Press Kit - Visit Films

Bicycle Pictures
presents
ADELA
Directed by
Adolfo Borinaga Alix, Jr.
Supported by:
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TECHNICAL SPECIFICATIONS:
Running Time
1 hour, 30 minutes
Format
HD 1:1.85
Sound
Stereo
Language
Tagalog
Year of Production
2008
Country of Production
Philippines
CREDITS:
Director:
Adolfo Borinaga Alix, Jr.
Executive Producers:
Noel D. Ferrer, Adolfo Alix, Jr.
Producer:
Arleen Cuevas
Associate Line Producer:
Maxie Evangelista III
Screenplay:
Adolfo Alix, Jr., Nick Olanka
Director of Photography:
Albert Banzon
Editing:
Aleks Castañeda
Production Design:
Adolfo Alix, Jr., Jerome Zamora
Sound Design:
Ditoy Aguila, Junel Valencia
Field Sound Recording:
Mark Locsin, Jojo Jacinto,
Herbert Relagio
CAST:
Adela
Anita Linda
Benjo
Joem Bascon
PJ
Jason Abalos
Mercy
Angeli Bayani
Glenda
Perla Bautista
Tina
Iza Calzado
Felipe
Ricky Davao
Joy
Kenneth Ocampo
Jericho
Arnold Reyes
Logline –
Adela, a former radio personality, celebrates her 80th birthday in the slums of Manila.
Alone and without support, she longs for the family and stability of years gone by.
Mundane events take on a heightened meaning as Adela gauges her life against those
of the sea of humanity.
Synopsis –
It is Adela’s 80th birthday. A former radio personality, she lives on her own in the
slums of Manila. Adela is surrounded by a sea of humanity and with it their
problems, successes, and trivialities. While going through her daily chores, Adela
gets swept up in the mundane and dramatic events of those around her.
She helps to deliver a child in front of a crowd of onlookers. She watches the
residents of the slum organize a political rally. She prays in church and runs into an
old colleague, now a successful TV presenter. She visits her son in prison. She even
sits for a short time at a karaoke bar for an impromptu birthday party. Ultimately
however, eating her birthday dinner alone, she watches the sun set over the Bay of
Manila, contemplating a life of disappointment.
Adela is about the quiet moments in life that can fill us with either joy or sorrow.
DIRECTOR’S NOTE
I am interested in telling very simple stories. I feel that these stories will have more
resonance in dealing with the inner turmoil of the human soul. Dealing with the
inner conflict of characters is what excites me as a filmmaker.
Adela is celebrating her eightieth birthday. As she waits, we see the paradox of life
around her. Everything moves. The cars in the expressway. The planes passing by.
From the very beginning of the day, there is chaos. A childbirth happens. People
are getting ready to attend to a big rally. We hear the noise from the garbage dump
and yet Adela only chooses to wait- she remains still. She wants to hear from her
loved ones. It’s a universal metaphor of our rude society that spoils what it is
offered, forgets people who keep everything together, helps the weakest and provides
wisdom.
We see how her life, her disappointment and her sadness also pass her by as the day
progresses. The character only builds up and keeps everything to herself but she
needs to release it. Those are the precious moments where we see the character’s real
soul and understand the perplexity of human nature. As Adela sits by the sunset,
her day is almost over. Yet, we feel that despite all the things that she went through,
she is still willing to take a chance and walk through another day in the hope of
change.
As a filmmaker, I hope that change will come.
INTERVIEW WITH DIRECTOR ADOLFO B. ALIX, JR.
How did you find the Bernardo dumpsite? What was the inspiration to shoot a
film there?
I live in Cavite so I always pass by the Manila-Cavite expressway. I was fascinated
seeing this dumpsite near the coastal area. It’s almost an irony seeing a dumpsite
side-by-side with a small island teeming with mangroves and birds. I was toying
with the idea of filming there but I was still undecided what the theme would be
about. I wanted to capture the milieu – the contrast of the noisy dumpsite cluttered
with heaps of garbage and the sound of the passing vehicles against the almost serene
and quiet island just in front of it.
I decided to go there and do my initial research and I learned that most of the
residents were either from another place, who relocated after their houses were hit by
the road expansion of the government or were staying there when the area still used
to be filled with salt beds before it was converted to a dumpsite. Now, they have a
small industry in place – they look for recyclables- steel, plastic and bottles - and sell
it. While I was there, I also noticed that every 10 minutes I would hear the sound of
planes passing over the dumpsite. It was because the place is in close proximity to
the international airport.
It was then that I decided that the story should be about someone who is just
waiting, to highlight the paradox. Everybody in the place is busy doing things in
order to survive. Cars are rushing in the expressway. People busy working in the
dumpsite. Planes hovering over the area.
The dumpsite will act as a macrocosm of what seems to be pivotal to every Filipino
nowadays – survival at all cost. It has become a holding pen for people who have
been trying to exist in an almost invisible world to a lot of people who see the place
as simply a mountain of garbage.
Was it a casting choice when you chose Anita Linda as your lead? Or was the
story tailored to fit her?
I worked with Anita in DRUMBEAT, my third feature. I always remember her
heartbreaking performance in Lino Brocka’s THREE, TWO, ONE. I really wanted
to work with her. So when the opportunity came with DRUMBEAT, I saw that at
83, she was still on top of her craft. We would talk about how to do her role and I
was amazed at her strong screen presence during the takes. No wonder she was a
favorite among the great Filipino directors like Gerardo de Leon, Ishmael Bernal,
Mario O’ Hara and Lino Brocka.
I talked to Nick Olanka, my co-writer, and discussed the idea of a film with her as
the lead. In a way the story was created for her. Nick and I went to the dumpsite
again and I told him about what I wanted to do.
After several interviews and discussions, we came out with a very simple premise – a
woman who waits for her children on her eightieth birthday. Her birthday becomes a
catalyst to open the audience to the realities of solitude. As she waits, we see the
busy environment – survival and politics as it contrasts her mundane life.
She is nice and helpful to everybody. Everything builds up on her until she decided
to take a break and finally reconcile things within herself. She’s a noble woman
despite all the hard things that she went through. Hence, “Adela” which means
“noble” in Spanish.
Was the scene in which the neighbors try to convince Adela to join the political
rally a commentary on the prevalence of corruption in the Philippines?
For people who only want to survive, they would do anything especially in the
depressed areas in the Philippines like the Bernardo dumpsite. They will attend
rallies even if they have no idea what the real cause is or on whose side it is. They go
just for the money (as low as $5.00) that the organizers are paying them so that
during television coverage the affair would look successful. People sacrifice what
they believe in to feed their empty stomachs and support their families. I have read
articles and have seen so many people being asked on TV why they go to
demonstrations and they say that they attended just for the food or for the allowance.
So, that particular scene in ADELA is just a reflection of the reality.
Poverty and corruption have always been part of Filipino films because it is still the
biggest demon that the country has tried to exorcize for so many years. Yet the
efforts are futile. The politicians and their wards use money to exploit people to join
their cause. You can’t really tell now which side is telling the truth. You just have
to remain firm on your convictions on certain issues.
Symbolically, Adela may be the ailing country. She waits for the day of her
liberation from poverty and corruption. Her “children” are all busy trying to survive
for their own existence – they leave the country and work overseas, forget their
principles in favor of their subsistence. They forget the most important thing –
looking out for their country. It is now a question of existence over principles.
Adela tries to keep things to herself but for how long can she bear the pain and her
agony against the demons that corrupt her?
Do you think that the scattered family situation in the Philippines (with many
having parents who work overseas) exacerbates the social situation that the
elderly like Adela faces?
The Diaspora has certainly effected the Filipino family. The idea of a family is now
being redefined in the Philippines. Mothers often leave their children at home with
the child’s father while the mother works overseas. Children are sometimes being
left alone because both parents are working. The elderly are sometimes responsible
for taking care of their grandchildren.
The environment is changing. This really puts a lot of bearing for the elderly like
Adela.
Filipinos are known for taking care of their elders. Because of the new situation, the
elderly are now left alone or even abandoned by their immediate family. Some of
them even work at their age because their families cannot support them. It’s a sad
reality. More and more families are neglecting the basic core of the Filipino family –
respect and care for the elders. But how can we blame them? The premium is now
on how each individual will survive more than anything else.
CREW BIOGRAPHIES
ADOLFO BORINAGA ALIX, JR. (Director)
ADOLFO BORINAGA ALIX, JR., 28, was born in Makati City, Philippines. He
graduated magna cum laude from the Pamantasan ng Lungsod ng Maynila
(University of the City of Manila) with a degree in Mass Communications. He
started as a scriptwriter for feature films and television. His screenplays include
Carlos Siguion-Reyna’s KAHAPON MAY DALAWANG BATA (YESTERDAY
CHILDREN, 1999), Gil Portes' MGA MUNTING TINIG,” (SMALL VOICES,
2002) and HOMECOMING (2003) and many others.
He also taught film and screenwriting classes at his alma mater and at San Beda
College-Alabang.
His first film, DONSOL was a finalist in the 2006 Cinemalaya Independent Film
Festival where it won Best Actress and Best Cinematography honors. The film was
screened in several international film festivals abroad and garnered Special Jury
prizes in the Asian Marine Film Festival in Japan and in the Fort Lauderdale
International Film Festival in the U.S.A.
It was also the Philippines' official
submission to the Academy Awards® (OSCARS) Best Foreign Language Film
category.
Since his debut as a director, he has become one of the most prolific young Filipino
filmmakers. His other films have screened at various international film festivals.
KADIN (THE GOAT, 2006) Alix’ second feature, premiered in the Ici et ailleurs
section of the 60th Locarno International Film Festival in Switzerland and competed
in the 27th Festival International du Film d’ Amiens in France. His third film,
TAMBOLISTA (DRUMBEAT, 2007) was featured in the Sturm und Drang
(Cinema of the Future) section of the 37th Rotterdam International Film Festival.
He is now working on KALAYAAN (FREEDOMLAND) which received a script
development grant from the Hubert Bals Fund of the International Film Festival
Rotterdam.
FILMOGRAPHY
2008
ADELA
2008
DAYBREAK
2007
BATANES (co-director)
2007
NARS (NURSES)
2007
TAMBOLISTA (DRUMBEAT)
2007
KADIN (THE GOAT)
2006
DONSOL
NICK OLANKA (Co-Writer)
Nick Olanka graduated from the University of the Philippines’ College of Mass
Communication. He works as a scriptwriter and as a theater and film director. His
first film, ANG HULING ARAW NG LINGGO (LAST DAY OF THE WEEK,
2006) was a finalist in the Cinemalaya Independent film Festival. He is now
working for Star Cinema, the film arm of ABS-CBN, as a mentor for scriptwriting.
ALBERT BANZON (Director of Photography)
After taking Cinematography workshops at Mowelfund Film Institute, Albert
Banzon started as a camera assistant in Lav Diaz's EBOLUSYON NG
ISANG PAMILYANG PILIPINO (EVOLUTION OF A FILIPINO
FAMILY, 2005). Currently, he works for independent filmmakers like Raya
Martin, Khavn dela Cruz and Mes de Guzman.
He is also the
cinematographer for ALIX’ TAMBOLISTA (DRUMBEAT, 2007) and
DAYBREAK (2008).
ALEKS CASTAÑEDA (Editor)
A graduate of Communication Arts at the De La Salle University, Aleks Castañeda
started as an associate editor for some feature films including acclaimed films
LIGAYA ANG ITAWAG MO SA AKIN (THEY CALL ME JOY, 1997) and
ANG LALAKI SA BUHAY NI SELYA (THE MAN IN HER LIFE, 1998). Aside
from ADELA, he is also the editor of Alix’s KADIN (THE GOAT, 2007) and
TAMBOLISTA (DRUMBEAT, 2007).
JEROME ZAMORA (Production Designer)
Jerome Zamora is a graduate of Mass Communications at the Pamantasan ng
Lungsod ng Maynila (University of the City of Manila). He is part of the the creative
team of GMA-7 for various television programs. Adela is his second work as
production designer. He also did Alix' DAYBREAK (2008).
DITOY AGUILA (Sound Design)
Ditoy Aguila is one of the country’s award-winning sound designers. His works
include KUBRADOR (THE BET COLLECTOR, 2006), TIRADOR
(SLINGSHOT, 2007), KADIN (THE GOAT, 2007) and TAMBOLISTA
(DRUMBEAT, 2007).
ARLEEN CUEVAS (Producer)
Arleen Cuevas majored in film and graduated cum laude from the University of the
Philippines Film Institute. After receiving her master’s degree from an ASEAN
scholarship at Nanyang Technological University in Singapore, she worked as a
producer for Bigfoot Entertainment and Ignite Media Inc., doing commercials,
audio-visual videos and feature films.
Now, she works closely with Filipino independent filmmakers, most notably Raya
Martin and Adolfo Alix, Jr. She produced Martin’s A SHORT FILM ABOUT
THE INDIO NACIONAL (2005), AUTOHYSTORIA (2007) and NOW
SHOWING (2008). Aside from ADELA, she co-produced Alix’ KADIN (THE
GOAT, 2007), TAMBOLISTA (DRUMBEAT, 2007), BATANES (2007) and
DAYBREAK (2008).
NOEL FERRER (Executive Producer)
Noel Ferrer started as headwriter and producer of successful and acclaimed local
television shows. He is also a part-time professor of Literature and Communication
Arts in the University of the Philippines and the Ateneo de Manila University and is
a member Young Critics Circle, a group of academe-based film critics.
At present, he is the Project Development Manager and Head of Synergy &
Promotions of GMA Network Films.
Before ADELA, he also produced
DAYBREAK (2008) and IMORAL (AMORAL, 2008).
CAST BIOGRAPHIES
ANITA LINDA (Adela)
Born in 1924, Anita Linda is one of the Philippines’ screen legends. She started in
1943 in Lamberto Avellana’s TIA JUANA and since then is recognized for her
award-winning portrayals.
She is the recipient of the first Best Actress of the Maria Clara Awards in 1951 for
Gerardo de Leon’s SISA. In the 1970s, Linda earned critical acclaim in the roles she
essayed for director Lino Brocka in TINIMBANG KA NGUNIT KULANG (YOU
WE’RE WEIGHED BUT FOUND WANTING, 1974); TATLO, DALAWA, ISA
(THREE, TWO, ONE, 1974) and JAGUAR (1979) which was the first Filipino film
to compete in the Cannes Film Festival.
Linda also appeared in several leading films of the 1980s and 1990s, including Mike
de Leon's SISTER STELLA L. (1984), William Pascual’s TAKAW TUKSO
(FLIRTING WITH TEMPTATION, 1986), Chito Roño's ITANONG MO SA
BUWAN (ASK THE MOON, 1988), Brocka's GUMAPANG KA SA LUSAK (A
DIRTY AFFAIR, 1990), and Mario O'Hara's ANG BABAE SA BUBUNGANG
LATA (WOMAN ON A TIN ROOF, 1998).
In her eighties, Linda has remained active in the film industry. She appeared in
Alix’s TAMBOLISTA (DRUMBEAT, 2007) before taking the lead in ADELA.
JOEM BASCON (Benjo)
He started appearing in various television shows of ABS-CBN before his first screen
debut in Alix’ BATANES (2007) where he received the Best Male Breakthrough
Performance award from the Golden Screen Awards. His next role will be in Alix’
upcoming KALAYAAN (FREEDOMLAND).
JASON ABALOS (PJ)
A product of a teen reality search program on ABS-CBN, Jason Abalos is one of the
country’s promising young actors. After appearing in FIRST DAY HIGH (2006), he
starred in Jade Castro’s ENDO (END OF CONTRACT, 2007) where he won Best
Performance in the Young Critics Circle Awards.
PERLA BAUTISTA (Glenda)
A screen veteran known for her endearing and award-winning performances, Perla
Bautista debuted in 1962 with MARKANG REHAS (PRISON SIGNS). Since then
she was consistently recognized for her remarkable performances in various films.
She was in Mel Chionglo’s SIBAK (MIDNIGHT DANCERS, 1991) and recently
starred in CONDO (2008) and IMORAL (AMORAL, 2008).
ANGELI BAYANI (Mercy)
A brilliant stage actress, Angeli Bayani started her foray with feature films in Nick
Olanka’s ANG HULING ARAW NG LINGGO (LAST DAY OF THE WEEK,
2006). Since then she has been part of acclaimed films like ENDO (END OF
CONTRACT, 2007), DEATH IN THE LOVE OF ENCANTOS (2007) and
MELANCHOLIA (2008).
IZA CALZADO (Tina)
After her screen debut in MILAN (2004), Iza Calzado started her ascent as one of
the best dramatic actresses of her generation. She appeared in Joel Lamangan’s
SABEL (2004), Yam Laranas’ SIGAW (THE ECHO, 2004) where she won Best
Supproting Actress in the URIAN (Philippine Critics’) Awards and in Alix’
BATANES (2007). She is also part of GMA-7’s stable of stars as part of the hit
television series ENCANTADIA (2006), IMPOSTORA (IMPOSTOR, 2007) and
JOAQUIN BORDADO (JOAQUIN’S TATTOOS, 2008). She also bagged her
original role in Vertigo Entertainment’s THE ECHO (2008), the English-language
remake of Filipino director Yam Laranas’ horror film SIGAW (2004).
RICKY DAVAO (Felipe)
A stage, television and film actor, Ricky Davao is one of the top dramatic actors of
the Philippines. His performances in the films ANG LALAKI SA BUHAY NI
SELYA (THE MAN IN HER LIFE, 1998), SARANGGOLA (THE KITE, 1999),
AZUCENA (Dogmeat, 2000) and PUSANG GALA (STRAY CATS, 2005) were
all noticed by various award giving groups in the Philippines. He also appeared in
Alix’ TAMBOLISTA (DRUMBEAT, 2007).
PRODUCTION COMPANY
Bicycle Pictures was founded in 2006 by director Adolfo B. Alix, Jr. to produce his
independent feature film projects.
The company’s first project, DONSOL (2006) was screened in various international
film festivals and was the Philippines' official submission to the Academy Awards®
(OSCARS) Best Foreign Language Film category.
Within a span of two years, it has also produced acclaimed films like KADIN (THE
GOAT, 2007), TAMBOLISTA (DRUMBEAT, 2007) (co-produced with Creative
Programs Inc., DAYBREAK (2008) and ADELA (2008).
It has also line produced other projects like Charliebebs Gohetia’s feature THE
THANK YOU GIRLS (2008) and Jerome Zamora’s short film ANG BAKASYON
NI CAN-CAN (CAN-CAN’S VACATION, 2008).
The company is now working on two projects: MANILA, a twinbill by Adolfo Alix,
Jr. and Raya Martin and KALAYAAN (FREEDOMLAND) which recently
received a script development grant from the Hubert Bals Fund of the International
Film Festival Rotterdam.