The opening day for Ang Laro ng Buhay ni Juan garnered it six-figures in the box office -- something that is outstanding for an independent feature. This weekend, sales topped that of the opening which shows how strong the film is doing. Considering that the film is only shown in select theaters, Juan has a very solid showing.

Many thanks to all those who watched. This film could possibly top Jay's biggest hit yet -- Ang Lihim ni Antonio. I am excited to have been a part of it, albeit mine was only a support role.

The film's DVD release is being planned as of press time. And yes, cover design above is by moi.

The film is also a critical success.

The Bakla Review has this to say about the film:

"The tandem of director Joselito Altarejós and screenwriter Lex Bonife birthed four gay-themed movies for major studio Viva, under its digital arm, starting with 2007's Ang Lalake Sa Parola. With their fifth collaboration, Ang Laro Ng Buhay Ni Juan, the duo make their first "truly independent" film, outside Viva, with Altarejós wearing the producer's hat for BeyondtheBox Productions. With this move, the bigger financial rewards might finally go to the deserving artists, who were anyway responsible for the brand of movie-making that spawned a following. The better news is that the departure seems to have freed them artistically, as well.

The mode is "real time" -- that increasingly fashionable style of storytelling that isolates time and place, an economy of approach well-suited to third world budgets. We follow Juan (Rayan Dulay) during his last hours in Manila, before he permanently leaves for his home province of Masbate. The film is structured in two parts. The first half is daytime, when Juan navigates the slums of his neighborhood, mingling with an assortment of characters, before settling in a tiny room to say goodbye to his lover (Nico Antonio) -- a tender moment that aches so well because we learn so much about the two of them with so little. It's also a positive representation of a same-sex relationship built on mutual love.

Fans might find my next statement blasphemous, but I've always thought that, in the Altarejós-Bonife partnership, the writing was usually the weaker link. Well, so much for that now. Gone are the fussy expositions and purple dialogue that mar their sometimes overly earnest melodramas. Co-written by Bonife, Altarejós, and Peping Salonga, Laro is subtler, but also richer, fresher, more intelligent, if also a little cooler/colder. It's a film that pulsates with the discovery of the moment. Ang Lihim ni Antonio is its closest forebear, both marked by naturally flowing existentialism, but this is probably the first time the direction and the writing complemented so effortlessly.

I wonder, however, if the film would have benefited from a more intense lead actor. Real Time seems to require a galvanizing, center-of-the-universe presence, the way Gina Pareño held Kubrador, or to a lesser extent, Coco Martin in Kinatay. Dulay is pleasant and effective, but I kind of wish he put more gas to his fire.

The second half is night, as Juan works for one last time as a live sex performer in a gay club, to make extra money for his trip. Here, we meet the kind ringmaster (played by Bonife), a newbie member being oriented, and the rest of the performers, including Juan's cocky partner (Ace Ricafort). The excitement builds up to the actual erotic show, with naked bodies, but the real culmination is... (SPOILER ALERT!) a police raid. What is it that happens to Juan in his last day in Manila? In the answer lies the film's powerful statement.

What the two parts illustrate, before we're even aware of it, is the transfer of money. In Juan's poor community, everyone needs it. But when people part with their cash -- to gamble, to lend to a friend, a lover, someone in need -- it always stems from free choice. What Juan chooses to do with his money is his right and his freedom. We get the spirit of people looking out for one another: It's there when a neighbor shares her plate of noodles, or when the club manager passes a hat and guests drop their generous tokens. By stark contrast, in the final act, when police officers snuff Juan of the contents of his wallet, it's a gross abuse of authority, a trampling of Juan's freedom and dignity. He was robbed of so much more than money. He loses control over his own life, turned into a wimpering idiot. That, according to the film, is the great tragedy of this country. It's what corruption looks like on a micro level, but it extends and affects all of us. No coincidence, then, that our hero is called Juan, the name of the everyman.

Ang Laro Ng Buhay ni Juan is the second excellent film this year to indict the illegal, inhumane practice of police raids. (Big Night was the other one.) The topic demands attention, and both films are must-sees. That Laro drives the important point with quiet grace is amazing."

GRADE: A-

Edgar O. Cruz of The Daily Tribune writes:

"Altarejós attacks the scenes as dispassionately as possible. There are scenes which he could have exploited, but he cuts as soon as he establishes the scene’s purpose — the mark of a mature helmer... He proves in this movie that he's an indie filmmaker in the real sense of the term. He pushes the director's work to the extreme like what German poet Rainier Maria Rilke said is necessary to come up with a master work... Ang Lalake Sa Parola was my favorite Altarejós movie; Ang Laro ng Buhay ni Juan changed this!"

Loud Cloud shares a few insights:

"Compassion is one elevated form of human sentiments. It is transcendent in the sense that you step out of selfishness and supplant your emotions into rooting for the welfare of another person. This may not be the core thesis of Ang Laro ng Buhay ni Juan but for some accidental reasons it just did that: this unusually poignant film makes you discover your hidden well of empathy and you surface from the screening astonished, startled and stirred.

Altarejós + Bonife along with Peping Salonga are back in vigorous form. With the recent head-scratching turn in Little Boy Big Boy they seem to have taken a momentary breath and here decided to resume making significant films utilizing their key strengths—that is penning well-thought out narrative, sincere dialogues and sexually provocative propositions. Although the central sex scenes in Ang Laro ng Buhay ni Juan are still charged (and even then it makes you wonder how much graphic footage got snipped by the charming folks at MTRCB) they seem to have taken a backseat to make the story, the acting and deft direction rule.

Ang Laro ng Buhay ni Juan is a far-reaching, affecting chronicle. It reels in the viewer into following the pivotal day in the life of its protagonist Juan a.k.a. Erwin (Ray An Dulay), a live (gay) sex performer who is making a crucial decision in his life: to leave the daily grind of seedy carnal routine in favor of beckonings of a sick mother and a simple provincial life.

Like thousands of other similar stories out there Juan arrived in the city in search of better things and months and months of struggle found him committing man to man action in an underground sleazy bar. Though he appears neither apologetic nor resentful of his fate, he is also not happy of his squandered potential—only the fading, laminated diploma hanging precariously on the dilapidated wall of his ramshackled pigeonhole of a room reminds him of once a promise of a decent life. Typical story for those who have seen scads of equally-sleazy indie movies lately but what made the story entirely his own is his quiet dignity: he never moans, complains or bitches about his ill fate; he forge on the daily struggle with courage and determined detachment.

He is not alone in this foul existence and he is very aware of it: There’s the scene where a destitute neighbor borrowed thirty pesos to buy a scoop of rice only to get bumped by a running street urchin sending every grain on the pavement and getting soaked by the murky canal water. She didn’t erupt into a wild melodramatic sob; she just tried to scoop what she can possibly retrieve, desperately trying to salvage every precious grain. In the catastrophic bar scene (you struggle to neutralize a lump in your throat as) you witness scattered, broken biscuits intended for homecoming present being picked one by one from the floor. It kills you. It breaks your heart. It makes you forget you went into the theater in the hope of looking at raging hard-on of the cast, only to be won over by shimmering raw talents who are in complete command of the role they inhabit.

Adept direction and a subtle script brought out the indisputable talent of Dulay into prominence. Whereas in the past Dulay’s acting aptitude glimmers but get eclipsed (because of the minority of his roles) Ang Laro ng Buhay ni Juan is his opportunity and he convinces us that you'll watch this movie not because of raging erections but because of hard-won talent. Even the minor casts approach their characters with precision and humanity they seem not to regurgitate a script but tossing out lines like spontaneous snippet of their daily dialogues.

Somewhere in the course of the film I wondered: Is it just me or the movie has an intriguing argument to make? The case being: Living in squalid condition, striving to live on and finding your way through brutalities of life are discouraging but not reasons to stop caring. Flashes of kindnesses are randomly injected to make this claim tangible: a sympathetic bar owner (essayed with candid, comic glee by Bonife himself who matter-of-factly declares “Kayong mga gays, bisexual, straight curious, straight tripper o ano man ang tawag ninyo sa sarili ninyo isa lang ang ipinunta natin dito: Burat!” Classic!), a benevolent police member of the NBI raid squad, a neighbor who would willingly split her meager meal all seem like rare likelihoods but one cannot deny their uncommon existence either.

Another interesting aspect is the underlying, semi-subversive stand essayed in the movie by putting an accent on the brand of people and forces that prey on the haplessness, desperation, misfortune and plain bad luck of individuals who are careworn and plainly, vainly trying as damned hard to claim a right to live for at least another day.

All throughout these tormenting moments Ang Laro ng Buhay ni Juan keeps itself in check: it is careful not to slide into sensationalism or petty melodrama. It never attempts to mine shallow sympathies on the plight and adverse conditions of its characters. It doesn’t rhapsodize the sexual scenes instead use them as natural progressions of the story. Thankfully Altarejós, Bonife and Salonga didn’t rehearse the rampant, cheap indie formula of “I Am So Desperate So I Am A Hooker” route but instead moulds its characters with willpower and fortitude. In so doing the movie and characters make our empathy spontaneous and potent.

Ang Laro ng Buhay ni Juan is honest and, despite the pitiable moments, is strangely kindhearted with acute understanding of a struggling soul’s tendencies and motivations. It is a well-crafted oeuvre and treats the widely familiar plot/flawed characters with delicate respect and legitimate deference. It openly tells a blunt story that will resonate with anyone who at one point in his life was driven to misery and anguish and how the viciousness and cruelty of other people (and life in general) will squeeze out that last remaining ounce of hope in you until you are rendered beaten, cynical and emotionally empty.

This is where I applaud and commend Altarejós + Bonife + Salonga. Ang Laro ng Buhay ni Juan is like a bittersweet, hand-written love letter designed to wound you. And it does wound you. It rouses your humanity into sudden wakefulness.

Ang Laro Ng Buhay ni Juan is currently screening at Robinsons Mall Cinemas (Galleria/Manila. Please check other theater listings). Do support this worthwhile indie movie as a way of encouraging more neat materials to come to life and hit the screens!"

The Philippine Daily Inquirer's Rito Asilo quipps:

"In Joselito “Jay” Altarejós’ latest gender-bending drama, Ang Laro ng Buhay ni Juan, destiny also delivers low blows to the dreams and big-city aspirations of 25-year-old Juan Reyes a.k.a. Erwin (Ray An Dulay). After three years of odd jobs and missed opportunities, the protagonist’s misadventures in the metropolis have left him barely hanging by a thread.

In gritty cinéma vérité fashion, the film follows Erwin on the day before he leaves the cruel urban jungle for good. He’s convinced there’s a better future waiting for him in his otherwise impoverished hometown in Masbate. Unsurprisingly, the fateful day turns out to be an emotional roller-coaster ride for Erwin as he exchanges pleasantries with his neighbors, then bids his lover, Noel, goodbye.

It’s also Erwin’s last day at Inner Sanctum, the seedy underground gay bar where he works as a live-sex performer. However, after his final show—and just as he’s about to leave the club—something happens that weakens his resolve to turn a new leaf...

Jay weaves a clear and briskly paced tale. He puts his storytelling dexterity and visual flair to good use as he subtly shifts from one social commentary to another. However, the needlessly protracted dance sequence could have used some trimming.

Moreover, the provocative scenes he conjures up onscreen won’t sit well with conservative viewers, but they do come with a cautionary message—and a warning: Scenes that depict violence or graphic sex are never a pretty sight."

And to our surprise, the Catholic Bishops' Conference of the Philippines had this to say after seeing the film:

"Payak kung maituturing ang kuwento ng pelikula na sinundan lamang ang isang araw sa buhay ng isang taong nais magbagong-buhay. Ngunit ang kapayakang ito ang nagpahatid at naglahad ng epektibong kuwento ng mga taong ang buhay ay nakatago sa dilim. Kitang-kita ang pagkakaiba ng buhay ni Juan sa araw at gabi. Isang tipikal na kuwento ng mga taong nasadlak sa kahirapan at may hanapbuhay na hindi nila kayang ipagmalaki. Maganda at totoong-totoo ang eksenang ipinakita sa pelikula. Malinaw ang pagkakalahad ng kuwento na hitik sa simbolismo. Mahuhusay din ang mga nagsiganap na bagama't mga hindi kilala at hindi malalaking pangalan sa industriya ay nagawang magampanan ang kanilang papel nang makatotohanan. Maganda ang direksiyon ng pelikula sa kabuuan dahil na rin sa naging matapat ito sa mga katotohanan ng lipunan na bihira na lang mapansin ng karamihan.

Marami ang katulad ni Juan – mga nagbakasakali sa Maynila ngunit hindi nagtagumpay. Dalisay kung titingnan sa kabuuan ang pagkatao ni Juan. Bagama't nakipagrelasyon sa kapwa lalaki, ipinakita naman na tapat siya kung magmahal at mapagmalasakit sa kapwa..."

Again, many thanks to those who watched. Ang Laro Ng Buhay ni Juan is still running at Robinsons Mall Cinemas (Galleria and Manila; Bacolod, Iloilo, and Eden Cinema in Cebu City).

Let us support Filipino independent cinema! ☺

Who would've ever thought? (Laughs) I play the character of "Marc" in the film. He's a friend of Juan (Ray An Dulay's character). These shots are of me opposite Ray An.

If I'm looking a wee-bit thin, that's because I purposely dropped weight for this role. My character is an impoverished college kid working part-time as a call center agent to augment the family income. He lives in the squatter's area with his mother. My lines are subtitled in Tagalog (third photo) as my character is Visayan.

Ang Laro ng Buhay ni Juan will have a special screening tomorrow, October 14 at 9:30 p.m. in Mogwai Bar and Restaurant in Cubao Expo. Entrance is ₱250.00 and already comes with one drink. This is the uncut version of the film. Regular run is exclusive at Robinsons Cinemas (Galleria and Manila) on October 21st.

It's a small part, but I sure had a fun time doing it. ☺

Ang Laro ng Buhay ni Juan explores two hours in the life of Juan Reyes (played by Ray An Dulay), known to others as Erwin. Juan is a 25 year old Masbate native who just found his way to Manila three years ago. Erwin has tried his hand at many odd jobs and now works as a live-sex performer at an underground gay bar but has decided to leave Manila for good.

On the day of his departure, he will take us with him as he makes life decisions—big and small. The most important one of all is leaving the impoverished place which he called home for a year, capping it with his emotional goodbyes with his lover, Noel (played by Nico Antonio of all-male vocal group VOIZboys). And, how a raid by the authorities marred his last performance in an underground bar called Inner Sanctum which changed his resolve.

The film marks the beginning of filmmaker Joselito Altarejós’ foray in producing his own films under BEYONDtheBOX. It stars 2008 Cinemanila’s Asian Best Actress Angeli Bayani, Richard Quan, Perry Escaño, Lex Bonife, Nico Antonio and Ray An Dulay. The support cast is led by daring newcomer Ace Ricafort (as one of the live show performers called Tupada Boys), Ivy Sumilang, May-i Fabros, Bobby Reyes, Michael Cayetano, Tony Lapeña, Dexter Pelagio, Annelle Durano, Arlene Pilapil, and Mark Fabillar.

Ang Laro ng Buhay ni Juan will be showing exclusively at Robinsons Cinemas (Galleria and Manila) on October 21st.

Photos after the jump.

[DO NOT CONTINUE IF YOU ARE OFFENDED BY NUDITY!]

For more details, text Maybelle at 0917-6034567.

Little Boy Big Boy had a successful premiere last night, so I would like to start this post by saying hi to all those of you I met last night. I haven't been blogging about my babies recently, so here goes..

Miming, my two-month-old pusakal seems to be very content on her chair. Yes, this chair is exclusively hers and no one else's. She's a ball of energy and loves to nibble on Jay's toes. She has a weird habit of stealing Antonio's dog food though. And she wags her tail. No kidding.

Antonio, on the other hand, enjoys his walks in the morning. He demands them. He is the sweetest Labrador Retriever in the world, and loves Miming very much. He is five months old, but because he is a lab, he is slightly larger than most five-month-old puppies. He loves cat food! I don't know what's wrong with my pets but they prefer each other's food. As the breed suggests he is obedient, playful, and absolutely adorable. He is scheduled for neutering next month, when he is old enough.