Another Filipino Spatial analysis. The entire film is set in a women's prison, only one set shows (probably) the door from the outside (because it hangs a poster of an anti-drug campaign: "Fix the Fixers"). Inside the gate there is at first glance a lot of freedom. Large parts of the film play out of the little shacks. The women are huddled together, but relatively freely in the yards, at a bathing place (a very nice sequence), between the clothes lines. The state power is merely the careworn, scarred face of a guardian, otherwise create the prisoners their own hierarchies. They are led by two old women, one enterprising Patron and a former star actress, who began her career by selling, drugs. The only major story arcs in this almost entirely of small, everyday situations of imaginary film deals with a fictional film shooting is in jail and a pardon request from the former movie stars.
Presa is a beautiful film, but unfortunately he does not look as good as chassis. Debt that is unfortunately in many small peripheral cinematography has become standard for sub-HD digital image that hardly seems to have an aesthetic intrinsic value and characterize almost all of its shortcomings in comparison to the celluloid material can be: less expressive Opportunities, less depth, uglier edges, more artifacts, and so on. The biggest problem perhaps is that with digital technology, almost everything automatically just looks half-way tolerable, that the need for representation can be satisfied with little effort. other needs have become heavy. Here, Alix looks quite at his mise-en-scene, he only works clearly have a machine that leaves him in forming aesthetic little room to maneuver. Nevertheless, the film is
especially interesting from an institutional perspective. Alix seems to be a position in the Philippine cinema to take, which I did not know until now that they are there: He turns on the edge the mainstream small social realist films with stars (in this case with many stars). How are the films exactly in the market, I can not estimate, there are also some oddities, for chassis features such as a production company responsible, which, absurdly, called "Happy Gilmore Productions. The possibility of a Sandler-Alix-Connection I would like to learn more ... In any case, the end credits of the emblems of European free support institutions, in which one in Rotterdam may otherwise be difficult to save. More than any others, formally more daring films, the two beautiful works by Alix allow a glimpse of a Nationalkinematografie on the move, one that suddenly appear in the new images for the social self-understanding and cracks.
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