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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.

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Sunday, August 26, 2018

entry arrow9:00 AM | Coming to Silliman

It’s the trees first of all, three hundred sixteen of them, sprawled over 62-hectares of green campus—massive acacias of the kind of towering presence that catches the eye for the way they seem to add shape to the skyline, for the wizened look about them that gives you a distinct feeling they know history, for the abundance of foliage that abounds with birds. When you think of Silliman University in Dumaguete City, Negros Oriental, you begin always with the acacia trees.

Begin, for example, by walking down Hibbard Avenue from the university portals that face downtown Dumaguete. Just a few meters away, you stop and this is the sight that catches you: a field of green, rolling towards where the outlines of Mount Talinis are, terminates at the western end with the sight of the ornate Silliman Church, an American Gothic affair in white that stretches towards the sky. Embracing all of this are the acacia trees that line both sides of this quadrangle of green. And it all seems so postcard-perfect, this marriage of trees and field and architecture, framed by the cobalt blue of Visayan skies and the trace of Cuernos de Negros in the distance.

In the grassy expanse of the western quadrangle facing the church, when you are not dodging the young skateboarders trying to own the sidewalks that border it, you get how young Dumaguete really is by the sight of Frisbee players running around the green. Further on, before you get to the doors of the church itself, a recess in the grounds provides the perfect spot for the amphitheatre, which used to be the sight for the stagings of various Shakespearean plays in the first decades of Silliman’s history, but now mostly exists to provide seat and respite for the romantic trying to make sense of the world.

The world slows down in Dumaguete—none of Manila’s erratic and punishing rush here—and because of the sweltering humidity that comes by virtue of having a campus built right at the edge of the Visayan Sea, its denizens take deliberate slowness in pace, as well as in life; and most face life indeed with the uniform of tsinelas and the thinnest of shirts and the shortest of shorts, with time largely a suggestion demonstrated by a local expression regarding distance: “Everything in Dumaguete is ten minutes away.”

Informality with an island vibe is the way to be for most Sillimanians and Dumagueteños on general—but the lackadaiscal attitude can be deceptive, too: because beneath that impression is actually a fierceness that drives an overwhelmingly intellectual and cultural city. The campus demonstrates that. In the Robert and Metta Silliman Library, which can be found at the heart of the northern part of campus, we find a building and collection of books many people claim to be one of the biggest in Asia. In the glorious brutalist-style of the Claire Isabel Luce Auditorium beside the library—and also further on, the new Romeo Ariniego Art Gallery—we have what many culturati in the country have taken to calling the Cultural Center of the South, the throbbing center of the city’s vibrant art and culture scene.

Here and there, always ringed by acacia trees, are the dorms and the faculty houses and the college buildings both new and old, and the surprise of gardens in the nooks and the crannies. Some people call this campus one of the most beautiful in this part of the world. It has its moments, but of course I truly love it—if only because its beauty seems to come from no design at all, just everything falling into place in a strange confluence of history and circumstances, and then finding out that the merry mix have created a campus more than fit enough to Instagram.

Hibbard Avenue is the stretch of street—named after Silliman’s founders David and Laura Hibbard, Presbyterian missionaries who took the challenge of founding an industrial school for boys in 1901 in the new American colony in the Far East—that bisects the entire campus into its eastern and western parts, and it goes all the way north, about two kilometers away, to terminate at an extension of the campus in a barangay called Bantayan, where you get another sprawl that is rightly called a farm; this houses, of course, the College of Agriculture. Immediately besides this farm is the Silliman Beach, which is where we find one of the best marine biology institutions in the world, and the short stretch of sand and surf faces the east and the striking blue-green of Tañon Strait with its abundance of whales and dolphins and butandings.

There is deliberation in the detailing of this campus geography: because what other campus boasts of an eclectic mix of beach and farmland and cityscape and grand architecture and abundance of trees, all in one bundle of a place? That eclecticism alone is beauty.

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Saturday, August 25, 2018

entry arrow11:59 PM | In Electric Dreams

Reunion night, High School Class 1993.

Looking at them, it's hard to believe that these people I know -- all of us entering middle age now and many showing the girth and softness and other fabulous symptoms of wear -- used to be the young punks that made our high school hire a security guard after a bunch of us did away with the principal's car, or made the city impose a 10 PM curfew for minors [which is still in place] after a bunch of us partied a little too hard on the dance floor of Music Box in the early years of the 1990s. Truth to tell, we weren't exactly a wild bunch either -- just young people lucky or unlucky enough to do certain things at the most opportune moment to make some mark.

It has been 25 years since we graduated in 1993, and many of us have gone on to some measures of accomplishment and success. But tonight, on our silver anniversary reunion night, none of that really mattered: we all reverted back to our high school selves, like a switch flicking a time machine. The smart guys back then reverted back to being the smart guys in the room now. The wallflowers then became the wallflowers now. The cool kids are still the cool kids. Aileen was still Aileen, Rosewell was still Rosewell, and so was Salome, and Theresa, and Melissa, and Jo, and Eliel, and Gwyn, and Joy, and Sherwin, and Earl, and Rheina, and Fiametta, and Roy, and Nina, and PaEugene, and Vicente, and so on and so forth. A small jolt still hits you when you see your old high school crush, who now sports a potbelly. Still, a jolt is a jolt. Whatever reinvention we've made of our lives flew out the doors of the reception hall of old Santa Monica Beach Club, and it was back to us remaking connections through our old stories, our old escapades, whatever we could dredge from increasingly frail memories.

It wasn't nostalgia, at least I don't think so -- it was just living shorthand for connection between old friends. What is weird about being surrounded by high school friends is that instantaneous reflex to just relax and be "you," where you don't really need to explain who or how you are now to be part of this circle of friends. I mean, these are people I rarely talk with these days, and most of them I haven't seen in years, but in the scheme of reunion night, none of that seems to matter. You are just Ian from high school. And thus the comfort, the general lack of pretense, and the easy surrender to how we were 25 years ago.

As the night wore on and the hired DJ struggled mightily to play for us the soundtrack of our youth -- and not once succeeding -- we danced to music that at least brought out some body memory of moves. And on the dance floor, it amused me no end to find that we were subconsciously starting to form a huge dancing circle, the way we used to dance with each other back in the day. Old rhythms are forever?

The DJ started playing 1980s music, thinking perhaps that we were 80s kids -- wrong! -- and as I watched my old friends shimmy about, I found myself grinning at the sheer delight of watching people I came of age with still try so hard to recapture the movements of our nimble youth, never mind that most of us were easily running out of breath now, never mind if the knees were starting to get weak and couldn't swing as much.

"Do you realize that in this reunion we are at that last cusp of whatever remains of our youth?" I told Rosewell. "In our next reunion, five years from now, we will be talking about our medications and procedures."

The DJ started playing Philip Oakey and Giorgio Moroder's "Together in Electric Dreams," and while it was still not one of our generation's repertoire of hit songs, part of the song's lyrics hit deep, and everyone responded to it visibly: "We'll always be together," the song went as we sang and danced along, "However far it seems / We'll always be together / Together in electric dreams." And that is the story, really, of old friends and twenty-five years, and how we will always be together, especially in our electric dreams.

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Friday, August 17, 2018

entry arrow9:00 AM | All the Cricket Songs in the World

I can only wish the poet Carlos Angeles is right—what relief it would have been to be on the nose about things, the world becoming a lens for desolation; it would have been so much easier to behold a landscape of bleeding sunrise in knifed horizon, peacock stain upon sand, the wreck of air, the murdered rocks refuse to die. Sadness sings in a Carlos Angeles poem, and I envy its odd redemption of cricket sounds.

Do you know this poem? You should read this poem.

But it has been a beautiful day, so I gather. I am told by the dearest someone beside me that it has been a beautiful day, and I cannot disagree with him. Outside, much later, the Thursday mid-August night settles into an ordinary sort of rhythm you will recognize for Dumaguete calmness, in the way this town of a city always does: the screeches of tricycle tires on asphalt gradually softening, a kind of simmering inside the darkening houses punctuated by the blue of television glow, the hurried talk of the young as they catch what remains of gentle city traffic on the way to some party somewhere, Escano perhaps.

It is the last stretch of Mercury in retrograde, in the middle of the ghost month, and the days I am told are beautiful.

I see this.

Everything in its full lightness—and how I envy the easy joys of the people I see, how I envy their capacity for life. The sun shines, the half moon plays hide and seek with the night clouds, and if I find myself by the Rizal Boulevard to see what becomes of the horizon, I will see how the bright blue-green of the surf plays magnificently with tropical light. I see this. I just do not feel any of it. The day is a ghost, and I am in the throes of the deepest sadness I know.

Sadness brings its own version of clarity—a small and shifting and acrid stillness in your brain that is the only stable thing in a tumbling sea of shadows, and the shadow of shadows. You grasp at this small thing, this precarious balance, this bedeviled clarity, and you make it your crutch. Thus to the world, you appear calm, you walk in measured steps, and there are occasions you even laugh. You pay bills, do the moribund things like cleaning the house, like going to work, like enjoying the rib-eye steak at this digs in a new food park somewhere in the bowels of Claytown. You somehow exist, and for now that is enough.

But there is no use confiding to people—not many will understand, will dismiss things as mood swings you should be able to handle, their advise is “to snap out of it,” a judgment you accept because it takes too much energy to argue otherwise. Besides, you know this is the only vocabulary they have in this language of psychology they do not speak. You know the world would not bother to read the dead depths in your eyes. If they looked closer, they would have seen a gaping void where no light lives, where nothing makes sense, where everything disperses into the wreck of air. You wish for the fantasy and simplicity of snapping out of it.

The last happy year, as far as I can consider the vagaries of days and memory, was 2012—the year the world was supposed to end if the ancient Mayans were to have their way. It did not end. The calendar from those ancient days pointed to the conclusion of a b’ak’tun (a time period in the Mesoamerican Long Count calendar), which contemporary archaeologists had determined to be the 12th of December, 2012. That abrupt end simply did not account for a tomorrow, and how that made everyone go on a tizzy—do you remember?—but I was happy. I felt that my life by then had rounded all corners, had satisfied most of my dearest dreams. Life was full, and if it were to end in the name of the Maya, so be it. I remember my own anticipation of December 21 when it rolled into the calendar, to meet its dawn like it was probably the last, and to feel from the earth any signs of mysterious stirrings that were supposed to signal some catastrophe that would end everything. I waited till midnight. Except for reports of an earthquake somewhere else in the world, the world did not end.

Did the scientists read the calendar wrong? Or perhaps the Mayans were the first trolls, laughing from somewhere among the nine layers of their Place of Awe, their version of the hereafter, at our gullibility? Or did we just place too much of a superstitious emphasis on the meanings of relics we have scarcely come to understand? I doubt there are suitable answers to these questions, and I am not an archaeologist.

Some time ago, I read a tweet that posited another probability. Perhaps the world did end in 2012 in some otherworldly cataclysm our human brains simply cannot begin to comprehend, and we are now merely wraiths living in the shadows of that catastrophe we cannot see. Which is why the world is what it is, at the moment, a topsy-turvy purgatory. We are all dead—and the world right now is just the long sigh of the consciousness of our collective soul going into that cosmic bright light. Perhaps. I have never felt right since 2012, and a part of me is inclined to agree. As of this writing, in about three hours, I shall turn 43.

Somewhere where I cannot hear them crickets despair in ambushing me with their song.

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Wednesday, August 08, 2018

entry arrow10:17 PM | Trust

It just occurred to me that the reason why a significant number of my stories are of the confessional type -- quite autobiographical, I must admit -- is that I have never learned to properly open up to people without getting dashed by the disappointment that they don't quite believe my story. I get condescending responses like, "Are you sure about this? Maybe if..." and variations of the same, which I allow them to do, in the name of skepticism and all that. But inside, I'm like, "What the f--? Here I am doing this stupid confessional thing with you, and I rarely do this, and you doubt me?" I once had an altercation with a former good friend, and when I poured my feelings out to a common friend, I was pointedly and condescendingly told, "That's your version of the story." But the last laugh was mine, because a few years later, that former friend sued that common friend, and that common friend was hunted down like a common criminal by the police and landed in jail. Why am I posting this? I don't really know. I guess it's just a realization that, for the lack of somebody to trust, I turn to the next best thing in my need for a sounding board: my stories. They're really mostly my life, fictionalized. If you believe they happened, good for you. If you don't believe they happened, I could care less; they're fiction.


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Monday, July 09, 2018

entry arrow11:25 PM | What It's Like to be Loved

I was hungry, I was tired. My film class had gone on from 2 PM and ended around 7 PM -- the film of our choosing being 2 hours and 4 minutes long, which followed a short film that lasted 36 minutes. After class, I found myself in a cafe, still working, about to spiral -- and you suddenly appeared beside me, a welcome sight on a Monday night, very much like a balm to every conceivable existential pain. You took me to dinner at Bricks Hotel, where we met local young artists and the very personable owner of the hotel, who gave us free dessert. [That was nice.] You took me for a stroll along the Boulevard right after, where we beheld the calm sea and also a flying drone taking pictures. And then you took me to Why Not for a cone of ice cream each, which we happily licked away while walking. And as we spent away the evening hours, it occurred to me like a lovely thought blossoming that this must be how it feels like to be loved. To be in someone's constant company, and cherishing the generosity of his presence.

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Friday, June 29, 2018

entry arrow1:14 AM | The Long, Sweet Monday

It had been a long Monday, the 25th of June.

The emotional peak for that day for me came early. We had just finished doing our presentations on four specific aspects of gay lives—Prof. Michele Joan Valbuena, former chair of the Psychology Department at Silliman University, talked about the spectrum of gay identity; Atty. Golda Benjamin, instructor at the College of Law, talked about current legal groundings of the LGBTQ; J Marie Maxino, instructor at the Department of English and Literature, talked about the nuances of gay living; and I talked about gay representation in culture, focusing mostly on movies. There was a huge crowd gathered around the American Studies Resource Center of the Silliman Library, and we were fielding questions.

Soon a girl came up, and in a shaky voice that ran the gamut of being scared and being tired revealed to the crowd how she was recently forced to “come out” to her family and how she was now flailing in her relationships with them, essentially asking us the panelists in that Pride Month forum how to be brave in the face of all that.

This is the thing many people don’t get about queer lives: often there is the heartbreaking ostracism from the very people who are supposed to care for us, no matter what. The details of the girl’s story and how she delivered it shook me—and I must admit I cried in front of everyone. It was a very emotional moment, an unexpected one, simply because it struck me as being so brave, that decision to speak up, in public no less. It must been such a driving thing for her, to be compelled to ask.

I remembered a friend from five years ago, for example, who was told by his father that if he didn’t “turn straight” in six months, he would be forced to leave home. A former student also told me that once she was in a fast food restaurant with a very close relative who, upon seeing a couple of lesbians exchanging affection in the line at the counter, promptly told her that if she behaved “like that,” she would also get the boot. How many more stories like these are out there? I bet thousands.

For J Marie, her emotional moment came right after our panel when a boy came up to her and revealed how he had to flee from his hometown all the way to Dumaguete to get away from all the bullying.

And that was when I realized this was why we were doing all the things we’ve been doing for Pride Month in Dumaguete: to make visible all these issues no one wants to talk about, to create a safe space for discourse, to allow people to reveal of themselves without fear.

Truth to tell, when I found myself starting 6200Pride three weeks ago with only about seven people eager to help, and with no budget whatsoever, I made an effort not to think about the gargantuan demands of pulling off a Pride Month, which suddenly had ten major events to manage. I didn’t ask for these ten events; other people suggested them with so much enthusiasm I felt compelled to help them realize what they wanted.

“You want a drag show?” I remember telling Sol De Castro, for example. He had been, for the longest time, the leader of Silliman’s ISPEC, the campus’ organization for LGBTQs and allies, and had developed a drag persona called Solé, but had yet to put on a show in all the years he had stayed in Dumaguete. “Fine, let’s do a drag show,” I finally told him—without actually knowing how it was to actually pull off a drag show. But we did it, and it was an awesome success.

“You want a panel on coming out?” I remember telling Felix De la Pena Mosqueda III, the local leader for the Ten Outstanding Students of the Philippines Alumni Community-ISLAS. “Fine, let’s do that, too.”

Victor Giorgio Villegas was adamant about having a talk on HIV, and a free testing. Karl James Villarmea wanted a separate panel on queer faith. And so it went.

So sure, June 25 had been a very long Monday, and June has been a long month—but so far, we’ve done eight events out of the ten we’ve set out to do. We did the coming out stories last June 22—and that was an eye-opener for everyone, because we took care to have good representation: we had a lesbian, a gay man, a trans woman, and a trans boy still calling himself queer, all talking about the challenges and repercussions of coming out. We did the HIV talk last June 23, and the free clinic for testing as well—and that was huge challenge, stigma-wise, but we did it anyway.

We did a fun run and walk in the name of ecology and gender rights last Sunday, because Karl thought we should start thinking about the interlacing of disparate issues in our complicated lives.

Then on June 25, we did four [and a half] events in total: a jampacked panel on gay issues; then the panel which tackled queer faith—which was a long, very interesting event, held at Magdamo Hall at Silliman, the home of its Religion and Peace Studies Department; a zine fest; a poetry+music event; and the unfurling of our gigantic rainbow flag.

In the end, I went back again to my early question: why were we doing this? Because we didn’t have to, you know. But I’ve realized it is for that girl who cried, and for that boy who escaped his bullies.

Some things are bigger than ourselves; and long Mondays are fine in the light of all things.

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Tuesday, June 19, 2018

entry arrow10:01 AM | What's Going On at the #6200Pride?

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Monday, June 18, 2018

entry arrow3:07 AM | Soaring Sound

The choir started singing Mozart’s Requiem on an early Sunday evening—it was the June 17th, at the tail-end of Father’s Day—and we were transfixed by the music until the very end. When the performance was over, no one moved; no one could quite believe it was finished and felt there should have been more. More music, another piece perhaps. [There was alas no encore.]

That pregnant expectation for more was very much a testament to the performance by Ating Pamana/Silliman University Gratitude and Goodwill Ambassador, directed by Elizabeth Susan Vista-Suarez—and it was without question superb, the kind of performance you know has been wrought by someone who is equal to the passion and to the demands of the music.

Once again, Dr. Suarez has demonstrated the immense gift she has in conducting music: exquisitely aware of how to “timpla” sound [her word], eschewing the loudness that has come to characterize much of the country’s choral efforts and believing instead in precision, in massaging the notes and the spaces between them just enough to create a richness that is also about finesse. In her program, the famously unfinished piece by Wolfgang Amadeus Mozart felt quite finished—although she did take care to include the pieces composed by Francois Xavier Süssmayer to finish out the composition after Mozart’s death. (Süssmayer had been a pupil of Mozart and had been much with him during the time he had worked on the Requiem.) From Dies Irae to Tuba Mirum to Rex Tremendae Majestatis, from Recordare to Confutatis Maledictis to Domine Jesu, from Hostias to Lacrymosa to Sanctus and Hosanna, and from Benedictus to Agnus Dei, the choir conquered each movement with panache, each voice vibrant—and I could only imagine the what-if had this also have been accompanied by a full orchestra. But I’ll take my blessings where I can. As it is, the choir was the star.

It goes without saying that Dr. Suarez and the Ating Pamana/Silliman University Gratitude and Goodwill Ambassador deserved the applause they finally got: hearty—and grateful. It did feel that way, the applause. Because listening to music such as this was indeed a gift.

Was this a good choice to open the 56th Cultural Season of Silliman University? By all accounts, it was. As a season opener, it was a good harbinger for things still come—and the cultural calendar is without question chockfull of delightfully anticipated events, including the Philippine Madrigal Singers, the ABS-CBN Philharmonic Orchestra, and Ballet Philippines.

But to go back to Mozart Requiem

The sound. Let us talk about that heavenly sound which reverberated around the Ariniego Art Gallery in a kind of fullness I have never heard before in any other venue in Dumaguete City. There was an uncanny precision even to the echoes. Can you imagine music “soaring”? I have always read that description, and it is in fact a cliché. But the performance demonstrated exactly this effect, and it made all the difference. And it occurred to me that this was always the dream. Once upon a time, in 2014, a group of us—Diomar Abrio, Grace Sumalpong, Leo Mamicpic, Edna Mijares, Annabelle Lee Adriano, Moses JoshuaAtega, and a bunch of others—went to Tagaytay City for dinner with Dr. Romeo Ariniego after having invaded his art collection at his house in Dasmariñas, Cavite, which later on became his fondest donation to Silliman University.

We were frank with our wishes: that perhaps we could have an art gallery to house it all, and that perhaps we could have an art gallery to also function as a venue where we could have a more intimate time with chamber music and choral music, even poetry readings, surrounded by great art. (The Luce was beautiful and grand—but it was too big for certain things.)

We had no idea Dr. Ariniego was listening to us intently in Tagaytay, and three years later, we now have that building that the Silliman University Culture and Arts Council and a bunch of Manila alumni were only wishing about years ago.

This was always the plan for the Ariniego Art Gallery—and when we approved the final architectural design, we took note of that as well, first in giving the specifications, and then finally in choosing the design that best fitted all our expectations.

But there’s art here, and there’s finally music in it too.

And tonight, listening to Ating Pamana sing so magnificently, the genius of Mozart splendidly evoked, all was right in the world.

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Saturday, June 16, 2018

entry arrow1:00 AM | The Most Successful People I've Met

By Nick Mamatas

Response to a tweet by @APompliano that read:
The most successful people I've met:
1. Read constantly
2. Workout daily
3. Are innately curious
4. Have laser focus
5. Believe in themselves
6. Build incredible teams
7. Admit they know very little
8. Constantly work to improve
9. Demand excellence in everything they do

The most successful people I've met:

1. Have well-connected parents
2. Who are also wealthy
3. And work in a related field
4. But have a different surname
5. Which allowed my successful acquaintances to "come out of nowhere"
6. Because that's a feature hook
7. Easily arranged

The next most successful group:

1. Married someone
2. With no goals of their own
3. Who are happy to be secretary
4. And valet
5. And unidirectionally monogamous
6. And crawl off silently after separation
7. When the successful person trades up to a better servant

The third group:

1. Are good at quantitative reasoning
2. Read a lot
3. Work sixty-hour weeks
4. Spend their energy covering for their incompetent bosses
5. Usually burn out at 40
6. Grow a stupid beard
7. Can't even get laid at Burning Man
8. Accidentally tweet porn at 3am

The fourth group:

1. Are immigrants
2. From countries with authoritarian governments
3. Who don't like to talk politics
4. Because their parents were part of the regime's intellectual elite
5. And have nicknames like "The Bloodthirsty Tiger"
6. And that $800 handbag is too cute

The fifth group:

1. Are utterly unexceptional
2. worked hard
3. got injured in car accident or fall
4. or were racially/sexually abused by bosses
5. and kept their mouths shut for once, didn't say "partially my own fault"
6. got a big settlement
7. blew it starting a small press

The last group:

1. worked pretty hard
2. got lucky with timing, then
3. coughed hard once and up came some blood
4. or experienced bad thoughts about their phones
5. vanished for years
6. took the bus once; recognized me
7. I said "How you've been?"
8. "Oh God, Nick, oh God."

Everyone else pretty much just has something on SoundCloud and wrote a book you've never heard of.


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Friday, June 15, 2018

entry arrow6:40 PM | The Pride of 6200

In perhaps its most ambitious undertaking since it started celebrating Pride Month in 2016, Dumaguete City is poised to make the 2018 edition its most comprehensive and inclusive, with ten events scheduled throughout June to cater to various interest and concerns of local LGBTQ.

I’ve found myself to be the lead organizer for this event—for reasons I’m still trying to sort out—although I vaguely remember deciding to do this when, a few months ago, Ren Dy, a good friend, made a totally uncharacteristic remark, and resolve. He doesn’t usually follow other people’s lead regarding activism and assorted social concerns, but one time he remarked on the death of two local gay men—one of them a good friends of ours—who had recently under “mysterious” circumstances: “It’s time we do something,” he said.

I found that simple resolve Ren declared quite amazing, and I realized that most of us do feel finally moved when things approaches the personal. Because we knew those two young men died from complications of AIDS—a specter we are still beginning to grapple with in Dumaguete—although we had to decode from the official medical reasons given: “pneumonia,” usually, and sometimes “tuberculosis.” And we knew they didn’t have to die, because HIV is a perfectly manageable condition with recent advances in medical technology—except that these were closeted individuals whose families could barely grasp the heavy intricacies of their situations, because of the stigma.

I’ve always believed that in Dumaguete the biggest problems regarding LGBTQ life and welfare are misinformation and invisibility. These create stigma, and that is the biggest obstacle towards making any headway regarding problems besetting the community. The entrenched conservatism, of course, makes sure no one talks properly and in public about anything, hence the misinformation. And the stigma regarding the lives of gay men renders them invisible; the closet is still where many local gay men live—maintaining a strict cis persona for their families, and a flamboyantly gay one for their friends. Most learn to live in that grey area. And while I firmly do not believe in “outing” anyone from their closet, I can still say it’s a fraught place to live in, even if you have learned to negotiate its shadows.

But I think it’s also time to start making deeper explorations into the various issues of LGBTQ life, because we are not just defined by our sexualities—we are also defined by how we do culture, how we engage in spirituality, and how we link our advocacies to other important concerns like the environment. Hence, there is Pride Month in Dumguete in June.

Pride Month is an internationally recognized celebration advocating for LGBTQE rights and welfare, and it was first celebrated in Dumaguete in 2016, although the first Pride Parade was organized in 2011. The Dumaguete initiative of Pride Month is called #6200Pride, which links Dumaguete’s zipcode to the popular expression of LGBTQ activism—but #6200Pride is not an organization; it is a loose network of organizations and individuals in Dumaguete who are dedicated to the LGBTQ advocacy. Part of this network is local organizations such as the Illuminates of the Spectra [ISPEC] of Silliman University, led by Sol De Castro and a team of other students, and PETALS Dumaguete, a newly-formed LGBTQ group in Dumaguete led by Prof. Carlou Bernaldez of the Negros Oriental State University.

A drag show featuring local drag artists Sole, Maningning, and Kendra Heart starts Pride Month on June 16 at 7:30 PM at Hayahay Treehouse Bar.

Other events include “When I Came Out: A Panel on Coming Out Stories” on June 22, Friday at 4 PM at the American Studies Resource Center of the Robert and Metta Silliman University Library; a talk on HIV/AIDS by Dr. Ma. Lourdes E. Ursos on June 23, Saturday at 9 AM at the Physicians Hall of the Silliman University Medical School, to be followed by a free and confidential testing and counseling at the Ursos Clinic at the Silliman University Medical Center at 2 PM; and the EcoPride Fun Run and Hike on June 24, Sunday starting at 5:30 PM with assembly at the Lee Super Plaza Hypermart, ending at the Valencia Plaza.

June 25 will see a slate of activities, including the Pride Panel on Gay Identity, Gay Culture, Gay Living, and LGBTQ and the Law at 10 AM at the American Studies Resource Center of the Robert and Metta Silliman University Library; a talk titled “Why Queer Faith Matters” at 2 PM at the Magdamo Hall in Silliman campus; and a Pride Poetry and Music event at 3:45 PM at the Silliman Library foyer. A Pride Zine Fest threads throughout these activities starting at 10 AM. A screening of Joselito Altarejos’ award-winning film Tale of the Lost Boys is slated at 7 PM at CityMall Cinema [still pending though].

Dumaguete’s Pride Month culminates with a Grand Pride Parade on June 30, Saturday, starting at 3 PM at Portal West in Hibbard Avenue. We are encouraging not just the local LGBTQ community to participate, but also our cis or straight allies. We hope to compose it with many organizations and individuals in a celebration walk around the city.

6200Pride also includes other local organizations and individuals in Dumaguete City such as Youth Advocates Through Theatre Arts [YATTA], Ten Outstanding Students of the Philippines Alumni Community-ISLAS, the Dumaguete Amateur Roadrunners and Striders [DARS], Dumaguete City Tourism Office, Dumaguete MetroPost, 6200 Film Society, and several organizations and academic departments in Silliman University including the Culture and Arts Council, American Studies Resource Center of the Robert and Metta Silliman University Library, Religion and Peace Studies Department, Psychology Society, Silliman University Medical Center, Silliman University Medical Students Association, English Society, DumAlt.Press, and others. Sponsoring groups include the BASILBAN, Hayahay, and Dy-Dael Dental Clinic and Associates.

That’s a lot of people invested in this advocacy—as it should. In June, we will paint Dumaguete City with all the colors of the rainbow.

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Sunday, June 10, 2018

entry arrow11:38 AM | Pride on the Screen

When Looking first premiered in HBO in 2014, it promised to be a series that would explore, with some rainbow thoroughness, the ferris wheel of gay lives, at least that which can be found in and around San Francisco. Created with intimate care by Michael Lannan, it was also a television show shaped from the creative genius of Andrew Haigh, its director, someone who had previously given us Weekend in 2011, a now iconic gay drama about two men hitting it up for a one-night stand, but find themselves incredibly drawn to each other’s lives.

I loved Looking; it was a well-written, well-directed, well-acted series that was both romantic and realistic, with characters that were complex, in equal measure infuriating and relatable. I loved it the most for what it promised: gay lives in mainstream culture, necessary representation in the checkered history of the LGBT in television.

But what was surprising for me were the criticisms lobbied at it from the most unlikely source: gay men. What was wrong with Looking, according to them? It was too white. It was not diverse enough. It was too sexy. It was too vanilla. There were no lesbians. It was too romantic. It was not romantic enough. Et cetera, et cetera—and at the end of it all, the show lasted only two seasons and a movie, eventually cancelled.

And so we are largely back to live in a world where television is predominantly heterosexual. The Real O’Neals was uproarious and promising—but that got cancelled, too. Thank God at least for the revival of Will and Grace and Queer Eye, and the juggernaut of RuPaul’s Drag Race, which has become such a mainstream pleasure, it’s incredible how much cache it has come to carry.

In the movies, at least in American cinema, we’ve had a breakthrough of sorts with Barry Jenkins’ Moonlight surprising everyone for exceeding its indie roots, and came to be the cinematic critical darling of 2016, eventually winning the Oscar for Best Picture in 2017—and fulfilling the promise denied Ang Lee’s seminal Brokeback Mountain which lost that same accolade to the bewildering bleeding heart that is now the much-maligned film Crash. Moonlight may have won film’s top prize in recent memory—but it is still largely a product of independent efforts; it didn’t start as a mainstream studio offering, embraced only by everyone else when it proved too big to ignore.

Can there be a film about gay and queer people from a studio with a mainstream sensibility, essentially constituting an effort at cracking this particular glass ceiling? The conventional wisdom has always been that gay lives could never be embraced by mainstream cinema; films of that sensibility could never turn a profit—because apparently there is only a miniscule audience for such—hence, gay lives could never be taken seriously as a subject matter fit enough for multiplexes. They tried in 1982, when 20th Century Fox made Making Love, directed by Arthur Hiller. It proved to be a box office disappointment, and the reviews were withering—although it has of late garnered a cult following, making it a mainstream film truly ahead of its time. The traditional home for gay-centric films has always been the independent cinema scene, where the taboos—because the distribution is niche—are often broken, and sincere filmmaking has always been the vanguard. To list all the gay films made from this side of world cinema is to risk overindulgence. There has been hundreds, a lot of them good, and many of them fantastic—Moonlight is only one of the most recent efforts. In 2017 alone, there has been Call Me By Your Name, Beach Rats, Princess Cyd, BPM, Thelma, God’s Own Country, Patay na si Hesus, 4 Days in France, A Fantastic Woman, Strong Island, Paris 05:59: Théo and Hugo, 2 Cool 2 Be 4gotten, Battle of the Sexes, Professor Marston and the Wonder Women, and The Ornithologist.

Here comes Greg Berlanti’s Love, Simon—a film from Fox 2000 Pictures, essentially from the same studio that gave us Making Love. (You have to hand it to Fox for trying.) The film, about a teenager who feels compelled to confront his own gayness when an anonymous persona starts posting about being gay in an online school forum, is based on the popular YA novel, Simon vs. the Homo Sapiens Agenda by Becky Albertalli. I expected to like Berlanti’s heart-fluttering adaptation of the book—given that he directed The Broken Hearts Club in 2001, a film that was quite impactful for me when I was a much younger man.

I did not expect myself, however, to tear up near the end, to see a gay version of the pivotal moment in Never Been Kissed. And it occurred to me that representation indeed counts, and in the movies much more so.

But this one had a bit more gravity that it purports to be about an ordinary boy perfectly accepting of the fact that he’s gay. No self-hating angst here, no terrors of the closet; the landslide that he has to navigate through is not even about the usual self-pitying refrains about having to hide; it’s about the repercussions of having to lose love.

During one dramatic highlight in the film, Nick Robinson as the titular hero, upon being outed online to the rest of the school, tells his sister matter-of-factly: “Why should I deny [being gay]? It’s not something I’m ashamed of.” And that statement felt very revolutionary, indeed, to be uttered in a mainstream teen romantic comedy.

Most older gay people I know who have seen this movie has said variations of the same sentence: they wished this movie came out when they were teenagers. I completely understand that sentiment. I wished I saw this when I was younger.

But still the criticisms of the film from a gay men—particularly of an older generation who just cannot buy the romantic premise of the movie. A friend of mine commented: “I heard this joke before, maybe it was a punchline in a sitcom, or perhaps a stand-up comic’s schtick. Anyway, I’m paraphrasing here: ‘I’m for same-sex marriage. After all, why should heteros have all the misery?’ I was reminded of that while watching Love, Simon. Its movie poster repeats a line that Simon says in the film: ‘Everyone deserves a great love story.’ Sadly, this isn’t it. Sure, the actors were appealing, the performances heartfelt, and I actually allowed myself to be taken in by the movie. But then I also realized, so this is what it’s like to be normalized. This is what it’s like to get our own Hollywood-style romantic comedy full of well-worn tropes, unrealistic clichés, and familiar beats—just with a gay lead. Well, okay fine, the film does tackle the difficulties of coming out, a topic unheard of in hetero romances. But the quirky vice principal? Check. The sassy black teacher? Check. Friend with unrequited feelings? Check. Grand romantic gesture? Check and check. Yes, I’d love for homosexuality to be normalized. What I don’t like are films, gay or straight, that further fuel the stupid Hollywood fantasy of Happy Ever After. Gay viewers deserve something better. Heck, gay and straight viewers deserve a great movie. Period. As the Timeless (yes, really) Gay Icon Cher says: ‘Snap out of it.’”

But I honestly found the film—and its banking on formula—very refreshing. In all my years of watching films, I’ve come to see a lot of gay, non-mainstream, very independent cinema which has treated homosexuality with more nuance and better representation than Love, Simon. These films were able to do that because they weren’t compelled by the expectations of mainstream market forces, and thus were freer to do what they wanted—but they had to stay “niche,” which is both a positive and a negative.

Love, Simon is an experiment at doing the mainstream with a gay lead—and in this, it is actually both revolutionary and “normalized.” For that, I applaud it. I felt a lump in my throat when I first saw the scene I’ve illustrated above—because I am 42 years old, and it took this long for me to see and hear something like that in my neighborhood cinema. Of course it’s a Hollywood fantasy, and it was designed like that. It’s the first step, a necessary one. One day, we will get our gay version of Moonstruck, with a gay version of Cher.

Love, Simon was clearly not made for us older gay men who are perhaps a little too jaded, because we’ve seen so much already, and consequently have experienced so much as well, given society’s slow evolution in mores. (It is changing though.) This is a film for the gay boy [and girl] of today. I was with my 23-year-old boyfriend when I saw this, and his face was the very picture of rapt attention, especially that scene between the lead and his mother. Afterwards, he said, “This is the first time I’ve seen a real gay kiss in a regular movie.” My friend remarked to this: “True, I am not the audience. Which brings me back to what really irks me now that I’m older: are fairy tales really necessary? Kids need simplified tales growing up, but I think, in this day and age, teens (and even tweens) should be given more complex tales. Or if not complex, at least more grounded.” But most of us—and truer still for the heterosexual majority—started with simple happy ending romantic comedies [starring straight people] when we were younger, and we swooned over them. And then we graduated level by level to demand more complexity. Of course fairy tales are necessary, as any fairy tale expert would tell us. They may seem “simple,” but they are in fact complex mirrors to human psychology. Love, Simon is not that simple: it tackles blackmail, coming out, coming out to a society deep in social media shenanigans, bullying, the complexity of friendship, and others. But these issues were treated with a light touch, which does not necessarily mean shallow.

The ending with a Ferris wheel struck a lot of people as being needlessly romantic and unreal, but for me, it was a throwback to Drew Barrymore’s ending in Never Been Kissed. Why did we cheer for that, and can’t cheer for Simon? I applaud both happy endings. If you have seen The Celluloid Closet, you will learn that in all of Hollywood’s history of gay stories, gay and lesbian characters—either overt or obscure—always ended up with these LGBT characters being dead or depressed, “punished” for being deviants. It took many decades, until 1968’s The Boys in the Band, to have a movie with gay characters who would all survive the ending of the movie, and actually get to have a party! The regular trope for endings for gay boys and girls in Hollywood movies is a sad ending. Recall the latest: Brokeback Mountain, sad. Call Me By Your Name, sad. A happy ending is very, very rare.

Clip from the iconic 1968 film The Boys in the Band, directed by William Friedkin from the play by Mart Crowley: "It's not always as it happens in plays. Not all faggots bump themselves off at the end of the story."

Most teenage movies involving a coming-of-age arc that also has romance thrown in for good measure, strive for a bittersweet feel, still happy but with a certain knowingness that adds texture to that optimism. John Hughes was the perfect storyteller for that kind of teenage film. But ultimately, Samantha Baker got her cake, candles, and kiss from Jake Ryan in Sixteen Candles, Claire Standish and John Bender exchanged kisses and earrings in The Breakfast Club, Andie Walsh got her Blane in Pretty in Pink, and Ferris Bueller got his ultimate day off from school, with his girl and his best friend. I like happy endings, and I like them more in gay films for teenagers. Because is sadness what we want to model for gay boys and girls to learn from their formative movies? “Be gay, and be miserable for the rest of your life,” is not the tagline I want to foster. I want some happy endings, too, along with the sad endings.

I’m not suggesting that all films have happy endings. Have a movie with a sad ending? Applaud that. Have a movie with a happy ending? Applaud that as well. It’s all about the intent, and if the intent has been earned. Love Simon is intended to be a happy gay romance. Why hate it for what it sets out to do? But movies are really Rorschach tests: our reactions to them illustrate so much the murk of our hidden psychology. I like diverse endings—happy and sad—because I’ve had both in my own life, and I believe in the possibility that both can happen in equal measure.

Films can only do so much to “accommodate” our expectations of them, and I’ve always tried to appreciate narrative that triy to do its best given the limitations of the form it chooses to tell its story. Ultimately though, I am a romantic and also a realist, both in equal measure, and I appreciate happy endings in a romantic comedy, because the genre demands a happy ending. I remember romance novelist Mina Esguerra insisting all the time that if it does not have a happy ending, it is not a romance novel. [The genre is strict about that.]

Movies, especially the mainstream ones, are our fantasy lives unfolding in a magic mirror, film critic Edward Behr once said. Love, Simon is wonderful fantasy rooted in realistic problems. I do feel that the romantic ending was earned, although I’m aware that for some people it isn’t. Which is the great thing about art, it is always different to different people. I will always remember this workshop admonition in creative writing I’ve once gotten from an esteemed writer: “Never crucify someone’s story for what you want it to be instead.”

All stories have a place. All of these is a gamut, a range. Love, Simon is a step—one step hopefully among many others still to come—taken in the right direction.

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Sunday, June 03, 2018

entry arrow8:00 AM | The Fires of Dumaguete

I was six when I saw my first big fire. It was 1981, we lived in an old building—a rickety wooden affair that had plenty of rooms for several tenants and creaked during rainy days—which was owned by someone we called Tiya Tansing, and the house just happened to be located right near the corner of Calle Sta. Rosa and Calle Real, a stone’s throw away from the tianggue.

The tianggue in the old days was two or three blocks worth of stalls—mostly wooden and makeshift—constituting a grand maze of no discernable design, although I remember there was a movie theater there somewhere, where we saw the latest Snooky Serna and Maricel Soriano teeny bopper films from Regal. I can’t remember the name of the theater, but I can recall the heady topsy-turviness of the place, and the inescapable smell of vegetable rot and fish entrails.

One night in 1981, while Dumaguete slept, the whole tianggue burned down, a grand conflagration that was so immense, it felt like the apocalypse. That we lived nearby pushed us to panic, and I remember my family trying to evacuate what possessions we had—the dining table, boxes of clothes, assorted items marking lives suddenly seeming so fragile—from our apartment in Tiya Tansing’s house and right onto the street, which was swarming with onlookers who were in equal measure frightened and excited. I remember the rain of embers from the night sky—dots of firelight that looked like fireflies, but here and there were creating new fires in nearby houses.

That scene remains indelible in my memory. In 2006, when I wrote my short story “A Strange Map of Time,” which is included in my book Heartbreak and Magic, I memorialized all of that in this passage, where the hero confronts a similar fire to get to a mystical gate: “[H]e opened his eyes to a strange night, a fiery brightness everywhere in Dumaguet he could not shake away like a bad dream. The world crawled into his consciousness. His senses took time to recover, and only little by little did he make out the details of things: the smell was of acrid burning; the feel was of far-off heat licking the sensitive hair on his arms and face; the noise was of shouts in crescendo, the wailing of alarm constant in the air.

“It was the year of the Big Fire. The sight disconcerted him: a huge city block was in flames, the fire ravenously licking wood and toppling cement walls. There seemed to be an endlessness to the devastation, with fire spreading everywhere. It seemed like the end of the world. From everywhere, strange and old-looking earthbound trucks, painted red, buzzed about in fashion, sending gushes of hosed water into the air, into the heart of the flame, onto the surfaces of buildings opposite.

“The young man who used to be Sawi stood up and walked towards the fire and the gathering throng. Around him, people panicked, grabbing hold of so many things—a very thin old man was carrying a refrigerator, an old woman had six toddlers in her arms, two boys were rushing towards the crowd with a huge aparador between them—all of them running around to somewhere and nowhere. He saw that there was also a growing crowd—hundreds—that also descended to watch, in a clinch of awe and horror, the conflagration.”

I write this about fires and the grim fascination over them because only last Wednesday, Times Mercantile along Dr. V. Locsin Street burned down. Again.

Photo by Sho Tuazon

This is the second time this has happened to this local grocery store, arguably a Dumaguete business icon, something all locals know to go to for the best priced liquor and the like. With Fortune Mart also gone, only Ricky’s remain of the Dumaguete of old. In 2000, Times’ old front along Perdices Street burned down along with the old Ricky’s, a fire that claimed two lives and reshaped how Dumagueteños did their after-hours grocery shopping.

But fires have an interesting history in Dumaguete, a terrible but decisive shaper of its landscape. The local church historian Fr. Roman Sagun has an interesting article about local conflagrations, and in “Fire and the Changing Cityscape of Dumaguete City,” he writes: “In 1990, a massive fire leveled down commercial establishments and residences along Real and Cervantes Streets. It affected two adjacent blocks that were mainly occupied by 34 families and eight commercial establishments. The fire started at 3:00 A.M and was contained two hours after. There were no casualties … but all 34 families were left homeless. The fire rapidly blazed all that was found within the adjacent blocks since most of the houses were made of nipa. Witnesses said that two fire trucks arrived early but one of the hoses snapped, [which] was because the valve was opened too soon before an additional link could be installed. [There was also looting, as] people pretended to help but … stole from the victims and commercial establishments [instead].”

The 1990 fire started at what was then VJR Kitchenette, which was located behind the old Rhine Marketing, and it quickly engulfed the surrounding commercial establishments including Tat’s or Goldy Theater, Dove Theater, Glecel’s Kitchenette, Luzonians Restaurant, Lamp Lighter, Badon Repair Shop, City Barbershop, GM Furniture, Anchor’s Tailoring, Tan’s Rechargeable Shop, and Vesin’s Store.

Fr. Sagun also wrote of the 1992 fire that damaged the Gold Label Grocery Store along Locsin and Ma. Cristina Streets caused by faulty electrical wiring. In 1994, the New Bian Yek Commercial Building along Real Street also caught fire, and while the concrete structure remained, the shops in the interior were decimated. In 1996, the Philippine National Police headquarters went up in flames.

The 1990s was a decade of fires in Dumaguete. Most of these fires occurred downtown, and usually happened in the early hours of morning—and while all these are devastating, there is no denying that fires have been instrumental in shaping the landscape of the downtown area. In the 2000 fire that consumed the first Times Mercantile and Ricky’s Bakery and Grocery Store, the whole episode began around 5 A.M., and in its wake caused 10 million pesos worth of property damage, and the lives of two sisters, Natalie and Ivy Acuña. Fr. Sagun writes of that terrible night: “According to the only survivor, Ronnie Baldoza, a working baker from Ricky’s, the hotdog freezer had a short circuit and caught fire. The two sisters, together with [Ronnie], tried to [contain] the fire with a fire extinguisher,” but the highly flammable materials that were stocked around the store fueled the flames too quickly, and Ronnie managed to escape, but the sisters had passed out from smoke inhalation.”

The new fire, which originated from the clothing store beside Times, lasted five hours long, according to reports by Raffy Cabristante for GMA News. Many of the boarding houses within the block were not spared, although most of the commercial frontages nearby are still intact because of their high firewalls. In retrospect, that now-gone old building housing Times Mercantile had indeed seen better times—but it was a grand wooden one of a style that used to grace the streets of Dumaguete, some of which still remain and are in perfect need for restoration. What will rise from the ashes of that building? The landscape of Dumaguete changes some more.

Photo by Urich Calumpang

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Thursday, May 31, 2018

entry arrow5:25 PM | The End of Summer

I will always think of May as the best month to be in Dumaguete. The sweltering heat aside [I prefer to call it “caloric”], much of Maytime here reminds me of midsummer magic: the unplanned trips to the nearby beaches and assorted mountain escapes, in particular, as well as the random cultural and artistic happenings that make Dumaguete a vibrant city that it is. In retrospect, I did so much this summer: a Negros Island OBT, a stint at paneling for the Silliman University National Writers Workshop, a zine fest at Robinson’s, a book launch at the Cultural Centre of the Philippines, a night with musical animals at the African savannah, several poetry readings and lectures, plus summer school. Daghan baya ang nabuhat, although I’m always plagued with the thought that I could have done more. I will always be thankful and grateful for all these opportunities, and to friends and family I’ve shared all these with. It’s the 31st of May, and summer ends. May our adventures continue.

Photo by Xandro Dael


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Friday, May 25, 2018

entry arrow2:08 PM | A Writers' Summer in Dumaguete

Aside from the Silliman University Writers Workshop, which ensures that May is the city's true Literature Month, the thing I love about Dumaguete, especially in the summer, is bumping into writer friends, like it's the most casual thing in the world. No plans, instant meet-ups.

With playwright and screenwriter Rody Vera at Rollin' Pin.

With children's writer Luis Gatmaitan at Qyosko.

With Mookie Katigbak-Lacuesta, Dean Francis Alfar, Anthony Tan, and Cesar Ruiz Aquino and the fellows of the 57th Silliman University National Writers Workshop at the Ariniego Art Gallery.

With fellows, panelists, and staff of the 57th Silliman University National Writers Workshop at the Food District.

With Noel Tuazon, Erlinda Alburo, Jaime An Lim, and Marjorie Evasco at the Alice Fullerton Hall grounds.

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Sunday, April 15, 2018

entry arrow6:08 PM | Online-Only Friends

It is inevitable in this day and age not to have an "online-only" friend -- people you consider very good friends, with whom you interact constantly online, but have never really met.

For this documentarian, meeting that kind of friend proved to be a disaster, and he gives us insight about what went wrong. It doesn't have to be a disaster all the time though. Dean Francis Alfar and I, for example, became blogger friends years and years ago, until he finally came to Dumaguete to visit me. We've been very good friends since then. It can happen. Would you be willing to meet with an "online-only" friend?

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Thursday, April 12, 2018

entry arrow10:32 PM | Cleaning Therapy

I’ve been spring-cleaning for three days now. The last part—culling and sorting—takes forever, especially sorting. Papers, documents, etc. It’s very therapeutic though, filing and putting things in their proper places, throwing things away, discovering old stuff. I found my grade school valedictorian “medal,” for example, and it was awesome.


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entry arrow9:08 PM | Nico is Nothing But a Third-Rate, Trying Hard Douchebag

Watching Emmanuel Borlaza's Bituing Walang Ningning (1985) again, after so many years of this film being just memory, and I think the real villain is Christopher de Leon's Nico Escobar. A privileged music exec who doesn't seem to do any real work, he dates the most successful singer in the country, but wants Lavinia to give up [almost] everything to be his wife. Spurned by Lavinia who only wants to live to her best potential, Nico proceeds to groom some Eliza Dolittle character named Dorina to challenge Lavinia, like some petulant six-year-old Svengali with influence and money. And when Dorina in fact succeeds to become the fast-rising singing sensation in the country, Nico gives her the same ultimatum: give up everything and be my wife. The douchebag! Of course this being the 1980s, Dorina gives up everything for love. In the showdown concert that ends the movie, Dorina shares the same stage, and song, with Lavinia in some mid-80s version of female camaraderie. On stage, we behold the ex and the current -- both victims of Pinoy patriarchy which strongly determines the shape of female success. That this was once framed by Pinoy pop culture of old as a "romance" that celebrates "love triumphant over everything else" makes me cringe.

But that's me being a feminist. As a lover of 80s melodrama, I loved it.

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entry arrow2:00 PM | Going Through 1001 Films You Must Watch Before You Die


You must attribute this list to summer boredom or to the impending certainty of 2012, but I've listed down below the films checklisted by Steven Jay Schneider in his book 1001 Films You Must Watch Before You Die (2003), and I have decided to devote time in the foreseeable future to see the titles on this list ... before I die.

I like this list. And like any list, it necessarily leaves out personal favorites ("The Lion King" but no "Little Mermaid"?), and takes in too many things I suspect to be the result of editorial bias (there's too much Paul Verhoeven here than is necessary). But I like this list nonetheless, because it is generous with what it includes and becomes a virtual cineast feast. It includes celebrated short films and not just full-length features, and strange experimental films (it has Maya Deren and Alexander Hammid's "Meshes in the Afternoon"!), and strange independent films (it has Ken Jacob's "Blonde Cobra"!), and strange horror films (it has Dario Argento's "Suspiria"!), and strange documentaries (it has Terry Zwigoff's "Crumb"!), and avant-garde or risque films you don't think will make such a list (it has Kenneth Anger's very gay "Scorpio Rising"!), and films representative of major world cinemas (it even has Lino Brocka's "Manila sa mga Kuko ng Liwanag"!).

I must take note, however, I've been watching movies my whole life -- and studying them as well -- and so there are titles here that feel like I've seen them, but I'm not exactly so sure of the fact, simply because their legend has made them so familiar my memory now plays tricks on me. So then I've decided to check only those titles I'm really sure I've seen.

I've seen 526 out of 1001 so far culled from the 2003 edition.

So, how many films have you seen from this list?

☑ A Trip to the Moon (Georges Melies, 1902)
☑ The Great Train Robbery (Edwin S. Porter, 1903)
☑ The Birth of a Nation (D.W. Griffith, 1915)
☐ Les Vampires (Louis Feuillade, 1915)
☑ Intolerance (D.W. Griffith, 1916)
☑ The Cabinet of Dr. Caligari (Robert Wiene, 1919)
☐ Broken Blossoms (D.W. Griffith, 1919)
☐ Way Down East (D.W. Griffith, 1920)
☐ Within Our Gates (Oscar Micheaux, 1920)
☐ The Phantom Carriage (Victor Sjöström, 1921)
☐ Orphans of the Storm (D.W. Griffith, 1921)
☐ The Smiling Madame Beudet (Germaine Dulac, 1922)
☐ Dr. Mabuse, Parts 1 and 2 (Fritz Lang, 1922)
☑ Nanook of the North (Robert J. Flaherty, 1922)
☑ Nosferatu, A Symphony of Terror (F.W. Murnau, 1922)
☐ Häxan: Witchcraft Through the Ages (Benjamin Christensen, 1923)
☐ Foolish Wives (Erich von Stroheim, 1922)
☐ Our Hospitality (John G. Blystone, 1923)
☐ La Roue [The Wheel] (Abel Gance, 1923)
☐ The Thief of Bagdad (Raoul Walsh, 1924)
☑ Strike (Sergei M. Eisenstein, 1924)
☐ Greed (Erich von Stroheim, 1924)
☑ Sherlock, Jr. (Buster Keaton, 1924)
☐ The Last Laugh (F.W. Murnau, 1924)
☐ Seven Chances (Buster Keaton, 1925)
☐ The Phantom of the Opera (Rupert Julian, 1925)
☑ The Battleship Potemkin (Sergei M. Eisenstein, 1925)
☑ The Gold Rush (Charlie Chaplin, 1925)
☐ The Big Parade (King Vidor, 1925)
☑ Metropolis (Fritz Lang, 1927)
☐ Sunrise (F.W. Murnau, 1927)
☐ The General (Clyde Bruckman and Buster Keaton, 1927)
☐ The Unknown (Tod Browning, 1927)
☐ October (Grigori Aleksandrov and Sergei M. Eisenstein, 1927)
☑ The Jazz Singer (Alan Crosland, 1927)
☐ Napoleon (Abel Gance, 1927)
☐ The Kid Brother (Ted Wilde, 1927)
☐ The Crowd (King Vidor, 1928)
☐ The Docks of New York (Josef von Sternberg, 1928)
☑ Un Chien Andalou (Luis Buñuel, 1928)
☑ The Passion of Joan of Arc (Carl Theodor Dreyer, 1928)
☐ Steamboat Bill, Jr. (Charles Reisner, 1928)
☐ Potomok Chingis-Khana [Storm Over Asia] (Vsevolod Pudovkin, 1928)
☐ Blackmail (Alfred Hitchcock, 1929)
☑ The Man with the Movie Camera (Dziga Vertov, 1929)
☐ Pandora's Box (Georg Wilhelm Pabst, 1929)
☐ The Blue Angel (Josef von Sternberg, 1930)
☐ L'Age D'Or (Luis Buñuel, 1930)
☐ Earth (Aleksandr Dovzhenko, 1930)
☐ Little Caesar (Mervyn LeRoy, 1930)
☐ All Quiet on the Western Front (Lewis Milestone, 1930)
☐ À Nous la Liberté [Freedom For Us] (René Clair, 1931)
☐ Le Million (René Clair, 1931)
☐ Tabu (F.W. Murnau, 1931)
☐ Dracula (Tod Browning, 1931)
☑ Frankenstein (James Whale, 1931)
☑ City Lights (Charlie Chaplin, 1931)
☐ The Public Enemy (William A. Wellman, 1931)
☐ M (Fritz Lang, 1931)
☐ La Chienne [The Bitch] (Jean Renoir, 1931)
☐ Vampyr (Carl Theodor Dreyer, 1932)
☐ Love Me Tonight (Rouben Mamoulian, 1932)
☐ Boudu Saved From Drowning (Jean Renoir, 1932)
☐ I Am a Fugitive from a Chain Gang (Mervyn LeRoy, 1932)
☐ Trouble in Paradise (Ernst Lubitsch, 1932)
☐ Scarface: The Shame of a Nation (Howard Hawks and Richard Rosson, 1932)
☐ Shanghai Express (Josef von Sternberg, 1932)
☑ Freaks (Tod Browning, 1932)
☐ Me and My Gal (Raoul Walsh, 1932)
☐ Zero de Conduite (Jean Vigo, 1933)
☐ 42nd Street (Lloyd Bacon, 1933)
☐ Footlight Parade (Lloyd Bacon, 1933)
☐ Gold Diggers of 1933 (Mervyn LeRoy, 1933)
☑ She Done Him Wrong (Lowell Sherman, 1933)
☑ Duck Soup (Leo McCarey, 1933)
☑ Queen Christina (Rouben Mamoulian, 1933)
☐ Land Without Bread (Luis Buñuel, 1933)
☐ King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)
☐ The Bitter Tea of General Yen (Frank Capra, 1933)
☐ Sons of the Desert (William A. Seiter, 1933)
☐ It's a Gift (Norman Z. McLeod, 1934)
☑ Triumph of the Will (Leni Riefenstahl, 1934)
☐ L'Atalante (Jean Vigo, 1934)
☐ The Black Cat (Edgar G. Ulmer, 1934)
☐ Judge Priest (John Ford, 1934)
☑ It Happened One Night (Frank Capra, 1934)
☐ The Thin Man (W.S. Van Dyke, 1934)
☐ Captain Blood (Michael Curtiz, 1935)
☐ Mutiny on the Bounty (Frank Lloyd, 1935)
☑ A Night at the Opera (Sam Wood, 1935)
☐ The 39 Steps (Alfred Hitchcock, 1935)
☑ Bride of Frankenstein (James Whale, 1935)
☐ Top Hat (Mark Sandrich, 1935)
☐ A Day in the Country (Jean Renoir, 1936)
☑ Modern Times (Charlie Chaplin, 1936)
☑ Swing Time (George Stevens, 1936)
☑ My Man Godfrey (Gregory La Cava, 1936)
☐ Mr. Deeds Goes to Town (Frank Capra, 1936)
☐ Camille (George Cukor, 1936)
☐ Sabotage (Alfred Hitchcock, 1936)
☐ Dodsworth (William Wyler, 1936)
☐ Things to Come (William Cameron Menzies, 1936)
☐ The Story of a Cheat (Sacha Guitry, 1936)
☐ Captains Courageous (Victor Fleming, 1937)
☐ Song at Midnight (Weibang Ma-Xu, 1937)
☐ Grand Illusion (Jean Renoir, 1937)
☑ Stella Dallas (King Vidor, 1937)
☑ The Life of Emile Zola (William Dieterle, 1937)
☑ Make Way for Tomorrow (Leo McCarey, 1937)
☑ Snow White and the Seven Dwarfs (William Cottrell and David Hand, 1937)
☑ The Awful Truth (Leo McCarey, 1937)
☐ Pepe le Moko (Julien Duvivier, 1937)
☑ Jezebel (William Wyler, 1938)
☐ The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)
☐ Angels with Dirty Faces (Michael Curtiz, 1938)
☑ Olympia (Leni Riefenstahl, 1938)
☐ The Baker's Wife (Marcel Pagnol, 1938)
☑ Bringing Up Baby (Howard Hawks, 1938)
☐ Stagecoach (John Ford, 1939)
☐ The Story of the Late Chrysanthemums (Kenji Mizoguchi, 1939)
☐ Babes in Arms (Busby Berkeley, 1939)
☑ Mr. Smith Goes to Washington (Frank Capra, 1939)
☑ The Wizard of Oz (Victor Fleming, 1939)
☐ Destry Rides Again (George Marshall, 1939)
☐ Only Angels Have Wings (Howard Hawks, 1939)
☑ Gone With the Wind (Victor Fleming, 1939)
☐ Le Jour Se Lève [Daybreak] (Marcel Carné, 1939)
☐ Gunga Din (George Stevens, 1939)
☑ Ninotchka (Ernst Lubitsch, 1939)
☑ La Règle du Jeu [The Rules of the Game] (Jean Renoir, 1939)
☐ Wuthering Heights (William Wyler, 1939)
☑ His Girl Friday (Howard Hawks, 1940)
☑ Rebecca (Alfred Hitchcock, 1940)
☑ Fantasia (James Algar and Samuel Armstrong, 1940)
☑ The Philadelphia Story (George Cukor, 1940)
☐ The Grapes of Wrath (John Ford, 1940)
☐ Dance, Girl, Dance (Dorothy Arzner, 1940)
☑ Pinocchio (Norman Ferguson and T. Hee, 1940)
☐ The Mortal Storm (Frank Borzage, 1940)
☐ The Bank Dick (Edward F. Cline, 1940)
☑ Citizen Kane (Orson Welles, 1941)
☑ The Lady Eve (Preston Sturges, 1941)
☐ The Wolf Man (George Waggner, 1941)
☑ The Maltese Falcon (John Huston, 1941)
☐ Sergeant York (Howard Hawks, 1941)
☑ Dumbo (Samuel Armstrong and Norman Ferguson, 1941)
☐ High Sierra (Raoul Walsh, 1941)
☑ Sullivan's Travels (Preston Sturges, 1941)
☑ How Green Was My Valley (John Ford, 1941)
☑ The Palm Beach Story (Preston Sturges, 1942)
☑ Now, Voyager (Irving Rapper, 1942)
☑ Casablanca (Michael Curtiz, 1942)
☑ To Be or Not to Be (Ernst Lubitsch, 1942)
☑ Cat People (Jacques Tourneur, 1942)
☑ The Magnificent Ambersons (Orson Welles, 1942)
☐ Yankee Doodle Dandy (Michael Curtiz, 1942)
☑ Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
☐ Fires Were Started (Humphrey Jennings, 1943)
☐ The Man in Grey (Leslie Arliss, 1943)
☐ The Life and Death of Colonel Blimp (Michael Powell and Emeric Pressburger, 1943)
☑ I Walked With a Zombie (Jacques Tourneur, 1943)
☐ The Seventh Victim (Mark Robson, 1943)
☐ The Ox-Bow Incident (William A. Wellman, 1943)
☐ Shadow of a Doubt (Alfred Hitchcock, 1943)
☐ Ossessione (Luchino Visconti, 1943)
☑ Meet Me in St. Louis (Vincente Minnelli, 1944)
☐ To Have and Have Not (Howard Hawks, 1944)
☐ Laura (Otto Preminger, 1944)
☑ Gaslight (George Cukor, 1944)
☐ Henry V (Laurence Olivier, 1944)
☐ Ivan the Terrible, Parts One and Two (Sergei M. Eisenstein, 1944)
☑ Double Indemnity (Billy Wilder, 1944)
☐ Murder, My Sweet (Edward Dmytryk, 1944)
☐ The Battle of San Pietro (John Huston and Mark W. Clark, 1945)
☑ Spellbound (Alfred Hitchcock, 1945)
☑ Mildred Pierce (Michael Curtiz, 1945)
☐ Les Enfants du Paradis [The Children of Paradise] (Marcel Carné, 1945)
☐ Rome, Open City (Roberto Rossellini, 1945)
☑ The Lost Weekend (Billy Wilder, 1945)
☐ Detour (Edgar G. Ulmer, 1945)
☐ I Know Where I'm Going! (Michael Powell and Emeric Pressburger, 1945)
☑ The Best Years of Our Lives (William Wyler, 1946)
☑ Brief Encounter (David Lean, 1946)
☐ Paisan (Roberto Rossellini, 1946)
☐ The Postman Always Rings Twice (Tay Garnett, 1946)
☐ My Darling Clementine (John Ford, 1946)
☐ The Stranger (Orson Welles, 1946)
☐ Beauty and the Beast (Jean Cocteau, 1946)
☑ The Big Sleep (Howard Hawks, 1946)
☐ The Killers (Robert Siodmak, 1946)
☐ A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946)
☐ Great Expectations (David Lean, 1946)
☑ Notorious (Alfred Hitchcock, 1946)
☑ Black Narcissus (Michael Powell and Emeric Pressburger, 1946)
☑ It's a Wonderful Life (Frank Capra, 1946)
☑ Gilda (Charles Vidor, 1946)
☑ Monsieur Verdoux (Charles Chaplin, 1947)
☐ Out of the Past (Jacques Tourneur, 1947)
☑ The Ghost and Mrs. Muir (Joseph L. Mankiewicz, 1947)
☐ Odd Man Out (Carol Reed, 1947)
☑ The Bicycle Thief (Vittorio De Sica, 1948)
☐ Letter From an Unknown Woman (Max Ophüls, 1948)
☐ Secret Beyond the Door (Fritz Lang, 1948)
☐ Force of Evil (Abraham Polonsky, 1948)
☐ Spring in a Small Town (Fei Mu, 1948)
☑ Red River (Howard Hawks, 1948)
☑ Rope (Alfred Hitchcock, 1948)
☐ The Snake Pit (Anatole Litvak, 1948)
☐ The Lady from Shanghai (Orson Welles, 1948)
☐ The Paleface (Norman Z. McLeod, 1948)
☑ The Red Shoes (Michael Powell and Emeric Pressburger, 1948)
☐ The Treasure of the Sierra Madre (John Huston, 1948)
☐ Louisiana Story (Robert J. Flaherty, 1948)
☑ The Heiress (William Wyler, 1949)
☑ Kind Hearts and Coronets (Robert Hamer, 1949)
☐ Gun Crazy (Joseph H. Lewis, 1949)
☑ Adam's Rib (George Cukor, 1949)
☐ Whiskey Galore! (Alexander Mackendrick, 1949)
☐ White Heat (Raoul Walsh, 1949)
☐ The Reckless Moment (Max Ophüls, 1949)
☑ The Third Man (Carol Reed, 1949)
☑ On the Town (Stanley Donen and Gene Kelly, 1949)
☐ Orpheus (Jean Cocteau, 1949)
☐ The Asphalt Jungle (John Huston, 1950)
☑ Rashomon (Akira Kurosawa, 1950)
☐ Winchester '73 (Anthony Mann, 1950)
☐ Rio Grande (John Ford, 1950)
☑ All About Eve (Joseph L. Mankiewicz, 1950)
☑ Sunset Blvd. (Billy Wilder, 1950)
☐ Los Olvidados (Luis Buñuel, 1950)
☐ In a Lonely Place (Nicholas Ray, 1950)
☐ The Big Carnival [Ace in the Hole] (Billy Wilder, 1951)
☑ A Streetcar Named Desire (Elia Kazan, 1951)
☑ Strangers on a Train (Alfred Hitchcock, 1951)
☐ The Lavender Hill Mob (Charles Crichton, 1951)
☐ Pandora and the Flying Dutchman (Albert Lewin, 1951)
☑ The African Queen (John Huston, 1951)
☑ Diary of a Country Priest (Robert Bresson, 1951)
☑ An American in Paris (Vincente Minnelli, 1951)
☑ A Place in the Sun (George Stevens, 1951)
☐ The Day the Earth Stood Still (Robert Wise, 1951)
☐ The Quiet Man (John Ford, 1952)
☐ Jeux Interdits [Forbidden Games] (René Clément, 1952)
☐ Angel Face (Otto Preminger, 1952)
☑ Singin' in the Rain (Stanley Donen and Gene Kelly, 1952)
☑ Ikiru [To Live] (Akira Kurosawa, 1952)
☐ Europa '51 [The Greatest Love] (Roberto Rossellini, 1952)
☑ The Bad and the Beautiful (Vincente Minnelli, 1952)
☐ The Big Sky (Howard Hawks, 1952)
☑ High Noon (Fred Zinnemann, 1952)
☐ Umberto D (Vittorio De Sica, 1952)
☐ Le Carrosse D'Or [The Golden Coach] (Jean Renoir, 1952)
☐ The Bigamist (Ida Lupino, 1953)
☐ The Band Wagon (Vincente Minnelli, 1953)
☑ The Earrings of Madame De… (Max Ophüls, 1953)
☑  From Here to Eternity (Fred Zinnemann, 1953)
☑ Tokyo Story (Yasujirô Ozu, 1953)
☑ Roman Holiday (William Wyler, 1953)
☐ Le Salaire de la Peur [The Wages of Fear] (Henri-Georges Clouzot, 1953)
☐ The Naked Spur (Anthony Mann, 1953)
☐ Pickup on South Street (Samuel Fuller, 1953)
☑ Gentlemen Prefer Blondes (Howard Hawks, 1953)
☑ The Big Heat (Fritz Lang, 1953)
☑ Monsieur Hulot's Holiday (Jacques Tati, 1953)
☑ Voyage in Italy (Roberto Rossellini, 1953)
☐ Tales of Ugetsu (Kenji Mizoguchi, 1953)
☑ Shane (George Stevens, 1953)
☐ Beat the Devil (John Huston, 1953)
☑ Johnny Guitar (Nicholas Ray, 1954)
☑ On the Waterfront (Elia Kazan, 1954)
☐ Seven Brides for Seven Brothers (Stanley Donen, 1954)
☑ Les Diaboliques (Henri-Georges Clouzot, 1954)
☐ Animal Farm (Joy Batchelor and John Halas, 1954)
☑ Rear Window (Alfred Hitchcock, 1954)
☑ A Star Is Born (George Cukor, 1954)
☑ The Barefoot Contessa (Joseph L. Mankiewicz, 1954)
☐ La Strada (Federico Fellini, 1954)
☑ The Seven Samurai (Akira Kurosawa, 1954)
☐ Senso [The Wanton Countess] (Luchino Visconti, 1954)
☐ Silver Lode (Allan Dwan, 1954)
☑ Carmen Jones (Otto Preminger, 1954)
☐ Sansho the Bailiff (Kenji Mizoguchi, 1954)
☐ Salt of the Earth (Herbert J. Biberman, 1954)
☐ Artists and Models (Frank Tashlin, 1955)
☐ Guys and Dolls (Joseph L. Mankiewicz, 1955)
☑ Pather Panchali (Satyajit Ray, 1955)
☐ Bad Day at Black Rock (John Sturges, 1955)
☐ Les Maîtres Fous [The Mad Masters] (Jean Rouch, 1955)
☐ Giv'a 24 Eina Ona [Hill 24 Doesn’t Answer] (Thorold Dickinson, 1955)
☐ The Ladykillers (Alexander Mackendrick, 1955)
☐ Marty (Delbert Mann, 1955)
☐ Ordet (Carl Theodor Dreyer, 1955)
☐ Bob Le Flambeur [Bob the Gambler] (Jean-Pierre Melville, 1955)
☐ Kiss Me Deadly (Robert Aldrich, 1955)
☐ The Man from Laramie (Anthony Mann, 1955)
☑ Rebel Without a Cause (Nicholas Ray, 1955)
☐ The Phenix City Story (Phil Karlson, 1955)
☐ Smiles of a Summer Night (Ingmar Bergman, 1955)
☑ Night and Fog (Alain Resnais, 1955)
☑ The Night of the Hunter (Charles Laughton, 1955)
☐ The Sins of Lola Montes (Max Ophüls, 1955)
☐ Forbidden Planet (Fred M. Wilcox, 1956)
☐ The Burmese Harp (Kon Ichikawa, 1956)
☑ The Searchers (John Ford, 1956)
☐ A Man Escaped (Robert Bresson, 1956)
☑ Written on the Wind (Douglas Sirk, 1956)
☑ The Man Who Knew Too Much (Alfred Hitchcock, 1956)
☑ Giant (George Stevens, 1956)
☑ All That Heaven Allows (Douglas Sirk, 1956)
☑ Invasion of the Body Snatchers (Don Siegel, 1956)
☑ The Wrong Man (Alfred Hitchcock, 1956)
☐ Bigger Than Life (Nicholas Ray, 1956)
☑ High Society (Charles Walters, 1956)
☑ The Ten Commandments (Cecil B. DeMille, 1956)
☑ 12 Angry Men (Sidney Lumet, 1957)
☐ The Seventh Seal (Ingmar Bergman, 1957)
☑ An Affair to Remember (Leo McCarey, 1957)
☐ Wild Strawberries (Ingmar Bergman, 1957)
☑ Nights of Cabiria (Federico Fellini, 1957)
☑ Throne of Blood (Akira Kurosawa, 1957)
☐ The Incredible Shrinking Man (Jack Arnold, 1957)
☐ Aparajito [The Unvanquished] (Satyajit Ray, 1957)
☐ Gunfight at the O.K. Corral (John Sturges, 1957)
☑ The Bridge on the River Kwai (David Lean, 1957)
☐ Mother India (Mehboob Khan, 1957)
☐ The Cranes Are Flying (Mikhail Kalatozov, 1957)
☑ Paths of Glory (Stanley Kubrick, 1957)
☑ Sweet Smell of Success (Alexander Mackendrick, 1957)
☐ Man of the West (Anthony Mann, 1958)
☑ Touch of Evil (Orson Welles, 1958)
☐ Bab el Hadid [The Iron Gate/Cairo Station] (Youssef Chahine, 1958)
☑ Gigi (Vincente Minnelli, 1958)
☐ The Defiant Ones (Stanley Kramer, 1958)
☑ Vertigo (Alfred Hitchcock, 1958)
☐ Ashes and Diamonds (Andrzej Wajda, 1958)
☐ Horror of Dracula (Terence Fisher, 1958)
☑ Mon Oncle (Jacques Tati, 1958)
☐ The Music Room (Satyajit Ray, 1958)
☑ The 400 Blows (François Truffaut, 1959)
☑ North by Northwest (Alfred Hitchcock, 1959)
☑ Some Like It Hot (Billy Wilder, 1959)
☐ Anatomy of a Murder (Otto Preminger, 1959)
☐ Eyes Without a Face (Georges Franju, 1959)
☐ Ride Lonesome (Budd Boetticher, 1959)
☐ Black Orpheus (Marcel Camus, 1959)
☐ Shadows (John Cassavetes, 1959)
☑ The World of Apu (Satyajit Ray, 1959)
☐ Breathless (Jean-Luc Godard, 1959)
☑ Ben-Hur (William Wyler, 1959)
☐ Pickpocket (Robert Bresson, 1959)
☑ Hiroshima Mon Amour (Alain Resnais, 1959)
☐ Rio Bravo (Howard Hawks, 1959)
☐ The Hole (Frank Capra, 1959)
☑ Floating Weeds (Yasujirô Ozu, 1959)
☐ Rocco and His Brothers (Luchino Visconti, 1960)
☑ La Dolce Vita (Federico Fellini, 1960)
☐ Saturday Night and Sunday Morning (Karel Reisz, 1960)
☐ Shoot the Piano Player (François Truffaut, 1960)
☑ L'Avventura (Michelangelo Antonioni, 1960)
☐ The Young One (Luis Buñuel, 1960)
☐ Meghe Dhaka Tara [The Cloud-Capped Star] (Ritwik Ghatak, 1960)
☐ Hanyeo [The Housemaid] (Ki-young Kim, 1960)
☑ Psycho (Alfred Hitchcock, 1960)
☐ Revenge of the Vampire/Black Sunday (Mario Bava, 1960)
☑ Peeping Tom (Michael Powell, 1960)
☑ The Apartment (Billy Wilder, 1960)
☑ Spartacus (Stanley Kubrick, 1960)
☐ Splendor in the Grass (Elia Kazan, 1961)
☑ Last Year at Marienbad (Alain Resnais, 1961)
☑ La Jetee [The Pier] (Chris Marker, 1961)
☐ One-Eyed Jacks (Marlon Brando, 1961)
☐ Lola (Jacques Demy, 1961)
☑ Breakfast at Tiffany's (Blake Edwards, 1961)
☐ La Notte [The Night] (Michelangelo Antonioni, 1961)
☑ Jules et Jim (François Truffaut, 1961)
☐ Viridiana (Luis Buñuel, 1961)
☑ The Ladies Man (Jerry Lewis, 1961)
☐ Through a Glass Darkly (Ingmar Bergman, 1961)
☐ Chronique d'un Eté [Chronicle of a Summer] (Edgar Morin and Jean Rouch, 1961)
☐ The Hustler (Robert Rossen, 1961)
☑ West Side Story (Jerome Robbins and Robert Wise, 1961)
☐ Mondo Cane [A Dog's Life] (Paolo Cavara and Gualtiero Jacopetti, 1962)
☐ Cleo from 5 to 7 (Agnès Varda, 1962)
☐ Dog Star Man (Stan Brakhage, 1962)
☑ El Ángel Exterminador [The Exterminating Angel] (Luis Buñuel, 1962)
☐ An Autumn Afternoon (Yasujirô Ozu, 1962)
☐ L'eclisse [The Eclipse] (Michelangelo Antonioni, 1962)
☑ Lawrence of Arabia (David Lean, 1962)
☑ To Kill a Mockingbird (Robert Mulligan, 1962)
☑ The Manchurian Candidate (John Frankenheimer, 1962)
☑ Lolita (Stanley Kubrick, 1962)
☐ O Pagador de Promessas [Keeper of Promises] (Anselmo Duarte, 1962)
☐ The Man Who Shot Liberty Valance (John Ford, 1962)
☑ What Ever Happened to Baby Jane? (Robert Aldrich, 1962)
☐ Vivre sa Vie [My Life to Live] (Jean-Luc Godard, 1962)
☐ Heaven and Earth Magic (Harry Smith, 1962)
☑ The Birds (Alfred Hitchcock, 1963)
☑ The Nutty Professor (Jerry Lewis, 1963)
☐ Blonde Cobra (Ken Jacobs, 1963)
☐ The Cool World (Shirley Clarke, 1963)
☑ 8½ (Federico Fellini, 1963)
☐ Passenger (Andrzej Munk and Witold Lesiewicz, 1963)
☐ Contempt (Jean-Luc Godard, 1963)
☐ Hud (Martin Ritt, 1963)
☐ Winter Light (Ingmar Bergman, 1963)
☐ Flaming Creatures (Jack Smith, 1963)
☑ The Great Escape (John Sturges, 1963)
☐ Shock Corridor (Samuel Fuller, 1963)
☑ Il Gattopardo [The Leopard] (Luchino Visconti, 1963)
☐ Vidas Secas [Barren Lives] (Nelson Pereira dos Santos, 1963)
☐ Méditerranée (Jean-Daniel Pollet and Volker Schlöndorff, 1963)
☐ Khaneh Siah Ast [The House is Black] (Forugh Farrokhzad, 1963)
☑  The Haunting (Robert Wise, 1963)
☐ An Actor's Revenge/Revenge of a Kabuki Actor (Kon Ichikawa, 1963)
☐ The Servant (Joseph Losey, 1963)
☑ Goldfinger (Guy Hamilton, 1964)
☑ Scorpio Rising (Kenneth Anger, 1964)
☑ Les Parapluies de Cherbourg [The Umbrellas of Cherbourg] (Jacques Demy, 1964)
☑ Marnie (Alfred Hitchcock, 1964)
☑ My Fair Lady (George Cukor, 1964)
☑ Woman in the Dunes (Hiroshi Teshigahara, 1964)
☑ Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)
☑ A Hard Day's Night (Richard Lester, 1964)
☐ Red Desert (Michelangelo Antonioni, 1964)
☐ Shadows of Forgotten Ancestors (Sergei Parajanov, 1964)
☐ The Masque of the Red Death (Roger Corman, 1964)
☐ Before the Revolution (Bernardo Bertolucci, 1964)
☐ Gertrud (Carl Theodor Dreyer, 1964)
☑ The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)
☐ Deus e O Diabo Na Terra Do Sol [Black God, White Devil] (Glauber Rocha, 1964)
☐ Onibaba [The Demon] (Kaneto Shindô, 1964)
☐ Vinyl (Andy Warhol, 1965)
☐ Obch o Na Korze [The Shop on Main Street] (Ján Kadár and Elmar Klos, 1965)
☑ Doctor Zhivago (David Lean, 1965)
☐ The War Game (Peter Watkins, 1965)
☐ Tokyo Olympiad (Kon Ichikawa, 1965)
☑ The Battle of Algiers (Gillo Pontecorvo, 1965)
☑ The Sound of Music (Robert Wise, 1965)
☐ Rękopis Znaleziony w Saragossie [The Saragossa Manuscript] (Wojciech Has, 1965)
☐ Alphaville (Jean-Luc Godard, 1965)
☐ Chimes at Midnight (Orson Welles, 1965)
☑ Repulsion (Roman Polanski, 1965)
☐ Giulietta Degli Spiriti [Juliet of the Spirits] (Federico Fellini, 1965)
☐ Pierrot le Fou [Pierrot Goes Wild] (Jean-Luc Godard, 1965)
☐ Faster, Pussy Cat! Kill! Kill! (Russ Meyer, 1965)
☐ Subarnarekha [The Golden River/The Golden Thread] (Ritwik Ghatak, 1965)
☐ De Man Die Zijn Haar Kort Liet Knippen [The Man Who Had His Hair Cut Short] (André Delvaux, 1965)
☐ Hold Me While I'm Naked (George Kuchar, 1966)
☑ Blowup (Michelangelo Antonioni, 1966)
☑ The Good, the Bad, and the Ugly (Sergio Leone, 1966)
☐ Sedmikrásky [Daisies] (Vera Chytilová, 1966)
☐ 大醉俠 [Come Drink With Me] (King Hu, 1966)
☐ Seconds (John Frankenheimer, 1966)
☑ Who's Afraid of Virginia Woolf? (Mike Nichols, 1966)
☑ Persona (Ingmar Bergman, 1966)
☐ Masculin Féminin (Jean-Luc Godard, 1966)
☐ Au Hasard Balthazar (Robert Bresson, 1966)
☑ In the Heat of the Night (Norman Jewison, 1967)
☐ Two or Three Things I Know About Her (Jean-Luc Godard, 1967)
☑ The Graduate (Mike Nichols, 1967)
☑ Playtime (Jacques Tati, 1967)
☐ Report (Bruce Conner, 1967)
☐ Hombre (Martin Ritt, 1967)
☑ Belle de Jour (Luis Buñuel, 1967)
☐ Les Demoiselles de Rochefort [The Young Girls of Rochefort] (Jacques Demy and Agnès Varda, 1967)
☐ Week End (Jean-Luc Godard, 1967)
☑ Le Samouraï (Jean-Pierre Melville, 1967)
☐ Cool Hand Luke (Stuart Rosenberg, 1967)
☐ Point Blank (John Boorman, 1967)
☑ Wavelength (Michael Snow, 1967)
☑ Bonnie and Clyde (Arthur Penn, 1967)
☐ Csillagosok, Katonák [The Red and the White] (Miklós Jancsó, 1967)
☐ Marketa Lazarova (Frantisek Vlácil, 1967)
☑ The Jungle Book (Wolfgang Reitherman, 1967)
☐ The Fireman's Ball (Milos Forman, 1967)
☐ Terra em Transe [Earth Entranced] (Glauber Rocha, 1967)
☐ Ostře Sledované Vlaky [Closely Watched Trains] (Jiri Menzel, 1967)
☐ Vij [Spirit of Evil] (Konstantin Yershov and Georgi Kropachyov, 1967)
☐ The Cow/Poor Cow (Ken Loach, 1968)
☐ Once Upon a Time in the West (Sergio Leone, 1968)
☑ Planet of the Apes (Franklin J. Schaffner, 1968)
☐ Faces (John Cassavetes, 1968)
☑ Rosemary's Baby (Roman Polanski, 1968)
☐ If… (Lindsay Anderson, 1968)
☐ Memorias del Subdesarrollo [Memories of Underdevelopment] (Tomás Gutiérrez Alea, 1968)
☑ The Producers (Mel Brooks, 1968)
☐ David Holzman's Diary (Jim McBride, 1968)
☐ Shame (Ingmar Bergman, 1968)
☑ 2001: A Space Odyssey (Stanley Kubrick, 1968)
☐ Hour of the Wolf (Ingmar Bergman, 1968)
☐ Targets (Peter Bogdanovich, 1968)
☑ Night of the Living Dead (George A. Romero, 1968)
☑ My Night at Maud's (Eric Rohmer, 1969)
☐ Lucia (Humberto Solás, 1969)
☐ A Touch of Zen (King Hu, 1969)
☑ Butch Cassidy and the Sundance Kid (George Roy Hill, 1969)
☑ Midnight Cowboy (John Schlesinger, 1969)
☐ Satyricon (Federico Fellini, 1969)
☐ Z (Costa-Gavras, 1969)
☐ The Conformist (Bernardo Bertolucci, 1969)
☑ Easy Rider (Dennis Hopper, 1969)
☐ High School (Frederick Wiseman, 1969)
☐ In the Year of the Pig (Emile de Antonio, 1969)
☑ The Wild Bunch (Sam Peckinpah, 1969)
☐ Andrei Rublev (Andrey Tarkovsky, 1969)
☐ Le Boucher [The Butcher] (Claude Chabrol, 1969)
☑ The Color of Pomegranates (Sergei Parajanov, 1969)
☐ Kes (Ken Loach, 1969)
☐ Tristana (Luis Buñuel, 1970)
☑ Five Easy Pieces (Bob Rafelson, 1970)
☐ El Topo (Alejandro Jodorowsky, 1970)
☑ Woodstock (Michael Wadleigh, 1970)
☐ Deep End (Jerzy Skolimowski, 1970)
☐ Strategia del Ragno [The Spider's Stratagem] (Bernardo Bertolucci, 1970)
☐ Little Big Man (Arthur Penn, 1970)
☐ Ucho [The Ear] (Karel Kachyna, 1970)
☐ Patton (Franklin J. Schaffner, 1970)
☑ M*A*S*H (Robert Altman, 1970)
☐ Performance (Donald Cammell and Nicolas Roeg, 1970)
☐ Gimme Shelter (Albert Maysles and David Maysles, 1970)
☐ Zabriskie Point (Michelangelo Antonioni, 1970)
☐ The Bird With the Crystal Plumage (Dario Argento, 1970)
☐ The Garden of the Finzi-Continis (Vittorio De Sica, 1970)
☐ Wanda (Barbara Loden, 1971)
☐ W.R.: Mysteries of the Organism (Dusan Makavejev, 1971)
☑ A Clockwork Orange (Stanley Kubrick, 1971)
☑ The Sorrow and the Pity (Marcel Ophüls, 1971)
☑ Willy Wonka and the Chocolate Factory (Mel Stuart, 1971)
☑ McCabe and Mrs. Miller (Robert Altman, 1971)
☐ Walkabout (Nicolas Roeg, 1971)
☑ Klute (Alan J. Pakula, 1971)
☑ Harold and Maude (Hal Ashby, 1971)
☐ Még Kér a Nép [Red Psalm] (Miklos Jancso, 1971)
☐ Get Carter (Mike Hodges, 1971)
☑ The French Connection (William Friedkin, 1971)
☐ Shaft (Gordon Parks, 1971)
☑ Dirty Harry (Don Siegel, 1971)
☑ Le Souffle au Cœur [Murmur of the Heart] (Louis Malle, 1971)
☐ Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
☑ The Last Picture Show (Peter Bogdanovich, 1971)
☐ Straw Dogs (Sam Peckinpah, 1971)
☐ Two-Lane Blacktop (Monte Hellman, 1971)
☑ The Heartbreak Kid (Elaine May, 1972)
☑ Aguirre, the Wrath of God (Werner Herzog, 1972)
☑ Cabaret (Bob Fosse, 1972)
☑ Last Tango in Paris (Bernardo Bertolucci, 1972)
☐ High Plains Drifter (Clint Eastwood, 1972)
☑ Sleuth (Joseph L. Mankiewicz, 1972)
☑ Deliverance (John Boorman, 1972)
☑ Solaris (Andrei Tarkovsky, 1972)
☑ The Godfather (Francis Ford Coppola, 1972)
☑ Cries and Whispers (Ingmar Bergman, 1972)
☐ Fat City (John Huston, 1972)
☑ Le Charme Discret de la Bourgeoisie [The Discreet Charm of the Bourgeoisie] (Luis Buñuel, 1972)
☐ Die Bitteren Tränen der Petra von Kant [The Bitter Tears of Petra Von Kant] (Rainer Werner Fassbinder, 1972)
☐ Frenzy (Alfred Hitchcock, 1972)
☑ Pink Flamingos (John Waters, 1972)
☐ Superfly (Gordon Parks Jr., 1972)
☑ The Sting (George Roy Hill, 1973)
☐ La Maman et la Putain [The Mother and the Whore] (Jean Eustache, 1973)
☐ Badlands (Terrence Malick, 1973)
☑ American Graffiti (George Lucas, 1973)
☐ Papillon (Franklin J. Schaffner, 1973)
☑ Enter the Dragon (Robert Clouse, 1973)
☑ Mean Streets (Martin Scorsese, 1973)
☐ The Long Goodbye (Robert Altman, 1973)
☑ The Wicker Man (Robin Hardy, 1973)
☑ La Nuit Américaine [Day for Night] (François Truffaut, 1973)
☑ Don't Look Now (Nicolas Roeg, 1973)
☑ Sleeper (Woody Allen, 1973)
☐ Serpico (Sidney Lumet, 1973)
☑ The Exorcist (William Friedkin, 1973)
☐ Turks Fruit [Turkish Delight] (Paul Verhoeven, 1973)
☐ El Espíritu de la Colmena [The Spirit of the Beehive] (Víctor Erice, 1973)
☑ La Planète Sauvage [Fantastic Planet] (René Laloux, 1973)
☑ Amarcord (Federico Fellini, 1973)
☐ The Harder They Come (Perry Henzell, 1973)
☐ Pat Garrett and Billy the Kid (Sam Peckinpah, 1973)
☐ Dersu Uzala (Akira Kurosawa, 1974)
☑ The Conversation (Francis Ford Coppola, 1974)
☑ The Texas Chainsaw Massacre (Tobe Hooper, 1974)
☑ Zerkalo [The Mirror] (Andrei Tarkovsky, 1974)
☑ A Woman Under the Influence (John Cassavetes, 1974)
☑ Young Frankenstein (Mel Brooks, 1974)
☑ Chinatown (Roman Polanski, 1974)
☐ Céline et Julie Vont en Bateau [Celine and Julie Go Boating] (Jacques Rivette, 1974)
☑ Blazing Saddles (Mel Brooks, 1974)
☑ The Godfather Part II (Francis Ford Coppola, 1974)
☐ Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
☐ Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974)
☑ Dog Day Afternoon (Sidney Lumet, 1975)
☑ One Flew over the Cuckoo's Nest (Milos Forman, 1975)
☑ Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
☑ The Rocky Horror Picture Show (Jim Sharman, 1975)
☐ Deewaar [The Wall] (Yash Chopra, 1975)
☑ Monty Python and the Holy Grail (Terry Gilliam and Terry Jones, 1975)
☑ Barry Lyndon (Stanley Kubrick, 1975)
☐ Faustrecht der Freiheit [Fox and His Friends] (Rainer Werner Fassbinder, 1975)
☐ India Song (Marguerite Duras, 1975)
☑ Picnic at Hanging Rock (Peter Weir, 1975)
☑ Manila sa Mga Kuko ng Liwanag [Manila in the Claws of Brightness] (Lino Brocka, 1975)
☑ Salo, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975)
☑ Nashville (Robert Altman, 1975)
☐ Cria! (Carlos Saura, 1975)
☐ O Thiassos [The Travelling Players] (Theodoros Angelopoulos, 1975)
☑ Jaws (Steven Spielberg, 1975)
☐ The Killing of a Chinese Bookie (John Cassavetes, 1976)
☑ Carrie (Brian De Palma, 1976)
☐ The Outlaw Josey Wales (Clint Eastwood, 1976)
☑ All the President's Men (Alan J. Pakula, 1976)
☑ Rocky (John G. Avildsen, 1976)
☑ Taxi Driver (Martin Scorsese, 1976)
☑ Network (Sidney Lumet, 1976)
☐ Voskhozhdeniye [The Ascent] (Larisa Shepitko, 1976)
☑ In the Realm of the Senses (Nagisa Ôshima, 1976)
☐ 1900 (Bernardo Bertolucci, 1976)
☐ The Man Who Fell to Earth (Nicolas Roeg, 1976)
☑ Star Wars (George Lucas, 1977)
☑ Close Encounters of the Third Kind (Steven Spielberg, 1977)
☐ The Last Wave (Peter Weir, 1977)
☑ Annie Hall (Woody Allen, 1977)
☐ Last Chants for a Slow Dance (Jon Jost, 1977)
☐ Stroszek (Werner Herzog, 1977)
☐ Człowiek z Marmuru [Man of Marble] (Andrzej Wajda, 1977)
☑ Saturday Night Fever (John Badham, 1977)
☑ Killer of Sheep (Charles Burnett, 1977)
☐ Eraserhead (David Lynch, 1977)
☐ Ceddo (Ousmane Sembene, 1977)
☐ Der Amerikanische Freund [The American Friend] (Wim Wenders, 1977)
☐ The Hills Have Eyes (Wes Craven, 1977)
☐ Soldaat van Oranje [Soldier of Orange] (Paul Verhoeven, 1977)
☑ Suspiria (Dario Argento, 1977)
☐ The Chant of Jimmie Blacksmith (Fred Schepisi, 1978)
☐ 五毒 [Five Deadly Venoms] (Cheh Chang, 1978)
☐ L'Albero Degli Zoccoli [The Tree of Wooden Clogs] (Ermanno Olmi, 1978)
☑ The Deer Hunter (Michael Cimino, 1978)
☑ Grease (Randal Kleiser, 1978)
☑ Days of Heaven (Terrence Malick, 1978)
☑ Dawn of the Dead (George A. Romero, 1978)
☐ Shaolin Master Killer/The 36th Chamber of Shaolin (Chia-Liang Liu, 1978)
☐ Up in Smoke (Lou Adler, 1978)
☑ Halloween (John Carpenter, 1978)
☐ The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)
☐ Real Life (Albert Brooks, 1979)
☐ My Brilliant Career (Gillian Armstrong, 1979)
☐ Stalker (Andrei Tarkovsky, 1979)
☑ Alien (Ridley Scott, 1979)
☐ Breaking Away (Peter Yates, 1979)
☐ Die Blechtrommel [The Tin Drum] (Volker Schlöndorff, 1979)
☑ All That Jazz (Bob Fosse, 1979)
☑ Being There (Hal Ashby, 1979)
☑ Kramer vs. Kramer (Robert Benton, 1979)
☑ Life of Brian (Terry Jones, 1979)
☑ Apocalypse Now (Francis Ford Coppola, 1979)
☑ The Jerk (Carl Reiner, 1979)
☐ The Muppet Movie (James Frawley, 1979)
☑ Manhattan (Woody Allen, 1979)
☑ Mad Max (George Miller, 1979)
☑ Nosferatu: Phantom of the Night (Werner Herzog, 1979)
☑ Ordinary People (Robert Redford, 1980)
☑ Atlantic City (Louis Malle, 1980)
☐ The Last Metro (François Truffaut, 1980)
☑ The Shining (Stanley Kubrick, 1980)
☑ Star Wars: Episode V - The Empire Strikes Back (Irvin Kershner, 1980)
☑ The Elephant Man (David Lynch, 1980)
☐ The Big Red One (Samuel Fuller, 1980)
☐ Loulou (Maurice Pialat, 1980)
☑ Airplane! (Jim Abrahams and David Zucker, 1980)
☑ Raging Bull (Martin Scorsese, 1980)
☑ Raiders of the Lost Ark (Steven Spielberg, 1981)
☐ Das Boot [The Boat] (Wolfgang Petersen, 1981)
☐ Gallipoli (Peter Weir, 1981)
☑ Chariots of Fire (Hugh Hudson, 1981)
☑ Body Heat (Lawrence Kasdan, 1981)
☑ Reds (Warren Beatty, 1981)
☑ An American Werewolf in London (John Landis, 1981)
☐ Tre Fratelli [Three Brothers] (Francesco Rosi, 1981)
☐ Człowiek z Zelaza [Man of Iron] (Andrzej Wajda, 1981)
☐ Trop Tôt, Trop Tard [Too Early, Too Late] (Daniele Huillet and Jean Marie Straub, 1981)
☑ Fast Times at Ridgemont High (Cameron Crowe, 1981)
☑ E.T.: The Extra-Terestrial (Steven Spielberg, 1982)
☑ The Thing (John Carpenter, 1982)
☑ Poltergeist (Tobe Hooper, 1982)
☑ Blade Runner (Ridley Scott, 1982)
☑ The Evil Dead (Sam Raimi, 1982)
☑ Tootsie (Sydney Pollack, 1982)
☐ Yol [The Way] (Serif Gören, 1982)
☐ Diner (Barry Levinson, 1982)
☑ Fitzcaraldo (Werner Herzog, 1982)
☑ Gandhi (Richard Attenborough, 1982)
☐ La Notte di San Lorenzo [The Night of the Shooting Stars] (Paolo Taviani and Vittorio Taviani, 1982)
☐ De Stilte Rond Christine M. [A Question of Silence] (Marleen Gorris, 1982)
☑ Fanny and Alexander (Ingmar Bergman, 1982)
☑ A Christmas Story (Bob Clark, 1983)
☐ El Norte (Gregory Nava, 1983)
☑ Videodrome (David Cronenberg, 1983)
☑ Star Wars: Episode VI - Return of the Jedi (Richard Marquand, 1983)
☑ The Big Chill (Lawrence Kasdan, 1983)
☐ Sans Soleil [Sunless] (Chris Marker, 1983)
☐ Le Dernier Combat [The Last Battle] (Luc Besson, 1983)
☐ L'Argent [Money] (Robert Bresson, 1983)
☐ Utu (Geoff Murphy, 1983)
☑ Terms of Endearment (James L. Brooks, 1983)
☐ De Vierde Man [The Fourth Man] (Paul Verhoeven, 1983)
☑ The King of Comedy (Martin Scorsese, 1983)
☑ The Right Stuff (Philip Kaufman, 1983)
☑ Koyaanisqatsi (Godfrey Reggio, 1983)
☑ Once Upon a Time in America (Sergio Leone, 1983)
☑ Scarface (Brian De Palma, 1983)
☐ The Ballad of Narayama (Shôhei Imamura, 1983)
☑ Amadeus (Milos Forman, 1984)
☑ The Terminator (James Cameron, 1984)
☑ Paris, Texas (Wim Wenders, 1984)
☑ A Nightmare on Elm Street (Wes Craven, 1984)
☑ This Is Spinal Tap (Rob Reiner, 1984)
☑ Beverly Hills Cop (Martin Brest, 1984)
☑ Ghostbusters (Ivan Reitman, 1984)
☑ A Passage to India (David Lean, 1984)
☐ Stranger Than Paradise (Jim Jarmusch, 1984)
☑ The Killing Fields (Roland Joffé, 1984)
☑ The Natural (Barry Levinson, 1984)
☑ The Breakfast Club (John Hughes, 1985)
☑ Ran (Akira Kurosawa, 1985)
☐ Come and See (Elem Klimov, 1985)
☐ La Historia Oficial [The Official Story] (Luis Puenzo, 1985)
☑ Out of Africa (Sydney Pollack, 1985)
☑ The Purple Rose of Cairo (Woody Allen, 1985)
☑ Back to the Future (Robert Zemeckis, 1985)
☐ 童年往事 [The Time to Live and the Time to Die] (Hsiao-hsien Hou, 1985)
☑ Brazil (Terry Gilliam, 1985)
☑ Kiss of the Spider Woman (Hector Babenco, 1985)
☐ The Quiet Earth (Geoff Murphy, 1985)
☑ Mishima: A Life in Four Chapters (Paul Schrader, 1985)
☑ Prizzi's Honor (John Huston, 1985)
☐ Sans Toit ni Loi [Vagabond] (Agnès Varda, 1985)
☑ Shoah (Claude Lanzmann, 1985)
☑ The Color Purple (Steven Spielberg, 1985)
☑ Manhunter (Michael Mann, 1986)
☑ Stand By Me (Rob Reiner, 1986)
☑ Blue Velvet (David Lynch, 1986)
☑ Hannah and Her Sisters (Woody Allen, 1986)
☐ She's Gotta Have It (Spike Lee, 1986)
☐ Le Déclin de L'Empire Américain [The Decline of the American Empire] (Denys Arcand, 1986)
☑ The Fly (David Cronenberg, 1986)
☑ Aliens (James Cameron, 1986)
☑ Ferris Bueller's Day Off (John Hughes, 1986)
☐ Down by Law (Jim Jarmusch, 1986)
☑ A Room with a View (James Ivory, 1986)
☑ Children of a Lesser God (Randa Haines, 1986)
☑ Platoon (Oliver Stone, 1986)
☑ Caravaggio (Derek Jarman, 1986)
☑ Tampopo (Jûzô Itami, 1986)
☐ 刀馬旦 [Peking Opera Blues] (Hark Tsui, 1986)
☑ Salvador (Oliver Stone, 1986)
☑ Top Gun (Tony Scott, 1986)
☐ Sherman's March (Ross McElwee, 1986)
☐ 盗马贼 [The Horse Thief] (Tian Zhuangzhuang, 1986)
☐ Yeelen [Brightness] (Souleymane Cissé, 1987)
☐ Der Himmel über Berlin [Wings of Desire] (Wim Wenders, 1987)
☐ Project A, Part II (Jackie Chan, 1987)
☑ Babettes Gæstebud [Babette's Feast] (Gabriel Axel, 1987)
☑ Raising Arizona (Joel Coen, 1987)
☑ Full Metal Jacket (Stanley Kubrick, 1987)
☑ Withnail and I (Bruce Robinson, 1987)
☑ Good Morning, Vietnam (Barry Levinson, 1987)
☑ Au Revoir Les Enfants [Goodbye, Children] (Louis Malle, 1987)
☑ Broadcast News (James L. Brooks, 1987)
☐ Housekeeping (Bill Forsyth, 1987)
☑ The Princess Bride (Rob Reiner, 1987)
☑ Moonstruck (Norman Jewison, 1987)
☑ The Untouchables (Brian De Palma, 1987)
☐ 红高粱 [Red Sorghum] (Yimou Zhang, 1987)
☑ The Dead (John Huston, 1987)
☑ Fatal Attraction (Adrian Lyne, 1987)
☐ 倩女幽魂 [A Chinese Ghost Story] (Siu-Tung Ching, 1987)
☑ Mujeres al Borde de un Ataque de Nervios [Women on the Verge of a Nervous Breakdown] (Pedro Almodóvar, 1988)
☑ Spoorloos [The Vanishing] (George Sluizer, 1988)
☑ Bull Durham (Ron Shelton, 1988)
☐ Ariel (Aki Kaurismäki, 1988)
☐ The Thin Blue Line (Errol Morris, 1988)
☑ Akira (Katsuhiro Ôtomo, 1988)
☑ Cinema Paradiso (Giuseppe Tornatore, 1988)
☐ Hotel Terminus: The Life and Times of Klaus Barbie (Marcel Ophüls, 1988)
☑ A Fish Called Wanda (Charles Crichton, 1988)
☑ The Naked Gun: From the Files of Police Squad! (David Zucker, 1988)
☑ Big (Penny Marshall, 1988)
☑ Dangerous Liaisons (Stephen Frears, 1988)
☑ Grave of the Fireflies (Isao Takahata, 1988)
☐ Topio Stin Omichli [Landscape in the Mist] (Theodoros Angelopoulos, 1988)
☑ Dekalog [The Decalogue] (Krzysztof Kieslowski, 1988)
☑ Die Hard (John McTiernan, 1988)
☐ Une Histoire de Vent [A Tale of the Wind] (Joris Ivens, 1988)
☑ Who Framed Roger Rabbit (Robert Zemeckis, 1988)
☑ Rain Man (Barry Levinson, 1988)
☐ Une Affaire de Femmes [The Story of Women] (Claude Chabrol, 1988)
☑ The Accidental Tourist (Lawrence Kasdan, 1988)
☑ Alice (Woody Allen, 1988)
☑ Batman (Tim Burton, 1989)
☑ When Harry Met Sally (Rob Reiner, 1989)
☑ Crimes and Misdemeanors (Woody Allen, 1989)
☐ The Cook, the Thief, His Wife and Her Lover (Peter Greenaway, 1989)
☑ Drugstore Cowboy (Gus Van Sant, 1989)
☑ My Left Foot (Jim Sheridan, 1989)
☑ 喋血雙雄 [The Killer] (John Woo, 1989)
☑ Do the Right Thing (Spike Lee, 1989)
☑ Roger & Me (Michael Moore, 1989)
☑ Glory (Edward Zwick, 1989)
☐ Astenicheskiy Sindrom [The Asthenic Syndrome] (Kira Muratova, 1989)
☑ sex, lies and videotape (Steven Soderbergh, 1989)
☑ Say Anything (Cameron Crowe, 1989)
☐ The Unbelievable Truth (Hal Hartley, 1989)
☐ 悲情城市 [A City of Sadness] (Hsiao-hsien Hou, 1989)
☐ S'en Fout la Mort [No Fear, No Die] (Claire Denis, 1990)
☑ Reversal of Fortune (Barbet Schroeder, 1990)
☑ Goodfellas (Martin Scorsese, 1990)
☐ Jacob's Ladder (Adrian Lyne, 1990)
☐ King of New York (Abel Ferrara, 1990)
☑ Dances with Wolves (Kevin Costner, 1990)
☑ Europa Europa (Agnieszka Holland, 1990)
☑ Pretty Woman (Garry Marshall, 1990)
☐ Archangel (Guy Maddin, 1990)
☐ Trust (Hal Hartley, 1990)
☐ Nema-ye Nazdik [Close-Up] (Abbas Kiarostami, 1990)
☑ Edward Scissorhands (Tim Burton, 1990)
☐ Henry: Portrait of a Serial Killer (John McNaughton, 1990)
☑ Total Recall (Paul Verhoeven, 1990)
☑ 黃飛鴻 [Once Upon a Time in China] (Hark Tsui, 1991)
☑ Boyz n the Hood (John Singleton, 1991)
☑ 大红灯笼高高挂 [Raise the Red Lantern] (Yimou Zhang, 1991)
☐ Delicatessen (Marc Caro and Jean-Pierre Jeunet, 1991)
☐ 牯嶺街少年殺人事件 [A Brighter Summer Day] (Edward Yang, 1991)
☐ Naked Lunch (David Cronenberg, 1991)
☐ La Belle Noiseuse [The Beautiful Troublemaker] (Jacques Rivette, 1991)
☑ The Rapture (Michael Tolkin, 1991)
☑ My Own Private Idaho (Gus Van Sant, 1991)
☑ Thelma & Louise (Ridley Scott, 1991)
☑ Terminator 2: Judgment Day (James Cameron, 1991)
☑ The Silence of the Lambs (Jonathan Demme, 1991)
☑ JFK (Oliver Stone, 1991)
☑ Slacker (Richard Linklater, 1991)
☐ Tongues Untied (Marlon T. Riggs, 1991)
☑ Hearts of Darkness: A Filmmaker's Apocalypse (Fax Bahr and George Hickenlooper, 1991)
☑ The Double Life of Veronique (Krzysztof Kieslowski, 1991)
☑ Strictly Ballroom (Baz Luhrmann, 1992)
☑ The Player (Robert Altman, 1992)
☑ Reservoir Dogs (Quentin Tarantino, 1992)
☐ Romper Stomper (Geoffrey Wright, 1992)
☑ Glengarry Glen Ross (James Foley, 1992)
☑ Unforgiven (Cint Eastwood, 1992)
☑ Bram Stoker's Dracula (Francis Ford Coppola, 1992)
☑ Candy Man (Bernard Rose, 1992)
☐ A Tale of Winter (Eric Rohmer, 1992)
☑ Aileen Wuornos: The Selling of a Serial Killer (Nick Broomfield, 1992)
☑ The Crying Game (Neil Jordan, 1992)
☐ C'est Arrivé Près de Chez Vous [Man Bites Dog] (Rémy Belvaux and André Bonzel, 1992)
☐ The Actress (Stanley Kwan, 1992)
☑ 霸王別姬 [Farewell My Concubine] (Chen Kaige, 1993)
☑ Thirty-Two Films about Glenn Gould (François Girard, 1993)
☑ Groundhog Day (Harold Ramis, 1993)
☑ Short Cuts (Robert Altman, 1993)
☑ Philadelphia (Jonathan Demme, 1993)
☑ Jurassic Park (Steven Spielberg, 1993)
☑ The Age of Innocence (Martin Scorsese, 1993)
☐ 戲夢人生 [The Puppetmaster] (Hsiao-hsien Hou, 1993)
☑ Schindler's List (Steven Spielberg, 1993)
☑ Three Colors: Blue (Krzysztof Kieslowski, 1993)
☑ The Piano (Jane Campion, 1993)
☐ 蓝风筝 [The Blue Kite] ( Zhuangzhuang Tian, 1993)
☑ 喜宴 [The Wedding Banquet] (Ang Lee, 1993)
☑ Three Colors: Red (Krzysztof Kieslowski, 1994)
☑ Hoop Dreams (Steve James, 1994)
☑ Forrest Gump (Robert Zemeckis, 1994)
☑ Clerks (Kevin Smith, 1994)
☑ Four Weddings and a Funeral (Mike Newell, 1994)
☑ The Lion King (Roger Allers and Rob Minkoff, 1994)
☐ Satantango [Satan's Tango] (Béla Tarr, 1994)
☑ Natural Born Killers (Oliver Stone, 1994)
☑ The Last Seduction (John Dahl, 1994)
☑ Pulp Fiction (Quentin Tarantino, 1994)
☑ The Shawshank Redemption (Frank Darabont, 1994)
☑ Les Roseaux Sauvages [Wild Reeds] (André Téchiné, 1994)
☑ 重庆森林 [Chungking Express] (Wong Kar Wai, 1994)
☑ Crumb (Terry Zwigoff, 1994)
☑ Heavenly Creatures (Peter Jackson, 1994)
☐ Zire Darakhatan Zeyton [Through the Olive Trees] (Abbas Kiarostami, 1994)
☐ Riget [The Kingdom] (Lars Von Trier, 1994)
☐ Caro Diario [Dear Diary] (Nanni Moretti, 1994)
☑ Casino (Martin Scorsese, 1995)
☐ Deseret (James Benning, 1995)
☑ Babe (Chris Noonan, 1995)
☑ Toy Story (John Lasseter, 1995)
☑ Strange Days (Kathryn Bigelow, 1995)
☑ Braveheart (Mel Gibson, 1995)
☑ Safe (Todd Haynes, 1995)
☑ Clueless (Amy Heckerling, 1995)
☑ Heat (Michael Mann, 1995)
☐ Zero Kelvin (Hans Petter Moland, 1995)
☑ Seven (David Fincher, 1995)
☑ Smoke (Wayne Wang, 1995)
☑ Badkonake Sefid [The White Balloon] (Jafar Panahi, 1995)
☐ Cyclo (Anh Hung Tran, 1995)
☐ Podzemlje [Underground] (Emir Kusturica, 1995)
☐ Dilwale Dulhania Le Jayenge [The Brave Heart Will Take the Bride] (Aditya Chopra, 1995)
☐ Dead Man (Jim Jarmusch, 1995)
☑ The Usual Suspects (Bryan Singer, 1995)
☑ The Pillow Book (Peter Greenaway, 1996)
☐ Trois Vies et Une Seule Mort [Three Lives and Only One Death] (Raoul Ruiz, 1996)
☑ Fargo (Joel Coen, 1996)
☑ Independence Day (Roland Emmerich, 1996)
☑ Secrets and Lies (Mike Leigh, 1996)
☐ Breaking the Waves (Lars Von Trier, 1996)
☑ The English Patient (Anthony Minghella, 1996)
☐ Gabbeh (Mohsen Makhmalbaf, 1996)
☐ Lone Star (John Sayles, 1996)
☑ Trainspotting (Danny Boyle, 1996)
☑ Scream (Wes Craven, 1996)
☑ Deconstructing Harry (Woody Allen, 1997)
☑ L.A. Confidential (Curtis Hanson, 1997)
☑ Happy Together (Wong Kar Wai, 1997)
☑ Princess Mononoke (Hayao Miyazaki, 1997)
☐ Fast, Cheap, and Out of Control (Errol Morris, 1997)
☐ The Butcher Boy (Neil Jordan, 1997)
☑ The Ice Storm (Ang Lee, 1997)
☑ Boogie Nights (Paul Thomas Anderson, 1997)
☑ Kundun (Martin Scorsese, 1997)
☑ The Sweet Hereafter (Atom Egoyan, 1997)
☐ Funny Games (Michael Haneke, 1997)
☐ Ta'm-e Gīlās [Taste of Cherry] (Abbas Kiarostami, 1997)
☑ Abre Los Ojos [Open Your Eyes] (Alejandro Amenábar, 1997)
☐ Mat i Syn [Mother and Son] (Aleksandr Sokurov, 1997)
☑ Titanic (James Cameron, 1997)
☐ Tetsuo [The Iron Man] (Shinya Tsukamoto, 1998)
☐ Festen [The Celebration] (Thomas Vinterberg, 1998)
☑ Saving Private Ryan (Steven Spielberg, 1998)
☐ Buffalo 66 (Vincent Gallo, 1998)
☑ Lock, Stock and Two Smoking Barrels (Guy Ritchie, 1998)
☐ Lola Rennt [Run Lola Run] (Tom Tykwer, 1998)
☑ Rushmore (Wes Anderson, 1998)
☑ Pi (Darren Aronofsky, 1998)
☑ Happiness (Todd Solondz, 1998)
☑ The Thin Red Line (Terrence Malick, 1998)
☐ Idioterne [The Idiots] (Lars Von Trier, 1998)
☐ Sombre (Philippe Grandrieux, 1998)
☑ Ringu [Ring] (Hideo Nakata, 1998)
☑ There's Something About Mary (Bobby Farrelly and Peter Farrelly, 1998)
☑ Magnolia (Paul Thomas Anderson, 1999)
☐ Beau Travail (Claire Denis, 1999)
☑ The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999)
☐ Gohatto [Taboo] (Nagisa Ôshima, 1999)
☐ Rosetta (Jean-Pierre Dardenne and Luc Dardenne, 1999)
☑ Todo Sobre Mi Madre [All About My Mother] (Pedro Almodóvar, 1999)
☑ Three Kings (David O. Russell, 1999)
☐ Bād Mā Rā Khāhad Bord [The Wind Will Carry Us] (Abbas Kiarostami, 1999)
☑ Ōdishon [Audition] (Takashi Miike, 1999)
☐ Le Temps Retrouvé [Time Regained] (Raoul Ruiz, 1999)
☑ Fight Club (David Fincher, 1999)
☑ Being John Malkovich (Spike Jonze, 1999)
☑ American Beauty (Sam Mendes, 1999)
☐ Juyuso Seubgyuksageun [Attack the Gas Station!] (Sang-Jin Kim, 1999)
☑ Eyes Wide Shut (Stanley Kubrick, 1999)
☑ The Sixth Sense (M. Night Shyamalan, 1999)
☑ The Matrix (Andy Wachowski and Lana Wachowski, 1999)
☐ Nueve Reinas [Nine Queens] (Fabián Bielinsky, 2000)
☐ La Captive [The Captive] (Chantal Akerman, 2000)
☑ In the Mood for Love (Wong Kar Wai, 2000)
☐ Ali Zaoua, Prince de la Rue [Ali Zaoua, Prince of the Streets] (Nabil Ayouch, 2000)
☑ Gladiator (Ridley Scott, 2000)
☐ Kippur (Amos Gitai, 2000)
☑ Yi Yi [A One and a Two] (Edward Yang, 2000)
☑ Requiem for a Dream (Darren Aronofsky, 2000)
☑ Amores Perros (Alejandro González Iñárritu, 2000)
☑ Meet the Parents (Jay Roach, 2000)
☐ Signs and Wonders (Jonathan Nossiter, 2000)
☑ Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
☑ Traffic (Steven Soderbergh, 2000)
☐ The Gleaners and I (Agnès Varda, 2000)
☑ Memento (Christopher Nolan, 2000)
☑ Dancer in the Dark (Lars Von Trier, 2000)
☑ O Brother, Where Art Thou? (Joel Coen, 2000)
☑ Amelie (Jean-Pierre Jeunet, 2001)
☑ Ni Neibian Jidian [What Time Is It There?] (Tsai Ming-liang, 2001)
☑ Y Tu Mamá También [And Your Mother, Too] (Alfonso Cuarón, 2001)
☐ Kandahar (Mohsen Makhmalbaf, 2001)
☑ Spirited Away (Hayao Miyazaki, 2001)
☑ La Pianiste [The Piano Teacher] (Michael Haneke, 2001)
☑ La Stanza del Figlio [The Son's Room] (Nanni Moretti, 2001)
☑ Ničija Zemlja [No Man's Land] (Danis Tanovic, 2001)
☑ Moulin Rouge (Baz Luhrmann, 2001)
☑ Monsoon Wedding (Mira Nair, 2001)
☑ Fat Girl (Catherine Breillat, 2001)
☑ Mulholland Dr. (David Lynch, 2001)
☑ The Royal Tenenbaums (Wes Anderson, 2001)
☑ The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001)
☑ A.I.: Artificial Intelligence (Steven Spielberg, 2001)
☑ Gangs of New York (Martin Scorsese, 2002)
☑ The Pianist (Roman Polanski, 2002)
☑ Hable Con Ella [Talk to Her] (Pedro Almodóvar, 2002)
☑ Cidade de Deus [City of God] (Fernando Meirelles and Kátia Lund, 2002)
☑ Russkij Kovcheg [Russian Ark] (Alexandr Sokurov, 2002)
☑ Chicago (Rob Marshall, 2002)
☑ Les Invasions Barbares [The Barbarian Invasions] (Denys Arcand, 2003)
☑ Kill Bill: Vol. 1 (Quentin Tarantino, 2003)

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[5] This is Where You Bite the Sandwich