Dead Center

pelikula:

The turn of the millennium was greeted with films like Sisid, Arayyy!, Gigil, Bakat, Talong, Kangkong, Itlog, and whatever farm goods film producers exploited those days. Someone even jokingly summarized the whole double entendre movement as “Agricultural Cinema.” Ugh-mazing, isn’t it? But then came Tuhog, starring bold stars Ina Raymundo (Burlesque Queen) and Klaudia Koronel (Papaya Queen).
The uninitiated audience would automatically assume that Tuhog is yet another commercial sexploitation bomba movie, the kind where cinema is reduced as a money-making and flesh-parading machine. I personally have no problems with audacious films that show generous amounts of nudity, but the sheer lack of imagination, inventiveness, and purpose, aside from giving boners (and whatever it does to female audiences) is overly suffocating.
This is exactly why we should all thank Armando Lao and Jeffrey Jeturian for penning and directing, respectively, this remarkable breath of fresh air. The film is not only entertaining but also critical of these skin flicks that pervaded the cinema at that time. It also reminds us of the destructive power of cinema as we see how a sexually abused mother and daughter further their ordeal when a filmmaker adapts their lives into an overblown, sexually explicit, and hilarious bomba film aptly titled Hayok sa Laman.
We should also thank Tuhog for introducing us to wonderful talents. The once nameless and now esteemed actress, Irma Adlawan, gave a restrained and textured performance as the submissive mother, Perla. Raymundo, previously known for her sexy roles, finally established her status as a serious actress after playing a believable abused young ingénue, Floring. Furthermore, Jaclyn Jose’s tendency to overact and Koronel’s inexperienced acting chops are the perfect flaws in playing sexually-hungry, 2-D movie caricatures of Perla and Floring.
It takes a brilliant director like Jeturian to translate such dark and challenging subjects like incest and abuse into an illuminating and very watchable modern classic. Definitely influential (*ahem* Francis X Pasion’s Jay) and a must see! Ipe Cervantes

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The turn of the millennium was greeted with films like Sisid, Arayyy!, Gigil, Bakat, Talong, Kangkong, Itlog, and whatever farm goods film producers exploited those days. Someone even jokingly summarized the whole double entendre movement as “Agricultural Cinema.” Ugh-mazing, isn’t it? But then came Tuhog, starring bold stars Ina Raymundo (Burlesque Queen) and Klaudia Koronel (Papaya Queen).

The uninitiated audience would automatically assume that Tuhog is yet another commercial sexploitation bomba movie, the kind where cinema is reduced as a money-making and flesh-parading machine. I personally have no problems with audacious films that show generous amounts of nudity, but the sheer lack of imagination, inventiveness, and purpose, aside from giving boners (and whatever it does to female audiences) is overly suffocating.

This is exactly why we should all thank Armando Lao and Jeffrey Jeturian for penning and directing, respectively, this remarkable breath of fresh air. The film is not only entertaining but also critical of these skin flicks that pervaded the cinema at that time. It also reminds us of the destructive power of cinema as we see how a sexually abused mother and daughter further their ordeal when a filmmaker adapts their lives into an overblown, sexually explicit, and hilarious bomba film aptly titled Hayok sa Laman.

We should also thank Tuhog for introducing us to wonderful talents. The once nameless and now esteemed actress, Irma Adlawan, gave a restrained and textured performance as the submissive mother, Perla. Raymundo, previously known for her sexy roles, finally established her status as a serious actress after playing a believable abused young ingénue, Floring. Furthermore, Jaclyn Jose’s tendency to overact and Koronel’s inexperienced acting chops are the perfect flaws in playing sexually-hungry, 2-D movie caricatures of Perla and Floring.

It takes a brilliant director like Jeturian to translate such dark and challenging subjects like incest and abuse into an illuminating and very watchable modern classic. Definitely influential (*ahem* Francis X Pasion’s Jay) and a must see! Ipe Cervantes