Synopsis: A female movie fan idolizes a movie bit-player who becomes her obsession. Her unrequited love for him leads to a nightmarish end.

	
Bona.1980.576p.BluRay.AAC1.0.x264-Slope.mkv

General
Container:  	Matroska
Runtime: 	1 h 27 min
Size: 	3.21 GiB
Video
Codec: 	x264
Resolution: 	792x576 
Aspect ratio:  	1.375
Frame rate: 	23.976 fps
Bit rate: 	5 128 kb/s
BPP: 	0.469
Audio
#1:  	Tagalog 1.0ch AAC LC @ 99.1 kb/s

https://nitro.download/view/0F3E30513E35FFD/Bona.1980.576p.BluRay.AAC1.0.x264-Slope.mkv

Language(s):Tagalog
Subtitles:English, English [SDH], French

The post Lino Brocka – Bona (1980)  first appeared on Cinema of the World.

Quote:
Bona, released in 1980, is perhaps his best–regarded work. The title character is a young, starstruck schoolgirl (played by Nora Aunor) who falls in love with an ageing actor (Phillip Salvador) and becomes his servant. She waits on him loyally in his decrepit shack, receiving nothing for her labors but the privilege of being his slave. When the actor decides he has had enough of her and attempts to toss her aside, Bona retaliates in a wholly unexpected, utterly justified fit of violent rage. As with many of his other independently made films, Bona reveals Brocka’s uncanny ability to join the personal and the political, to locate the overarching social statement in an intimate, deeply individualized gesture. He gave voice to an enormous swath of the Filipino population, one that had previously been given little attention by the nation’s filmmakers, most of whom were more concerned with the dissemination of fantasy than with immersion into real life. In so doing, he became a hero to an entire generation of filmmakers in the Pacific Rim and beyond.

– Steven Higgins, excerpt from ‘In Still Moving: The Film and Media Collections of the Museum of Modern Art’ New York: The Museum of Modern Art, 2006, p. 279

1980 Bona_Lino_Brocka.mkv

General
Container:  	Matroska
Runtime: 	1h 26mn
Size: 	1.37 GiB
Video
Codec: 	x264
Resolution: 	702x350 ~> 702x493
Aspect ratio:  	1.423
Frame rate: 	29.970 fps
Bit rate: 	2 000 Kbps
BPP: 	0.272
Audio
#1:  	2.0ch AC-3 @ 256 Kbps (Stereo)

https://nitro.download/view/D6F4AED3DADF9B1/1980_Bona_Lino_Brocka.mkv
https://nitro.download/view/686F43FC5CFCEC4/Bona.srt

Language(s):Filipino, Tagalog
Subtitles:French [Hard subs], English

The post Lino Brocka – Bona (1980) first appeared on Cinema of the World.

Set during the post-Marcos regime in a remote village of Dolores, chronicles the life of Jimmy Cordero, a political prisoner who have just been freed from prison after the decline of the Marcos dictatorship. From his revolutionary past, he got himself into human rights activism following his prison release. He and his wife’s brother once conducted a fact-finding mission to Dolores only to find out the terror brought about to its residents by the Orapronobis, a government-backed anti-communist paramilitary troop deployed in the town of Dolores.

Fight.for.Us.1989.Laserdisc.AC3.2.0.x264-SaL.mkv

General
Container:  	Matroska
Runtime: 	1 h 34 min
Size: 	1.92 GiB
Video
Codec: 	x264
Resolution: 	704x480 ~> 704x528
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 636 kb/s
BPP: 	0.325
Audio
#1:  	English 2.0ch AC-3 @ 256 kb/s

https://nitro.download/view/79DC26F1671B5F6/Fight.for.Us.1989.Laserdisc.AC3.2.0.x264-SaL.mkv

Language(s):Tagalog
Subtitles:English (Hardcoded)

The post Lino Brocka – Orapronobis AKA Fight for Us (1989) first appeared on Cinema of the World.

A groom (Philip Salvador) takes his city bride (Cecille Castillo) to his hometown to settle in his father’s house. Struck by her uncanny resemblance to his dead wife, the patriarch (Vic Silayan) is driven to lust after his daughter-in-law. When things come to a head, a violent family quarrel ensues and leads to tragedy. A middle-aged spinster (Charito Solis) recounts the tale to reveal her identity and trace the downfall of the landowning clan trapped in the past.

Karnal.1983.720p.WEB-DL.h264.AAC-DEEP.mkv

General
Container:  	Matroska
Runtime: 	1 h 50 min
Size: 	3.16 GiB
Video
Codec: 	h264
Resolution: 	1164x720 
Aspect ratio:  	16:10
Frame rate: 	23.976 fps
Bit rate: 	3 953 kb/s
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https://nitro.download/view/7561E7A105A9B83/Karnal.1983.720p.WEB-DL.h264.AAC-DEEP.mkv

https://rapidgator.net/file/7ee5fca75ebb8a8c5bd8842049f617d7/Karnal.1983.720p.WEB-DL.h264.AAC-DEEP.mkv

Language(s):Filipino, Tagalog
Subtitles:English

The post Marilou Diaz-Abaya – Karnal AKA Of the Flesh (1983) first appeared on Cinema of the World.

KONTROBERSYAL is one of the classic masterpieces of acclaimed stage and film director, Lino Brocka, in the historical period of the 80’s. A story set in the glitter and glamour of showbiz world. Behind the bright lights, fabulous costumes and larger-than-life sets, real lives are broken and shattered for the hunger for fame and the thirst for money. Karina Daluz (played by Gina Alajar) was blinded by the ill promise of success offered by her producer Mers Madsen (played by Charo Santos). Her walk toward the path to stardom entailed her sanity and corrupted her soul. Her innocence was replaced by wickedness and her once good-natured self, has become the demon that she feared. No love that is forever, no hope to discover for all the people living in KONTROBERSYAL.

0.99GB | 1h 35m | 640×480 | mkv

https://nitro.download/view/4492A178D95037B/Kontrobersyal.1981.480p.WEB-DL.AAC2.0.H.264-RSG.mkv

Language:Filipino,Tagalog
Subtitles:None

The post Lino Brocka – Kontrobersyal (1981) first appeared on Cinema of the World.

Kapit was well covered by media, as any competition film in Cannes is covered, except that the rave reviews were numerous. Festival reports had it that, of the critics, only a minority found the film’s “constant agit prop a little hard to digest, however much they sympathized personally with Brocka’s politics.” Le Quotidien’s Gerard Lefort felt that the famous Costa-Gavras could stand comparison with Lino Brocka! Brocka garnered enough inter­ national prestige in the 1984 Cannes event to put Philippine cinema an—foremost in Brocka’s priorities— Philippine politics in the limelight.

There is something more to this “po­litical tool”of a film. It is, more than his previ­ ous films are, a personal film. As Brocka unwinds the story o f the film ’s making, that story gets entangled with the story of Brocka’s po­litical development, and soon you realize that the two stories are of one weave. And you be­ gin to agree with Brocka that the story of the film ’s protagonist creates so many resonances in his personal life. Then it only seems logical for Brocka to be uninclined to make distinc­tions between the film’s artistry and its poli­tics.

The background story for Kapit is based on a strike waged in 1970 by 30 employees of Pan-Asia, a small company “No earthshaking event,”says Brocka, “but it was for the workers a matter of life and death.” Screenwriter Pete Lacaba, at that time a writer for Asia Philippines Leader, covered the strike and exposed the harassment done on the workers. For the film, he inte­ grated that story with another news item: a hos­tage case resulting in a shootout between gang­sters and police.

Turing, the protagonist, played by a Brocka favorite, Phillip Salvador, is a printing press employee whose fellow employees are on strike. He sympathizes with them, but he does not join the strike because o f personal considerations: his wife is pregnant and he is deep in debt. He chooses to become a scab. When that doesn’t suffice, he goes along with theft. Too late he realizes that in such a given system, no individual stand, for sur­vival or for justice, can prosper.

As for Brocka, he declares that he can, with clear conscience, recall no act on his part that can be tagged as cooperation with government poli­cies. Such a stand, however, he now sees as very much like Turing’s: an individual stand. He has recently realized, Brocka says, the need to inte­grate one’s individual stand with a united effort. He only hopes that, unlike Turing’s, his realiza­tion has not come too late.

The Concerned Artists of the Philippines,of which Brcka is a founding member, is proof of this realization. “The artists have to unite,”says Brocka. Obviously this need is echoed in the minds of many artists. So it was that the movement that started out as a reaction to film censorship balloned out to a program of concern about other issues.

Brocka made Kapit beneath the gloss of some sex-dramas he was known to be doing. Going two ways at the same time could have driven anyone schizophrenic and there was yet another complication. Brocka was constantly being asked to speak at rallies and meetings, to marshal assembly points or to man negotiation panels.

Kapit’s first day of shooting was also a critical day of the August Twenty One Movement’s (ATOM) Tarlac-to-Tarmac Run. Brocka was chairman of the Manila welcoming committee, the group “that had to face the trun­cheons and the soldiers.” Brocka’s friend Pierre Rissient (French critic and director), who was act­ing as adviser and devil’s advocate of sorts, was hammering him to “concentrate, concentrate.”On the film of course. Also doing some hammering was Lacaba, his scriptwriter. Brocka was forced to negotiate a delicate balancing act, giving over some of his organizational responsibilities to Lacaba.

Then came Lakbayan, the boycott movement’s May action. The closer the boycotters inched toward Manila, the more Brocka was pressured into involvement and responsibility. By then Rissient was breathing down his neck, pry­ing into his schedule, questioning the night shootings which Brocka had arranged in order to accommodate his political activities. Rissient at last put the question to him: “Will you shoot or will you join the rally?” How could he choose? “Both,”said Brocka.

Hoping to bring Rissient over to his point of view, Brocka took him to Binan, San Pedro, and Alabang—stopover and rally points for lakbayan South. Almost praying for a mild epi­demic to engulf his actors for at least that shoot­ing night, Brocka dragged the Frenchman through those arduous kilometers. The sight of marchers who were bravely and determinedly ex­pressing a unified protest could show Rissient a whole lot of precious lessons, Brocka was think­ing. Including this pertinent lesson: that it was important “for the people to know that the artist is one with them.”That at that point, Brocka, who had given the Filipino several films that spoke of the Filipino’s plight, was most effective in putting across the artist’s message to the people.

Rissient finally seemed to understand Brocka’s point.

Kapit Patalim (Bayan Ko) has been invited to open the Toronto Film Festival. It will also be in the London festival, despite the written ob­ jections of a certain Alexander Walker, who tagged the film as “just another one of Brocka’s Tondo melodramas.”Walker is, for very vague reasons, a long-standing adversary of Brocka. The Tokyo festival will also screen Brocka’s film before it returns to the Philippines. It is hoped it will finally be screened in Manila’s theaters— if censorship laws do not bar its way.

— excerpted from Sotto, Agustin L. and Pet Cleto. “Two Filipino Films Make Waves in France. Philippine Panorama, 2 December 1984. From The Urian Anthology, 1980-1989, ed. Nicanor Tiongson.

2.86GB | 1h 49m | 792×576 | mkv

https://nitro.download/view/37DA19B0155F89E/This.Is.My.Country.1984.576p.BluRay.AAC.1.0.x264.mkv

Language:Filipino,Tagalog,English
Subtitles:English,French

The post Lino Brocka – Bayan ko: Kapit sa patalim AKA This Is My Country (1984) first appeared on Cinema of the World.

Quote:

Lino Brocka’s “Ang Tatay Kong Nanay” (My Father, My Mother, roughly, 1978) is the master filmmaker’s one collaboration with the near-universally acknowledged King of Philippine Comedy, Dolphy (Rodolfo Vera Quizon). Screen legends working with famed filmmakers rarely if ever create sure bets; it’s something of a surprise, then that the resulting picture from these two is so straightforwardly poignant, laced with just enough humor to wriggle past one’s defenses.

It’s a simple premise: Dioscoro Derecho, a.k.a. Coring (Dolphy) has nurtured a crush for his handsome young friend Dennis (Philip Salvador, Brocka’s then newfound protégé). When Dennis appears at Coring’s door with a baby and a need to disappear for a while, Coring has no choice but to take in the child, and raise him as best he can.

If there’s any comedy in the picture, unlike with most of Dolphy’s movies, the humor arises from character rather than situation, and Dolphy here reveals himself as a superb character actor. Witness his discomfort at dealing with Dennis (the physical attraction he feels so intense he almost feels faint); witness too the growing sense of maternal love he feels for Nonoy, Dennis’ child (played by Nino Mulach (if, as W.C. Fields warns us, we should never act opposite dogs and children, Dolphy had his hands full trying not to be upstaged by this indescribably cute, frighteningly precocious young actor)).

More, there’s the handling of homosexuality, which is startlingly deft, considering the times when this was made. Coring doesn’t believe in gay empowerment–when Nonoy catches him in drag, he makes excuses; when the boy puts on lipstick (in an attempt to play an American Indian), Coring, misunderstanding, reprimands the boy. Brocka shows us a gay man who fails to transcend his times (Coring believes homosexuality is a flaw–or worse, a sin), who nevertheless does his level best to be a parent to the child; watching Coring bumble along in desperate befuddlement, often against the dictates of his own heart, creates a complex knot of feelings in the viewer. You feel your heart quietly breaking in sympathy for the man, the same time you find yourself (despite the film’s overall serious tone) chuckling in amusement.

Easily one of Brocka’s most delicate creations, and one of Dolphy’s finest performances (arguably his finest period would be his monumental role as quintessential Filipino family man John Puruntong, in the long-running family comedy series “John en Marsha” (1973 to 1990)). A definite must-see. – Noel Vera (Critic After Dark)

1.81GB | 1h 56mn | 704×528 | mkv

https://nitro.download/view/E21DCC7DA99CD11/Lino_Brocka_-_(1978)_My_Father,_My_Mother.mkv

Language(s):Filipino, Tagalog
Subtitles:English

The post Lino Brocka – Ang tatay kong nanay AKA My Father, My Mother (1978) first appeared on Cinema of the World.