Expectations for Aunor to get the Volpi Cup went high after the Premio della Critica Indipendiente, an independent group of European film critics covering the festival, awarded Aunor's performance with the Bisato d'Oro (Golden Eel) prize. In validation of the critics' prize, here are more variations on the same theme of upbeat forecast:
“Una candidatura certa al Leone e, per la straordinaria attrice Nora Aunor, alla coppa Volpi.” A leading candidate for the Golden Lion (prize) and the Volpi Cup for the extraordinary actress Nora Aunor, a critic's view concurred by other reviewers. (Click the link of the original text in Italian like this other upbeat assessment.)
Affirming Aunor's thespic preeminence as "one of the best actresses in the world," an Italian critic cites the "magnificent visual sublimation" of her performance, frankly calling the jurors' decision as "bullshit" because another contender--Israel's Yadas Haron--eventually won the Volpi: "Giving the girl the best actress for
the insignificant ‘Fill the
Void’ is bullshit…especially considering the
candidacy of Nora Aunor , one of the best actresses in the world…in a
magnificent visual sublimation in the film by Brillante Mendoza…”(Click the link of the original text in Italian.)
In agreement, a Dutch film critic also commends Aunor's acting: "She is totally believable in "Thy Womb" as a warm-hearted, modest, everyday woman who loves her husband that she searches a wife who can give him the child that she owed him. A melting interpretation!" (Click link of original text in Dutch.)
"Deserving
of greater consideration" for the best actress award. Thus avers an Italian critic's citation of Aunor who is the only actress
mentioned in the summary review of all films in competition at the recent 69th
Venice International Film Festival: “Film ispirato e solido con una
sceneggiatura che non disturba troppo la visione decisamente vivida, pregio
assai raro. Nora Anour e la sua levatrice sterile ed emancipata avrebbero
meritato maggiore considerazione in sede di premiazione.” (Click the link of the full review.)
Yet another Italian critic praises the grandeur of Aunor's acting or how she achieves "anonymity" for her role with such "very strong presence" (“interpretata da una stella filippina di prima grandezza, Nora Aunor, che ha qui accettato una sorta di anonimato attoriale… un attrice dalla presenza molto forte.”) His appraisal may as well raise the roof of the Venice fest: "This is the coolest film of the competition, maybe the whole selection." (“È questo il film più fresco del concorso, forse dell’intera selezione.” (Click the link of the original Italian text.)
Another Spanish critic is so moved over what she sees to the extent of waxing poetic under the spell of Aunor's brilliance: "The brightness of the moon in the eyes of the protagonist, Nora Aunor, delicately beautiful..." (“El brillo de la luna en los ojos de la protagonista, Nora Aunor, delicadamente maravillosos en el mejor plano de la película…") Aside from going lyrical about Aunor's acting, she also sounds seduced by "the tenderness of the characters...the beauty of the images...and the depth of the story." (Click the link of the original Spanish text.)
Obviously under the spell of the Aunor-Mendoza collaboration, another Italian critic rhapsodizes at the film's poetic power: “Il regista filippino colpisce con una storia di estrema sensibilità e delicatezza. L’interprete femminile, Nora Aunor, è in stato di grazia… Naturalistica e credibile l’interpretazione di Nora Aunor, l’agnello sacrificale, immagine commossa e appassionata dell’amore, di una maternità mai consumata, una straordinaria performer alla quale Mendoza affida tutto il peso del film." ("The Filipino director strikes with a history of extreme sensitivity and delicacy. The actress, Nora Aunor, is in a state of grace... Naturalistic and credible interpretation of Nora Aunor, the sacrificial lamb, provides emotional and passionate picture of love and motherhood…an extraordinary performer on whom Mendoza relies for the weight of the film."(Click the link of the original Italian text.)
"Fantastica!" Such an exuberant description of Aunor's exquisite interpretation, as voiced out by the reviewer in the video below, aptly sums up the superlatives.
In agreement, a Dutch film critic also commends Aunor's acting: "She is totally believable in "Thy Womb" as a warm-hearted, modest, everyday woman who loves her husband that she searches a wife who can give him the child that she owed him. A melting interpretation!" (Click link of original text in Dutch.)
Yet another Italian critic praises the grandeur of Aunor's acting or how she achieves "anonymity" for her role with such "very strong presence" (“interpretata da una stella filippina di prima grandezza, Nora Aunor, che ha qui accettato una sorta di anonimato attoriale… un attrice dalla presenza molto forte.”) His appraisal may as well raise the roof of the Venice fest: "This is the coolest film of the competition, maybe the whole selection." (“È questo il film più fresco del concorso, forse dell’intera selezione.” (Click the link of the original Italian text.)
A Spanish critic is just as enthusiastic in his impression of "Sinapupunan" (Thy Womb) as a "beautifully naturalistic
film" even as he describes Aunor's performance as "fantastic"
worthy of the honor for best actress: “Su actriz, fantástica Nora Aunor, también
podría encontrar hueco en el palmarés.” (Click the link of the original Spanish text.)
Raving that Mendoza’s film has some of the most beautiful sequences seen in this edition of Venice, calling it a “portrait of a rural apocalypse,” another Spanish critic hails Aunor as “outstanding in the title role” “(“de la actriz Nora Aunor, sobresaliente en el papel protagonista…” (Click the link of the original Spanish text.)
Raving that Mendoza’s film has some of the most beautiful sequences seen in this edition of Venice, calling it a “portrait of a rural apocalypse,” another Spanish critic hails Aunor as “outstanding in the title role” “(“de la actriz Nora Aunor, sobresaliente en el papel protagonista…” (Click the link of the original Spanish text.)
Another Spanish critic is so moved over what she sees to the extent of waxing poetic under the spell of Aunor's brilliance: "The brightness of the moon in the eyes of the protagonist, Nora Aunor, delicately beautiful..." (“El brillo de la luna en los ojos de la protagonista, Nora Aunor, delicadamente maravillosos en el mejor plano de la película…") Aside from going lyrical about Aunor's acting, she also sounds seduced by "the tenderness of the characters...the beauty of the images...and the depth of the story." (Click the link of the original Spanish text.)
Obviously under the spell of the Aunor-Mendoza collaboration, another Italian critic rhapsodizes at the film's poetic power: “Il regista filippino colpisce con una storia di estrema sensibilità e delicatezza. L’interprete femminile, Nora Aunor, è in stato di grazia… Naturalistica e credibile l’interpretazione di Nora Aunor, l’agnello sacrificale, immagine commossa e appassionata dell’amore, di una maternità mai consumata, una straordinaria performer alla quale Mendoza affida tutto il peso del film." ("The Filipino director strikes with a history of extreme sensitivity and delicacy. The actress, Nora Aunor, is in a state of grace... Naturalistic and credible interpretation of Nora Aunor, the sacrificial lamb, provides emotional and passionate picture of love and motherhood…an extraordinary performer on whom Mendoza relies for the weight of the film."(Click the link of the original Italian text.)
"Fantastica!" Such an exuberant description of Aunor's exquisite interpretation, as voiced out by the reviewer in the video below, aptly sums up the superlatives.
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