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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
Friday, July 03, 2020
10:00 AM |
The Film Meme No. 69
[69th of 100]. This 2019 film is the freshest title in this list, and its newness in our collective consciousness was something that made me rethink over and over again its eventual placement -- because will this film hold up as a classic? Time has not been kind to many things acclaimed in their time, only to relegate many to the cobwebs of forgetting. But I thought of the film as a culmination of sorts to the cinema of Bong Joon-ho, and as such it cannot be denied. It came like a seismic presence, the quake of its Cannes win resulting to year-long tremors in its wake, ultimately leading to the earthquake of its unprecedented Oscar victory, thrilling cinephiles and beguiling so many more with its sharp critique of capitalism and the tentacles of class conflict. Given the world that gave birth to it, it is very much a film of its time, not just zeitgeist but also merciless judge. [Although some did miss the point. Remember that guy who tweeted his enthusiasm for having concocted with the most expensive ingredients the closest approximation to the film's iconic bowl of ramdon?] Much has been said about its production design, its editing, its performances, its themes -- and all of those contributed to my estimation of the film -- but I really do think its the worthiest follow-up to his filmmography of despair over steep social barriers, from the sly and dark comic turns of
Barking Dogs Never Bite [2000] to the tight serial killer tensions of
Memories of Murder [2003], from the monster epic of
The Host [2006] to the elegy to motherly devotion of
Mother [2009], from the sci-fi class allegory of
Snowpiercer [2013] to the strange consumerist fable of
Okja [2017]. Almost all of these films are masterpieces [I'm cool on
Barking Dogs Never Bite and
Okja, though], and it feels like Bong Joon-ho sampled all of them, from technique to themes, to produce the undeniable power of this tale of three families coming to a crashing reckoning because of the disparities in their lives and the desperation some of them resort to have a slight taste of the good life, even if its just some special ramen and udon dish. What's the film?
For the introduction to this meme, read
here.
Labels: film
[0] This is Where You Bite the Sandwich
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