Northern Living: 2016 August by Hinge Inquirer Publications

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CONT ENTS 10 COVER STORY Brillante Mendoza dissects the state of cinema

20 STYLE An assemblage of weekend necessities

Cover photo by Jake Verzosa

24 EATS Poké bowls and sinigang fries in one surf shack

AUGUST 2016 04 CALENDAR Cultural exhibitions to watch out for

16 MARKET Details from the silver screen

05 FIXTURE Understanding the intricacies of language

26 RECIPE Warm soup for cold days

06 NORTHERNER Giving back to nature through sustainable design

28 THE GET Mother nature’s gift to skin

Reality bites

EDITOR’S NOTE

Heightened emotions on social media, convoluted and misleading articles released by unreliable media sources, and graphic images of disasters and fiascos shared by Internet users. If we were to base the current state of affairs solely on social media trends, the first half of the year has been predominantly hostile and/or depressing on both local and global standpoints. Is it a sad time to be alive? For our August issue, we explore the theme of perception, which reminds me of Nietzsche who said, “All things are subject to interpretation. Whichever interpretation prevails at a given time is a function of power and

not truth.” Inside, our editorial intern revisits George Orwell’s dystopian novel 1984 and discusses the power of language. Master craftsman Clifford Espinosa shares his philosophy on art and how he applies it to furniture design. Then, we sit down with critically-acclaimed director Brillante Mendoza and talk about his life behind the scenes, his thought process, and his most recent Cannes experience. He describes his vivid interpretation of real stories through films: “When you discover these [stories], it’s not only about the film but the experiences of the real people you’re dealing with.”

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Northern Living is published by Hinge Inquirer Publications. 4F Media Resource Plaza, Mola corner Pasong Tirad Street, Barangay La Paz, Makati City. Visit www.facebook.com/ northernlivingmagazine now. Follow us on Instagram and Twitter at @nlivingph. We’d love to hear from you. Email us at nliving@hip.ph. For advertising, email sales@hip.ph. This magazine was printed responsibly using recycled papers with biodegradable inks.

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FEEDBACK

VINTAGE POINT

NORTHERNliving GROUP PUBLISHER BEA J. LEDESMA MANAGING EDITOR DENISE DANIELLE ALCANTARA EDITORIAL ASSISTANTS PRISTINE L. DE LEON, OLIVER EMOCLING, RENZ NOLLASE CREATIVE DIRECTOR NIMU MUALLAM ART DIRECTOR EDRIC DELA ROSA STAFF PHOTOGRAPHER PATRICK SEGOVIA INTERNS GABRIELLE ABRAHAN, JUNESSA RENDON

Hello, Northern Living! Being a visual person, I have to say that Northern Living magazine is really aesthetically pleasing. It exhibits a sleek look from the layout, the supplementary photographs, and even the choice of font, making it stand against the cluttered and tacky look of most magazines. Btw, I looove the Old World Charm story.

CONTRIBUTORS WRITERS CHARLIE CARBUNGCO, STYLISTS EDLENE CABRAL, CHARLIE CARBUNGCO HAIR AND MAKEUP CAMILLE VILLARUEL PHOTOGRAPHERS JOHANN BONA, GABBY CANTERO, SHAIRA LUNA, JAKE VERZOSA COPY EDITOR SEPTEMBER GRACE MAHINO PROOFREADER PAM BROOKE CASIN EDITORIAL CONSULTANT RIA FRANCISCO-PRIETO

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PRODUCTION MANAGER JAN CARIQUITAN PRODUCTION ASSISTANT MARICEL GAVINO FINAL ART SUPERVISOR DENNIS CRUZ FA ARTIST KRISTINE MAY PAZ MARKETING AND EVENTS MANAGER JELLIC TAPIA EVENTS MANAGER BIANCA DALUMPINES MARKETING ASSISTANTS RUBEE FAUSTINO, ERLE VIRGILIA MAMAWAL EVENTS ASSISTANTS KIM MARIANO, MERJORIE MAY YOUNG GRAPHIC ARTISTS JANINE DELA CUESTA, ROI DE CASTRO

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C ALENDAR

ART BRIEF

An ode to Sanso awakens our senses

PRESENT PROGRESSIVE: VISUAL NARRATIVES ON MORPHOSIS July 23 - August 20, 2016 Various photographers VETRO MANILA

SHORT SPAN July 23 - Sept. 2, 2016 Various artists POST GALLERY, CUBAO X

CINEMA ONE ORIGINALS Nov. 13 - 22, 2016 Various filmmakers VARIOUS CINEMAS

TWO HALVES OF A WHOLE Aug. 25 - Dec. 23, 2016 Juvenal Sanso LOPEZ MUSEUM AND LIBRARY

QCINEMA INTERNATIONAL FILM FESTIVAL Oct. 13 - 22, 2016 Various filmmakers VARIOUS CINEMAS IN QUEZON CITY

MANILA SYMPHONY ORCHESTRA SEASON FINALE: BEETHOVENâ&#x20AC;&#x2122;S 9TH SYMPHONY Dec. 14, 2016 MERALCO THEATER

DEAN AFRICA Nov. 5 - Dec. 17, 2016 POST GALLERY, CUBAO X

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FIXT URE

TRAINS OF THOUGHT Language as the fuel of knowledge

TEXT GABRIELLE ABRAHAN ILLUSTRATION JUNESSA RENDON

George Orwell’s dystopian classic 1984 tackles power, autocracy, and the use of language to manipulate the working class. In an effort to control information and the likelihood of a rebellion, the ruling class implemented Newspeak, which is a shorthand version of English or Oldspeak, meant to limit people’s ideas through the use of a narrow vocabulary. With only a few words to use for expression, the working class gets subjected to mind control since critical thinking becomes impossible. This is the unrelenting power of words. There has been a lot of research ever since the 1930s supporting the theory that language actually affects a person’s perception of reality and way of thinking. Linguists Benjamin Lee Whorf and Edward Sapir believe that when there is no word for an object or concept, people cannot think about it. According to Worf, “language itself shapes a man’s basic ideas,” and this rings true in different fields of thought. The Native American Hopi tribe, for example, only uses the present tense, leaving them with no perception of time when they speak of factual accounts or stories. Although language is responsible for shaping thoughts, it does not determine a person’s thinking

entirely. The Dani tribe in New Guinea only has two words for color, one for warm colors and another for darker hues. This, however, does not mean that they cannot tell blue from purple. They are still capable of color discrimination as well as the perception of all ordinary objects. The mind assigns meaning to different experiences through words. But apart from language, grammar also shapes an individual’s thinking. Syntax is important, which is why bilinguals are known to express themselves and acquire knowledge in two different forms; scientists call this the “bilingual advantage.” The bilingual speaker develops certain skills that involve the brain’s control system, and these include multitasking, memory switch, and a high attention span. Language expands knowledge. It is heavily responsible for the way a person compartmentalizes and classifies the things he or she perceives, and these cause people to form different opinions and thought processes. Having different perceptions is important because it opens up discussions and opportunities for development. Diversity, more than anything, keeps our world turning.

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NORT HERNER

NATURAL FLOW

A story of seamless creation, from demolished decades-old houses to eco-friendly hardwood furniture TEXT DENISE DANIELLE ALCANTARA PHOTGRAPHY PATRICK SEGOVIA

“The process of creation is a benefit of construction,” says master craftsman Clifford Espinosa. After harvesting pieces of hardwood from a demolition site, Espinosa would go to his workspace and, with no design in mind, tell his staff, “We need to create a table today.” He’d see pieces of wood scattered on the floor and transform them in his head into furniture. He would then draw the skeleton of his vision on dry soil and find more pieces to fit his seemingly impossible puzzle of a furniture. “If we have a guide, it becomes a

limitation. The process of creation should be simultaneous: hands on, hearts on, and minds on.” Furniture-making is beyond pure aesthetic for Espinosa, who is also director and partner at Espinosa Arts and Design. Integrating ergonomics and raw craftsmanship, he claims to create functional art in the form of furniture pieces. “Art [should] serve the people and not only the views of [the artist],” he says. He believes that the talent for creating should not only be for one’s self-expression but also for the good of others.

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NORT HERNER

A self-confessed anti-minimalism aesthete, he takes pride in his functional and convertible furniture, with every piece detachable to perform different functions. One example is his Under the Tables set, the title inspired by a current malady in society. The set may initially seem like a common trunk or baul that a grandmother would own, but it also turns out to be three benches hiding under a table. It can be transformed from a normal storage box to benches with a center table or even shelves. However, Espinosa emphasizes that the pieces come first before the story and not the other way around. To add to his pieces’ multi-functionality, the slabs of wood are forged together not with nails but, instead, with wooden pegs called tarugo.

This undertaking requires exact precision to fuse imperfect pieces of wood together; without this mastery, the pieces will fall apart easily. “I believe that waste is man’s invention, unlike nature [where] everything is recycled, everything is utilized again. We create things we destroy in a year’s time because it’s a business thing. And here I am, creating long-lasting pieces with stories behind them.” No piece is wasted, each one serves a purpose for the whole. Material things diminish in value over the years, but by turning them into new forms made to withstand time and tell more stories, Espinosa aims to revive the pamana tradition, not just among families but between generations.

“The process of creation should be simultaneous: hands on, hearts on, and minds on.”

Clifford Espinosa trained under maestro Jerusalino “Jerry” Araos for eight years before he went solo. Aside from the Butase Chair (extreme right), he also puts together wall fixtures and doors, such as the Fiesta piece (right).

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COV ER STORY

UNVARNISHED

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COV ER STORY

REALITY

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COV ER STORY

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COV ER STORY

“Film, for me, is a reflection of life. How I see life, how I experience life [is] how I want my films to be.”

Brillante Mendoza chronicles the truths about the Philippines and its cinema TEXT OLIVER EMOCLING PHOTOGRAPHY JAKE VERZOSA

The camera follows Rosa along the now tranquil streets of the metro. Having spent a whole day in the company of corrupt cops, she walks tirelessly. The handheld camera follows her without respite, almost reflecting her convoluted thoughts. She arrives at her destination: the house of a loan shark. Although beaten by stress, Rosa maintains her fierce, resolute composure as she persistently asks the man if she could pawn her daughter’s phone to him. As she walks back to the precinct, her neighbors taunt her for “ice.” She approaches a fishball stand, totally disrobed of her pride. For once, the unsteady camera focuses on Rosa as she gorges on the skewered squid balls. With every hurried bite, her eyes swell until tears run down. The night has fallen, but for Rosa, another day full of uncertainties is about to unfold. Without any definite conclusion, the film fades to black and the credits roll. That scene is how internationally acclaimed director Brillante Mendoza ended his most recent film Ma’ Rosa, which bagged the Best Actress Award

from Cannes Film Festival for Jaclyn Jose’s subtle yet poignant performance as a drug dealer in an impoverished community. Mendoza’s films ponder on the plight of marginalized people and communities. Ma’ Rosa, for instance, shows a day in the life of a family fighting against corrupt policemen. His characters inhabit a world familiar to the audience, sharing a similar plight to those of Lino Brocka’s. More than that, the scenes Mendoza creates in his films are from the same world we inhabit. “Film, for me, is a reflection of life. How I see life, how I experience life [is] how I want my films to be,” he explains. Throughout the years, Mendoza has developed an aesthetic akin to that of a documentary film, or an “eyewitness account,” as described by director Quentin Tarantino after seeing Kinatay. True enough, Mendoza’s portfolio is stripped of the glitz of most movies, replaced with the grit of real life. With shots that are rarely stable, he creates an environment for viewers to take in the film as curious observers, even to some extent as voyeurs.

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COV ER STORY

GROOMING CAMILLE VILLARUEL SHOT ON LOCATION CENTER STAGE PRODUCTIONS

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COV ER STORY

Mendoza and screenwriter Bing Lao, a constant film; the win Filipinos reveled in did not translate to collaborator, employ a thought process called the viewership. “They appreciated only the win, because Found Story method. In a nutshell, the Found Story not everybody is interested in film. They’re interested method finds its reference in real-life circumstances in ‘nanalo siya’,” Mendoza says with apparent forlorn. involving real people. It requires rigorous research The abundance of independent film festivals in the that takes months to finish; research and the script for Philippines may suggest that independent cinema Captive, which stars French actress Isabelle Huppert, is thriving. However, for Mendoza, the Filipino took more than a year to finish. While the process seems film audience has only reached a certain state of daunting, it provides a rather eye-opening perspective “awareness.” “Let’s face it, we are not film educated.” towards life. “When you discover these [stories], it’s Although he has acknowledged that his films are not only about the film but the experiences [of ] the quite difficult to comprehend for those who consume real people you’re dealing with.” movies for entertainment, he also realizes that most of The Found Story method applies to all aspects the Filipino audience are just not fond of the films he of his films. For one, Mendoza requires his actors makes. “Film is an art and you cannot expect everyone to immerse themselves in the communities where to appreciate art,” says Mendoza. “You just have to the stories are based from to accept that [this is] the audience achieve authenticity; Nora Aunor that you have. We cannot do had to learn the techniques of anything about it.” facilitating childbirth for her While choices in film are an “When you discover role as a barren midwife in Thy acquired taste, Mendoza says Womb. On the set, Mendoza does that exposure to good films, these [stories], it’s not not give his actors a complete “something that will provoke script. Instead, he only reveals only about the film but critical thinking at a young age,” the situation and allows them will instill a better understanding the experiences [of] to churn out the scenes. “When of film to the audience. Mendoza, I give the situation to the actors who had attended a public grade the real people you’re and they know their characters, school, finds that the Philippine they deliver an acting that is educational system does not dealing with.” spontaneous and authentic.” give the arts the same amount of Mendoza’s method of importance given to math and production is as sensitive as sciences. “Art in general should the stories he deals with. For [be taken] seriously as early as instance, the production of his elementary.” He also believes the crime thriller film Kinatay had endangered him establishment of dedicated local art house cinemas is a and his actors. “We were almost shot because there means to create a wider audience. was this group of [cops] in Cavite who thought the Mendoza might not have filled cinemas in the film was for real,” he reveals about the shoot that Philippines, but he has found avenues to share the happened at two in the morning. For Thy Womb, he unheard stories of Filipinos to other parts of the world. filmed a live birth. “The audience was very serious about film, about the With stories that put his life in danger, the director craft,” he recalls of his encounters with foreign viewers seems to fear nothing. According to Mendoza, “the abroad. He admits that while he has developed a local only fear that I have is for my producers.” With a lot audience, it will take some time before it grows. “And of trophies and medals from prestigious award-giving this is the audience that matters to me.” bodies like the Locarno (where he won the Golden In Serbis, Mendoza takes the audience to an old, Leopard in 2005 for his first film Masahista), Cannes forgotten cinema in Pampanga where men enter not (where he won the Best Director Award for Kinatay in to watch but for extra service. Without an audience, 2009), Venice, and Berlin Film Festivals, it is ironic the future of Philippine cinema might lead to a similar that he still needs to worry about the business side of state. But despite the challenges he faces, Mendoza his films. wouldn’t let this happen, “For as long as I can, I’ll The night before our interview, Mendoza had do films of this kind.” “Brillante” is an unusual name posted on social media that Ma’ Rosa was on the that connotes value. For Mendoza, his gems are not brink of getting pulled out from cinemas. A day after the shining trophies or medals he receives; they’re the the interview, several cinemas no longer showed the values he finds in the stories of the unheard.

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M ARKET

OFF THE REEL A new cast of characters PHOTOGRAPHY SHAIRA LUNA

10 9

1 4

- How long have you been a smoker? - 22 years - I think you should quit

1. Gel tonifiant, P1,150, L’Occitane, Rustan’s, Shangri-La Plaza Mall. 2. Eye Pencil, P1,050, MAC Cosmetics, Robinsons Magnolia. 3. Lipstick, P1,000, MAC Cosmetics, Robinsons Magnolia. 4. Perfume, P8,750, Diptyque, Rustan’s, Shangri-La Plaza Mall. 5. Body cream, P1,350, L’Occitane, Rustan’s, Shangri-La Plaza Mall. 6. Nail File, P180 for a set of five, AC +632, Greenbelt 5. 7. Telephone, P3,300, CO/OP Manila. 8. Towels, P895 each, Pottery Barn, Estancia Mall. 9. Decorative television, P2,700, CO/OP Manila. 10. Electric fan, P7,950, Vornado, Rustan’s, Shangri-La Plaza Mall.

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M ARKET

8 9

5 4

2 3

- I still have your underwear

- I still have your virginity

1. Speaker, Marshall, P14,450, Satchmi, SM Megamall Fashion Hall. 2. Jacket, P3,250, Muji, Robinsons Magnolia. 3. F in Exams Pop Quiz, P595, CO/OP Manila. 4. All my Friends are Still Dead, P490, CO/OP Manila. 5. Cactus, The Greenhouse Project PH, P380, CO/OP Manila. 6. Stick Manâ&#x20AC;&#x2122;s Really Bad Day, P780, CO/OP Manila. 7. Pipe, P1,480, Firma, Greenbelt 3. 8. Dirty by Sonic Youth, P4,099, Satchmi, SM Megamall Fashion Hall. 9. The Grumpy Guide to Life, P780, CO/OP Manila.

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ST YLE

IN FRAGMENTS Focusing on the details for a weekend rendezvous PHOTOGRAPHY JOHANN BONA OF AT EAST JEDROOT STYLING EDLENE CABRAL

Bangles, P2,490, ring, P3,480, and chain necklace, P1,180, all AC+632, Greenbelt 5. Paper weight, P2,250, Kathy Webb, Firma, Greenbelt 3.

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ST YLE

All specs, P8,990 and shades (yellow-gold frame), P6,990 all Ray-Ban, Eye Society, Jupiter St., Makati City.

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ST YLE

Clockwise from right: Shirt, P2,350, Springfield, SM Megamall. Stripe bowtie, P880, and paisley pocket square, P780, both Firma, Greenbelt 3. Necktie, P895, Topman, TriNoma Mall. Shirt, P2,950 and striped necktie, P1,250, both Debenhams, Rustanâ&#x20AC;&#x2122;s, Shangri-La Plaza Mall. Pocket square, P880, and brogues, P8,250, both AC+632, Greenbelt 5. Luggage, P40,800, Rimowa, Shangri-La Plaza Mall.

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ST YLE Leather hat, P1,680, and felt hat, P3,480, both AC+632, Greenbelt 5. Brown fedora, P2,480, and scarf, P1,480, both Firma, Greenbelt 3.

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CONT ENTS 10 COVER STORY Brillante Mendoza dissects the state of cinema

20 STYLE An assemblage of weekend necessities

Cover photo by Jake Verzosa

24 EATS Poké bowls and sinigang fries in one surf shack

AUGUST 2016 04 CALENDAR Cultural exhibitions to watch out for

16 MARKET Details from the silver screen

05 FIXTURE Understanding the intricacies of language

26 RECIPE Warm soup for cold days

06 NORTHERNER Giving back to nature through sustainable design

28 THE GET Mother nature’s gift to skin

Reality bites

EDITOR’S NOTE

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EATS

Clockwise from top left: Fish Tacos; Luau Barbecue and Tiki Sinigang fries; and Ahi Hawaiiâ&#x20AC;&#x2122;s classic Ahi Bowl.

Ahi Hawaii. 3 Maginhawa St., Quezon City. 0917-8274919. www,facebook.com/AhiHawaii.

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RECIPE

FOOD FOR THE SOUL A rich, creamy bowl of soup to keep you warm during monsoon season TEXT AND STYLING CHARLIE CARBUNGCO PHOTOGRAPHY GABBY CANTERO

CHICKEN CROCKPOT GNOCCHI SOUP INGREDIENTS

1/4 kg. boneless chicken breast 2 cups mirepoix (chopped onions, carrots, and celery) 1-2 tsp. dried basil 3 cloves garlic, minced 3-4 cups chicken stock 1 tbsp. corn starch 1 tbsp. water 1 1/2 cup evaporated milk 2 cups mini potato gnocchi 4-5 bacon slices 1/2 cup baby spinach Salt and pepper to taste

PREPARATION

1. In a crockpot, put the mirepoix, chicken breast, garlic, and dried basil. Cook slowly for around 1 to 2 hours. 2. After 2 hours, add the chicken stock, corn starch, water, evaporated milk, and gnocchi, then cover. 3. Cut the bacon into small pieces and fry until crispy.

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4. Using excess oil from the bacon, sautÃ© the baby spinach quickly until wilted. 5. Place the bacon and spinach in the crockpot. 6. If the soup is too thick, add more chicken stock.

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T HE GET

RAW ALCHEMY

A local home and body line evokes the allure of all things natural TEXT PRISTINE L. DE LEON PHOTOGRAPHY PATRICK SEGOVIA

It’s been quite a while since the world embraced the so-called natural revolution. With personalities like Goop creator Gwyneth Paltrow championing everything from all-natural skincare lines to, more recently, organic lubes, it’s as though the rest of the world began cultivating an obsessive mania for going natural. Locally, Body Food All Natural founder Ana Gutch is one of those who address the organic craze; her all-natural, charmingly packaged home, bath, and body products are a raw reprieve from the market’s chemical-ridden commodities. “They have to be safe to the point that they’re safe to ingest,” says Gutch. “The only ones that you may not eat are the essential oils.” Among her widely coveted creations, there are the chamomile lavender argan manzanilla to remedy stomach pains; the seemingly magical virgin coconut oil-infused Balm Around for insect bites, migraine, coughs, and muscle aches; the golden candles made of beeswax; and the soaps blending oatmeal, goat milk, and local beer. “My grandma was a pharmacist,” says Gutch. “She also made wines and soaps and efficascent oils. Her notebook of formulas and recipes was passed on to me.” From her grade school years of studying and tinkering with local herbs to her afternoons now spent doing alchemy in her porch, Gutch revives the age-old luxury of having everything natural and made by hand. Body Food All Natural. bodyfoodallnaturalhq@gmail.com. 0917-8821223.

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