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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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Bibliography
The Great Little Hunter
Pinspired Philippines, 2022
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
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© 2002-2021
IAN ROSALES CASOCOT
Sunday, March 27, 2011
5:16 PM |
A Reception of Chaos
There are no laugh-out loud moments in Robert Altman's
A Wedding [1978], but it is supposed to be a comedy, and by virtue of its intentions, it is an effective one. I've been looking for a copy of this film for a long time when I decided some time ago that I wanted to be a completist with Altman's filmmography -- a daunting proposition, given his output.
Who knew I could find the entire film in YouTube? And this film does delve deep into recognizable Altman territory: the overlapping dialogues, the huge tumbling cast (many of whom are cinematic superstars), the unwieldy narrative that we have to piece together from the whirlpool of strands as characters descend on a singular colorful vortex of a particular world that defines all of them for the time being. We had that in the mashup of politics and country music of
Nashville, in the Parisian fashion week fever of
Pret-a-Porter, in the British class system examinations via a murder mystery of
Gosford Park, in the ballet world of
The Company, in the Hollywood dark secrets of
The Player, in the Raymond Chandler lives of
Short Cuts. I have loved the peculiar flows of those worlds, and in 1978, Altman brought that unique style of story-telling in his examination of a society wedding. Two big families in Illinois -- old money and new money in collision -- descend on a family mansion for a wedding reception complete with its adherence for traditions, and all sorts of merry chaos, untimely deaths, sexual shenanigans, and dark secrets tumble out -- and part of the fun is figuring out how each one is related to whom and what skeleton in the closet they possess. There are many, many speaking lines, but by the end of the film, we somehow know quite intimately each member of the wedding party. I tittered all throughout this film. No big laughs, just small doses of giggles as I recognized in the entanglements of these people the very funny comedy of being human.
Labels: directors, film
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