BEST ACTRESS (34th Gawad Urian Awards 2011)

Actor's Demo Reel: Fe GingGing Hyde

FILMMAKER'S NOTE: HOSPITAL BOAT (2009)

Peace Greetings!

While I am inviting you to watch my film Hospital Boat, allow me to share some thoughts how this project came into being.

In the month of April 2009, I started shooting the film Hospital Boat (HB) in the island of Samal and some parts of Davao City, thus, weaving a story about love and friendship in the midst of war in the impoverished island of Sulu. 

My script for HB had been stored in my files for eight years already! This is because narrative filmmaking during those times is remote and a costly project for dreamers like me. But in the advent of technology, film production is democratized and “indie filmmaking” took off here in our poor country. A single handy unit of camera like XLI and XL2 are now capable of documenting and filming with the least cost covered. That's why, Hospital Boat is predestined to sail as a Mindanaon story based from the narratives of Mindanoan peoples and the lens of a Mindanaoan storyteller.

Davao City is slowly making headway in building a fledgling but promising independent film industry in the locality. I organized the SkyWeaver Productions with the end view of specializing the creation of full length/feature films with stories promoting tolerance and multiculturalism--themes innate to Mindanao. This will only be realized through collaborating with kindred spirits like HYDEout Entertainment and Alchemy of Vision and Light Productions in the case of my second film. In two years time, SkyWeaver Productions already made two full length films. SkyWeaver is also bent in encouraging and developing Mindanaoan film writers and directors in the locality.

It's also interesting to note the emergence of the local producers who have shown passion in indie film by investing in actual production. They have decided to journey with me in this road less traveled by. They are the pillars why an indie film like Hospital Boat has come into being. They are the lifeblood of this film project.

The social perspective of an independent local film industry in Mindanao, as I would say, must always be in the effort to provide entertainment and education to the nation. To be distinct, a Mindanaoan film must be a tool in preserving a progressive culture that nurtures diversity, and promoting a perspective of non-violence and tolerance.

A truly Mindanaoan film must contribute in the dawning of a new but progressive indie film industry which is once beholden to Manila. Mindanaoan indie films must serve to counter mainstream movies using either worn out or rehashed storylines. Indie films in general are more popular and liberating since it tackles themes that are out of the box. Indie filmmakers are empowered since they are not beholden to any shrewd producers who have long molded our minds with sex and violence.

I am labeled as a maker of advocacy films. With this, I discuss multi-layered issues on how Mindanao suffer in poverty and landlessness. Villains in my stories are the despots that cling to power and inflict violence to poor lumad-moro and christian settlers. But there is always hope in my films because I always made it to a point that my protagonists are my peace champions and they always live to tell the message of hope. For a Mindanaoan fimmaker, it is a pleasure to see on screen unknown actors but who are highly capable thespians who nurtured their crafts as theatre actors and hearing different languages spoken by them is both a challenge and a treat. 

Are Mindanaoans a ready market for indie films? I can't answer this. But my experience in my previous film Hunghong sa Yuta taught us. Thousands of students not only in Mindanao but also in Cebu and Manila have watched it. So there is indeed a gleam of hope here when it comes to film audience development. Prodding must continue. I am committed to offer a new kind of film every year. And there are other Mindanaoan young filmmakers who trudge towards the same path. 

For Mindanao filmmaking to survive, an industry must be built. Mindanao is endowed with abundant talents, it is also gifted with kind hearted individuals who are willing to shell out their own money to produce films, and we can not make it with out you as our audience and patrons. We can make more films that are meaningful to Mindanaoans and to the nation. Patronize Mindanaoan films and we will bring more. There are many stories in Mindanao that need to be told.

Please enjoy watching my film. Lastly, I want to read and hear your comments about my film “Hospital Boat”. Please email your comments and inquiries at skyweaver09@yahoo.com.

Sail on to our dreams, for peace and progress in Mindanao may reign soon. 

Sincerely yours,

Arnel M. Mardoquio 

Filmmaker, Hospital Boat

SkyWeaver Productions 

*****

HYDEout Entertainment

Skyweaver Productions

Alchemy of Vision and Light Film and TV Productions

in coordination with the

National Commission for Culture and Arts (NCCA) 

present:

HOSPITAL BOAT

a Mindanaoan film by: Arnel M. Mardoquio

Synopsis:

     Orphaned by war, 12-year old Nikol found a new home in Isla Kalilintad, an island community of people from different cultures and faith traditions. He was forced to become an adult at a tender age, trying to eke out a living to feed Langit, his younger brother. By serendipitous circumstance, Dr Sittie and Sr Claire, a team of humanitarian workers on a mobile medical mission, visited the isla before they proceed to the other smaller islands. Nikol, eager to grab the chance to work, presented himself as a natural healer and got accepted as an all around utility person for the mission. The mobile medical mission which runs on a low budget, relies on fishing boats offered by the communities they serve as they make their way to far-flung villages rarely reached by medical services from both government and private sector. Each journey to these unknown frontiers bears stories of struggle and survival of people affected by war and extreme poverty.

     Sittie, a medical doctor, decided to return home to her father’s village in Isla Kalilintad to serve as a community doctor. Sr Claire, being a nurse herself, volunteered to be part of the team as her vocation and mission duty.

     In one of their mission routes, Nikol met Lensha, a thirteen year-old lass who was in deep trauma due to rape and war. Nikol got smitten with her at that instance. Lensha stayed with the medical team as a form of therapy and as the days go by, these youngsters grew fond of each other.

     Nikol, Sittie, Claire, Lensha and the rest of the islanders converge in different settings as the story unfolds. Amid the social landscape of poverty, warlordism and unending cycles of violence—the humanitarian mission continue to brave the waters, putting at risk even their own lives for the greater good.

      Hospital Boat symbolically depicts a journey. A journey to the road less taken by few courageous souls; a journey filled with love, friendship and a dream of a peaceful tomorrow.

***

CROSSFIRE (2011) by Arnel Mardoquio

NCCA (National Commission for Culture and the Arts)

and

SineMindanaw

present:

produced by:

Skyweaver Productions

and

Red Motion Media

in cooperation with:

HYDEntertainment (HYDEout Entertainment)

 Alchemy of Vision and Light Film and TV Productions

MOSCAT (Misamis Oriental State College of Agriculture and Technology)

LGU Claveria, Misamis Oriental

   

Starring:

Perry Dizon

Alexis Libres

Betya Villarojo

AC Macheca

Director's Note:

     

War plunges Mindanao in a state of intractable conflict. Death, hunger and evacuation are

ugly consequences of armed violence. Glaring statistics of internal refugees popularly known 

as "Bakwits" rose to hundreds of thousands in the early 2000 when the Philippine 

government declared an all-out war to quell rebellion in Mindanao. After a decade, war 

evacuees who may have reintegrated in the society are still dreaming of going back to their

farmlands. Still, war disowned their right to till the land. Whether big or clan wars, armed 

conflict force the local people, rich and poor alike, to become "bakwits" who have to contend 

with their new reality. They live in encampments and build their own makeshift houses in 

gymnasiums, schools, churches. And in some cases, they are adopted by local chieftains and 

become part of extended families. "Bakwits" have accepted their fate to flee just to avoid 

being caught in the CROSSFIRE.

Producers:

Arnel M Mardoquio

Arnel Barbarona

Fe Virtudazo-Hyde

Dax Canedo

Directed by: Arnel Mardoquio

Screenplay: Arnel Mardoquio

Cinematography: Arnel Barbarona

Art Director: Perry Dizon

Production Design: Bagwani Amplayo

Musical Score: Popong Landero

Sound Engineer: Maki Serapio

Editor: Arnel Barbarona

Production Manager: Roland Victor C Furton

*******************************

credits:

Crossfire Facebook Fanpage: 
http://www.facebook.com/media/set/?set=a.209635645713879.59068.204106489600128#!/crossfirefilm

Roland Victor C. Furton






       

***

CROSSFIRE (2011) - a film review by: Karl M. Gaspar CSsr

CROSSFIRE (2011)

 

Direction and Screenplay:
Arnel Mardoquio

Cinematography and Editing:
Arnel Barbarona

Musical Score: 
Popong Landero

Sound Design: 
Maki Serapio

Production Design:
 Bagwani Amplayo

Art Direction:
 Perry Dizon

Production Management:
Roland Victor C. Fortun

Produced By:

NCCA (National Commission for Culture and Arts)

SineMindanaw

Skyweaver Productions

Red Motion Media

In cooperation with:

HYDEout Entertainment

Alchemy of Vision and Light Film and TV Productions

Misamis Oriental State College of Agriculture and Technology (MOSCAT)

LGU of Claveria, Misamis Oriental

Starring:

Perry Dizon as Datu Mantukaw

Alexis Libres as Lingig

Betya Villarojo as Bae Magdas

AC Macheca as Bitoon



       Arnel Mardoquio, one of Mindanao's rising indie  filmmakers, strikes gold once again with his latest film - Crossfire!! 

       Perhaps Mardoquio is one of the very few Filipino filmmakers whose  films have all been nominated for the Urian  Best Picture award by the Manunuri ng Pelikulang Pilipino, the most distinguished award-giving body for films in the country today.  Mardoquio's first three films - Hunghong sa Yuta (2008), Hospital Boat (2009) and Sheika (2010) - all competed for Urian's Best Picture.  

       There is no question that Crossfire will find itself again listed in the nominees of Best Picture for the next Urian awards. It is a stunning film, truly the work of a young filmmaker on the way to being recognized as a film master if he continues to sustain his artistic output characterized with a deep passion for independent filmmaking that never compromises in terms of mirroring the stark realities of our people's lives while illuminating the viewers' minds as to how we should interpret contemporary events towards being challenged to take part in seeking solutions to our societal problems.

       Mardoquio's films - and Crossfire cements this reputation -  invite us to enter into his  interpretation of the current lifeworld of the disenfranchised segment of Filipino society.  This is clearly the landscape of Mindanao; but it might as well be any other place in the country or any Third World nation where its original inhabitants have been reduced to a tragic situation owing to the colonization of their lifeworld by element of a system that creates disfunctionality among families, neighborhoods,  clans, tribes and societies.

       When this colonization leads to dirty wars which are played out in a broader national and  global settings owing to the impact of globalization and  geopolitical considerations, these disfunctionalities lead to the dehumanization even among the most gentle among us, namely, the indigenous peoples.

       Bae Magdas (Betya Villarojo) and her daughter Bitoon (AC Macheca) are bakwits who left their homes within the Higaonon ancestral territory to relocate along with other kinsfolk to the safer grounds within the land owned by Datu Mantukaw (Perry Dizon). Owing to the continuing armed encounters between the government's armed forces and the rebels in the countryside which also happen to be  the Lumad's (Mindanao's indigenous peoples) abode, the Higaonons are forced to evacuate their homes and farms  to live in hamlets.

      But there is no guarantee for full security  in these hamlets which is why the homes have foxholes; in the event of a crossfire, the people seek shelter in these hiding places. At the center of this hamlet stands the big house of Datu Mantukaw where his kin - two wives and a number of children and other relatives - live. He is no longer the benevolent patriarch of this tribe. Forced by the conflict-ridden circumstances that has long pestered in their war-torn community, he has given up on being an authentic tribal leader. He had become a tribal dealer.

       He deals in various schemes to make money.  With his cow and a balsa, he operates a transport system for hire. He negotiates with all parties who needs favors from him. And he lends money.  Hoping that their family might be liberated from poverty, Bae Magdas aims to have her daughter become an OFW. She borrows P20,000.00 from Datu Mantukaw to pay for the expenses involved in securing a passport and a job placement for Bitoon.  Alas, in the end, Bae Magdas discovered that they were dealing with an illegal recruiter and Bitoon gets stuck in the conflict-affected area.

       Pushed to the wall, Bae Magdas is pressured to conspire with Datu Mantukaw's lecherous plans over Bitoon. The elder Datu has been enamored by the young Bitoon and with the unpaid debt, he asserts his claim over Bitoon. Bitoon resists as she loves  Lingig (Alexis Libres), an orphan who also lives in the hamlet.

       Lingig is the constant companion of Bae Magdas as they scavenge the territory for the spoils of war. Dislocated from their ancestral domain, Lingig and Bae Magdas earn a living as scavengers.  Despite being killed in the crossfire, they look for whatever they could find in places where encounters take place - arms, bullets and even folding beds used to carry wounded soldiers or rebels.

       Interfacing with the lowlanders, Bae Magdas finds herself caught in the ideological conflict and both sides try to take advantage of her movement in the interior to serve as communications courier. Caught between her need to survive and to appease the Datu since  Bitoon refuses to serve as a  payment for the debt, Bae Magdas devices a plan that ends in tragedy as all armed forces - not just the AFP and the NPA, but even  terrorist groups who also operate in the countryside as they hide those they have kidnapped - converge for a bloody show of force in what was once an idyllic spot in a Lumad ancestral home!

      If film is primarily story-telling, Crossfire's plot is very engaging especially for those who refuse to waste their time seeing escapist films marketed purely for commercial purposes. Mardoquio's screenplay is lean and tight, its poetic resonance - especially at the film's beginning and end  - enhances the flow of the story. But there is more to Crossfire than this plot.  Following in the tradition of anti-war films,  Mardoquio makes a statement for peace by telling a story that helps us to understand why there is need to end all kinds of dirty wars raging in a place like Mindanao. In the process, he also helps us to view our history as a nation; in Crossfire is a case study as to how our nation-state remains in a state of underdevelopment. For as long as the ordinary citizens like the Lumad are only seen as pawns to be used by those whose agenda is to hold on or to grab power - rather than as human beings whose rights are to be protected and whose needs are to be responded to - then we could never advance towards a society where there is fullness of life for everyone.

       But Mardoquio's art is not didactic; so there is no moralizing as the film unfolds. Viewers can construct their own grasp of meanings through the film's language which is in itself quite powerful. Mardoquio is served well by his cast and crew in crafting a film that will be regarded as a gem in Mindanawon film industry in the decades to come.

       More than in Mardoquio's  three previous films, Crossfire's ensemble acting is truly impressive. Casting the actors for a film's roles is very crucial; it is said that once a film has the right cast in the choice of actors, close to two-thirds of the film is already in the can. The four main actors manifest powerful performances.

       Perry Dizon and  Betya Vilarojo do justice to their anti-hero roles. Both reveal in very nuanced performances how they deal with their inner demons even as they show that dehumanization has not totally claimed their souls. When Datu Mantukaw blurts to Lingig his lamentation as a father who have lost sons whom he offered  to both sides of the camp, the viewer gets to have a glimpse of the inner torments. Very few actors have the gift to show such raw emotions.

      Villarojo's Bae Magdas is of the Mother Courage (translated as Madonna Brava in a recent Tanghalan Pilipino production directed by Nestor Horfilla) archetype. Villarojo grapples with the role with a deep passion in the tradition of the best actresses in Filipino cinema, and runs away with it. In scene after scene - from facing the dangers of scavenging to sharing a meal in the Datu's house to intuiting the inevitable consequence of her betrayal - Villarojo proves that she is the actress to watch for in coming film productions.

        Libres and Macheca - the film's young protagonists - are able to live up to the challenge of acting along with seasoned performers.  Along with the rest of the cast - and for an independent film, Crossfire has a sizable cast given the need to show a whole village with farmers, bakwits, townspeople, armed groups including a terrorist group holding captives - they all respond positively to the director's adage that less is more. The film's achievement in acting is that there is hardly any room for melodramatic acting.

        Mardoquio's technical crew is top-notch. Arnel Barbarona's cinematography is stunning; his camera captures the magnificent beauty of Mindanao's uplands with its lush greenery especially of forests bathed in mystical mist, the undulating hills washed by torrential rains and the silhouette of tall trees standing still with fiery sunsets at the background. The underwater scenes are also very striking, along with the quick movements of the camera covering war scenes.

        Maki Serapio's sound recordings, Perry Dizon's art direction and Bagwani Amplayo's production design all contibute immensely to the film's outstanding over-all sound and look. Despite constraints in budget (always a challenge for independent filmmakers) as well as the weather realities (shooting time coincided with the unpredicted rains)  the crew somehow were able to transcend the limitations and did a  lot of improvisations.      

         Perhaps, it is in editing that viewers may have differences in opinions. Those preferring "real-time" pacing in films, would welcome Crossfire's occasional slow pace to experience how characters in the film exhaust their patience while waiting (as in the scene of Bae Magdas,  Bitoon and Lingig waiting for the habal-habal to  arrive). But others might find these scenes too slow and would prefer a tighter editing. It remains a challenge for the Director and Editor to deal with this problematic in a manner that does not compromise the film's over-all aesthetics.

         Popong Landero's music has suited very well Mardoquio's film style and in Crossfire their collaboration reaches a higher level.  The incorporation of his songs into a few key scenes of the film - including the love song to accompany the young lovers' tryst and the lamentation song that serves as backdrop while Lingig contemplates the memory of his dead relatives) highlight the emotions erupting in these scenes.

         Unlike  other struggling filmmakers, Mardoquio has had the advantage of finding the right people and groups to finance his filmmaking career. Four groups are credited as producers with four others providing the much needed additional assistance in the filmming and completion of Crossfire. Filmmaking has not made Mardoquio rich and there is still the possibility that he could not raise enough funds of his next film.

        Which brings us to the major difficulty of sustaining Mindanao's nascent film industry. And in particular, to making sure that Mardoquio's films are both seen by as many Filipinos as possible and earn a margin of profit in the process.  What good is a gem of a film if only a few could see it and is not able to recoup its costs?

        Having shown through his four films that he  is truly a film artist that we in Mindanao could be very proud of - with Crossfire as his best film so far - the cineaste hopes to view more of his films in the future.  So it is imperative to develop a film audience who would patronize Mardoquio's films.


If Crossfire hits any local cinema in the near future, drop everything and go see it.


*****************************************


Credits:

Karl M Gaspar CSsr

Crossfire (2011) Facebook Fanpage: http://www.facebook.com/#!/crossfirefilm

Arnel Barbarona's channel on Youtube: http://www.youtube.com/user/arbiche75

SHEIKA BAGGED 3 AWARDS AT THE 34TH GAWAD URIAN 2011

CONGRATULATIONS!!!!


SHEIKA Team!!

Arnel Mardoquio for winning the BEST SCREENPLAY Award

Fe GingGing Hyde for winning the BEST ACTRESS Award

Willie Apa Jr. and Arthur Ian Garcia for the BEST EDITING Award

PRODUCED BY:

Fe GingGing Hyde - HYDEout Entertainment

Arnel Mardoquio - Skyweaver Productions

Dax Canedo - Alchemy of Vision and Light Film and TV Productions

Arnel Mardoquio

Best Screenplay: Sheika

Fe GingGing Hyde

Best Actress: Sheika

Willie Apa Jr.

Best Editor: Sheika






*************************

34th GAWAD URIAN AWARDS 2011 NOMINEES



BEST FILM

Amigo (Anarchists’ Convention Films)
Ang Damgo ni Eleuteria (Creative Programs, Inc., Panumduman Pictures)
Ang Mundo sa Panahon ng Yelo (Sampaybakod Productions)
Chassis (Happy Gilmore Productions)
Halaw (Los PeliculasLinterna Studio)
Limbunan (Bidadali House Productions)
Noy (Cinemedia Films, Inc., VIP Access Media Productions, Star Cinema, ABS-CBN Film Productions)
Sheika (HYDEout Entertainment, Skyweaver Productions, Alchemy of Vision and Light TV and Film Productions)

BEST DIRECTOR

Adolf B. Alix, Jr. (Chassis)
Sigfreid Barros-Sanchez (Tsardyer)
Sheron R. Dayoc (Halaw)
Mes de Guzman (Ang Mundo sa Panahon ng Bato)
Mes de Guzman (Ang Mundo sa Panahon ng Yelo)
Khavn de la Cruz (Maynila sa Mga Pangil ng Dilim)
Robin Fardig and Sherad Anthony Sanchez (Balangay)
Gutierrez Mangansakan II (Limbunan)
Arnel Mardoquio (Sheika)
Dondon Santos (Noy)
John Sayles (Amigo)
Remton Siega Zuasola (Ang Damgo ni Eleuteria)

BEST SCREENPLAY

Adolf B. Alix, Jr. (Chassis)
Adolfo B. Alix, Jr. and Agnes P. de Guzman (Presa)
Sigfreid Barros-Sanchez (Tsardyer)
Sheron R. Dayoc (Halaw)
Mes De Guzman (Ang Mundo sa Panahon ng Bato)
Mes De Guzman (Ang Mundo sa Panahon ng Yelo)
Khavn De la Cruz and Carl Javier (Maynila sa Mga Pangil ng Dilim)
Gutierrez Mangansakan II (Limbunan)
Arnel Mardoquio (Sheika)

ShugoPraico (Noy)
Remton Siega Zuasola (Ang Damgo ni Eleuteria)

BEST ACTOR

John Arcilla (Halaw)
Perry Dizon (Sheika)
Ronnie Lazaro (Ishmael)
Sid Lucero (Muli)
Coco Martin (Noy)
Pen Medina (Layang Bilanggo)
Sam Milby (Third World Happy)
Fanny Serrano (Tarima)
Joel Torre (Amigo)

BEST ACTRESS

Rita Avila (Magdamag)
Mercedes Cabral (Gayuma)
Donna Isadora Gimeno (Ang Damgo ni Eleuteria)
LauriceGuillen (Karera)
Fe GingGing Hyde (Sheika)
Ces Quesada (Magkakapatid)
Jodi Santamaria (Chassis)
Meryll Soriano (Donor)

BEST SUPPORTING ACTOR

JoemBascon (Noy)
Tirso Cruz III (Sigwa)
Martin Delos Santos (Tsardyer)
Julio Diaz (Magkakapatid)
Garret Dillahunt (Amigo)
Cogie Domingo (Muli)
Rocky Salumbides (Tarima)
Gregg Tecson (Ang Damgo ni Eleuteria)
Yul Vasquez (Amigo)

BEST SUPPORTING ACTRESS

Lucia Jeuzan (Ang Damgo ni Eleuteria)
Anita Linda (Presa)
Rio Locsin (Amigo)
Maria Isabel Lopez (Halaw)
Liza Lorena (Presa)
ZsaZsa Padilla (Sigwa)
Rosanna Roces (Presa)

BEST PRODUCTION DESIGN

ToneeAcejo (Gayuma)
Bagwani Ampalayo, Jun Cayas, and Maree Contaoi (Sheika)
Rodell Cruz (Amigo)
Rene De Guzman (Ang Mundo sa Panahon ng Bato)
Paramata Ednawan (Limbunan)
Rodrigo Ricio (Emir)
Roland Rubenecia (Chassis)
Amar Sharif (Halaw)
Kaloy Uypuanco (Ang Damgo ni Eleuteria)

BEST CINEMATOGRAPHY

Gabriel Bagnas (Chassis)
Albert Banzon (Ang Mundo sa Panahon ng Bato)
ArnelBarbaronaand Dexter Dela Peña (Halaw)
Malay Javier (Tsardyer)
Christian Linaban (Ang Damgo ni Eleuteria)
Lee Meily (Amigo)
McRobertNacario (Limbunan)
TakeyukiOnishi (Dagim)
Rain Yamson II (Di Natatapos ang Gabi)

BEST EDITING

Renewin Alano (Noy)
Danilo G. Añonuevo (Rekrut)
Willie Apa Jr. and Arthur Ian Garcia (Sheika)
Aleks Castañeda (Presa)
Chuck Guttierez and Lester Olayer (Halaw)

BEST MUSIC

Mason Daring (Amigo)
Marco De Leon, LC De Leon, Ciro De Leon (Tsardyer)
Mark Laccay, Stefan Loewenstein, and Ysagani Ybarra (Happyland)
Popong Landero (Sheika)
Jessie Lasaten (Di Natataposang Gabi)
Jess Santiago (Ang Paglilitis ni Mang Serapio)
Jerrold Tarog (Ang Damgo ni Eleuteria)
Josefino ‘Chino’ Toledo (Emir)

BEST SOUND

Mike Idioma (Sampaguita)
Mark Laccay (Dagim)
Elroy Montano (Amigo)
JonaPaculan, Carlos Tañada and MoksVitasa (Halaw)
DempsterSamarista (Limbunan)
Maki Serapio and Paolo Angelo Lindaya (Sheika)

Reference:

Manunuri ng Pelikulang Pilipino : http://www.manunuri.com/34th_gawad_urian_nominees_2011

33rd GAWAD URIAN AWARDS 2010 NOMINEES

BEST FILM

The Arrival, Erik Matti
Bakal Boys, Apogee Production with Queen Bessie, LLC
Colorum, Wild Cayote Pictures
Engkwentro, Pepe Diokno
Himpapawid, Pelikula Red, Pacific Film Partners, Ignite Media and Butch Jimenez
Hospital Boat

(Skyweaver Productions, HYDEout Entertainment, Alchemy of Vision & Light)

Kinatay, Swift Production and Centerstage Production
Lola (Swift Production and Centerstage Production) - Winner!!
Last Supper No. 3, Veronica Velasco, Pablo Biglang-awa, Jr. and John Silva
Ang Panggagahasa kay Fe, Women’s Crisis Center

BEST DIRECTOR

John Steffan Ballesteros, Colorum
Pepe Diokno, Engkwentro
Ralston Jover, Bakal Boys
Erik Matti, The Arrival
Arnel Mardoquio (Hospital Boat)
Brillante Mendoza, Kinatay
Brillante Mendoza, Lola - Winner!!
Raymond Red, Himpapawid
GB Sampedro, Astig
Veronica B. Velasco, Last Supper No. 3
Alvin Yapan, Ang Panggagahasa kay Fe

 

BEST SCREENPLAY

Linda Casimiro, Lola
Pepe Diokno, Engkwentro
Christopher Gozum, Anacbanua
Armando Lao, Biyaheng Lupa
Armando Lao, Kinatay
Erik Matti, The Arrival
Raymond Red, Himpapawid
Veronica B. Velasco and Jinky Laurel, Last Supper No. 3
Alvin Yapan, Ang Panggagahasa kay Fe

 

BEST ACTOR

Raul Arellano, Himpapawid
Allen Dizon, Dukot
Dwight Gaston, The Arrival
John Lloyd Cruz, In My Life
Coco Martin, Kinatay
Joey Paras, Last Supper
Felix Roco, Engkwentro
Alfred Vargas, Colorum
Lou Veloso, Colorum - Winner!!
Jacky Woo, Walang Hanggang Paalam

BEST ACTRESS

Irma Adlawan, Ang Panggagahasa kay Fe
Janice de Belen, Last Viewing
Iza Calzado, Dukot
Rustica Carpio, Lola - Winner!!
Eugene Domingo, Kimi Dora
Anita Linda, Lola - Winner!!
Che Ramos, Mangatyanan
Rosanna Roces, Wanted Border
Vilma Santos, In My Life
Tessie Tomas, Sanglaan

BEST SUPPORTING ACTOR

John Arcilla, Himpapawid
Dennis Ascalon, The Arrival
Soliman Cruz, Himpapawid
Milton Dionson, The Arrival
Jose Ma. Javellana, Colorum
John Regala, Kinatay
Jake Roxas, Walang Hanggang Paalam
Ariel Ureta, Kimi Dora

BEST SUPPORTING ACTRESS

Gina Alajar, Dukot
Glaiza de Castro, Astig
Jea Lyka Cinco (Hospital Boat)
Maria Isabel Lopez, Kinatay
Gina Pareno, Baseco Bakal Boys
Marissa Sue Prado, Himpapawid
Miriam Quiambao, Kimi Dora
Dimples Romana, In My Life

BEST PRODUCTION DESIGN

Bryan Bajado (Hospital Boat)
Deans V. Habal, Bakal Boys
Brillante Mendoza, Kinatay
Brillante Mendoza, Lola
Danny Red, Himpapawid
Digo Ricio, Independencia
Mic Tatad and Giselle Andres, Last Supper No. 3

BEST CINEMATOGRAPHY

Dax Canedo (Hospital Boat)
Ruben H. Dela Cruz, Bakal Boys
Neil Daza, Engkwentro
Odyssey Flores, Kinatay
Odyssey Flores, Lola
Sol Garcia, Ang Panggagahasa kay Fe
Joni Guttierez, Anacbanua
Jeanne Lapoirie, Independencia
Raymond Red, Himpapawid

BEST EDITING

John Steffan Ballesteros, Colorum
Jay Halili, Biyaheng Lupa
Raymond Red, Dave Hukom and Jay Halili, Himpapawid
Kats Serraon, Kinatay
Kats Serraon, Lola
Orlean Tan, Ralph Crisostomo and Miko Araneta, Engkwentro
Borgy Torre and Ronald Banawa, The Arrival
Veronica B. Velasco and Pablo Biglang-awa, Jr., Last Supper No. 3

BEST MUSIC

Teresa Barrazo, Kinatay
Dan Gil, Last Supper No. 3
Lutgardo Labad, Independencia
Gauss Obenza (Hospital Boat)
Francisbrew Reyes, Dinig Sana Kita
Francis de Veyra, The Arrival

BEST SOUND

Ditoy Aguila, Himpapawid
Mark Locsin, Bakal Boys
Albert Michael Idioma, Kinatay
Albert Michael Idioma and Addiss Tabong, Lola
Mark Laccay, Engkwentro
Andrew Millalos and Mike Idioma, Last Supper No. 3

Reference:

Manunuri ng Pelikulang Pilipino:

http://www.manunuri.com/33rd_gawad_urian_nominees_2010

Hospital Boat (2009)

A Mindanaoan Independent Film written and directed by Arnel M Mardoquio.

EXECUTIVE PRODUCERS:

Arnel Mardoquio (Skyweaver Productions)

Dax Canedo (Alchemy of Vision and Light Film & TV Productions)

Fe GingGing Hyde (HYDEout Entertainment)

in coordination with:

NCCA (National Commission for Culture and Arts)

33rd GAWAD URIAN AWARDS 2010 NOMINATIONS:

Best Film

Best Director: Arnel Mardoquio

Best Supporting Actress: Jea Lyka Cinco

Best Cinematography: Dax Canedo

Best Production Design: Bryan Bajado

Best Music: Gauss Obenza

STARRING:

Marvin Mindog as Nikol

Rochelle Venuti as Dra. Sittie

Joan Mae Soco-Bantayan as Sister Claire

Jamee Rivera as Muktar

Jea Lyka Cinco as Lensha

Michael 'Mikey' Aportadera as Father Allan

Fe GingGing Hyde as Congresswoman Fatmawatti

Basilidas Pilapil as Bapa Malid

Official Website: http://hospitalboatthemovie2009.webs.com/

SYNOPSIS:

Orphaned by war, 12-year old Nikol found a new home in Isla Kalilintad, an island community of people from different cultures and faith traditions. He was forced to become an adult at a tender age, trying to eke out a living to feed Langit, his younger brother. By serendipitous circumstance, Dr Sittie and Sr Claire, a team of humanitarian workers on a mobile medical mission, visited the isla before they proceed to the other smaller islands. Nikol, eager to grab the chance to work, presented himself as a natural healer and got accepted as an all around utility person for the mission. The mobile medical mission which runs on a low budget, relies on fishing boats offered by the communities they serve as they make their way to far-flung villages rarely reached by medical services from both government and private sector. Each journey to these unknown frontiers bears stories of struggle and survival of people affected by war and extreme poverty.

Sittie, a medical doctor, decided to return home to her father’s village in Isla Kalilintad to serve as a community doctor. Sr Claire, being a nurse herself, volunteered to be part of the team as her vocation and mission duty.

In one of their mission routes, Nikol met Lensha, a thirteen year-old lass who was in deep trauma due to rape and war. Nikol got smitten with her at that instance. Lensha stayed with the medical team as a form of therapy and as the days go by, these youngsters grew fond of each other.

Nikol, Sittie, Claire, Lensha and the rest of the islanders converge in different settings as the story unfolds. Amid the social landscape of poverty, warlordism and unending cycles of violence—the humanitarian mission continue to brave the waters, putting at risk even their own lives for the greater good.

Hospital Boat symbolically depicts a journey. A journey to the road less taken by few courageous souls; a journey filled with love, friendship and a dream of a peaceful tomorrow.

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MOVIE CLIPS

Hospital Boat (2009)

Rochelle Venuti as Dra. Sittie

Marvin Mindog as Nikol

Joan Mae Soco-Bantayan as Sister Claire

Jea Lyka Cinco as Lensha

Michael Mikey Aportadera as Father Allan

Jamee Rivera as Muktar

Basilidas Pilapil as Bapa Malid

Fe GingGing Hyde as Congresswoman Fatmawatti

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PRODUCTION STAFF AND CREW

Director: Arnel Mardoquio

Screenplay: Arnel Mardoquio

Production Manager: Lyndee Prieto

Director of Photography: Dax Canedo

Editor: Willie Apa Jr.

Music: Gauss Obenza (Mebuyan ng Mindanao)

Sound Engineer: Maki Serapio

Camera Operators: Dax Canedo, Orvil Bantayan,

Joel Sangalang, Willie Apa Jr., Onin Flores

Production Design Team: Bryan Bajado, Albert 'Ahbet Padilla, Rikki Torres

Wardrobe: Albert 'Ahbet Padilla, Rikki Torres, Hubert Francisco

Production Coordinators: Kristy Lim, Pepito Sumayan

Boom Sound: Maki Serapio, John Barredo

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