[Only IN Hollywood] 43 years later, Nora Aunor’s ‘Bona’ returns to Cannes

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“Thanks to Pierre Rissient, also Pierre-Henri Deleau , and the Jalladeau brothers , the France audience had the chance to discover masterpieces from Lino Brocka, Mike de Leon, and others.” “Brocka was talking about the Philippine people and society but his story, his characters are universal and could resonate with anybody across the world. More especially, nowadays, his portrait of his female characters has certainly more scope than there was at the time.”is talking of its times – the ’80s, the Philippines, the popular power of cinema back then, the society.

“The negotiations, with Kami joining as co-partners in the restoration and distribution, took months, with Vicky often having to field queries from Nora early in the morning or late at night.” “The LTC lab has since closed and liquidated its vast jumble of negatives and prints, some of which have turned anonymous, detached from their physical or catalog identifiers.”

“I texted back that from what I remember, the film surely has resonance in our modern obsession with celebrity…that wanton hydra that grows ever more consuming, fed by the ceaseless deluge of social media.” “This is exciting in our work to make a film discovered by the audience of our countries – a director, an actor/actress, genre, nationality. It’s just the beginning of the

“The third feature film by Trương Minh Quý was shot on 16mm film on an adventurous journey from the North to the Central Highlands and the South of Vietnam.” Bianca also gave information about the Directors Factory Philippines, a Cannes initiative that focuses on a country each year. This is only the second time that the initiative has chosen an Asian country to highlight.

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