The Cast: Coke Bolipata with a Video Interview


Excerpt from an interview of Ellen Ongkeko-Marfil conducted by Jasoe Soeda during the Hawaii Film Festival

Q: So, how did you get violin virtuoso Coke Bolipata involved in this project? Did you enjoy working with him?

At first, I thought of him as a musical director and I wanted to shoot in Casa San Miguel which is the arts center he put up in the province. I also asked him for recommendations to play the role of the child prodigy. Immediately he thought of Julian Duque. He is quite passionate with his advocacy to enrich rural communities through the arts, and with music specifically, that I thought he was perfect for the role. He was hesitant at first. He said the emotion for acting is the same for playing music but he wasn't sure if he could translate it to movement and voice. We auditioned him and he just had this sense of honesty, which I said is really what makes a great actor. Not only that. In the Philippines, violinists and classical music are quite elite, quite way up there … but he made the violinist real, down-to-earth, very human. It was fantabulous working with him and we all fell in love with him and Julian as well. In the movie, he is a reclusive violinist who is full of angst. In real life, he's a Peter Pan.

Interview:
English Translation: Coke Bolipata is the most famous Filipino classical violinist today. Since completing his studies at Juilliard and Indiana University, he has played with world famous orchestras all over the word, but playing with children remains his passion. About 15 years ago he established the Casa San Miguel Arts Center in his family's mango orchard in the fishing village of San Miguel in San Antonio Zambales. Here he teaches poor children from the fishing and farming barrios who otherwise would never get exposed to classical music. Together with 15 other musical instructors they bring culture to the countryside as their way of giving back to the community. In 1994 he established the Pundaquit Virtuosi, a children's orchestra composed of his most talented students. Many of his former students have today become professional classical musicians themselves.

The Director: Ellen Ongkeko-Marfil, Assumpta HS '77


Her most recent work is “Boses” (Voices), screened at the recent Cinemalaya film festival July 2008 (Manila),about the friendship between an abused child and a reclusive violinist. It is presently going around international festivals, as well as local schools and communities sponsored by various organizations with advocacies for child rights to gender issues, human rights and peace initiatives, as well as music and film appreciation.

Her first full-length digital feature transferred to film, Mga Pusang Gala (Stray Cats), which she both directed and produced, won the Docker’s first feature award at the San Francisco LGBT Film Festival in June 2006 and was invited to various festivals abroad (Fribourg, Switzerland; New York, Dallas, Chicago, USA; Montreal, Quebec, Canada; Melbourne, Sydney, Australia, Berlin). Its dvd was released internationally last August 2007 and pending technical clearance, has been sold to the American TV network “Here”.

In the Philippines, the film was screened on the mainstream theater circuit and received awards and nominations from almost all awards-giving bodies, including teachers’ organizations.

Her documentary-drama on Filipino desaparecidos, “Walang Bakas” (Without a Trace) which she did for GMA Network was chosen best drama program by the Catholic Mass Media Awards in 2004. It was also a finalist at the Asian TV awards, as two of her teleplays were in previous years: Rattle for Maalaala Mo Kaya; Rosaryo (The Rosary)for GMA telesine.

Her first full-length digital feature is the critically-acclaimed “Angels”, a Star Cinema production which tackles the true-to-life story of a blind couple’s struggles to raise a family amidst an uncaring society. It was made available in vcd format and it is still being shown on cable TV.

Her documentaries “Is Your Gender An Issue?” and “Luha, Pawis at Tuwa: Kasaysayan Ng Mga Babaeng Maralita” (Tears, Sweat and Laughter: A Story of Urban Poor Women) won at the GAWAD CCP awards.

Schooled at the Assumption College, San Lorenzo, University of the Philippines, Diliman (a cum laude graduate in A.B.Broadcast Communication), Philippine Educational Theater Association (PETA artist-teacher 1979-1988 PETA Broadcast and Film Inc. training officer,1988-1991), Mowelfund Film Institute, with short visitorship programs in Paris and London, a veteran writer-director-producer for both alternative and mainstream circuits, once a supervising producer for Star Cinema (1994-1997)and recently a public affairs progam manager for GMA Network (I-Witness, Debate,Unang Hirit 2000-2003), she recently founded “ERASTO FILMS, Inc.” named after her father, which means “man of peace”. Its objective is to help push alternative filmmaking to the forefront of Philippine Cinema, and create mainstream impact. By alternative, she means new insights and new ways of experiencing life more meaningfully, new technology –digital, which is cheaper, and which thus allows greater room for experimentation and finally, new ways of organizing business relationships, where everyone shares both risks and profits and leads towards a ‘”solidarity” type of economy. Erasto Films’ first project is Mga Pusang Gala, which was made possible through equity sharing of almost the whole cast and staff.
She is a founding member of the Independent Filmmakers Cooperative.

Article from the Inquirer: BOSES is for the World





The Cast: Coke Bolipata, Cherry Pie Picache, Ricky Davao, Julian Duque










“Boses” is for the world
By Joel David Philippine Daily Inquirer First Posted 11:23pm (Mla time) 10/12/2008 MANILA, Philippines

It is not the first noteworthy film shut out of awards recognition in Cinemalaya history. “Boses” joins a long list of works overlooked upon initial release, whose rewards would come in the form of belated acclaim, discursive attention, extended shelf-life, or maybe all three. “Boses” also serves to indicate a peak in the Cinemalaya ideal: the hope that talent from the margins could overrun the mainstream while playing by the latter's rules. The movie takes a grim situation (child abuse) and matches it with high-art therapy (classical music). The narrative unfolds with a strong dose of pleasure, unexpected and startling in its effectiveness, given the nature of the material. Already the top grosser among the latest Cinemalaya crop, “Boses” appears capable of attaining blockbuster status. Repeat viewership is boosted by word-of-mouth commendation, occasionally hysterical responses even in staid venues that it has graced so far, and star-is-born adulation lavished on its gifted and charismatic child performer, Julian Duque.

Not perfect

To be sure, “Boses” is not a perfect film. A more radical handling of its material would probably have made us better understand, even empathize with, the abuser's dramatic condition and the child's reason for willing to remain a victim for so long. Those conversant with real-life accounts may suspect that the filmmakers sanitized the situation, not to mention the language, familiar to actual child-abuse perpetrators, victims, and therapists. Given all the ways it might have fallen short, is “Boses” the favorite of many Cinemalaya observers? One reason maybe that it is dedicated to Johven Velasco, a film artist, teacher, and scholar who spent a lifetime in the academe until his sudden, tragic demise a year ago this month, unknown to the rest of the world except for a handful of students and friends who swear by his selfless dedication and willingness to share everything he had. The fact that filmmaker Ellen Ongkeko-Marfil makes this connection between the lives of her characters and that of an actual acquaintance indicates that she upholds the power of love, a value that, even more than film pleasure, tends to upset film experts used to the facile ways it constantly gets exploited in the medium. Indeed, the core relationship in “Boses” between the young survivor of parental abuse and the violinist who awakens the former's talent (and, in the process, recovers from his own tragedy), provides the film's heartbeat. Not only does the interaction start cute and end intensely, with a near-breakdown and bittersweet separation; it also occasions bravura performances by the actors as thespians and as musicians.

Stage to film

Surprising, though perfectly logical, was Ongkeko-Marfil's acknowledgment, during one of the film's screenings that, in real life, Bolipata is Duque's violin mentor. Ongkeko-Marfil's background in stage arts has obviously helped the impressive evolution of her cinematic skills. With “Boses,” she hews close to what the late greats Lino Brocka and Ishmael Bernal misrecognized among indie filmmakers as foreign-festival and anti-mass audience innovators, struggled to achieve: an unapologetic catering to the viewers' pleasure alongside intelligent direction.

Melodrama, the mode that Ongkeko-Marfil has chosen, poses a grave challenge to serious film evaluators. The genre belongs to the larger group of “body” films, so-called for their ability to provoke corporeal, as opposed to cerebral, responses - goose bump-raising in horror, sexual arousal in pornography, laughter incitement in comedy and, in this instance, tear jerking. For the greater part of the last two decades, feminist critics have been spearheading a campaign to rehabilitate these much-derided genres, but their uphill movement shows no signs of reaching level ground in high-art culture, the indie-film scene included. “Boses” evinces a systematic working-through of the elements peculiar to local melodrama: kilig, tampuhan, tawanan, kantahan (with violins instead of voices), habulan, and pagwawala. The penultimate sequence between the teacher and student protagonists encapsulates the earlier depiction of the shifting nature of their interaction: from farewell bonding, to panic, to relief, to hysteria, to music-making, to a brief comic exchange, to a final display of exuberance. One might wish that the performers had been seasoned enough to allow Ongkeko-Marfil to use a single take, but the scene had unfolded in one continuous action, such was the brilliance of said sequence's nearly wordless conception, grand in romantic dimension yet sad in its recognition that the just-bonded individuals may never be this close, and this innocent, again.

Successful finale

The musical number that ends the narrative succeeds because it refuses to provide definitive closure for any of the characters. The teacher will have to contend with his newfound dependence on the validation provided by his prodigy. The child will have to work out his loyalties for two needy father figures. The biological father will have to face the reality of his son challenging his vulnerable manhood. The social worker will start worrying whether her decision to reconcile the family was right. A few films have helped incite revolutionary change, and the inward turn that “Boses” inspires ought to be fulfillment enough for the talents behind it. Most local digital practitioners will continue to aspire for, and attain, festival honors abroad, but this is the first movie made by a colleague of theirs that, more than anything else, truly belongs to the world because it remains rooted at home.

Julian Duque playing Springtime by Vivaldi


For older postings, see the archives on the right side of the screen

BOSES Reviews


"At the end, a rousing ovation was given the movie (the foreigners had risen, too) and the crowd started to chant Onyok’s name and Julian stood with pride and went onstage. Like Pacquaio at the end of a well-fought match, he stood at the center, crossed his arms and looked straight into the lenses of the cameras that had flocked around him. Standing far away, I knew that the audience recognized genius and was giving it its proper recognition.” Rica Bolipata, Phil. Star

"The film is made even more compelling by the stirring performances turned in by the boy who plays Onyok, Davao, Picache - and most of all, by Bolipata, who moves us not only with his unexpectedly felt and insightful portrayal but also with his musical performance, which is an overwhelming experience."- Nestor Torre, PDI

"Your film made me motionless for some time even after watching it.
Its beauty really moved me. Poignant and so powerful, the music comes from theheart.”- Archie de Calma, journalist

At the premiere night, the audience was not shy in proclaiming its feelings about the movie, both shouting, laughing and crying at various times. In one scene, Ariel attempts to elude Ricky’s character and the audience collectively cheered, some people even rising from their seats! At the back of the hall was a row of foreigners and I wondered what they all thought of this Filipino brand of audience participation" - Rica Bolipata, Phil. Star

"... specially moving and value-laden film. I was in tears many times, so clean and well told. Cheche Lazaro, Broadcast Journalist

"Brilliant Cinema!"- Joel Lamangan,film director"… your film is one of the best in the four years of Cinemalaya. “- Gil Portes,film director

"BOSES will soothe the uneasy, fearful, troubled breast ... The story tackles child abuse, healing, and friendship-without being preachy and didactic. Never has a local movie integrated social advocacy and the promotion of classical music so seamlessly, movingly, and beautifully...Movie collaboration at its creative best." - Mario Hernando, Malaya, Urian

"The moving BOSES offers an emotionally rich, cathartic experience ... This is an intense, heartfelt film brimming with lovely moments,"- Gibbs Cadiz, Phil. Daily Inquirer

"Sobrang galing. It is a must-see!"- Dr. Honey Carandang, Child Psychologist

"... has powerful emotional appeal, electrifying musical scenes and intrinsic moral values which raise it several cuts above the average movie."- Rosalinda Orosa, Phil. Star, Columnist

Surprisingly, Bolipata shines as an actor. His warmth and empathy for children, developed through years of teaching, shines through in this film. The man is funny as well. But Duque is even better. To say so much without a word is a command performance."-
Rome Jorge, Manila Times Lifestyle Editor"
Duque’s crushing innocence embodies the movie’s purity."-
Lito Zulueta, Philippine Daily Inquirer, Lifestyle Editor

"One of the year's most intensely moving film so far, brilliantly acted by the entire cast and directed with great sensitivity..."- Mario Bautista, People's Journal

I love your film . Malaki ang magiging impact niya sa Phil. Society.
-Vic Acedillo Jr., filmmaker

Thursday, January 1, 2009

Press Release 1: Ricky Davao Travels to New York For The Premiere of Boses


Carving time out from his busy schedule on stage, television and film, Aliw Awards’ newest Hall of Fame member Ricky Davao will make a special trip to New York City for the premiere of his film BOSES. BOSES was one most popular and successful entries to the 2008 Cinemalaya Film Festival.

BOSES is about the redemption of the human spirit and the healing power of music. Onyok, a child made mute by abuse at the hands of his own father, is sent to a shelter for abused children where he is cared for by social workers. Nothing seems to work for Onyok until he meets Ariel a reclusive violin teacher. Although reluctantly at first as he himself is haunted by grief and guilt over the death of his girlfriend Ariel discovers that Onyok is a gifted child. Together they battle their demons until they regain their voice, rediscover their spirit and realize that forgiveness is within their reach.

The film stars Ricky Davao, Cherry Pie Picache, Meryll Soriano and introducing Julliard trained violinist Coke Bolipata and his student, Julian Duque, a child violin prodigy. This film is sub-titled and rated PG 13.

A project of the Assumption Alumnae Association, the four hour event on Friday, May 1, 2009, 6:00pm at Saint Paul at Lincoln Center in Manhattan, will include a reception with Ricky Davao and Ellen Ongkeko-Marfil, Director of BOSES and an alumnae member, a film screening and a musical concert featuring Ricky Davao.

For group and individual ticket sales, please contact Vina Francisco at vins_nyc@yahoo.com Tickets are $25.00

This film has been endorsed in the Philippines by UNICEF, the Catholic Education Board and was granted an A rating by the Cinema Evaluation Board.

Proceeds of the film will benefit Daang-Sine, a creative group focused on educating and creating awareness on social issues through film and various organizations in the Philippines working to stop violence against children.