True to its role as the state's premier institution of learning, the University of the Philippines has always been in the thick of Philippine scheme of things. As the country commemorates this year the centenary of its birth as a nation, the University ushers in its decade-long celebration of its own centennial in 2008. Such constitutes only one of the many manifestations of the inextricable link between the University and the country's state of affairs. Philippine society as a whole has always benefited from the University's substantial contribution. There is no facet or aspect of national life in which the University had not made an impact. The realm of cinema is no exception.

On this premise rests UP Film Center's launching two years ago of UPshots-the special program for the UP Diliman Week intended as an annual showcase of the works of UP alumni who have made their mark in that most illustrious field much heralded as the paramount form of art, the most prevalent tool of communication, the most potent medium for social and cultural exchange and the most popular entertainment fare all rolled into one.

On its third edition, UPshots devotes its entire programming on yet another retrospective on the late Lino Brocka. The country and UP's most distinguished filmmaker was declared late last year as National Artist for Film. The posthumous honor is indeed significant. As he joins the elite circle of UP alumni who have been conferred the highest distinction which could be bestowed on any Filipino artist, Brocka-the most well-known Filipino film director in world cinema- with his entire body of work becomes effectively the University's most solid proof of its contribution to filmmaking.

This is to say that a renewed celebration of Brocka-his art, his life and his times-is called for. Such precisely is what UPshots 3 offers. In the history of Philippine movies, no other director could match Brocka's record in terms of garnered accolade and recognition. Certainly one of Philippine cinema's most recognizable auteurs, he proved to be a most consummate artist in the truest sense of the word. Such had been the intensity and immensity of Brocka's dedication to his art that he fought and struggled for his rights to practice and nourish it. At the time that it was very precarious to be so, he was one of the staunchest defenders of creative freedom. He yearned and yelled for freedom in casting fiery images on screen as much as in the conduct of his everyday life. He was a social critic in his capacity both as a filmmaker and as a private individual. His films are replete with characters whose doomed lives are forged in the furnace of oppression. In reel or real terms, he actually took cudgels for them and carried the torch of seeking change and redemption.

It could not be overly stated that a very basic correlation exists between Brocka's art and life on one hand and the nation's date with destiny on the other. Thus, it is most fitting that he is hailed as national artist in between the twin observance of the centennials of Philippine revolution and Philippine independence. It is the spirit of both momentous instances in the history of Philippine nationhood that had always energized Brocka's cinematic pursuit.

THE FEATURED FILMS

9 Monday 6 pm
BAYAN KO: KAPIT SA PATALIM (MY COUNTRY: GRIPPING THE KNIFE'S EDGE)
Produced by Malaya Films and Stephan Films

When the printing press where Turing is hired as a casual is shut down by a strike, he is left in a quandary. As his pregnant wife is in bad need of medication, he makes a private deal with his employer and turns scab. For this, his friends and co-workers ostracize him. All of a sudden, the world seems to have turned against him. At the hospital where his wife undergoes treatment, the authorities will not release her until her bills have been fully paid. With no other recourse, Turing makes a desperate move. He decides to rob the printing press of its payroll money. As things go awry during the robbery, he holds his employer's family in hostage. This film reflects the sad plight of distressed workers at the height of the turbulent era of labor unrest.

Best Picture for 1984, British Film Institute; Best Picture, Fourth Annual Awards, Film Academy of the Philippines; Best Picture, 10th Urian Awards, Manunuri ng Pelikulang Pilipino; Official Entry, Competition Section, 1984 Cannes International Film Festival (France); Official Philippine Entry for Best Foreign-Language Film Category, 1985 Oscar Awards (USA); Chosen as One of the Best Films for the 1980s, Manunuri ng Pelikulang Pilipino

Direction: Lino Brocka. Screenplay: Jose F. Lacaba. Cinematography: Conrado Baltazar. Editing: George Jarlego, Robert Yujuico and Hero Reyes. Sound: Pierre Rissient. Production Design: Joey Luna. Musical Score: Jess Santiago. Cast: Phillip Salvador, Gina Alajar, Ariosto Reyes, Jr., Raoul Aragonn, Paquito Diaz, Rez Cortez, Mona Lisa, Lucita Soriano, Venchito Galvez, Bey Vito, Nomer Son, Lorli Villanueva, Carmi Martin, Claudia Zobel, Jose Taruc.
1985 108 minutes color 35mm print with English subtitles from Mondragon Industries

10 Tuesday 3 pm
CAIN AT ABEL
Produced by Cine Suerte, Inc.

In this modern-day version of the biblical legend on Cain and Abel, strong-willed matriarch Seņora Pina favors her younger son Ellis over the older Loren whom she blames for the death of her husband. Ellis grows up cowardly and spoiled while Loren becomes a responsible family man despite his increasing resentment towards his mother. What began as a sibling rivalry develops into a deep feud that would later escalate into a large-scale war-with all the mayhem and bloodshed.

Best Picture, 31st Annual Awards, Filipino Academy for Movie Arts and Sciences; Official Entry, 1982 San Sebastian International Film Festival (Spain)

Direction: Lino Brocka. Screenplay: Ricardo Lee. Cinematography: Conrado Baltazar. Editing: Efren Jarlego. Sound: Willy Islao and Rudy Baldovino. Production Design: Joey Luna. Musical Score: Max Jocson. Cast: Christopher de Leon, Phillip Salvador, Carmi Martin, Baby Delgado, Mona Lisa, Cecille Castillo, Ruel Vernal, Michael Sandico, Venchito Galvez.
1982 109 minutes color 35mm print from ABS-CBN

10 Tuesday 6 pm
INA, KAPATID, ANAK
Produced by Regal Films

When her half-sister Emilia succeeded in seducing her boyfriend 20 years ago, Pura decided to fly to the United States. Now, she returns to her hometown to see her ailing father. Her surprise visit opens up old wounds and revives the sibling rivalry between her and her half-sister who will not let her forget that she is a bastard.

Best Picture, 2nd Catholic Mass Media Awards (Film Division), Archdiocese of Manila

Direction: Lino Brocka. Screenplay and Production Design: Mel Chionglo. Cinematography: Conrado Baltazar. Editing: Augusto Salvador. Sound: Luis Reyes and Ramon Reyes. Musical Score: Ernani Cuenco. Cast: Lolita Rodriguez, Charito Solis, Rio Locsin, Ric Rodrigo, Laurice Guillen, Raul Aragon, Lorli Villanueva, Manny Ojeda, Sonia Valenciano, Venchito Galvez, Domingo Landicho, Aida Carmona, Loulla Albornoz, Jerry O'Hara.
1979 130 minutes color 35mm print with English subtitles from Cultural Center of the Philippines

12 Thursday 3 pm
JAGUAR
Produced by Bancom Audiovision Productions

Poldo, a lowly security in a publishing firm, dreams to be rich. He becomes the personal bodyguard to his employer's son, Sonny, when he impresses the latter with his courage and skills during a quarrel where Poldo defended Sonny. Poldo gets a taste of his boss' carefree and extravagant lifestyle and thinks that he accepts him as a friend. In one of the nightclubs they frequent, Sonny is smitten by dancer Cristy and aggressively pursues her despite a warning from San Pedro, the movie director with whom Cristy has an affair. When they chance upon each other, Sonny and San Pedro fight. Poldo comes to his boss' rescue and guns down San Pedro. In subsequent circumstances, Poldo would soon arrive at a bitter realization. As he could not see in Sonny the benefactor that he pictured him to be, Poldo finds himself alone, abandoned and betrayed.

Chosen as One of the Best Films of the 1970s, Manunuri ng Pelikulang Pilipino; Best Picture, Fourth Urian Awards, Manunuri ng Pelikulang Pilipino; Best Picture, 28th Annual Awards, Filipino Academy of Movie Arts and Sciences; Official Entry, Competition Section, 1980 Cannes International Film Festival (France)

Direction: Lino Brocka. Screenplay: Jose F. Lacaba and Ricardo Lee. Cinematography: Conrado Baltazar. Editing: Rene Tala. Sound: Luis Reyes and Ramon Reyes. Production Design: Bobby Bautista. Musical Score: Vanishing Tribe and Max Jocson. Cast: Phillip Salvador, Amy Austria, Johnny Delgado, Anita Linda, Mengie Cobarrubias, Tonio Gutierrez, Roi Vinzon, Mario Escudero, Aida Carmona.
1979 color videotheque

12 Thursday 6 pm
ORAPRONOBIS (FIGHT FOR US)
Produced by Cannon Films

In 1985 at the remote barrio of Dolores, fanatical cultists known as the Orapronobis (Latin for "Pray for us") brutally kills a foreign priest who administered the last rites to an alleged rebel himself summarily executed by the same group. A year later during the Edsa uprising, Jimmy, an ex-priest who went underground, leads a crew of political detainees in celebrating the toppling of the Marcos regime. Shortly after his release from prison, he marries his girlfriend Trixie, a human rights activist, and begins life anew. He joins a fact-finding mission to Dolores where the Orapronobis has been slaughtering several men suspected of being communist rebels. He meets with his old flame Esper. It turns out that she has a seven-year-old son by him. The Orapronobis intensifies their terrorist activities in connivance with the military. The mission prompts the local folk to evacuate first to the Church in the nearby town and afterwards, all the way to Manila. As tension mounts, Jimmy receives feelers for him to rejoin the movement. One night, a former comrade pays him an unexpected visit.

Chosen as One of the Best Films of the 1980s, Manunuri ng Pelikulang Pilipino; Exhibition Film, Directors' Fortnight, 1989 Cannes International Film Festival (France)

Direction: Lino Brocka. Screenplay: Jose F. Lacaba. Cinematography: Rody Lacap. Editing: George Jarlego, Sabine Mamou, and Bob Wade. Sound: Alfredo Sabile. Production Design: Benjie de Guzman. Cast: Phillip Salvador, Gina Alajar, Dina Bonnevie, Bembol Roco, Joel Lamangan, Pen Medina, RR Herrera, William Lorenzo, Ginnie Sobrino, Abbo dela Cruz, Gerard Bernschein, Ernie Zarate, Jess Ramos, Obby Castaņeda, Pocholo Montes, Bon Vivar, Raquel Villavicencio, Joe Taruc, Archie Adamos, Estrella Kuenzler, Ester Chavez, Ruben Rustia, Tess Dumpit, Rey Ventura, Mengie Cobarrubias, Madeleine Nicolas, Nanding Josef, Apo Chua, Dodie Lacuna, Raquel Tan, Suzette Rigor, Thea Cleofe Salvador, Ramon Hodel.
1989 92 minutes color videotheque

13 Friday 3 pm
DUNG-AW (PEASANTS' LAMENT)
Produced by Aawitan Kita Productions

In this dramatization of the historic revolt, Diego and Gabriela Silang are landed Ilocos natives disaffected with the imposition of the indulto de comercio (a law giving right to Spanish officials to buy rice and tobacco at the price they prefer). The year is 1762 and the British invade Manila, the childless couple is among the landowners denying aid to the Spaniards in thwarting the British. When the Spaniards in retaliation jail Diego, his wife gathers their confederates and leads the uprising herself.

Direction: Lino Brocka. Screenplay: Mario O' Hara. Cinematography: Romy Vitug. Musical Score: Lutgardo Labad. Cast: Armida Siguion-Reyna, Mario Montenegro, Bey Vito, Alan Glinoga, Toffy Padua, Joel Lamangan.
1972 color 16mm print from Reyna Films, Inc.

13 Friday 6 pm
MAYNILA SA MGA KUKO NG LIWANAG
Produced by Cinema Artists Philippines

Poor fisher Julio Madiaga goes to the city to look for his long lost love, Ligaya Paraiso. His search leads to a radical shift in his character-from a naīve country boy to an angry young man thirsting for justice. He works in a construction site, gets introduced to unfair labor practices, and becomes acquainted with both cynical and idealistic fellow workers. When he loses his job, he resorts to prostitution. He finally encounters his sweetheart who recounts her own suffering in the hands of an illegal recruiter who set her up for white slavery. A rich, possessive and cruel Chinaman benefactor who sired her a child is now her common-law husband. Julio and Ligaya plot their escape.

Chosen as One of the Best Films of the 1970s, Manunuri ng Pelikulang Pilipino; Best Picture, 24th Annual Awards, Filipino Academy of Movie Arts and Sciences

Direction: Lino Brocka. Screenplay (from Edgardo M. Reyes' novel serialized in Liwayway Magazine): Clodualdo del Mundo, Jr. Cinematography: Mike de Leon. Editing: Ike Jarlego, Jr. and Totoy Jarlego. Sound: Luis Reyes and Ramon Reyes. Musical Score: Max Jocson. Cast: Bembol Roco, Hilda Koronel, Tommy Abuel, Lou Salvador, Jr., Jojo Abella, Pio de Castro III, Rikki Jimenez, Danilo Posadas, Joonee Gamboa, Lilia Gamboa-Mendoza, Spanky Manikan, Joseph Jardinazo, Pancho Pelagio, Tommy Yap, Juling Bagabaldo.
1975 color 35mm print from Mike de Leon