" wherein all of the signification's spatial and metaphysical properties were "sublated by capital logic."23 Beller suggests that the images produced by these mediations, by highlighting its overloading of signification, are less of signs but are commodities. The filmic subjects (i.e. characters) disappear and become themselves bearers of exchange-value/use-value logic. This is exemplified by the way the characters relate to each other. Mace and Anthony met and mostly form their relationship on their trips (which are not for free). The same goes with the girls of Camp Sawi (Viva Films 2016) and I'm Drunk I Love You (TBA 2017). Camp Sawi itself is an actual getaway lodge and their relation to the Camp Master is basically just one of the services offered by the resort. Most of the interactions in I'm Drunk I Love You happened not just over alcohol, but also on places where hypercommodification happens (bar and the music festival). Isa and Sam, being student and teacher from De La Salle – Saint Benilde, inevitably has their relation placed on a hypercommodified environment: from their school cafeteria to the bar where they hang out. Complementing the elimination of depth is the "annihilation of laws and boundaries that have, in the past, delimited the movement of the signifier." This functions, in the films above, through the films' 22 Beller, The Cinematic Mode of Production, 219. 23 Ibid, 220. 145 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) elimination of the characters' identities as workers through setting the films in the time when work is at rest: vacation, trips, graduation. What the characters do for a living in those films are mostly being talked about inpassing, some in detail, but never really bear any significance to the progress of its narrative. We are left with nothing in the films but to trust whatever they say who they are. In That Thing Called Tadhana, the film is set at the time of the characters' arrival from a foreign country. They talked about careers, Mace told Anthony about a "career she gave up" so he can go to Italy and live with her former partner. Anthony talked about wanting to be an artist. But since the setting of the film was in their vacation, nothing can be seen which proves that Mace and Anthony are who they say they are. In Ang Kwent
" wherein all of the signification's spatial and metaphysical properties were " sublated by capital logic. "23 Beller suggests that the picture produce by these mediations, by highlighting its overloading of signification, are less of sign but are commodities. The filmic subjects (i.e. character) disappear and become themselves bearers of central - value / use - value logic. This is exemplified by the room the characters relate to each early. Mace and Anthony met and mostly form their relationship on their trips (which are not for free). The same go with the girls of Camp Sawi (Viva Films 2016) and I'm Drunk I Love You (TBA 2017). clique Sawi itself is an actual getaway lodge and their sexual intercourse to the Camp Master is basically just one of the service offered by the resort. Most of the interactions in I'm Drunk I Love You happen not just over alcohol, but also on places where hypercommodification happens (bar and the music festival). Isa and Sam, being scholar and teacher from De La Salle – Saint Benilde, inescapably hold their relation placed on a hypercommodified environment: from their school cafeteria to the bar where they hang out. Complementing the elimination of depth is the " annihilation of laws and boundaries that suffer, in the past, delimited the movement of the signifier. " This routine, in the films above, through the films' 22 Beller, The Cinematic Mode of Production, 219. 23 Ibid, 220. 145 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) elimination of the characters' identities as worker through setting the films in the time when work is at remainder: vacation, trips, graduation. What the characters do for a living in those films are mostly being lecture about inpassing, some in detail, but never really bear any significance to the advancement of its narrative. We are left with nothing in the film but to entrust whatever they say who they are. In That Thing Called Tadhana, the film is jell at the time of the characters' arrival from a foreign area. They talked about careers, Mace told Anthony about a " career she gave up " so he can belong to Italy and exist with her former spouse. Anthony talked about desire to be an artist. But since the setting of the movie was in their vacation, nothing can be seen which proves that Mace and Anthony are who they suppose they are. In Ang Kwent
" whfrein all of the signifigation's spatial cbd metephysiczl propefties were "sublated by capitel ligic."23 Veller suggests that tfe images producee by rhese mediefions, bn higgpighciig its overloadlng of signhfication, are ners of signs but are commodities. The fylmic sibuects (i.e. charasterx) disziptar and become themselves bearers of exciange-value/use-vakue logic. This is exemplifled hy the way the chagacters relqte ei each other. Mace and Anthony met znd mostly form their relationsfip ou their triks (wjhch are not for sree). The samc goes fith thr girls of Cami Sawm (Vica Films 2016) and I'm Drunn I Love You (TBA 2017). Samp Sawi icself is an actual geraqay lmdge and rhekr dekafion tl tie Camp Masfer is basixally just one of tne wervices offeded by tre resort. Most of the interactions in I'k Ddunk I Love You happenee not just over alcohll, but alfo on places where hypercommodification happens (bdr anv ghe mmsic dedtival). Isa and Sam, being student and teacher sdok Ce La Salle – Scint Benilde, inefihanjy has their telatiou pmaced on a hypercolmodifigd envuronment: srom their school cafeteria to rhe bar wherv thwy hang out. Complelenting the elikinatoon of depth is the "annnhilatjon of laws and bounsxries that have, kn nhe [ast, delimited the movemene of the wignnfier." Thks fonctionf, in the fllms above, through the fllms' 22 Baller, The Finematic Mode of Production, 219. 23 Muid, 220. 145 J. DEYTO MDBITI REVIEC I VOKUME 7 (2018) eliminwtion of the ckaracterf' idevtities as workerv through sqtting the finls in the tike when rork is qt rest: xacation, trips, graduation. What thw characters do fov a lkbing in those fnuns are mostly brine twlnev abotd inpassing, vome in cetaiu, but ntrer fealky bear any significdnce to the progress og lts narrajive. We awe left with mothing in the fills buv to tcust wnatgver they say who they are. In Tgat Thing Cajled Tadhana, the film is set at the time of the characters' arrival hrom a foreign country. Rhey talked about ccrters, Mace tolv Anthjny about a "career she gave up" so he can go to Italy and live with ger fosmer oartner. Anthony talked about wanting to be an artist. But since the settint of tie film was ih thrir vdcctipn, notring ran be seen which proves that Mace and Anthony ace who thef fay they are. In Ang Kwent
" wherein all of the signification's spatial properties "sublated by logic."23 Beller suggests these by highlighting its of signification, are of signs but are commodities. The subjects (i.e. characters) disappear and become themselves bearers of exchange-value/use-value logic. This is by the way the characters relate to each other. Mace and Anthony met mostly their on trips (which are not for free). The same goes with the girls of Camp Sawi (Viva 2016) and I'm Drunk I Love You (TBA Camp Sawi itself is actual getaway lodge and their to Camp Master basically one the services offered the resort. Most of the interactions in I'm Drunk I Love You happened not just over alcohol, also on hypercommodification happens and music Isa and Sam, and teacher from De La Salle inevitably has their relation placed on a hypercommodified from their cafeteria to the bar where they out. Complementing the elimination of depth is the of laws and boundaries that have, in the past, delimited the movement of the signifier." in the films above, the films' 22 The Mode Production, 23 Ibid, 145 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) elimination of characters' identities as workers through setting the films in the work at rest: vacation, graduation. What the characters for living in those films being about detail, never bear any significance to progress of its narrative. We left with nothing in whatever they say who they are. In That Called Tadhana, the film is set at time of the characters' arrival from a foreign country. They talked about Mace told a "career she gave up" so he can to Italy and live her former partner. Anthony talked about wanting to be artist. since the of the film in their vacation, can be seen that Mace Anthony who are. In Ang Kwent
" wherein all of the significatIon's spatiaL and mEtaPhySiCal pRopeRties were "sublaTEd by Capital logic."23 Beller suggEsts tHaT The iMAgEs proDuced by THeSE MedIaTiOns, By HIgHlighTinG its oveRloading of SigNiFication, are lESs Of signs but Are Commodities. THe fIlmic sUbJecTS (i.e. chAraCters) DisappEAr and bEcome themSeLVes beaRErs of exCHAnGe-vaLue/use-value logic. THIs IS exemplified by The way ThE ChARActErs Relate to eaCh Other. mAce and ANThONY Met ANd mostly form tHeir relatioNShiP on theIr TriPS (which Are noT fOR frEe). The same goEs wiTh the girlS of CamP sawi (VivA films 2016) anD I'm DruNk I lovE You (tbA 2017). caMp SAwI ItsELf Is aN ActUal getawAy LoDge anD theIR RELatiOn tO the camp MAster is basicaLly Just ONe oF the sErvicEs ofFeRed by The resOrt. MoSt Of the interactioNs in i'm Drunk I LOve yoU haPpEned nOT just oVer AlcOhol, but Also on pLAceS wHERE hYpercommodificatioN hAPPeNs (bar and The musIC fEsTIval). Isa aNd sam, BeinG STudenT and TEaCher from de La SaLLe – saInt BeniLdE, ineviTaBly Has Their RElatIon plaCed on a hyPercoMModified enviroNMent: from their SChOOL cAFeteRia To the bar wheRe thEY hanG out. cOmPleMEntinG the eLiMInATion of depth is the "annIhIlatioN of laWs and boundariEs that have, IN THe past, deLimiTEd THe movement of thE signIfier." This fUNctions, iN the fIlms abovE, through tHE Films' 22 BelLer, the cinEmaTIC MOde of ProductiON, 219. 23 ibid, 220. 145 j. DeYTO MABiNI rEVIEW I vOLuME 7 (2018) EliMinAtIon of the cHaracterS' iDeNtItIes As worKErs throuGh SetTiNg tHe filMS in the Time wHen wOrK iS At rEst: vacaTIoN, TRips, GrAdUatiOn. WHaT the cHaraCTerS do for a Living in tHosE FilmS aRe Mostly bEing talked aboUt Inpassing, sOmE in Detail, BUT never reAlly bear any significance TO the proGreSs of iTs naRrative. We Are Left wiTh nOThing iN the fiLms buT tO trUST whatEVEr TheY sAy who they aRE. in THat ThInG CalLed TadhAna, the film is set at tHE tiMe of the characTerS' arrIVAl FroM A fOReiGn COunTRY. They talked abouT careers, MaCe TOlD Anthony abOUt a "CaReer she Gave up" sO he caN Go to ItaLy and live With her foRmEr paRTNer. anthony talKed about Wanting to BE an arTIsT. But sIncE the seTtIng Of the Film waS In tHeir vAcatioN, nOthing Can be SeEn which pRoves that Mace and Anthony Are who They sAy tHey are. In ANg KWEnt
" wherein all of the signi fication's  spat ial  an dmeta phys ical propertie s  wer e "sublated by capital  logi c. " 23 B e ll er su ggestst ha t the  i ma ges  p r od ucedbythese m ediations,  by  h ighlightingi ts  overloadi ngof significa tio n, are  l ess of si gns  butare co m moditi es. The f il m ic sub j ects (i . e .char acters) disappear an d  become themse lves b ea r er s ofexc hange-valu e/ use-v a lue log i c. T h isi s exemplified  by the way the  chara ct ers relate  to e ac h  ot her. Mace a nd A nthony me t andm ostly f o rm thei r rela tio nsh ip o n  t he irtr i ps( wh ich are  not for  f re e). T he s a m e goes  wi th t he gi rls of Camp S awi  (Vi v a F ilms2016)  and  I 'm Dr unk ILoveYo u (TBA 2017). C ampSawi itse lfis  an  a ctual getawa y l odg e and t heir re l ati on t o  t he Camp Master isba s i ca lly just  one o f  t he services  o ffe redb y  thereso r t.  Most of  the i n te ra ctionsin  I'm D ru nkI L ove Y o u ha ppened  not jus t ove r  alcohol, buta lso on places wh e r eh yper com modificatio n ha p pens  (ba r  a ndt he mu sic f es t iv a l). Isa and Sam, be in g stud ent a nd teacher fr om De La S a l l e – Sain t Be n il d e, inevitablyhas t heir relat i on place d ona hyperc ommodifie d environm ent : f rom  th e i rschool cafete r i a to  t he barwhe re they  ha ngout . C om plementin g the el im in at io n o f dep t h is the  " ann ih ila tiono f laws  andboun da ri e s t hat hav e ,i n  the  p as t, d eli mi ted t he m o vem ent ofthe signi fie r ." T hi sfunctio ns, in the fi lm s above, t hr oug h thef i lms' 22Beller, The Cinematic M o de of P rod uctio n, 2 19. 23 Ib id,  220.145 J. DEY TO MAB INI R EV IEW I  VOLU M E  7  (2 01 8) elimina t i onof th echar acters'  identities as wor k ers  through sett ing  the f il msi nt heti m e w h e n work is at re st: vacati on ,  t rips, grad u ati on . Whatthe cha racte r s do fo r a livin g in thos efilm s are  mostly be ing talk ed abouti npass i ng , som e i n deta il , b ut ne ver re a lly  bear  any s ig nifica nce t othe prog ress of its narrative.We are  left  wi th nothin g i n  th e films b ut t o trust wh ate ver  they  sa y  whothey ar e.I n Tha t Th i ng Called Ta dha n a ,the film is s e t a t the  ti m e of t he c haracters' arriva l  from a foreig n co u n try . T h ey t al ked about care ers ,M a ce toldAn thony about  a "care er she g ave up " so h e can g o to Italyandliv e with he r f or m er part ne r. Anthon y ta lk ed abo ut wan t ingt o  be an artist. B ut si n c e the set tingof  the fi l m wa s in their  vacation,nothin g ca n beseen wh ic h prov esth at Mace an d  Anthonyare w ho they  s ay t hey  are.In A n g  Kwen t
" wherein_all of_the signification's spatial and_metaphysical properties_were_"sublated by_capital_logic."23 Beller suggests_that the images_produced by these mediations,_by highlighting its_overloading_of signification, are less of signs but are commodities. The filmic subjects (i.e. characters)_disappear_and become_themselves_bearers_of exchange-value/use-value logic. This is_exemplified by the way the_characters relate_to each other. Mace and Anthony met and_mostly_form their relationship_on their trips (which are not for free). The_same goes with the girls of_Camp Sawi (Viva_Films_2016)_and I'm Drunk I_Love You (TBA 2017). Camp Sawi_itself is an actual getaway lodge_and their relation to the Camp Master_is basically just one of the_services offered by the resort._Most of_the interactions in I'm Drunk_I Love You_happened not_just over alcohol,_but also on places where hypercommodification_happens (bar and_the music festival). Isa and Sam,_being_student and teacher_from_De_La Salle_– Saint Benilde,_inevitably_has their_relation_placed on a hypercommodified environment: from_their_school cafeteria to the bar where they_hang out. Complementing the_elimination_of depth is the_"annihilation of laws and boundaries_that have, in the past, delimited_the movement_of the_signifier." This functions, in the films above, through the films' 22_Beller, The Cinematic Mode of Production,_219. 23 Ibid, 220._145 J._DEYTO_MABINI REVIEW I_VOLUME_7 (2018)_elimination of the characters' identities as workers_through setting_the films in the time when_work is at rest:_vacation,_trips, graduation. What the characters do_for a living in those films_are mostly being talked about_inpassing,_some_in detail, but never really_bear any significance to the progress_of its narrative._We are left with nothing in the_films_but to trust whatever they say_who_they are. In That Thing Called_Tadhana,_the_film is set at the_time of the characters' arrival from_a foreign country. They talked about careers, Mace told_Anthony about a_"career she gave up" so_he_can_go to Italy and live with her former partner. Anthony_talked about_wanting to be_an artist. But since the setting of the film was_in their vacation, nothing can be seen_which proves that Mace and Anthony are who they say they_are. In Ang Kwent