Filipino classic with Hilda Koronel makes a splash at Cannes

Actress Hilda Koronel returns to Cannes for screening of ‘Maynila’
By Choy Navarro
Published Thursday, May 23, 2013

Over three decades after she first made a splash at the red carpet of the world’s biggest and most prestigious film festival, Hilda Koronel was again at Cannes when a Filipino film was cheered and heavily applauded at the fest’s Classics section.

“I am elated and a bit sad at the same time,” she said, as quoted by the ‘Philippine Daily Inquirer’ last Sunday. “I got sentimental upon seeing onscreen the old friends who are no longer with us, like [the late award-winning actor-writer-director] Mario O’Hara. How I wish they could have been here as well.”

Koronel plays the lead role as Ligaya Paraiso in the 1975 drama film ‘Maynila: Sa mga Kuko ng Liwanag’ (Manila: In the Claws of Brightness), directed by the late Lino Brocka, which was screened on May 17 at the ongoing film festival in the southern French coastal city of Cannes. 

Considered by many as a classic Filipina beauty, Koronel said she was honoured to represent Brocka, a Philippine national artist for film, who died in a car crash in 1991. “It was a momentous occasion … inspiring,” she said.

In 1978, Koronel, now 56, also made a splash at the Croisette, where ‘Insiang’, another masterpiece of the legendary Brocka, was screened in the Section Parallèlle/Directors’ Fortnight. She also plays the lead role as Insiang in the movie, which was adapted from a teleplay of the same title by O’Hara. 

She recalled that the highlight of her trip to Cannes 35 years ago was landing on the front page of the daily newspaper ‘France-Soir’, where she upstaged then-Hollywood ‘It’ girl Farrah Fawcett, whose photo was smaller than hers.

“I stayed only for a few days, but Lino and I were kept busy with pictorials and interviews with French, German and other European journalists,” Koronel said. Last week’s trip, she said, “brought back a lot of wonderful memories”. 

The ‘Maynila’ film that was shown at Salle Buñuel of the Palais on Friday night is the digitally restored version of the Brocka classic spearheaded by the Film Development Council of the Philippines (FDCP). 

The restoration was done with the help of Oscar-winning Hollywood director Martin Scorsese’s World Cinema Foundation (WCF) and Mike de Leon, cinematographer and producer of ‘Maynila’. 

Scorsese said that WCF was glad to have been a part in the restoration of ‘Maynila’. “It’s now difficult to watch a good print of Brocka’s movies,” he was quoted by the ‘Inquirer’ as saying. “It was urgent … to participate in this restoration.” 

In his pre-taped video message for the ‘Maynila’ screening, Scorsese described Brocka as “a giant, towering filmmaker” whose films were “brave, extraordinary, powerful experiences”. 

Pierre Rissient, the French filmmaker who was instrumental in having Brocka’s films first screened at Cannes in the late 70s, was hopeful for the restoration of more Brocka films after the screening of ‘Maynila’ where ardent film buffs applauded resoundingly and even lingered in the theatre lobby. 

“I hope this would be the beginning of more restoration projects,” Rissient said. “I know of at least four Brocka films—‘Insiang’, ‘Bona’, ‘Jaguar’ [Bodyguard] and ‘Bayan Ko’ [My Country]—that need to be saved.” 

Salvatore Leocata, the festival programmer from Brussels, called ‘Maynila’ “a masterpiece” while Philippines’ Lav Diaz, whose ‘Norte, Hangganan ng Kasaysayan’ (North, the End of History) was also screened at this year’s 66th French film fest in Cannes, was amazed at how ‘Maynila’ has remained so “powerful” after all these years from when he first saw it while in college. 

“My classmates and I kept debating about it afterwards,” he recalled. “It changed my perspective on cinema. It led me to filmmaking. It made me realise that film is not merely entertainment. Cinema could also be a potent tool for discourse.” 

Adolfo Alix Jr, another Filipino filmmaker whose ‘Death March’, like ‘Hangganan’, was one of the more than 40 films chosen from 1,700 entries to compete in the Un Certain Regard section of this year’s Cannes film festival, said he was excited to see the climax of ‘Maynila’ again. 

“It is one of the most powerful endings I have ever seen in a movie,” he stressed, revealing that he first saw ‘Maynila’ on VHS when he was still in high school.

(http://www.emirates247.com/entertainment/filipino-classic-with-hilda-korone-makes-a-splash-at-cannes-2013-05-23-1.507547)

Award-winning actress from Philippines Hilda Koronel at the 66th Cannes Film Festival during the fest’s Classics showcase of her ‘Maynila: Sa mga Kuko ng Liwanag’. (Twitter)

Hilda Koronel with husband Ralph Moore. (Twitter)

Hilda Koronel with her husband Ralph Moore (R) reunites with Pierre Rissient (L). (Twitter)

Hilda Koronel at the red carpet during the 66th Cannes Film Festival. (Twitter)

Actress Hilda Koronel. (Twitter)

Hilda Koronel graces screening of Maynila sa mga Kuko ng Liwanag in Cannes

May 19, 2013 Philippine Entertainment Portal ( http://www.pep.ph/guide/indie/11919/hilda-koronel-graces-screening-of-maynila-sa-mga-kuko-ng-liwanag-in-cannes/1/1 )

Festival De Cannes: ( http://www.festival-cannes.fr/en/archives/ficheFilm/id/11407616/year/2013.html )

Lino Brocka's 1975 film, Maynila sa mga Kuko ng Liwanag, was restored by the Film Development Council of the Philippines (FDCP) in partnership with Martin Scorsese’s World Cinema Foundation (WCF).

The said Brocka classic's restored version had its world premiere at the Cannes International Film Festival in France on May 17, 2013.

The Maynila premiere in Cannes was graced by the film’s lead actress, Hilda Koronel, herself a multi-awarded "Brocka baby."

On April 29, the festival officially announced its selection of Maynila as part of Cannes Classic, rounding up an unprecedented Philippine Cinema contingent in the world’s most prestigious film festival.

It has been announced earlier that Lav Diaz’s Hangganan ng Kasaysayan (starring Sid Lucero, Angeli Bayani, Archie Alemania) and Adolfo Alix Jr.’s Death March (Sid Lucero again, Sam Milby, Zanjoe Marudo) were competing in the Un Certain Regarde section.

Meanwhile, Erik Matti’s On the Job (starring Piolo Pascual and Gerald Anderson) were part of the Director’s Fortnight. 

Three Filipino films are also included in the festival’s Short Film Corner namely Aiess Alonso’s Katapusang Labok, Carlo Manatad’s Oasis Redux, and Roderick Cabrido’s Mga Engkantong Laog sa Mahabang Dapithapon. The Filipino people through FDCP will be providing travel assistance accordingly to this contingent.

This new generation of filmmakers follows the steps of Brocka who has graced Cannes several times throughout his career. 

The late great director has been in the main competition for the Palme D’Or in 1980 with Jaguar and in 1984 for Bayan Ko: Kapit sa Patalim, in Director’s Fortnight in 1978 for Insiang and in 1981 forBona, and in exhibition in 1989 for Orapronobis. And in 1986, Brocka served as a member of the Festival Jury.

Maynila is considered by many as Brocka’s magnum opus and one of Philippine Cinema’s greatest films.

It joins Alfred Hitchcock’s Vertigo (1958), Yasujirō Ozu’s An Autumn Afternoon (1962), Bernardo Bertolucci’s The Last Emperor (1987), and other masterpieces from cinematographic history that have been carefully restored in time for the Cannes Classic section.

Maynila was restored on a 4k-3k-2k workflow by L’Immagine Ritrovata, the same laboratory that restored Manuel Conde’s Genghis Khan (1950), which premiered at the Venice International Film Festival last year. 

The restoration was made possible through the collaboration of FDCP and WCF together with the National Film Archives of the Philippines, the British Film Institute, the Asian Film Archives, and the producer/ cinematographer of the film, Mike de Leon, also a master filmmaker of Philippine Cinema.

Joining Hilda Koronel (middle) at the Cannes Film Fest were (L-R) Arleen Cuevas (producer, Adolf Alix Jr.'s Death March/ Un Certain Regard section), Vanessa Ulgado (producer, The Grave Bandits/ Marche du Film section), Derick Cabrido (writer-director of short film Mga Engkantong Laog sa Mahabang Dapithapon/ Short Film Corner), and Sheron Dayoc (writer-director of Woman of the Weeping/ Marche du Film section).

Hilda Koronel, Lino Brocka take Cannes by storm once again

May 19, 2013 Inquirer Entertainment (http://entertainment.inquirer.net/94445/hilda-koronel-lino-brocka-take-cannes-by-storm-once-again)

Festival De Cannes: (http://www.festival-cannes.fr/en/archives/ficheFilm/id/11407616/year/2013.html)

CANNES—If Alfred Hitchcock’s “Vertigo” had Kim Novak, Lino Brocka’s “Maynila sa mga Kuko ng Liwanag” had Hilda Koronel.

Both vintage films are featured in the world’s biggest festival, specifically in the Cannes Classics section, currently going on in this coastal city in the south of France.

The fest website reported that Novak would be the guest of honor in the premiere of “Vertigo” on May 25.

Not to be outdone, the Philippine contingent made sure that it also had a classic beauty at its own red-carpet event—the grand debut of the digitally restored version of Brocka’s 1975 film held last Friday night at the Salle Buñuel of the Palais.

As the end credits rolled, “Maynila” was cheered and heavily applauded.
Koronel told the Inquirer: “I am elated and a bit sad at the same time. I got sentimental upon seeing onscreen the old friends who are no longer with us, like (the late actor-director) Mario O’Hara. How I wish they could have been here as well.”

It was not Koronel’s first time at Cannes.

Over three decades ago, she made a splash at the Croisette, where her mentor Brocka’s “Insiang” was screened in the Section Parallèlle/Directors’ Fortnight.

Koronel has vivid recollections of that 1978 event. “I stayed only for a few days, but Lino and I were kept busy with pictorials and interviews with French, German and other European journalists.”

She told the Inquirer this latest Cannes visit “brought back a lot of wonderful memories.”

The highlight of her 1978 trip was Koronel landing on the front page of the daily, France-Soir, upstaging then Hollywood “It” girl Farrah Fawcett. The photo of Koronel, in her Christian Espiritu gown, was considerably larger, compared to Fawcett’s more modest picture.

Grand comeback

In her grand comeback at Cannes, Koronel, who is now based in Los Angeles, chose an off-the-rack gown from a US store. “Filipino designer friends wanted to make a new dress for me, but we didn’t have time.”

She was escorted by her Filipino-American husband, lawyer Ralph Moore, at the premiere.

Koronel was flown to France by the Film Development Council of the Philippines (FDCP), which spearheaded the “Maynila” restoration with help from Oscar-winning director Martin Scorsese’s World Cinema Foundation (WCF) and the movie’s cinematographer and producer Mike de Leon.

Koronel said she was honored to represent Brocka, a National Artist for Film who died in a car crash in 1991. “It was a momentous occasion … inspiring.”
Sadly, De Leon and the film’s lead star Bembol Roco were unable to attend the premiere.

Scorsese sent a pretaped video message specially for the “Maynila” screening. In his message, Scorsese hailed Brocka as “a giant, a towering filmmaker whose films were “brave, extraordinary, powerful experiences.”
Scorsese said the WCF was “excited” at getting a chance to save a Brocka film. “It’s now very difficult to watch a good print of Brocka’s movies. It was urgent … to participate in this restoration.”

The dignitaries present at the “Maynila” premiere were led by FDCP chair Briccio Santos, FDCP executive director Ted Granados, consul to Monaco Patricia Zobel de Ayala, Brocka’s Cannes “discoverer” Pierre Rissient, Doug Laible and Kent Jones of WCF, Davide Pozzi of L’Immagine Ritrovata, programmers Roger Garcia, Jeremy Segay, Benjamin Illos and Paolo Bertolin, among others.

Also present were the Filipino filmmakers featured in this year’s Cannes: Erik Matti (whose “On the Job” is included in the Directors’ Fortnight) and Lav Diaz and Adolfo Alix Jr. (whose films, “Norte Hangganan ng Kasaysayan” and “Death March,” respectively, are competing in the Un Certain Regard section).

More restoration projects

Also present at the “Maynila” screening were actors Archie Alemania, Evelyn Vargas and Bianca Zialcita, cinematographer Albert Banzon, filmmakers Tikoy Aguiluz, Sheron Dayoc and Derick Cabrido, producers Dondon Monteverde, Raymond Lee, Arleen Cuevas, Vanessa Ulgado, and others.
The hall resounded with applause at the end of the two-hour film. The most ardent of film buffs lingered in the theater lobby, hesitant to leave.
Rissient told the Inquirer: “I hope this would be the beginning of more restoration projects. I know of at least four Brocka films—‘Insiang,’ ‘Bona,’ ‘Jaguar’ and ‘Bayan Ko’—that need to be saved.”

Festival programmer Salvatore Leocata of Brussels called “Maynila” a “masterpiece.”

Diaz said it had remained “powerful” after all these years.

“I first saw it at Coronet Theater in Cubao in 1975,” Diaz recalled. “I was in college then and our Literature teacher at the Ateneo assigned us to do a paper on it. My classmates and I kept debating about it afterward. It changed my perspective on cinema. It led me to filmmaking. It made me realize that film is not merely entertainment. Cinema could also be a potent tool for discourse.”

For Alix, “I was looking forward to seeing the film’s climax again. It is one of the most powerful endings I have ever seen in a movie.” He said he first saw the film on VHS when he was a high school student.

The restoration project, said Santos, aims to introduce Brocka to a wider and younger audience.

“Maynila” will premiere at the Cine Adarna of UP Diliman in June. A commercial release will follow in July or August, said Santos.
Brave choice of themes

FDCP also plans to release a twin-bill DVD of “Maynila” with Manuel Conde’s “Genghis Khan” (which was debuted in Venice), its first two restoration projects.

“Brocka has always been known for being brave in his choice of themes for his films,” said Santos. “He has the discipline and determination to imbue his films with social purpose.”

Santos met Brocka in Baguio in the 1970s. “He struck me as humble and unassuming, very respectful and serious about his craft. It was quite obvious that he was gifted.”

Santos praised Brocka for using his talent “to serve the Filipino people.”
Brocka said that the director’s role was to present the truth, Santos related. “Brocka said he had to make use of reality to confront the people so they wouldn’t become apathetic.”

A perfect example of Brocka’s commitment to the cause, Santos said, was “Maynila,” which was produced in the middle of martial law.

Santos praised “Maynila” for “shedding light on the plight of the exploited masses, at a time characterized by much danger and repression.”

In his speech, Santos said: “It was Brocka’s intention to make a document of this period … But through this restoration, not only did we bring a film back to life; more importantly, we restored a part of the truth for all of us to witness and remember.”

Hilda Koronel is reunited with Pierre Rissient, the Frenchman who brought “Insiang” to Cannes in 1978. Photo courtesy of Tikoy Aguiluz

Hilda Koronel returning to Cannes

Hilda Koronel returning to Cannes
It will be a sentimental journey for the actress, toast of the French fest 35 years ago

By Bayani San Diego Jr.
Philippine Daily Inquirer

May 5, 2013

It has been 35 years since she last walked the red carpet at Cannes, and Filipino actress Hilda Koronel is on cloud nine as she prepares to return to the world’s biggest film festival this month for the world premiere of the digitally restored version of Lino Brocka’s 1975 masterpiece, “Maynila sa mga Kuko ng Liwanag.”

Last time Hilda was there, she had gone for another Brocka film, “Insiang,” which screened in the Section Parallèlle or Directors’ Fortnight in 1978.

“Maynila,” restored through the efforts of the Film Development Council of the Philippines (FDCP) and Martin Scorsese’s World Cinema Foundation, will be shown alongside Joseph L. Mankiewicz’s “Cleopatra,” Bernardo Bertolucci’s “The Last Emperor” in 3D, Alain Resnais’ “Hiroshima Mon Amour,” Patrice Chéreau’s “La Rein Margot,” Francesco Rosi’s “Lucky Luciano” and Alfred Hitchcock’s “Vertigo,” among others, in the esteemed Cannes Classics section.

In an e-mail interview, Hilda, now based in the United States, told the Inquirer: “I’m very proud and excited that ‘Maynila’ was chosen to be screened with movies like ‘Cleopatra’ and ‘The Last Emperor.’ It’s a tremendous honor. We should all be proud as Filipinos.”

She has made all necessary arrangements to travel to the south of France later this month, with the help of FDCP.

“I’m looking forward to watching ‘Maynila’ again. It will surely bring back a lot of wonderful memories and I am certain that my husband, who is going with me, will enjoy it very much as well.”

Hilda is now married to Filipino-American lawyer Ralph Moore Jr. “He loves watching my old movies, even the ones without subtitles,” Hilda said.

Viewing list

Among Ralph’s faves are Brocka’s “Hayop sa Hayop” and “Angela Markado,” Danny Zialcita’s “Gaano Kadalas ang Minsan” and “Palabra de Honor,” Laurice Guillen’s “Tanging Yaman” and Mark Meily’s “Crying Ladies.” Ralph has also seen Hilda’s recent big-screen comeback, Olivia Lamasan’s “The Mistress.”

“Insiang” is on top of her husband’s viewing list, of course. The movie made Hilda the toast of Cannes in 1978. “Going back there will be fun, nerve-wracking and a bit sad,” she confessed. In the very least, it will be a sentimental journey.

“I still remember how Lino would help me get ready [for public appearances],” she recounted. “He did my hair for that famous newspaper photo with Farrah Fawcett.”
Hilda is referring to the front-page feature in the daily France-Soir, which ran a big photograph of hers beside a smaller pic of Farrah.

“Lino helped put my outfit together as well, with Filipino designer Christian Espiritu,” she recounted. “I think the French really loved my white terno, so the photo landed on the front page. The terno was beautiful and elegant—everyone else opted for casual wear, or was mostly undressed!”

Still relevant

She and Lino had traveled to Cannes to drumbeat interest in the film. “Lino was very popular in the whole of Europe, not just in Cannes. He loved screening his films there and they just adored him. He worked hard to promote his films and bring glory not just to himself, but to the country.”

Hilda feels strongly about revisiting Cannes, if only to honor her late mentor.
“[This restoration] is important to all of us. The social issues Lino discussed in our film are still relevant today,” she said. “I will always be proud to have been part of his cinematic legacy. We do make a lot of great movies, but today’s young people are not aware of them.”

She hopes that “Maynila” costar Bembol Roco, who is vacationing in the United States, can make it to the festival, too. “I haven’t seen him in ages.”

She is certain that this will be a trip to remember. “When ‘Insiang’ went to Cannes, Lino and I secured a place in Philippine cinema history. No one can take that away from me,” she said. “Now, ‘Maynila’ will be screened there … it just warms my heart.”

http://www.festival-cannes.fr/en/article/59696.html - 

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http://www.screendaily.com/news/cannes-classics-2013-line-up/5054402.article?blocktitle=Latest-News&contentID=1846 - 

Cannes Classics 2013 line-up unveiled

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