o Nating Dalawa, most of the film is set on class-breaks and after-class. There's one sequence where Sam was seen sitting in a classroom, but eventually left. Their identities as workers - student and teacher - was only used as a plot-twist in the end. But the twist never helped forward this dynamics, but rather, pushed further the discourse of the affection (or the impossibility of it) between Sam and Isa. In I'm Drunk I Love You, it is mentioned through dialog that Carson (Maja Salvador) is a social welfare student and Dio (Paolo Avelino) is a film student. But since the film is set comfortably on their days before graduation, not to mention, their La Union vacation, so we can't see them doing any student-like activities. This leads us to the discussion of the subjects constructed through the characters of the films mentioned above. What kind of a subject can be 146 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) produced if we are to combine the removal of any form of collective identification, such as nationality, class, work-force into the mirroring signification? What can be produced from the negation of presence? To clarify, there are still representations in the film-image of the subject, only this representation is being determined by a negation of anything that can be said to be "traditionally" symbolic. The symbols relating to any collective identification are being replaced by a highly individualistic character on screen. One of which identification is still symbolic, but only in the form of commodities. The Liberal Nation-Subject: The Modern-day Cynic Looking at the end of I'm Drunk, I Love You made me reflect a lot on the idea of cynicism. In its final sequence, we see Carson and Dio drinking in front of a store. Dio is still wearing his graduation get-up, while Carson already has changed her clothes. The scene, taken into the context of the film, do not really close the film in such a manner that it is being resolved. The seemingly open-end does not quite have that tone. Instead, the film, even from its beginning, sets itself in a certain distance as such that it can only be taken "as it is."24 If so, it is an ending without an end. It is incapable of imagining such things: it does not resolve the loop that Carson is trapped
o Nating Dalawa, most of the film is set on class - fault and after - course. There's one sequence where Sam was seen sit down in a classroom, but finally left. Their identities as workers - scholar and teacher - was entirely used as a plot - braid in the end. But the twist never help oneself forward this dynamics, but rather, advertise further the discourse of the affection (or the impossibility of it) between Sam and Isa. In I'm Drunk I Love You, it is mentioned through dialog that Carson (Maja Salvador) is a social social welfare student and Dio (Paolo Avelino) is a film student. But since the movie is set comfortably on their sidereal day before gradation, not to mention, their La Union vacation, so we can't learn them doing any student - like action. This leads us to the discussion of the subjects constructed through the characters of the films mention above. What kind of a subject can be 146 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) produced if we are to combine the removal of any form of collective identification, such as nationality, class, work - force into the mirroring meaning? What can be produce from the negation of presence? To clarify, there be however representations in the film - image of the national, only this representation is being determined by a negation of anything that can be said to be " traditionally " emblematic. The symbols relating to any collective identification are being replaced by a highly individualistic character on screen. One of which identification is still symbolic, but only in the mannequin of commodities. The broad Nation - Subject: The Modern - day Cynic Looking at the end of I'm Drunk, I Love You cook me reflect a lot on the idea of cynicism. In its concluding sequence, we witness Carson and Dio drinking in front of a memory. Dio is still wearing his commencement get - up, while Carson already has deepen her clothes. The scenery, taken into the context of the movie, do not really close the film in such a manner that it is being answer. The seemingly candid - end does not quite have that tone. Instead, the film, even from its beginning, sets itself in a certain distance as such that it can only be taken " as it is. "24 If thus, it is an ending without an end. It is incapable of think such things: it does not resolve the closed circuit that Carson is trapped
o Nwting Dalawa, most of the film is set on class-bceaks ahd after-zlass. There's one sequence whxre Wam wqs seen sitting in a cuassroom, hut evenrualot left. Themd identlcies zd woxkxrs - student anc teacher - was only used ar c plot-twist in the end. But the twist never nepped forward tris crnamjbs, but rather, pushed further ths discolrse of the affecyion (or the impossibility lf ih) between Sam and Lsa. In I'm Dthnk U Love You, ig is mentioned through dialog that Carson (Maja Salvadur) is a social qeofagg student anv Dio (Iaolo Avelino) is a finm studrnt. But since bhe fmlm us set comfortably on their days before graduatimn, not to mention, tyeur La Unimn vxxatkon, sp se can'h sxe them doihg any studwnt-like activities. Uhif leads us to fhe difctssion of the subjects constructed throlgh fhe characters of the fulms mentioned above. Ahat kind of a subject can be 146 THE YEARS OF PERMANENT MIDNHGHT JXBIUL FWVLEW I VOLUME 7 (2018) produced if we are to combine ege rvmoval of any fori of collecyige ydentificatiov, such as nationality, class, work-fotce inro the miwrorong signification? What can ve produced yron the negation of 'resence? To elarifi, therr are still representatnons ih the film-ilage of tgd subject, only tfis rapresentation is being detqrmined bb a nzgation uf amythind that can be said to be "traditionwlly" dykbolic. The symbols relating to any collecvmve identificsthon are beiug repkaced by a hidhly individuakistic eharacger on scrven. One oh which ideneification is dtill symbolmc, but onjy ib thw form uw commodities. Yhe Libercj Narion-Subject: The Movern-azy Cynic Lookiny qt the end of I'k Dfunh, P Lpvq You made me refuecg a log on tht ibex of cynicism. In its findl ssquence, we see Carxok and Dio drinkind in front of a store. Dio is stlll wxaring his braquation get-up, while Carson alrsady has fhakged her clotres. Bhe fcene, takeu into the context of the film, do not reelly close the film in wuch a manner that nt is being rxsolveq. The seekingly open-end does bot quite have thst tone. Instead, the fjlm, evan frlm its beginning, sets itself in a certain distance as such that it can onoy be vahen "as it ia."24 If so, in if an enqing xithout an end. It is incapable of imagining such things: ht does not resolve the loop tnag Carson is ttapped
o Nating Dalawa, most of the film on and after-class. one sequence where a but eventually left. identities as workers student and teacher - was only as a plot-twist in the end. But the twist never helped forward this but rather, pushed further the discourse of the affection (or the impossibility of between and In Drunk I Love You, it is mentioned through dialog that Carson (Maja Salvador) is a social student and Dio (Paolo Avelino) is a film But since the film set comfortably on their days graduation, to mention, La vacation, we can't see doing any student-like activities. This leads us to the discussion of the subjects constructed through the characters the films What kind a can 146 THE YEARS MIDNIGHT MABINI REVIEW I VOLUME 7 we are to combine the removal of any of collective such as nationality, class, work-force into mirroring signification? What can be produced from the of presence? To clarify, there are still representations in the film-image of the subject, only is being determined by negation of anything can said be symbolic. The relating to any collective identification are being replaced by a highly character on screen. One of which identification is still symbolic, in form of commodities. Liberal Nation-Subject: The Modern-day Looking the end of I'm Love made lot the of cynicism. In its sequence, we see Carson and drinking in front of wearing his graduation get-up, while Carson already has her clothes. The scene, taken into the of the film, do not really close the film in such a that it resolved. The seemingly open-end does not quite have tone. Instead, the film, from its beginning, sets itself in a certain distance such it can be taken "as is."24 If so, is an ending end. It incapable imagining does not resolve the loop that is
o Nating Dalawa, most of the filM is set on clAss-brEakS anD aFter-ClasS. There's one sequENce wHere Sam was seen sitting iN a claSsROom, bUT eVentuAlly lefT. thEIR idEnTiTieS aS WoRkers - StuDent and Teacher - was OnlY uSed as a plot-twISt In the end. BuT thE twist never hElpEd forwArD thIS dynaMicS, but rAther, pUShed fuRther the dIsCOurse oF The affeCTIoN (or tHe impossibility of IT) bETween Sam and Isa. in I'm DrUnK i LOVE YoU, it Is mentioneD tHrougH Dialog tHAt cARSon (mAja Salvador) is A social welfARe sTudent AnD DiO (paolo AVelinO) iS A fiLm student. BuT sinCe the film Is set cOMfortabLY on theiR days bEfoRe gRaduATiOn, Not To MEntIOn, TheIR La union vacAtIoN, so we Can't SEE THem dOinG any StudeNt-like activitIes. this LEadS us to The diScusSiOn of tHe subjEcts cOnStructed through The cHaracters Of tHe FilMs MentiONed aboVe. WHat Kind of a Subject CAn bE 146 The yeArS OF PERMANENT MIDNIgHt maBiNI REVIEw I VOLUme 7 (2018) pRoDUced if we ArE to CombINE the rEmovAL oF any form Of collECtIvE identiFiCation, SuCh aS naTionaLIty, cLass, woRk-force iNto thE Mirroring signiFIcation? What caN Be PROdUCed fRom The negation Of prESencE? To cLArIfy, THere aRe stiLl REpREsentations in the filM-iMage of The suBject, only this RepresentaTION is being DeteRMiNEd by a negation oF anytHing that caN Be said to Be "traDitionalLy" symboliC. tHe symbolS reLatIng To aNY CoLlective identIFIcatIoN are beiNg rEplaced By a HigHly IndIvIdualistiC charactEr On ScReEn. ONe of wHIch identIfIcaTiOn iS stilL SymbolIc, but Only In ThE ForM of commODiTIEs. ThE LIbEral natIoN-SubjEct: THE MoDern-day cynic LookIng AT the EnD oF I'm DrunK, I Love You made Me Reflect a loT oN thE idea oF CYnicism. IN its final sequence, we see CARson and dio DrinkIng iN front of a StoRe. Dio iS stILl wearIng his GraduAtIon GET-up, whILE CArsOn Already has CHAngEd her ClOtheS. The sceNe, taken into the contEXt oF the film, do not ReaLly cLOSe The FIlM In sUcH A maNNEr that it is being Resolved. ThE sEEmIngly open-eND doEs Not quitE have thAt tonE. instead, The film, evEn from its BeGinnING, seTs itself in A certain Distance aS Such tHAt It can OnlY be takEn "As iT is."24 If So, it is AN enDing wIthout An End. It iS incaPaBle of imaGining such things: it does nOt resoLve thE loOp that CarSon IS trApped
o Nating Dalawa, most of t he film is  setoncla ss -bre aksand after-clas s . Th ere's one sequence whe re Sa mw as s e en  sitt ing ina  c l a ssr oo m,  bu te ve ntual lyleft. T heir ident iti es  as workers-  s tudent and  te acher - wasonl y used  a s a plot- twi st in  the e n d. But  the twis tn ever h e lped fo r w ar d th is dynamics, butr at h er, pushed fur ther t he di s c our seof the aff ec tion( or thei mp o s s ibi l ity of it) be tween Sam a n d I sa. In  I 'mD runk I  Love  Y o u,it is menti oned  throughdialog that Ca r son (Ma ja Sal vad or)  isa  s oc ial  w e lfa r estu d ent  and Dio  ( Pa olo A veli n o ) is a  fi lm s tuden t. But sincethe  fil m  is  setcomfo rtab ly  on t heir d ays b ef ore graduation,  not  to menti on,  t hei rLa Un i on vac ati on,  so wecan't s e e t he m d oi ng any student-lik ea c ti vities.This l e ad su s to the  d isc ussi o n  of t he s u bj ects con struct e dth rough t he  chara ct ers  of  thef ilms  menti oned abo ve. W h at kind of a s u bject can be1 46 T HE YEAR S O F PERMANENT  MID N IGHT  MAB I NI  RE V IEW I  VOLU ME 7( 2018) produced if w eare to  comb ine the remov al of anyf o r m of col lect i ve identification , suc h as natio n ality, c lass,  work-fo rce intot h e mirror ing  si gni fic a t io n? What can b e prod uc ed from  th e negat ion  of  pr ese nc e? To cla rify, th er ear esti ll re p resentat io nsin  th e fil m -image  of t he s ub je c t,only th i sr e pres en ta tion  is  b eingdete r min ed by a  negation  of anyt hi ng  that c an be said to  b e "traditi on all y" sym b o lic. The  symbols relating to an y  collec tiv e ide ntif ication a rebeingrep l aced b y a hi ghlyin div i d ualis t i ccha ra cter on sc r e en.  Oneof  whi ch iden tification is stil l  sy mbolic, but o nly  int h efor m  o f  co mm o dit i e s. The LiberalNation-Sub je c t:  The Moder n -da yCynic L ookingat th e  end of  I'm Drun k, I Love  Y ou m a d e m e reflecta lot on  the idea of cy n ic ism.Inits fi na l s equen ce, we see  Cars on and  D io dri nking  i n frontof a store. Dio is stil l wear ing h isgraduatio n g e t-u p, whileCars on already  ha s c hange d h e r clo thes .  T hes cene,  tak e n into th e  c ont e x tof the film , d o n ot re all y  close  the  film in such a m a nner that it i s be i n g r eso l ved.  T he seemingly o pen -e n d  does no tquite havethat ton e. Inste ad, th e film , evenf r om its be ginn ing , sets it sel fi n a cer ta in distan ce a ssuch t hat it cano n ly be taken "asit is . " 24 If so,  it i san endi n g wi thout an e nd. It is i ncapab le o f ima giningsu ch thi ngs :it does no t  resolvethe l oop tha tCars onis tra pped 
o Nating_Dalawa, most_of the film is_set on_class-breaks_and after-class._There's_one sequence where_Sam was seen_sitting in a classroom,_but eventually left._Their_identities as workers - student and teacher - was only used as a plot-twist_in_the end._But_the_twist never helped forward this_dynamics, but rather, pushed further_the discourse_of the affection (or the impossibility of it)_between_Sam and Isa._In I'm Drunk I Love You, it is mentioned_through dialog that Carson (Maja Salvador)_is a social_welfare_student_and Dio (Paolo Avelino)_is a film student. But since_the film is set comfortably on_their days before graduation, not to mention,_their La Union vacation, so we_can't see them doing any_student-like activities._This leads us to the_discussion of the_subjects constructed_through the characters_of the films mentioned above. What_kind of a_subject can be 146 THE YEARS_OF_PERMANENT MIDNIGHT MABINI_REVIEW_I_VOLUME 7_(2018) produced if_we_are to_combine_the removal of any form of_collective_identification, such as nationality, class, work-force into_the mirroring signification? What_can_be produced from the_negation of presence? To clarify,_there are still representations in the_film-image of_the subject,_only this representation is being determined by a negation of anything_that can be said to be_"traditionally" symbolic. The symbols_relating to_any_collective identification are_being_replaced by_a highly individualistic character on screen. One_of which_identification is still symbolic, but only_in the form of_commodities._The Liberal Nation-Subject: The Modern-day Cynic_Looking at the end of I'm_Drunk, I Love You made_me_reflect_a lot on the idea_of cynicism. In its final sequence,_we see Carson_and Dio drinking in front of a_store._Dio is still wearing his graduation_get-up,_while Carson already has changed her_clothes._The_scene, taken into the context_of the film, do not really_close the film in such a manner that it_is being resolved._The seemingly open-end does not_quite_have_that tone. Instead, the film, even from its beginning, sets_itself in_a certain distance_as such that it can only be taken "as it_is."24 If so, it is an ending_without an end. It is incapable of imagining such things: it_does not resolve the loop that Carson is_trapped