First grading grades are available at the Admissions Office. You can
either call via landline (2212411 local 8302) or email me at jseliab@gmail.com. I can send your grades via email.
Bong Eliab
Office of Faculty Development and Scholarship Programs
Ateneo de Davao University
E. Jacinto St., 8016 Davao City
Tel. No. +63 (82) 221.2411 local 8303/ 8302
Fax +63 (82) 226.4116
facdev@addu.edu.ph
www.addu.edu.ph
Monday, January 31, 2005
Saturday, January 29, 2005
Raunchy, oui, oui
Friday, Jan 28, 2005
YO! Features
Raunchy, oui, oui
Older woman pitted against young girl in erotic French tale
By GARY THOMPSON
thompsg@phillynews.com
Though Hollywood movies are reputed to be depraved and lurid, they're generally pretty square.
Reformers have taken over, and lately it's been a very PG kind of town. Where sex is concerned, it's almost prim. Hollywood's current idea of a "sexy" movie is "Charlie's Angels 2," where the most risque scenes are of swimsuit modeling.
If you want the harder stuff, you have to go behind the counter, to France and French movies, which are often completely lurid (several have featured porn stars in key roles) or, in the case of "Swimming Pool," genuinely erotic.
The movie is technically an English-language picture, but it's written and directed by Frenchman Francois Ozon ("Under the Sand"), and it has a Frenchman's laissez-faire attitude toward actresses keeping their clothes on.
The suspenseful "Swimming Pool" is basically a titanic catfight between an uptight Englishwoman (Charlotte Rampling) who senses she's losing her sex appeal and a randy French girl (Ludivine Sagnier) who's freely exercising hers.
They square off at a French country home where the Englishwoman, a mystery writer, has gone to work on her next book. The home is the property of her publisher (Charles Dance), with whom she's involved, though lately he's shown signs of being bored.
She goes to his home in France hoping he'll show up, but he doesn't. Instead, the man's estranged daughter arrives, and she's a terror. She drinks, smokes, trashes the house and brings home a different guy every night for noisy ravishing.
She is constantly topless, often bottomless, and looks like Anna Kournikova, which I observed because I'm a trained observer.
Because these are women in a Frenchman's movie, they do not become fast friends, as they would in an American movie. They become enemies, competitors, rivals. Their talons extend, their eyes narrow, and they curse each other.
Slut! Prude! Fur flies, and the women decide to test themselves by competing for the attention of a handsome waiter, a sort of Gallic Marlboro Man. For Rampling's character, the issue isn't the man, it's her self-image: She's jealous of the younger woman's sexual power and wants to gauge her own.
The stakes are high, and it's not long before there is a murder and a cover-up.
"Swimming Pool" comes by its "erotic thriller" label honestly, not merely because the women are naked, but because they deploy their sexuality in a way that's crucial to the narrative - the catalyst for it, the point of it, in a way.
Given all of that, I wish the ending of "Swimming Pool" didn't suck so much, and suck in a way that defies description, since to do so would give too much away.
In general, we can say the ending is ironic, since the movie turns out to be at its best before all is laid bare.
YO! Features
Raunchy, oui, oui
Older woman pitted against young girl in erotic French tale
By GARY THOMPSON
thompsg@phillynews.com
Though Hollywood movies are reputed to be depraved and lurid, they're generally pretty square.
Reformers have taken over, and lately it's been a very PG kind of town. Where sex is concerned, it's almost prim. Hollywood's current idea of a "sexy" movie is "Charlie's Angels 2," where the most risque scenes are of swimsuit modeling.
If you want the harder stuff, you have to go behind the counter, to France and French movies, which are often completely lurid (several have featured porn stars in key roles) or, in the case of "Swimming Pool," genuinely erotic.
The movie is technically an English-language picture, but it's written and directed by Frenchman Francois Ozon ("Under the Sand"), and it has a Frenchman's laissez-faire attitude toward actresses keeping their clothes on.
The suspenseful "Swimming Pool" is basically a titanic catfight between an uptight Englishwoman (Charlotte Rampling) who senses she's losing her sex appeal and a randy French girl (Ludivine Sagnier) who's freely exercising hers.
They square off at a French country home where the Englishwoman, a mystery writer, has gone to work on her next book. The home is the property of her publisher (Charles Dance), with whom she's involved, though lately he's shown signs of being bored.
She goes to his home in France hoping he'll show up, but he doesn't. Instead, the man's estranged daughter arrives, and she's a terror. She drinks, smokes, trashes the house and brings home a different guy every night for noisy ravishing.
She is constantly topless, often bottomless, and looks like Anna Kournikova, which I observed because I'm a trained observer.
Because these are women in a Frenchman's movie, they do not become fast friends, as they would in an American movie. They become enemies, competitors, rivals. Their talons extend, their eyes narrow, and they curse each other.
Slut! Prude! Fur flies, and the women decide to test themselves by competing for the attention of a handsome waiter, a sort of Gallic Marlboro Man. For Rampling's character, the issue isn't the man, it's her self-image: She's jealous of the younger woman's sexual power and wants to gauge her own.
The stakes are high, and it's not long before there is a murder and a cover-up.
"Swimming Pool" comes by its "erotic thriller" label honestly, not merely because the women are naked, but because they deploy their sexuality in a way that's crucial to the narrative - the catalyst for it, the point of it, in a way.
Given all of that, I wish the ending of "Swimming Pool" didn't suck so much, and suck in a way that defies description, since to do so would give too much away.
In general, we can say the ending is ironic, since the movie turns out to be at its best before all is laid bare.
Saturday, January 22, 2005
La Vita E Bella
Roberto Benigni’s LIFE IS BEAUTIFUL (La Vita E Bella) is a daring departure for one of the world’s most acclaimed comic filmmakers. Winner of the Grand Jury Prize at the 1998 Cannes Film Festival, the Best Jewish Experience Award at this year’s Jerusalem International Film Festival and the Audience Award at both the Toronto International Film Festival, the Vancouver International Film Festival and the Montreal World Film Festival. In addition, LIFE IS BEAUTIFUL is the recipient of 8 David di Donatello Awards (the Italian Oscars) including Best Picture. Best Actor, Best Director, and Best Screenplay along with Vincenzo Cerami, the film is a Chaplinesque fable about the power of imagination set against the stark reality of World War II Europe. LIFE IS BEAUTIFUL (La Vita Bella) combines satire, physical comedy, social commentary and a touch of the surreal into a uniquely moving story of love.
At the center of the fable is Guido (Roberto Benigni) — an enchanting individual with childlike innocence and grand dreams of owning his own bookshop. It’s 1939 and he has come to the Tuscan town of Arezzo with his poet friend Ferruccio (Sergio Bustric). With unabashed humor and joy, the two seek fortune and romance, ignoring the growing anti-Semitism and Fascist government that surrounds them.
Guido falls in love with Dora, a beautiful young school teacher (Nicoletta Braschi, the Italian actress who has starred in most of Benigni’s films). Unfortunately, the woman he calls his “Princess” is already engaged. Worse, she is engaged to the local Fascist official with whom he has had a run-in. Guido, however, is not deterred and a fairy tale romance ensues.
Several years later — Guido and Dora are married and have a son, Giosue (Giorgio Cantarini), and Guido has finally opened the bookshop of his dreams. But now, the occasional bigotries Guido once ignored have become Racial Laws with which he must come to terms. Throughout it all, Guido determines to shield his son from the brutal reality governing their lives. This determination becomes a matter of life and death when Guido and his son are sent to a concentration came three months before the war’s end. Of her own accord, and out of her love for them, Dora deports herself on the same train.
Now, in this unimaginable world, Guido must use his bold imagination and every ounce of his indefatigable spirit to save those he loves.
Read more....
At the center of the fable is Guido (Roberto Benigni) — an enchanting individual with childlike innocence and grand dreams of owning his own bookshop. It’s 1939 and he has come to the Tuscan town of Arezzo with his poet friend Ferruccio (Sergio Bustric). With unabashed humor and joy, the two seek fortune and romance, ignoring the growing anti-Semitism and Fascist government that surrounds them.
Guido falls in love with Dora, a beautiful young school teacher (Nicoletta Braschi, the Italian actress who has starred in most of Benigni’s films). Unfortunately, the woman he calls his “Princess” is already engaged. Worse, she is engaged to the local Fascist official with whom he has had a run-in. Guido, however, is not deterred and a fairy tale romance ensues.
Several years later — Guido and Dora are married and have a son, Giosue (Giorgio Cantarini), and Guido has finally opened the bookshop of his dreams. But now, the occasional bigotries Guido once ignored have become Racial Laws with which he must come to terms. Throughout it all, Guido determines to shield his son from the brutal reality governing their lives. This determination becomes a matter of life and death when Guido and his son are sent to a concentration came three months before the war’s end. Of her own accord, and out of her love for them, Dora deports herself on the same train.
Now, in this unimaginable world, Guido must use his bold imagination and every ounce of his indefatigable spirit to save those he loves.
Read more....
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