Raymond Red

Raymond Red

약력

Raymond Red is a pioneer of modern Filipino independent and alternative cinema. Emerging from the tumult of the 1970s and from a generation coming of age during Martial Law in the Philippines, Red began making numerous experimental and narrative super-8mm and 16mm short films in the 1980s.

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Raymond Red

참여 작품

Adarna Gang
Cinematography
Alluding to the lore of Ibong Adarna. Seeking justice, Adriana vows to take revenge on the family that killed her father her target: the patriarch, and his three sons Juan, Diego, and Pedro.
Mga Rebeldeng May Kaso
Editor
Mga Rebeldeng May Kaso is about the aftermath of the so-called People Power Revolution of 1986, spawning a group of young dreamers bewildered, wonder, and wandering, discovering the fire of youth, the loss of innocence, the journey into the core of one’s being, immersing themselves in a brewing new alternative culture and a little known and lowly regarded revolution of sorts the emergence of a new underground, independent and alternative cinema.
Mga Rebeldeng May Kaso
Cinematography
Mga Rebeldeng May Kaso is about the aftermath of the so-called People Power Revolution of 1986, spawning a group of young dreamers bewildered, wonder, and wandering, discovering the fire of youth, the loss of innocence, the journey into the core of one’s being, immersing themselves in a brewing new alternative culture and a little known and lowly regarded revolution of sorts the emergence of a new underground, independent and alternative cinema.
Mga Rebeldeng May Kaso
Writer
Mga Rebeldeng May Kaso is about the aftermath of the so-called People Power Revolution of 1986, spawning a group of young dreamers bewildered, wonder, and wandering, discovering the fire of youth, the loss of innocence, the journey into the core of one’s being, immersing themselves in a brewing new alternative culture and a little known and lowly regarded revolution of sorts the emergence of a new underground, independent and alternative cinema.
Mga Rebeldeng May Kaso
Director
Mga Rebeldeng May Kaso is about the aftermath of the so-called People Power Revolution of 1986, spawning a group of young dreamers bewildered, wonder, and wandering, discovering the fire of youth, the loss of innocence, the journey into the core of one’s being, immersing themselves in a brewing new alternative culture and a little known and lowly regarded revolution of sorts the emergence of a new underground, independent and alternative cinema.
Salamat sa Alaala
Himself
The documentary serves as a tribute to National Artist for Cinema Gerardo de Leon in celebration of his Centennial Year. “Salamat sa Alaala.” is inspired by the music composed by the late film director when he was a teenager playing background music for silent movies in Manila theatres. The video opens up with a capsulated history of the birth of the Filipino movies followed by a series of shots of veteran actresses, the academe and the young generation of filmmakers affirming his unique qualities as a world-class film figure. Then we unravel his private life as a family man. The documentary is one way of thanking him for his lasting legacy in the art form he left behind.
Kamera Obskura
Editor
The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.
Kamera Obskura
Cinematography
The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.
Kamera Obskura
Screenplay
The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.
Kamera Obskura
Director
The title “Kamera Obskura” is a Filipino spelling of the latin “Camera Obscura” which simply means “dark room”. The film’s concept adheres to formalist cinema, where the filmmaker’s thesis is to make a semblance of a vintage film seemingly produced sometime in the late 1920s to early 1930s in the Philippines. The thesis is to conjure up a film from a period that did not really exist in Philippine cinema’s historical cultural heritage as we know it, such as a pseudo-expressionist / experimental Filipino cinema of the silent film era. It is a film within a film. The narrative plays with the idea of a retro-futurist world where a prisoner locked away in a dark chamber for over two decades only sees the reality of the world outside through the small hole in his cell, which projects an image of the city on his wall, the phenomenon of the “camera obscura”.
Return to Manila: Filipino Cinema
himself
Documentary about the history of Philippine cinema.
Manila Skies
Cinematography
Inspired by a true news account, this is the astounding story of a lone deranged hijacker who has struggled to survive in the chaos of modern Philippine society.
Manila Skies
Executive Producer
Inspired by a true news account, this is the astounding story of a lone deranged hijacker who has struggled to survive in the chaos of modern Philippine society.
Manila Skies
Screenplay
Inspired by a true news account, this is the astounding story of a lone deranged hijacker who has struggled to survive in the chaos of modern Philippine society.
Manila Skies
Director
Inspired by a true news account, this is the astounding story of a lone deranged hijacker who has struggled to survive in the chaos of modern Philippine society.
Image Nation
Editor
Imahe Nasyon is a groundbreaking, conceptual omnibus film by 20 alternative filmmakers who were tasked to present their personal visions on national issues. Renowned line producers Jon and Carol Red hatched the idea of revisiting the 1986 EDSA revolution, challenging directors to answer the question "What happened after 1986?" with a short film not longer than five minutes each. Despite individual techniques, the same goal is shared: to depict a truthful image of the nation at present.
Image Nation
Cinematography
Imahe Nasyon is a groundbreaking, conceptual omnibus film by 20 alternative filmmakers who were tasked to present their personal visions on national issues. Renowned line producers Jon and Carol Red hatched the idea of revisiting the 1986 EDSA revolution, challenging directors to answer the question "What happened after 1986?" with a short film not longer than five minutes each. Despite individual techniques, the same goal is shared: to depict a truthful image of the nation at present.
Image Nation
Writer
Imahe Nasyon is a groundbreaking, conceptual omnibus film by 20 alternative filmmakers who were tasked to present their personal visions on national issues. Renowned line producers Jon and Carol Red hatched the idea of revisiting the 1986 EDSA revolution, challenging directors to answer the question "What happened after 1986?" with a short film not longer than five minutes each. Despite individual techniques, the same goal is shared: to depict a truthful image of the nation at present.
Image Nation
Director
Imahe Nasyon is a groundbreaking, conceptual omnibus film by 20 alternative filmmakers who were tasked to present their personal visions on national issues. Renowned line producers Jon and Carol Red hatched the idea of revisiting the 1986 EDSA revolution, challenging directors to answer the question "What happened after 1986?" with a short film not longer than five minutes each. Despite individual techniques, the same goal is shared: to depict a truthful image of the nation at present.
Shadows
Writer
In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?
Shadows
Editor
In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?
Shadows
Cinematography
In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?
Shadows
Producer
In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?
Shadows
Director
In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?
Sakay
Editor
Sakay is a 1993 Filipino historical drama film directed by Raymond Red. The film stars Julio Diaz, Tetchie Agbayani, and Leopoldo Salcedo. The film covers the life of Filipino patriot and hero Macario Sakay, who was declared an outlaw and a criminal for continuing hostilities against the United States after the "official" end of the Philippine Insurrection.
Sakay
Cinematography
Sakay is a 1993 Filipino historical drama film directed by Raymond Red. The film stars Julio Diaz, Tetchie Agbayani, and Leopoldo Salcedo. The film covers the life of Filipino patriot and hero Macario Sakay, who was declared an outlaw and a criminal for continuing hostilities against the United States after the "official" end of the Philippine Insurrection.
Sakay
Screenplay
Sakay is a 1993 Filipino historical drama film directed by Raymond Red. The film stars Julio Diaz, Tetchie Agbayani, and Leopoldo Salcedo. The film covers the life of Filipino patriot and hero Macario Sakay, who was declared an outlaw and a criminal for continuing hostilities against the United States after the "official" end of the Philippine Insurrection.
Sakay
Director
Sakay is a 1993 Filipino historical drama film directed by Raymond Red. The film stars Julio Diaz, Tetchie Agbayani, and Leopoldo Salcedo. The film covers the life of Filipino patriot and hero Macario Sakay, who was declared an outlaw and a criminal for continuing hostilities against the United States after the "official" end of the Philippine Insurrection.
Heroes
Editor
Independent filmmaker Raymond Red's first crossover to full-length feature is a highly visual chronicle of the rise and fall of revolutionary hero Andres Bonifacio. Noted for its heavy stylistics and painstaking attention to filmic detail, the biopic also tackles the momentous events surrounding the Philippine struggle against Spanish colonialism. The historical epic is a most fitting cinematic memorial to the centenary of Philippine independence.
Heroes
Screenplay
Independent filmmaker Raymond Red's first crossover to full-length feature is a highly visual chronicle of the rise and fall of revolutionary hero Andres Bonifacio. Noted for its heavy stylistics and painstaking attention to filmic detail, the biopic also tackles the momentous events surrounding the Philippine struggle against Spanish colonialism. The historical epic is a most fitting cinematic memorial to the centenary of Philippine independence.
Heroes
Director
Independent filmmaker Raymond Red's first crossover to full-length feature is a highly visual chronicle of the rise and fall of revolutionary hero Andres Bonifacio. Noted for its heavy stylistics and painstaking attention to filmic detail, the biopic also tackles the momentous events surrounding the Philippine struggle against Spanish colonialism. The historical epic is a most fitting cinematic memorial to the centenary of Philippine independence.
Pepe
Director
Short film by Raymond Red.
A Study for the Skies
Director
1988 film
Beyond the Mainstream: A Salute to Philippine Independent Cinema
Assistant Editor
With interviews with National Artists Lamberto Avellana and Lino Brocka and myriad talents from the Mowelfund community such as Nick Deocampo and Raymond Red, Beyond Mainstream documents the robust energy of nascent independent filmmaking in the country in the 80s. Based on Nick Deocampo's first book Short Film: The Emergence of a New Philippine Cinema (1985), it features the first Independent Film and Video Festival held in the Wave Cinema in Cubao, Quezon City, the first video theater in the country.
Beyond the Mainstream: A Salute to Philippine Independent Cinema
With interviews with National Artists Lamberto Avellana and Lino Brocka and myriad talents from the Mowelfund community such as Nick Deocampo and Raymond Red, Beyond Mainstream documents the robust energy of nascent independent filmmaking in the country in the 80s. Based on Nick Deocampo's first book Short Film: The Emergence of a New Philippine Cinema (1985), it features the first Independent Film and Video Festival held in the Wave Cinema in Cubao, Quezon City, the first video theater in the country.
Pelikula
Directed by Raymond Red.
Pelikula
Director
Directed by Raymond Red.
Enemy
Director
'Enemy' is elegaic science-fiction: a fable about the young men trained as Guardians of the Stars and their failure to ward off an unknon 'enemy' who manifests himself as white light.
Eternity
Screenplay
Golden Palm winner Raymond Red's masterpiece, about the surreal and at times nightmarish adventures of a young man.
Eternity
Director
Golden Palm winner Raymond Red's masterpiece, about the surreal and at times nightmarish adventures of a young man.
The Yawn
Director
A vignette about a sleeper and an insomniac.