INTRODUCTION

PEOPLE
Yano
Romeo Lee
Manny Villar
Nur Misuari
Benjie Paras
Dino Ignacio
Eraserheads
Jerry Barican
Obet Verzola
Jessica Zafra
Zider Lubiano
Myla Algarme
Gary Granada
Raymond Red
Mike Defensor
Jerome Bailen
Eric Altamirano
Amante Jimenez
Miriam Defensor
Malou Mangahas

ISSUES
ID
UAAP
STFAP
US Bases
Collegian
Frat Violence
SAMASA split
SR controversy
Sexual Harassment

When told that he would be one of the people featured in the Collegian's millennium special, with a sheepish laugh, he remarked, "I don't think I'm a good example." Take that, from a noted filmmaker like Raymond Red.

Born on March 22, 1965, Red took after his filmmaker and painter brother, Epifanio Jr., aka Juan Pulá. In 1982, he took up painting at the UP College of Fine Arts (CFA). His interest shifted to filmmaking and photography after viewing Russian and German films at the UP Film Center (UPFC). Since UP was not yet offering formal courses in filmmaking then, Red settled for the next best way to learn: he enjoyed every workshop the UPFC sponsored. He also joined Artists Na Gutom (ANG), a visual arts group composed of Philippine High School for the Arts (PHSA) alumni.

Red says he became more open-minded to a lot of ideology and culture upon his transfer to the state university. He recalls his first day in college: "Naaalala ko parang sinabihan kami na hindi pa kami artist , kaya narito raw kami sa Fine Arts para mag-aral. Parang strong impression 'yon kasi four years kaming nag-aral ng visual arts sa PHSA, so akala namin trained na kami. 'Yun pala, 'ika nga, marami pa kaming kakaining bigas."

CFA Prof. Ernie Enrique calls Red "the original grunge." He notes, "Papasok siyang Chuck Taylor ang sapatos, naka-maong na kupas, at plaid shirt na sinusuot niyang nakabukas." He describes Red as "tahimik at mahiyain magsalita. Seryoso siya dahil sa art niya.... Minsan," he smiles, "kung nagjo-joke siya, siya lang ang natatawa."

While a grantee of the Mowelfund Film Institute, Red's work earned the notice of British film critic Tony Rayns who invited him to join international film festivals. A lot of his productions then were short films that were introspectively philosophical yet grimly humorous.

He claims most of his films are partly autobiographical. From 1983 to 1985, he produced Ang Magpakailanman, Kabaka, Ang Hikab, Pelikula, and Kamada, all in super 8 mm format. Later, he made short features in 16 mm like Mistula, A Study for the Skies, Pepe, and an MTV experimental film, Pinoys in Berlin. He also completed several music videos for Francis Magalona, such as Ito Ang Gusto Ko, Kaleidoscope World and Watawat.

Red's full-length features Bayani (1992), and Sakay (1993) precede the bandwagon of period films that would be ushered in by the centennial mania of 1996 and 1998. Bayani, a generally misunderstood film, zeroes in on Bonifacio's internal conflicts amid factionalism. Red calls this movie a "pseudo-docudrama," a film that confused viewers and critics because of its fictive characterization of the Father of Philippine Revolution. Sakay, on the other hand, is a straightforward narrative of a revolutionary who struggled against the Americans during his time. History often depicts Sakay as just another "bandit," but the film gave the character depth and homage.

Red's films have been screened and acclaimed at major film festivals in Asia, Europe, and North America. His next full-length feature is Makapili (a work-in-progress already ten years in the making), on the Japanese occupation and Filipino traitors. Meanwhile, a 35 mm film tentatively titled Maynila will be screened at the Hanover Expo in Germany.

"I am a collector of old toys. I'm fascinated with nostalgia, obsessed with looking back at the past. At iyon ang nakikita sa films ko," reveals Red. One remembers him for his personal films that quite a number claim to relate to. He says that these are products of a desire to make change, for people to see life through alternative cinema.