Erotic Dudes

hello guys... mustah ang tagal ko nang di nakapag-post nang vids dito. sorry for very long time na hindi tayo nagkakasama. But anyway eto .. may bago na naman ihahandog sa inyo... Enjoy watching.... worldpeace..

Eskandalo

Starring:
Emilio Garcia- as Benedicto
Andrew Schimmer- as Lance
Paolo Rivero- co-Professor of Benny
Snooky Serna- sister of Lance
Pocholo Montes-
Lui Manansala- parents of Benny

Directed By: Joven Tan

Magkasabay na ipinalabas ang pslikulang “For The First Time” at “Eskandalo” ditto sa Cebu noong August 27, 2008.ngunit mas pinili kong unahing panooin ang “Eskandalo” sapagkat hindi sa ayaw kong makisabay sa dami ng nanonood ng “For The First Time” nina KC Concepcion at Richard Guttierez kung hindi, dahil alam kong ang “Eskandalo” ay tatagal lamang ng isang lingo sa isang eksklusibong sinehan ditto sa Colon. At alam ko ring aabot pa ng isang buwan o higit pa ang pagpapalaba sa mga sinehan ang pelikulang “For The First Time” kaya mahaba-haba pa ang panahon upang ito’y aking mapapanood.
Bakit gusto kong unahing psnoorin ang “Eskandalo”? gusto kong mapanood ito hindi dahil sa igsi ng panahong ipapalabas ito. Hindi rin dahil sa paborito ko ang mga artistang nagsipagganap nito. Actually, wala akong paborito sa mga nagsiganap. Hindi ako avid fan nina Emilio Garcia at Andrew Schimmer. Hindi rin dahilan ang pagiging kuryuso ko dahil ibinase ito sa totoong pangyayaring nagaganap ditto mismo sa Cebu. Simple lang ang dahilan. Gusto kong panoorin ito dahil sa tema nitong kabaklaan.
First time kong mapanood si Emilio na gumanap bilang bakla sa pelikula. Alam kong gumanap na rin siya dati ng ganitong papel noon sa “Selda”, but sad to say hindi ko napanood yun. Effective naman siya. Mahusay naman ang pagkakaganap nia bilang professor na bakla sa pelikulang ito. At sa lahat ng pelikulang napanood ko na may ganitong tema, ngayon lang ako nakaka-relate nang ganito. Salamat sa mahusay na pagkakagawa sa lahat ng bumubuo ng pelikulang ito. Na-appreciate ko naman yung ibang indie movie dahil nga bakla ako at puno naman nang kabaklaan yung napapanood ko. Pero sa pelikulang ito lang ako nagkaroon nang matinding reflection sa buhay ko at kung paano ako nakak-relate nang maige sa bawat eksena.
Totoong mahirap ang kalagayan ng isang baklang sa loob ng tatlumpo’t limang taon sa buhay niya ay nakakulong ang katotohanang kahit siya mismo ay pilit na nagtimpi dahil ayaw mabahiran ng mantsa ang dangal at pangalan ng pamilya. At sa loob ng tatlumpo’t limang tsong yun ng buhay niya, ni minsan ay hindi siya nagkaroon ng karanasan ng mga karanasang laganap sa maraming bakla. Sa loob ng mga panahong yun ng buhay niya, ngayon lang siya nagkaroon ng lakas ng loob na sumubok sa isang taong inakala niya ang siyang magbibigay katuparan ng kanyang nga pangarap. At ang minsang iyon, sa isang iglap ay siya palang magbibigay sa kanya ng pagkatalo at pagkabigo na maghahatid sa kanya sa kapahamakan.
Nag-iisang anak si Benny (Emilio Garcia). Kumpleto ang pamilya niya at iginagalang sa lipunan ang kanyang mga magulang. Retiradong sundalo ang kanyang ama (Pocholo Montes). Dating principal at aktibo sa simbahan naman ang kanyang ina (Lui Mnanansala). Siya naman si Benny, isang propesor sa isang unibersidad. Dahil nga may iniingatang dangal sa lipunan, hindiladlad ang kanyang pagkatao. Pero marami na ang nakakaalam tungkol sa kanya. Sa pagiging tagong bakla niya. Hindi naman ito lingid sa kaalaman lalo n ang kanyang kaibigan at katrabaho (Paolo Rivero) at ng kanyang mga magulang. Siya yung tipo ng bakla na takot humada. Virgin kumbaga. Nakilala niya si Lance (Andrew Schimmer) sa isang massage parlor. Hanggang sila’y nagkaibigan. Mahirap lang ang pamilya ni Lance. Ate lang niya ang kasa-kasama niya sa bahay. Kaso bungangera’t mukhang pera kung ito’y kanyang ilalarawan. May asawa siya dati kso humiwalay sa kanya sa kadahilanang hindi niya ito mapapaligaya ng husto pagdating sa kama. Dahil nga raw… maliit lang ang kanyang ari. Mapagbigay si Beny kay Lance pagdating sa pera…Ewan kung kusang-loob lang ba ang pagbibigay nito sapagkat wala naman siyang hinihintay na kapalit. Ilang beses na rin siyang inaya at sineduce ni Lance na makipagsex, pero ayaw niya. Hanggang isang araw, napilitan na talaga siya. Naglakas-loob na siyang subukan ito. Ngunit sa araw ng kanilang pagniniig, may natukalasan siya kay Lance. Maliit nga lang talaga ang ari nito. Natataw siya. Isang bagay na ikinasama naman ni Lance. Matagal bago naulit muli ang kanilang pagsi-sex. At nang araw na naulit yun sa dati pa rin nilang tagpuan, dun na naganap ang hindi inaasahan. Ayaw ni Lance na siya’y pagtawanan dahil sa liit ng kanyang kaangkinan. Kay Benny naman, wala sa kanya yun. Ayaw lang talaga niyang malagay sa alanganin. Dahil sa tuwing nagsi-sex daw sila, naalala nito ang kanyang mga magulang. Bagay na hindi pinaniniwalaan ni Lance. Sa halip, hinaharass niya si Benny. Pinadapa. Hinubaran ng pilit. May kinuha si Lance sa bag ni Benny. Isang pen marker. At yun ang isinaksak nito sa puwet ni Benny. Hindi pa siya nakuntento, kinunan pa ng video gamit ang cell phone. Kawawang Benny. Huli n ang malaman nito ang kahayupang ginawa sa kanya ni Lance nang makalabas na siya sa ospital pagkatapos ng kanyang operasyon. Natanggal na rin siya sa unibersidad na kanyang pinasukan. Nabalot sa kutya at libak ang pamilya ni Benny. Ang kanyang pinaka-iingatang pangalan, unti-unti nang gumuho.mabuti na lang andyan pa ang kanyang mga magulang na kahit anong oras, handing dumamay sa kanya.
Sa tagpong iyon kung saan pumagitna si Benny na nakihiga sa kama ng kanyang magulang at yakap nito ang nanay at tatay niya, doon biglang may kumurot sa puso ko. Sa huli’t huli, magulang pa rin ang ating takbuhan. Nasasabi ko sa sarili ko, sana kung nabubuhay lang ang mga magulang ko, matatanggap din kaya nila ang tunay na ako? Pero kahit ngayong wala na sila, para pa rin akong nakakulong sa isang hawla. Hindi ko pa rin mailabas-labas ang tunay kong pagkatao.kung tutuusin, wala naman akong iniingatang pangalan. Hindi ako edukado. Wala nang magbabawal sa akin kung tutuusin. Pero bakit? Hanggang kalian at hanggang ilang beses ko pa ito itatanong sa sarili ko. Hanggang sa matulad ako ni Benny na hihintayin ko pang may magaganap na trahedya sa buhay ko at matuklasan ng buong mundo na ganun pala ako? Siguro nga mas masakit kung sa akin nangyari ang naranasan ni Benny.kumpleto sa magulang si Benny. May handang dumamay sa kanya anuman ang mangyari. Sa akin? Wala!

Imoral

This movie seems interesting… but how will it be different from other gay-slanted ‘threesome’ movies — Pusong Mamon, Sikil, Troika, and Ang Lalake Sa Parola? Let’s watch and see!


* * *

A man…
His wife…
His other man…
A different kind of love triangle…

Paolo Paraiso makes his big screen transition via “Imoral” opposite Katherine Luna and Arnold Reyes with Edgar Allan Guzman. The film is directed by Adolfo Alix, Jr. and from the same team that brought the Indiesine hit “Daybreak” and the 2008 Cinemalaya opening film “Adela.”

A lot of people put a high priority on monogamy in a relationship. However, there are rare instances when the couple agrees to have an open relationship, allowing the participants to take other partners. Written by Gerry Gracio (”Santa-Santita”), “Imoral” tackles the dynamics of the relationship between a husband, his wife and his lover as they all live in one house. Paolo portrays the bisexual taxi driver who divides his time between his lover and his wife, Katherine is a former waitress who is now selling beauty products for a living, and Arnold Reyes plays the engineer and nurturing lover of Paraiso. By living with such an arrangement, the three lovers become the target of the community. Things take a drastic turn when Dante (Paraiso) sees a bag full of money inside his taxi. Now that they have money, will they still decide to stay together or go their separate ways?


“Imoral’s” first cut was screened to a jumpacked crowd during the 2008 Cinemalaya Film Festival last July. The cast also includes veteran actress Perla Bautista, acclaimed indie actor Kristoffer King, theater actress Adriana Agcaoili and Cherry Madrigal in a very special role.

Serbis

Brillante Ma. Mendoza's latest film, "Serbis" (2008), may not even come close to the comparative brilliance of recent Filipino films like Jeffrey Jeturian's "Kubrador", Emmanuel dela Cruz' "Sarong banggi" and, yes, even Chito Rono's "Sukob", but it's still a curious work. For what the film lacks in plot and character development, which are really severely wanting, can be justly compensated by its prescribed milieu, which stands out as a character in itself--the movie theater run by the filmic family (no less named as "Family Theater").

With its dirty and dank hallways, its vandalized walls, its crumpled and faded movie posters, its hideously flooded and murky toilet, its duplicitous screening and projection room, not to mention its regular throng of patrons who may or may not be "there" for the featured film itself and the always-prevalent traffic and crowd noise outside, "Serbis" could've been made--or could be watched--just for this run-down and out-of-luck movie theater. (If this were a good, old classic silent film, then I could've mistaken it as a film about the theater itself.)

Mendoza may have seen--or at least, may have been aware of--Jacques Nolot's "Porn Theater" and Tsai Ming-liang's "Goodbye, Dragon Inn", which his film quite approximates in terms of setting and concern. But even then, "Serbis" doesn't have the self-criticizing humor of the former and the existential elegy of the latter, qualities which, in fairness to Mendoza, he may not have the intention of lending to his film. It's because from the looks of it (I mean literally), "Serbis" may be one of the many far-down-the-way descendants and variations of the Neo-Realist School of Thought (Naturalism, Abjection, Spontaneity, etc). But even then, unlike many of the best works from that venerated film-making method ("La Terra Trema", "The Bicycle Thief", "Shoeshine", "Salaam, Bombay!", "A Woman Under the Influence", "Rosetta", "Riff-Raff", even our own "Insiang", etc), his film actually eludes the capability of being situated in a wider social and political context, not even in a remote manner. Perhaps again, that's something that Mendoza may not even be set on achieving.

To put it bluntly, "Serbis" escapes any explanation, logical or otherwise. To say that it threads on naturalism is to state the obvious. To say that it borders on the absurd is to overstate the matter. To say that it has a radical agenda being rallied is to make the point moot and academic. But then, to dismiss the film as pointless and inconsequential is to underappreciate Mendoza's efforts in coming up with a "different" film like this. I say different in that while it's too lightweight to be considered an "art" film, it's too deliberate to be regarded as "trash" as well. (It wouldn't be selected for competition in this year's Cannes film festival if it didn't have "something" going for it, I guess.)

Still, I don't get it why some of the Cannes press and even the MTRCB here would be so bothered as to express aghast at some of the film's "disgusting" and "explicit" scenes. I contend that a couple of nude and sex scenes are just plain gratuitous, but the "disgusting" scenes being specified by the press are not even worth mentioning as to merit controversy. In themselves, these scenes just don't add up to a film that's already not meant to cohere. "Serbis" is definitely no "Irreversible" and "Humanite".

What can be a source of comfort is the fact that even works of disappointment do have their choice moments of saving grace. In this scant film's case, it's the selected portrayals of Gina Pareno, Jaclyn Jose and, yes, Coco Martin. If these actors are even "acting" in the film, that I don't know. Whenever Gina and Jaclyn (the beleaguered mother and daughter proprietors of the seedy cinema) are in the frame, they really command such a thespic presence, without them exerting so much effort (if there's one), even having themselves willingly sailed (I mean literally) through the muck and mire of the film. The same goes for Coco (the aimless son of the older proprietor), specifically with regards to the factor of being "dirtied" by the film. His character rarely utters a word in the film;most of the time, he's just seen doing "something", quietly and intently. But it's in such activities, I hope, that we get to have a glean of his mental and emotional state--like in the slow and long scene where he cleans the hopelessly recoverable cinema toilet (a part of his being "dirtied" by the film). Even the decried scene where he successfully pops a painful buttock pus using a cola bottle gets to signify a kind of self-epiphany (which leads to his ultimate detachment from his family by the film's end)!

Sadly, such choice moments of portrayal are still undermined by the fact that Armando Lao's script doesn't allow them to become fully-rounded characters as for the viewers to really feel their plight. These characters are made to appear as nothing more than like the strangers and acquaintances who we meet fleetingly and randomly in real life and then care for no more afterwards. If the fairly dignified thespic chops of Gina, Jaclyn and Coco are still led to feel that way, then what more of the other characters? This but true--like the projectionist character of Kristoffer King who is there just to be given a rough blow job by one of the theater's gay patrons and the ticket-booth attendant character of Mercedes Cabral who is there just to brazenly pose in nude in front of the mirror at the film's start. But then, didn't I mention earlier that "Serbis" could be just about the theater itself?

In itself, "Serbis" is a graphic and natural document of a Filipino slice-of-life, but not enough as to become a true piece of cinematic provocation and radicalness as what the majority of films being shown in Cannes are meant to be.

Ang Lihim Ni Antonio

It’s the story of a gay 15-year old and the random events that happen in his life. That’s all there is to it. A falling out of friendship after drunken sex; coming out to another friend; living with a compassionate but broken mother; reaching out to an absentee father; and the arrival of a hunk uncle. The plots don’t exactly bleed into one another in a satisfying, cause-and-effect, or thematic fashion. Collectively, they paint a portrait of a coming of age that is incoherent, and maybe that’s the point.

Antonio spends a lot of time asking questions in his head. (We hear them as voice-overs.) It’s an existential journey that ends in senseless tragedy — where else? (The ending is a gay twist on the classic Insiang.) Maybe, the movie is saying, the meaning of life — and of being gay — is that it doesn’t mean anything. It’s a strong statement in our age of self-importance, when, in an increasingly liberated environment, we make so much fuss about our sexuality.

The movie’s main fault is that it doesn’t really make us care about any of this. Antonio is a walking empty shell. None of what he does, or what happens to him, seems to have any gravity. What keeps us watching is not that he’s interesting, but that the occurances are familiar to us as gay men who’ve been there before or at least heard stories about it. Sure, I giggled at the memory of wearing somebody’s used underwear on my face, but what was so special about that scenario, really? I got tired of scenes unfolding without distinctiveness or consequence. I stayed on my seat mainly because I already know uberstud Josh Ivan Morales will eventually flash his hefty manhood and that he will finally do it with cute newcomer Kenjie Garcia. It was just a matter of when.

Lihim was created by the same team as last year’s sensational Ang Lalake Sa Parola, but it lacks that film’s central provocative idea and the dirty allure of exploitative filmmaking. Lihim takes a more serious (read: dry) approach (just look at mother Shamaine Buencamino’s serious acting), but doesn’t have the serious meat with which to fill it. It’s unremarkable cinema that gets by on expectation.

Lahat tayo may kanya kanyang lihim,lahat tayo may katanungang pilit hinahanapan ng kasagutan, kung minsan ang mga katanungang yun ay mananatili nalang tanung hindi natin alam kung kaylan ang takdang panahon para sa bawat kasagutan… tulad ni Antonio isang tauhan sa pelikulang napanuod ko marami din gumugulong katanungan dito sa isip at puso ko at hanggang ngayun pilit ko parin hinahanap ang sagot… tulad ni Antonio ilang beses ko din tinanong ang sarili ko sa mga sensetibong bagay na ito at sa pagdaan ng panahon unti unti kong naiintindihan kung bakit ganito…kung bakit ganun….pero bakit kaya minsan alam mo na pero ang hirap paring intindihin….

Tulad ni Antonio ang bawat lihim nya ay lihim ko din….isang realidad ng buhay na minsan ko ng tinakasan at itinataboy… pero anu ang magagawa ko hindi ko hawak ang pagtibok ng puso ko, hindi ko madiktahan ang sarili ko…ang dali magbigay ng payo sa isang kaibigan pero pag sarili mo na minsan kahit alam mo na ang tama pero dapat kaylangan mo pang marinig ito sa isang kaibigan para mas maunawaan… ganun ba talaga ang tao kaylangan ng isang kaibigang uunawa at iintindi para maging mas madali….

Tulad ni Antonio tinanung ko din sa sarili ko kung bakit hindi tayo nagkaroon ng choice sa buhay natin… walang choice kung anung pagkatao ang gusto natin… itinakda ba ng panahon at pagkakataon kung sino ang magiging pamilya natin at kung anung uri ng buhay magkakaroon tayo… sa age ko ngyun na 30 huli na ba ang mga katanungang ito? Dapat sa age na 35 kilala ko ng ng lubos ang sarili ko coz kung hindi anu na ang magyayri sa akin… hindi ko nga alam kung anu ba talaga ang pakay ko sa mundong ito….hindi ko alam kung bakit ako nandito at kung anu ang role ko sa buhay ng mga taong nakikilala ko… to make them happy and leave mark…and then what’s next?
sino ba ako sa napakalaking mundong ito?

Sa teleserye ko ako ang bida…bidang patuloy inaalam ang hiwaga ng buhay….ang bida sa teleserye minsan nasasaktan, minsan umiiyak at minsan naman naghahatid ng saya sa iba… anu ang ending? Wala pa…dahil sa isang teleserye maraming tauhan ang susulpot at magpapakilala sa bida at magsisimulang maging kabahagi sa buhay ng bida….

Bida ako na nawawala…tulad ni Antonio, nawawala sya… ngayon ko lang narinig na pag may gusto kang hanapin ang santo na si Antonio daw ang dapat tawagin para mahanap mo ang hinahanap mo… tulad ni Antonio pumasok din sa isip ko eh pano kung yung mismong nawawala ang tumatawag sa kanya…pano yun…mahahanap ba ng taong ito ang sarili nya?…

Tulad nya siguro balang araw malalaman ko din ang bawat tanung ko,,mabibigyan ng bawat kasagutan ang mga bagay bagay na nagpapagulo sakin…