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


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
Director Yam Laranas blogs about the making of The Echo, the Hollywood remake of Sigaw, which will be produced by the makers of The Grudge and The Departed. The film also stars Jesse Bradford, who was steamy in Swimfan. He starts principal photography tomorrow in Toronto and later in New York, with Iza Calzado as one of the leads. We should all be excited about Laranas: this, I think, marks the first time a Filipino movie gets remade by Hollywood. Who says the national cinemas of Korea, Hong Kong, Thailand, and Japan are the only ones worth emulating? We too can tell a cinematic story when we really want to. (Now that dinosaurs like Joel Lamangan are being pushed to the sidelines by more imaginative indie directors, there's finally hope for Philippine cinema, as evidence by the latest Cinemalaya.) I liked Sigaw when it first came out. It was genuinely scary, and the look was consistent and artful. Heck, I love the work of Laranas, especially Radyo and Hibla. Balahibong Pusa was a gorgeous disaster, but gorgeous nonetheless. If there's anything about Laranas that assures me, it's his ability to visually tell a story, even when the story itself suffers sometimes. So here's to Laranas and The Echo. And here's to the future of Philippine cinema.Labels: art and culture, directors, film