Vivamax welcomes you to a new place, an island that comes with so much mystery. Once you’re in, there’s no going back. This summer, a new slice of paradise is about to be explored. Let’s run to the Island of Desire, streaming on Vivamax this April.

Adding to the list of Vivamax Original Movies for 2022, Island of Desire is a sexy drama starring Vivamax’s rising stars, Christine Bermas, Sean de Guzman, Jela Cuenca and Rash Flores.

A young woman named Martha (Christine Bermas) is assigned to work remotely on an island called “Isla Bato.” She becomes a nurse at its Regional Health office, and she also befriends some of the residents, Tess (Jela Cuenca), a midwife on the island, and Leloy (Sean de Guzman), a Habal rider. Being a constant companion, Leloy becomes closer to Martha, and they end up falling for each other.

As she stays longer on the island, she begins to discover the strange things about the place and its secrets, including a cult with fanatic followers and an abusive leader. Here is where she also reunites with her long-lost sister, who warns her and tells her to escape the place while she can.

Witness how the mysteries of this enchanting island filled with passion, lust, and love unfold before Martha’s eyes.

Fresh from the success of her other Vivamax Original Movies - Siklo and Moonlight Butterfly, Christine Bermas will once again leave the viewers in awe in Island of Desire. It also stars Vivamax’s most in-demand actor, Sean de Guzman, who caught the crowd’s attention from his Vivamax Originals - Nerisa, Taya, Bekis on the Run, Mahjong Night, and Hugas.

Joining them is Vivamax’s crush, Jela Cuenca, who starred in Silip sa Apoy, Palitan, and Boy Bastos. The star of Palitan, Rash Flores, plays a very crucial role in this film.

Island of Desire is by the multi-awarded and highly regarded director in the Philippines, Joel Lamangan.

From Viva films, be enchanted by its beauty and find yourselves lost in the Island of Desire, streaming on Vivamax starting April 1, 2022. .

For you to watch this desiring film, all you need to do is subscribe to Vivamax for only P149 per month or P399 for three months.

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I'm an art lover and I would really want to see this and know more about this.

If you want to know more about Marcel Antonio read more below....


Press Release
In July of 2010, the poet V.I.S. de Veyra posted a blog essay on the art of Marcel Antonio titled “Blue Funk’d Stories: The Expanding Art of Marcel Antonio” (read at http://partycrashingangle.blogspot.com/2010/07/blue-funked-silent-stories-expanding_26.html) and coined the phrase-tag Blue Funk Erotica for Antonio’s art. De Veyra described Blue Funk Erotica as 1) unsmiling faces-derived figurative drama (primarily portraiture, then), 2) replete of appropriations or art-historical quotes, 3) suggestive (but only suggestive) of a narrative, 4) quasi-rebellious towards rigid allusions and painting titles’ guidance, 5) unpainterly expressionist, 6) of an in-a-trance mood as against a happy one, and 7) conscriptive of the painting viewer as peeper. “This erotica should stay around and keep us entranced,” the poet-critic wrote, “being not so much one that tickles the groin as a kind that promotes the understanding that every face, gesture, object, color, and shape is a secret sex object and clandestine true story waiting to be told.” But also debunking a previous simplistic tag on Antonio’s art as “narrative expressionist,” de Veyra wrote: “In Antonio’s case, his blue funkism's ‘de-expression’, or ‘dis-expression’ and narrative confusion through the mannerisms of narrative imagery and titling, seems to be a produce of a Russian Formalist narrative bent to ‘defamiliarize’ images and shapes towards a higher enigma. Thus his refusal to ‘express’.”


The abovementioned blog started a dialogue between Antonio’s art as well as intent (of unintent) and de Veyra’s reading, culminating in a late-2011 collection titled “Desire, Ennui, Anxiety” which shall be shown this coming Feb 6 to 25 at the Yuchengco Museum.


This title for Antonio’s new series does not so much signal a change in his art’s direction as clarify where de Veyra’s reading is right and where it needs to be tweaked. For instance, while de Veyra opts for a Barthesian “variety of narrative possibilities,” Antonio’s pragmatic knowledge of his audience allows/welcomes two basic approaches to his art.


The one approach favours rigid symbolist readings, especially as Antonio is himself attracted to the “monumental” (Antonio’s term) figure common among utopian-art compositions (of Wagnerian glorifications, classical idealism, Nazi art, Stalinist totalitarian art, socialist realism, etc.) as well as in advertising art or the idealizations of soft porn.




But, for the other approach, Antonio acknowledges that de Veyra is right about his—Antonio’s—own efforts to frustrate, so to speak, all symbolist and narrative approaches, via experimentations with juxtapositions/relations and eclectic allusions. These experimentations, appropriations, and art-history quotes result in a dehumanized atmosphere, involving such stuff as machine esthetics and the usual facial expressions of ennui and boredom, all moving towards Antonio’s intended postmodernist multiplicity of meanings. But the final result on each single canvas is an invite to a pseudo-narrative half-aware of this pseudo-ness, welcoming while parodying the various cultural and moral significations possible to professional and popular semiotics.

In this sense, Antonio’s art would be self-described as anxious about the unknown, desirous of knowledge as a matter of course but likewise celebrating the ennui of knowledge’s elusivity, even the charm of that ennui itself alone. Ennui as both springboard and object of desire, then, visually fulfilled or illustrated on an Antonio-esque drama field.


A final stamp to this anti-narrative effort to “recover the sensation of life” (Victor Shklovsky) is the artist’s devotion to the coloration of Diego Velázquez or Chagall as well as the latent abstract geometrics beneath all his pseudo-narrative stagings.




We would like to invite people or media to witnesses the Marcel Antonio art work this coming Feb 6 2012 6pm for the opening for lunching on cocktail.V.I.S. de Veyra joins Antonio in this exhibit with fourteen new poems printed in the exhibition catalogue.


For more information about the show, contact the Yuchengco Museum, 2/F RCBC Plaza, cor. Ayala and Sen. Gil J. Puyat Aves., Makati City, Philippines 1200 or Galleria Quattrocento, 3rd Floor Glorietta 4 Art Space, Glorietta 4, Ayala Center, Barangay San Lorenzo, Makati City (Telephone: [632] 818-5939 // [632] 519-7221; Mobile #: 0917-8911322; Email: galleria.quattrocento@gmail.com; Website: http://philpaintings.com/).