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bounces between two different narratives: the 1950s adolescence of Rio Gonzaga, a movie-obsessed girl from an extended upper-middle-class family, and the scrappy existence of Joey Sands, a poor young half-black male prostitute who witnesses in 1982 the assassination of a popular politician (a character not unlike Benigno Aquino). These stories are intertwined with snippets of recent Filipino history refracted through radio melodramas, news reports, and the Hollywood dreams that equally infect waiters, porn

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