1.0ARKIPELhttps://arkipel.orgArkipelhttps://arkipel.org/people/arkipel/rich600338<blockquote class="wp-embedded-content" data-secret="MQTkKaXNmG"><a href="https://arkipel.org/nmt-ic7/">Noli Me Tangere – International Competition 7</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://arkipel.org/nmt-ic7/embed/#?secret=MQTkKaXNmG" width="600" height="338" title="“Noli Me Tangere – International Competition 7” — ARKIPEL" data-secret="MQTkKaXNmG" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); /* ]]> */ </script> https://arkipel.org/wp-content/uploads/2023/07/taxibol5.jpg19201038Farce as a construction in these four essay films becomes an entry point to dissect historical oddities that often repeat themselves and fall into more or less the same holes. Like the entangling love stories in literary conventions, namely "star-crossed lover" which has the meaning of "unlucky/unable to be together" throughout civilization in Shakespeare's Romeo-Juliet, Rizal's Crisostomo Ibarra-Maria Clara, Toer's Minke-Annelies, it is an on-point allegory of the conflict between power and society. These four films are contemporary realizations of such a relationship between the regime and the public from filmmakers who are aware of the transformative power of cinema, no matter how small it can shift the poles.