Budding Indie-Film Producer and Actor, Singer, Theatre Actor
Making her dreams into reality
Call it fate or luck, Fe Ging Ging Hyde will attest that she has found both. From carinderia to the Cultural Center of the Philippines, this budding film producer, actress and singer has proven that with faith, passion, strength, commitment and a bit of luck, one can find herself triumphant and glorious out of many occasions.
Born to a poor family in Mindanao, Fe's memories of her childhood and adolescence were quite difficult as compared to many. At a young age, Fe recalls working as a waitress and singer in a small neighborhood restaurant (carinderia) in Davao. But while the young Fe worked and toiled for her sustenance, she still found the time to join small community theatre productions in the city honing her natural talent. Fe would also recall that during those times, she already knew what she wanted to become. Without any pretension, Fe would admit that she has always dreamt of being a movie star someday. Her happiest moments would be when performing in front of other people. Yet her status in life hindered her from pursuing her ambition.
So, life went on with Fe. And, the pretty Cinderella from Davao had taken on her simple journey, and eventually found her way to Dubai through singing. She also eventually met herPrince Charming, got married, became a mother and settled into domestic bliss. Yet her passion for acting and singing kept calling. Thus, she searched for a place to start and joined one of the city's prime actors' groups, the Dubai Theater Group (Drama Workshops Dubai).
Now having the acting bug reawakened in her, and with a fresh resolve to pursue her dreams, no matter from which angle, Fe somehow found herself jumping head on into indie films as a first time producer. And despite being totally new in the tough world of independent films, her debut project "HOSPITAL BOAT" released in July 2009 has received not one, but six nominations at this year’s Gawad Urian Awards, including Best Film. Her second production"SHEIKA" where the talented Fe played the lead role, and sung the theme song as well, which will premiere at the Cultural Center of the Philippines in July 2010, has landed within the top 10 of Cinemalaya Film awards. Indeed, these films are testaments not only to Fe’s dreams coming true, but also to her pure natural talent for film.
Yet, even with all these achievements, Fe never ceased to be the down-to-earth, friendly and approachable woman that she is. Considering the life that she has, in the limelight, albeit under the harsher glow of the indie film industry, Fe still has that unaffected air of innocence. Her infectious and ultra expressive face with her signature casual animated antics – all eyes, pouty mouth, expressive shoulders and hands – Fe is the same woman that she is, despite the many blessings that come , and will come her way.
With her humility and her passionate pursuit of life and her dreams, Fe has shown a rousing image of an Empowered Filipina. A woman who does not get embarrassed by her humble past, and strives to take out all the important lessons from it, pushing resolutely forward to achieve her dreams. Fe serves as a true inspiration to those who have nothing, and went on with life with joy, faith and passion, knowing one day that her wishes will come true given her hard work, effort and courage
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Women of Substance-Gulf Event 2010
Illustrado Magazine's Women of Substance Honorees
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credits:
Illustrado Magazine Gulf-- Women of Substance 2010
Photo credits: Illustrado Magazine-Gulf (2010) and Eros Goze Photography (Dubai)
She can very well go down in history as the first Urian best actress named GingGing —joining the league of Nora, Vilma and Sharon.
Surely, Fe GingGing Hyde —who bested awards favorites like Jodi Santamaria, Laurice Guillen and Meryll Soriano for the top plum—came in totally from the cold.
But her work in Arnel Mardoquio’s “Sheika” was so powerful that the country’s finicky critics simply couldn’t ignore her, even if most mainstream industry insiders have no idea who she is.
Being classy is not about being stuck up, it is about having style and taking care to be polite to others and to reflect a genuine interest in them. It is also about being confident in yourself.
Treat others the way you would want to be treated. The Golden Rule truly is a time honored guide for treating adults and children with class. Giving others advance notice before cancelling dinner invitations, speaking up for those who cannot stand up for themselves, calling your parents to update them on yourself, checking in with friends; these are all simple gestures that demonstrate your class and authenticity. Ensure you choose friends who share your values.
Choose your battles, choose your friends. Few battles are truly worth fighting. Stand up for those who cannot stand up for themselves (the elderly, children, mentally disabled, etc.) Be wary of those who appear to enjoy bickering. If someone is rude to you, either ignore him or her completely or, once you have completely calmed down and are thinking clearly, explain how you perceived his or her actions and work towards a resolution. You can also treat them with polite disdain--be polite but let them subtly know that you don't appreciate what they are doing. Never stoop to their level, and do not be hasty. Surround yourself with positive, polite people who encourage and live your classy, intelligent lifestyle
Choose your words. The classy individual listens more than he or she speaks. Having a strong vocabulary is important, but do not use a word unless you are certain of its meaning. Use words to express yourself clearly. Importantly, do not correct others when they use improper grammar. Differences in background, family life, and education cause people to speak differently, and people often use slang for effect. More than this, it is irritating and degrading to be corrected by a know-it-all.
Do not insult, gossip, or slander. When necessary, voice your opinions appropriately and constructively. This encourages your audience to listen carefully when you speak.
Be independent. You must be courteous, but do not bend over backwards to please others. If you do, you may find yourself being taken advantage of in the future. Limit your time and availability and draw boundaries with others so that they are aware of your limits.
Break the stereotype shackles. More often than not, using labels in any way, whether to identify yourself or others shows a lack of creativity, lethargic social skills, and a lack of careful observation. Give everyone respect and the benefit of doubt.
Be assertive. Avoid passive-aggressive thinking; this is likely to trip you up eventually. Assertiveness demonstrates maturity, thoughtfulness, and confidence. Class requires balance, and assertiveness is a prime example of this concept.
Define yourself with a clean and elegant look. Excellent presentation is half of the battle. Wear clothing and accessories, which flatter your body and never wear anything you feel uncomfortable in. It is important to remember that modesty is key in earning the respect of others. A bit of cleavage may be fashionable, but true gentlemen will appreciate modesty more than exposure.
Avoid getting caught up in trends. There is nothing wrong with enjoying fashion or buying clothing you find attractive, but it is important to stay in control.
Do not become a slave to fashion, or you may be regarded as foolish, "high maintenance", and/or shallow. The clothing you wear should enhance your personality, not create or alter it. This advice can be applied to many aspects of life in which you may feel pressured to "fit in."
Know when to ask for help, but avoid desperate behavior. This is the kiss of death for the classy person. Only desperate times call for desperate measures. Take a deep breath, be strong, and move through the situation with elegance and grace. You will be the victor for it, no matter the outcome. If things get out of hand and you feel completely overwhelmed, ask for help from a close friend or family member.
Seek wisdom. As difficult as it can be to heed the advice of those more experienced than yourself, it is a necessary step at times. No matter your age or ability, allow yourself to learn from the mistakes and victories of those older or more experienced than you. You will win their favor and be available to pass on your own wisdom or advice.
Be open to personal development. Do not berate yourself, but be receptive to constructive change. In our world, change is inevitable. Be a positive and flexible part of it and show others the way as well. Face life rather than burying your head in the sand and others will know instinctively that you are someone whose opinion counts.
Be knowledgeable and aware. It is wise to become politically, culturally, and religiously aware. Even the most basic knowledge can save a person from embarrassment and awkwardness. If you know in advance that you will be spending time with someone of an unfamiliar background, it is a good idea to do more in-depth research to avoid embarrassing faux pas.
Be responsible. Classy people leave their surroundings in a condition at least as good as they found them. Unless they are in a restaurant with wait staff whose job it is to do the clearing up, classy people insist on taking care of their own trash and baggage, not expecting others to pick up after them. And when others do favors for them, while stuck-up or spoiled people assume it's only to be expected and ignore others' assistance, truly classy people are quick to notice and to express their gratitude and their appreciation. Don't get wasted at parties.
Be considerate. Truly classy people instinctively recoil at the thought of inconveniencing others, offending them, getting in other peoples' way, or in any way making nuisances of themselves. Classy people are all about minding their own business when among strangers and putting others at ease when in social situations. Truly classy people are gracious and affable to everyone, whether the CEO, the mail carrier, or the custodian. Classy people know others' names and use them when greeting people they see regularly, whether the door attendant, the security guard, or the boss' wife. Classy people treat everyone the same - with courtesy and respect.
Be Real. If you have class, live in a way of which you should be proud. If you have to be phony and deceptive then you should consider why. A person of honor and integrity never needs to hide behind a facade. If you can't show your true self to the world then who will people see?
I am in need of cast members for my new film Cartas de la Soledad (Letters of Solitude) which is a finalist of Cinema One Originals 2011.
The lead role of Rashid must be an actor in his late 40s to early 50s, has a regal bearing, with little dancingskills, and willing to learn Maguindanaon and a little Spanish.
Supporting role of Sakina, Rashid's elder sister, must be an actress who exudes the same royal air, must know how to smoke a cigarette, and speaks confidently in English.
Juan must be Spaniard-looking, in his late 20s to early 30s, with rugged good looks, and could speak verygood Catalan Spanish.
For interested parties, please email letter of intent with photo to bidadalihouse@yahoo.com no later than May 31, 2011.
Every year, Cinema One provides grants of P1M each, this year 10 films projects chosen from hundreds of submitted screenplays. These film projects are meticulously selected by a jury composed of representatives from the film industry and Cinema One.
(Alchemy of Vision and Light Film and TV Productions)
Fe GingGing Hyde
(HYDEout Entertainment)
in coordination with:
NCCA (National Commision for Cuture and Arts)
33rd GAWAD URIAN nominee for:
Best Film:
Skyweaver Productions
Alchemy of Vision and Light Film and TV Productions
HYDEout Entertainment
Best Director
Arnel Mardoquio
Best Cinematography
Dax Canedo
Best Production Design
Bryan Bajado
Best Music
Gauss Obenza
Best Supporting Actress
Jea Lyka Cinco
Conterder for the 10 Best Films 2000-2009
(34th Gawad Urian Awards 2011)
Starring:
Rochelle Venuti**Marvin Mindog**Jea Lyka Cinco
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Revisiting the war in Mindanao
Director Arnel Mardoquio whose “Hunghong sa Yuta” (Earth’s Whisper) rated an impressive number of nominations from the Manunuri ng Pelikulang Pilipino, has a new film. “Hospital Boat” revisits the war in Mindanao, and this time Mardoquio’s script has broader concerns.
The movie, against the background of war, touches on the Muslim fight for independence, the work of health workers in coastal villages of Mindanao, the plight of evacuees and the evils of warlordism. Such concerns call for epic treatment of the problems that make Mindanao a daily hot topic for the national media.
The boat serving as the pathetic central image of the struggle to bring relief to war victims is whatever available banca that can bring the medical doctor and the nun from village to village. Dr. Sittie and Sister Claire are the principals in the narrative that take the viewer from sequence to sequence depicting scenes of poverty and need and the alleviation that outside help can offer.
The two women health workers come across a lumad boy who lost his mother in a bombardment and left him with an infant brother to care for. They take him along as a guide and helper. In the course of their relief work, they run across a teenage Muslim girl who had been raped by an American soldier, and they take her along hoping to relieve her trauma. In a remote parish, they meet an activist priest who looks after war’s evacuees and they join him in working out some economic help from a villainous Muslim warlord.
“Hospital Boat” confronts the viewer with the multifarious conflicts brought about by war, inducing a sense of guilt that would impel him to respond to the film’s advocacy to end the devastation and the desperation of the people. Mardoquio’s script has assembled the relevant characters and stitched together the pertinent incidents to make his film an effective vehicle for peace advocacy.
As a narrative, however, the diversity of plot lines does not quite cohere. The dramatic promise in the situation of the lumad boy with an infant brother left in his care has been left unexplored. The individual private lives of the medical doctor and the nun are barely sketched out, so that we are left with cardboard figures who fail to move us because we are left hanging by their sketchy characterization. The work of the priest among evacuees is barely depicted. The best realized plot line concerns Muktar the warlord and his hostility to Father Allan and his work.
Along with Dr. Sittie and Sister Claire, Father Allan attempts to pilfer sacks of rice for the consumption of evacuees and such results in a chase through the woods with the trio pursued by Muktar and his henchmen. Muktar’s sister, a congresswoman with liberal leanings, saves the priest and the health workers from Muktar’s fury for a brief spell. A climactic moment occurs when Muktar catches up with Dr. Sittie and Sister Claire as they are preparing to leave the island. Dr. Sittie strikes Muktar with an oar and in a violent encounter Sister Claire shoots Muktar who, in his dying moment, stabs the nun to death.
As a Mindanao peace advocate, Mardoquio displays his ample directorial skills in “Hospital Boat.” His work with his cinematographer and editor endows the film with much professional polish. As a director for activist theater, he easily gets expert film performances from his cast whose previous experience in his stage productions allows them confidence and naturalness in their acting. What Mardoquio would seem to need to develop at this stage is a firm hand in molding the narrative of his screenplay and a steady eye on the characters he deploys in his story.
(Bienvenido Lumbera is a National Artist for Literature).
Malou Tiongco**Lorie Ann Cascaro**Joffrey de los Santos**Marvin Mindog
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The Endangered Indigenous Healer
There is always something very appealing about an art work which is a labor of love! This is especially so, if it happens to be the artist’s first major production. One can tell that such artists invest their soul into their first creative production. Consequently, the appreciative viewer responds favorably to the artists’ assertion of a soul seeking to express deep longings and aspirations even as they take the risk to be vilified and damned for over-estimating their gifts.
As an appreciate viewer I salute Orvil Bantayan and everyone who collaborated with him to come up with Mananabang for their courageous attempt to place themselves as serious stakeholders in a most promising nascent Mindanawon independent film movement. Like Arnel Mardoquio, Teng Mangansakan, Sheron Dayoc and other Mindanawon filmmakers before him who have made waves in cinema circles even beyond the Philippine shores, Bantayan produces a first film that immediately conveys that he is a filmmaker with a future! Like Mardoquio, Mangansakan and Dayoc, Bantayan does it by grounding himself in Mindanawon context and realities, transcending the odds of a limited budget and tapping on local talents that can compare with those of imperial Manila.
Mananabang tells the story of Manang Soling, a community-based indigenous healer, who – like hundreds of them since time immemorial – responds to the health needs of her community especially in assisting pregnant women from the period of preparing them for the moment of birth to the actual procedure of childbirth. An unfortunate incident where she assisted at her own daughter’s childbirth but which ended tragically resulted in her demonization by her very own community following the orders of the local Department of Health personnel to stop her midwifery practice.
Unlike her neighbors, an expectant mother named Magda has not lost confidence in Manang Soling’s health skills. The wife of Jepoy, a landless poor peasant who earns money from weeding and selling firewood, Magda takes on the pragmatic stance. Since she and her husband do not have the money to go to the lowlands and be admitted at a hospital, she asked Manang Soling to assist her at childbirth. The old woman healer resists as she, too, fears that she could be put in prison if found to still be involved in being mananabang. Jepoy and other neighbors also conspired that Manang Soling should stop engaging in her practice.
But as luck would have it, Magda’s water bag broke unexpectedly just when Jepoy had gone to town to find money for her hospitalization. In the end, Manang Soling had no choice but assist in Magda’s labor and the film ends validating the importance of Manang Soling’s service to her community.
Even as we praise Bantayan’s breakthrough film, we honor him by taking his work seriously. That means engaging his “film text” by pointing out both its lights and shadows vis-a-vis the “what-could-have-beens”. The film’s strengths are manifested in a number of striking features: how it deals with the everyday reality of a rural community along with the topical issues very relevant to the Filipino citizenry, its attempts to capture the texture and sounds of an isolated village, the moods created through the use of various sounds and music, the confident camera work and the ensemble acting of all the members of the cast (some are former theatre actors who have shifted naturally to acting on film).
One is amazed at the level of acting of all members of the cast. Despite limited exposure to film acting they deliver. The three women actors are the most outstanding; they play their roles without any hint of artificiality. There is truth in the emotions manifested even if they “acted” for a film. Luchie Ong as Kora, Lorie Ann Cascaro as Magda and Malou Tiangco as Manang Soling embraced their roles and gave it their all. If Mananabang is their first film, one imagines how their acting could blossom if given more opportunities in the future.
The film, however, is beset with many shadows, primarily because of the travails and limitations of doing an independent film project, a lamentation heard not only in the Philippines but even in the margins of Hollywood as expressed by filmmakers who end up at the Sundance film festival. If even the likes of well-established and award-winning film directors such as Joel Lamangan and Mario O’Hara are faced with such financial woes, what more for beginners like Bantayan?
Given such budget allocations, the director cannot actually show the contrast of women giving birth in government hospitals in the towns or cities compared to those given care in their own homes where the former gets demythologized as the ideal setting for childbirth. Thus the neighbor Kora (Luchie Ong) is reduced to telling the Baryo Kapitan Nestor (Mario Lim) what she saw were the horrible scenes in the government hospitals even as she expressed how upset she were with the government’s health personnel.
Since the director could not afford to stage crowd scenes, it is difficult to understand how deep the demonization of Manang Soling from the perspective of her neighbors is, as this impacted the mind of Joey (Marvin Mindog), the young nephew of Jepoy who fears Manang Soling as an ungo (witch) who devours infants.
Given limited lighting gadgets, the indoor scenes are mostly dark which make them hard to view. The production design has to keep everything at minimal levels. While the “aesthetics of poverty” could work very well for stage productions, it is harder to translate these aesthetics on film that needs to be enhanced through details.
However, the truly creative film director can manage to transcend his budgetary limitations by maximizing whatever resources are at hand. Here is where Bantayan will need to expand his horizons for his next film projects if he is to sustain viewers’ interest in him. For Mananabang, he could have explored various possibilities.
The film would have been served well with good editing. At 72 minutes, the film is 20 minutes too long. Consequently, a number of scenes – especially in its first half – dragged. There were far too many shots of characters walking up and down the hills of the film’s location. If tightened further, the film could help sustain the viewer’s intense interest. It is to be assumed that a film director who solely edits his film is bound to face problems.
The film could have worked better if the film’s perspective was more focused. This could have been a rite-of-passage film from the eyes of the boy Joey especially since Marvin Mindog is a very promising young actor. The unfolding events, if viewed from Joey’s eyes, would have made a greater impact. In its present package, the boy’s dilemma – how to conquer his fears of Manang Soling’s being an ungo and yet be able to respond to the urgent needs of her auntie – is only a part of the story. Joey’s metamorphosis could have rendered a more powerful plot for the film. The film’s ending could have been more hope-filled with Joey embracing Manang Soling as truly his community’s saint rather than demon.
More production features could have enhanced atmosphere, mood and texture. Jepoy’s work as to do hurnal and firewood gatherer could have been integrated. The Kapitan’s abode could have been projected as one where people gather. Joey could have been shown to play with other kids in the neigborhood. If Manang Soling were truly an indigenous healer, there would have been rituals accompanying her work as midwife. All these would not have involved too much production costs.
One last comment has to do with the writing of the film script and, consequently, in the speaking of the lines. Mananabang is in Bisaya-Cebuano (with English subtitles for those who cannot understand Mindanao’s main language spoken). Unfortunately, Bantayan as scriptwriter is a city-bred Davawenyo. His Cebuano which is the downtown Cebuano used in Davao City – with a lot of Tagalog and a few English words incorporated – is not the kind of Cebuano in the hinterlands of Mindanao, which is his film’s location. The Lumad Cebuanos immediately are disconcerted by the kind of Cebuano used in Mananabang which gets in the way of “suspended animation” as they know the Cebuano being used is not accurate.
Consequently, the accent in speaking Cebuano is one that does not reflect the accent of the ordinary folks in the far-flung rural areas. Bantayan missed this given his own language reality as a filmmaker. Here is where one admires filmmakers who make sure even the detail of languages and accents are well taken care of.
Still, all in all, Bantayan’s Mananabang is good news for the Mindanawon cineaste who has had enough of Hollywood’s super-blockbusters and Star Cinema’s escapist romantic comedies. And for those who dream of a Mindanawon film industry, Bantayan is one young filmmaker to watch!
Alchemy of Vision and Light Film and TV Productions
CPC Creative
45th Chicago International Film Festival
10th Calgary International Film Festival 2009
27th Annual Vancouver International Film Festival 2008
Starring:
Gie Salonga**July Jimenez**EJ Pantuhan**Kit Poliquit**Kim Vergara
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Gay-Beauty-Contest yarn wins some, loses some
Amid the backstage chaos, a harried voice shouts out the obvious: “In this world, the best faker wins.” It’s the world, narrow but competitive, of gay beauty-queen pageants. Wiggling into cheap gowns with gaudy sequins, the fakers are hard at their transformative work, pulling stuff up, taping stuff down, in mid-metamorphosis from guys to gals. The pageants themselves are low-rent affairs aping the real deal, held in tacky theatres across the Philippines, complete with skimpy swimsuits and skimpier talent and the pretense of international content. And when the five finalists are announced, the emcee boomingly dismisses the losers, the bulk of the high-heeled herd, with a final note of faux sincerity: “Thank you, girls.”
Thus, the title: The Thank You Girls. The plot follows a group of perennial losers on their endless pageantry, tracking that still point where the art of deception meets the malaise of self-deception. There are five of them, mimicking female beauty with their daily dose of estrogen pills and (to say the least) meeting with varying degrees of success. They travel in a rundown bus driven by “Mommy Paola” (Pidot Villocino), a veteran of the queen scene who triples as a manager, a mother and a father. A good thing too, because most have long since been abandoned by their actual parents. Everything about them, from their breasts to their stage names to their sense of family, is an invention where artifice and truth try to peacefully co-exist. Try, and often fail.
Alas, the same might be said of this movie. Like his cross-gendered subjects, writer-director Charliebebs Gohetia is also striving for a hybrid effect here, hoping to mix the camp road comedy of Priscilla: Queen of the Desertwith the demimonde tragedy of those pioneering films by his countryman Lino Brocka. But the mix never quite takes, and the result feels as cluttered as that backstage mayhem. Gohetia’s structure only adds to the confusion – the narrative keeps looping back to repeat specific scenes and incidents. If that’s a strategy designed to emphasize the vicious circularity of the characters’ lives, well, the point is made at our expense – we frequently get lost in the repetitious maze.
That makes for a perplexing journey, although not without sporadic pleasures en route, isolated moments of amusement or poignancy. For instance, the cast (led by July Jiminez and Kit Poliquit) are all adroit at capturing the desperate high spirits of the preening drama queens. Sure, they squabble endlessly, tease mercilessly, and posture pathetically. But there’s also real bravery in their bravado. In a poor country, poverty is their enemy, but so is a childhood filled with physical abuse and an adulthood fraught with homophobic aggression. No wonder the “girls” retreat behind thick layers of theatricality – it’s their statement of defence, simultaneously a proud assertion and a necessary barrier.
And so, fighting prejudice and five o’clock shadows and beauty’s inexorable decline, they head off to the next pageant and its elusive prize money, perhaps this time to join the circle of winners, but more likely doomed to cast their lot again with the thank you girls. “Destiny doesn’t favour us,” laments a plump hopeful with tufted armpits. Indeed she doesn’t – smiling on the well-born, frowning on the down-trodden, destiny discriminates too.
