Himala (“Miracle”) is an award-winning Filipino film directed by the late Philippine National Artist Ishmael Bernal. The film’s screenwriter and cinematographer were multi-award winner Ricky Lee and Sergio Lobo, respectively.
Based on a 1967 incident and news report, Himala was filmed entirely in the most arid Philippine tourist spots in Ilocos Norte, in just three weeks and with a budget of only 3 million pesos. The movie premiered at the 1982 Metro Manila Film Festival, and in 1983, it became the first – and so far the only – Filipino film to be included in the “Competition Section” of the prestigious Berlin International Film Festival. Since then, Himala has been exhibited in a number of film festivals around the world.
On November 11, 2008, Himala won the 2008 CNN Asia Pacific Screen Awards Viewers Choice Award for Best Asia-Pacific Film of all Time (voted for by thousands of film fans around the world. The CNN online voters hailed it as the “greatest Filipino film.”
The film stars Philippine superstar Nora Aunor, who is best known for her performance as the fake visionary Elsa in this film. Her portrayal is considered by most Filipino critics to be the best of her career. (Source: Wikipedia)
Mabuhay ang Filipino cinema!
Kinilaw (sour-cooking raw ingredients ) in Philippine cuisine takes fish and other sea creatures, meat, fruits or vegetables- all at state- of- the- art freshness – and treats them equally, “sour-cooking” them in vinegar or other souring agents, flavoring them with the proper combination of condiments.
The kinilaw moment is that instant when the raw fish (or other seafood, or meat) meets the vinegar or other souring agent, and transformation begins from the raw state. In cooking vegetables, there is a spectrum of textural change: from the hardness of the raw, to the limpness of the overcooked. The perfect moment is somewhere along the line, at the point when the vegetable, e.g. ampalaya (bitter melon) retains the crispness of the raw, but acquires the softness of the cooked without being either hard or limp.
With kinilaw, the perfect moment is marked visually by a change from translucence towards, but without reaching, opacity. Texturally, it is a moment when the fish or shrimp retains the firm softness of the raw, but reaches a new state of being that has been called niluto sa asim – “cooked”, or more accurately transformed, in sourness. (From Kinilaw: a Philippine Cuisine of Freshness’ – by Edilberto N. Alegre & Doreen G. Fernandez 1991
Philippine movie posters are almost a breed apart and can provide a whole range of dissertation topics to socio-anthropologists dissecting the mores, twists and turns of Pinoy psychology.
Particularly in Metro Manila where the Philippine movie industry is based, giant movie posters span across and almost occupy the facades of whole buildings, walls and gargantuan billboards creating a riot of eye-popping colors. Expertly rendered and executed by commercial artists, these giant paintings can be considered a distinct sort of pop-art expression, ranging from the cheeky, tacky, pedestrian, erotic to the horrendously comic.
The increasing use of photographic posters, however, are slowly eroding the use of handpainted movie posters and slogans, although some areas in downtown Manila still display the handpainted versions.
When caught in Manila’s notorious traffic, take a few minutes to ogle and enjoy these giant movie posters and marvel at the artists’ expertise in rendering faces and emotions with their painterly flourishes.
Long live Pinoy movie posters!