Javier, Kristen and Nicole in W

“The first movie I remember seeing is All That Jazz. All That Jazz is pretty strong for a 5-, 6-year-old kid, but I loved it. There were naked women, which was nice. In Spain, we understand sex better than violence.” —Javier Bardem

“Everyone asks about the nude scenes in On the Road, but I also had to dance, and dancing is harder than being naked. My character, Marylou, is so exuberant, and I had five minutes to do something that showed she was sort of like the craziest motherfucker around. In the book, it says, ‘Dean takes Marylou and they do a love dance and no one can take their eyes off them.’ It’s one sentence. And I was mad-intimidated by it. We did the dance four times to the song ‘Salt Peanuts.’ By the end, I was as red as a fire truck. I was holding onto Garrett [Hedlund] because I was going to fall over. I almost passed out every single time.” —Kristen Stewart

“The first part I played was in the Nativity play at school. I auditioned for an angel and didn’t get it. I auditioned for Mary and didn’t get it. So I made up the character of the sheep who sat next to the baby Jesus. I bleated through the whole thing and got my first laugh. And that was it—I was hooked. That became a metaphor for my whole career: Every time I’ve thought, 'Oh, I should be Mary,' I somehow go and find something offbeat and different.” —Nicole Kidman

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Quotes from W's February 2013 issue; photographs by Juergen Teller

Gael García Bernal in Sight & Sound

More than his movies, it's his political standpoint that has people gravitating towards his ideological orbit. "We think that democracy can change a lot of things. We've been taught that democracy is having elections. It isn't. Elections are the most horrendous aspect of democracy. It's the most mundane, trivial, disappointing, dirty aspect."

Sight & Sound's March issue showcases rebels and visionaries (Pablo Larraín, Taviani Brothers, Pier Paolo Pasolini), with the 34-year-old progressive actor, Gael García Bernal, gracing its cover. The timing couldn't be more perfect. His new film, No (a period Chilean film directed by Larraín), has been nominated at this year's Oscars.

Pinoy Indie: 2012

Pascalina never had it easy. After visiting a dying aunt, her life takes a turn for the worst. It's not money her aunt wants to give her. It's something else.

Director Pam Miras' Pascalina is very raw. While the Digital Harinezumi camera she used for shooting complemented the movie's dark, somber tone, it left me frustrated. Watching it is like sitting through an undergrad's film thesis. 

Despite its rough visuals, Pascalina surprises when you least expect it. It gives a fresh twist to the typical aswang movie, something many people will find memorable. 

Last year's lineup is probably the best for Cinema One. As the festival's dark horse, Pascalina broke expectations and nabbed the top prize when everyone least expected it.  

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Here are some gems from 2012. It's been a good year for debut feature filmmakers Dwein Baltazar (Mamay Umeng), Whammy Alcazaren (Colossal) and Marie Jamora (Ang Nawawala). Alcazaren, in particular, shows great promise.

Stills from Mes de Guzman's Diablo, Teng Mangansakan's The Obscured Histories and Silent Longings of Daguluan’s Children, Dwein Baltazar's Mamay Umeng, Arnel Mardoquio's Ang Paglalakbay ng mga Bituin sa Gabing Madilim and Loy Arcenas' Requieme!