Even if the discussion on the type of movies that got into the 2016 Metro Manila Film
Festival somewhat divided the country (again), I still find it
empowering that this year, we are given the opportunity to watch films that, in
recent years, we would only normally see during indie film fests.
I get the argument of those who were not happy that formula and
expected blockbuster films e.g. those from Vice, Ai-Ai, Vic Sotto, etc. did not
make it this year. Christmas season is for families spending quality time at
the cinemas for family films.
I do believe however that it wasn’t always this way. We have just
been fed with this type of MMFF entries because these are the ones that bring
out the most money. In order to earn, substance was compromised. But this is
also very debatable as the definition of “substance” can go a very long way when discussed with
people we don’t usually spend time with.
This year, an array of films made this MMFF one of the best film
fests we’ve had in recent memory. And this is because of the following:
SAVING SALLY
That viral comment where someone criticised the animation of Saving
Sally is probably the most wrong review about this film. The movie may have a
very few cinematic elements that are not in the outstanding department but the
animation, yes dear, the animation, is definitely not one of those.
This film is a cinematic evolution every Filipino must be proud. Even
if personally I always prefer movies that make me think, wonder and challenge
my insights, I enjoyed Saving Sally nonetheless. It took me to a ride with a light-hearted plot,
witty references, cute leads and relatable progress.
At
first I thought it was a story of romantic love. But then I realized that this
movie is really a film about friendship. Infused with animations that perfectly
fit the millennial taste (given the fact that the team behind the movie did not
have the luxury of resources to create the movie in a span of a decade), one
could only praise everyone who is a part of this film.
I
could easily say that Saving Sally will be a timeless reference for the
crossover of visual arts and film-making.
RATING:
7.8/10
DIE BEAUTIFUL
By now,
it’s pretty needless to talk about the awards this film has gotten or how many
internal film fests this has been invited to. I don’t even think this film
still needs domestic validation from Filipinos. From the buzz it is making
online, Director Jun Lana and Paolo Ballesteros definitely could not ask for
more.
Honestly,
I was expecting that this movie would reveal some jaw-dropping twist, a “whoah!”
bomb that would surprise audiences while watching. I thought that this twist
would be about how Tricia (Paolo) died.
But
that didn’t happen. Yet, it wasn’t really a disappointment. It’s because I find
the movie’s narrative as a beautiful irony to my expectation. I was waiting for
the story to elaborate on the specific details of his death because
he wanted to “Die Beautiful”. But if you were captivated by the 2-hour run of
the movie, you must have realized by now that instead of dealing on how he
died, the film is centered on how he lived.
The
movie’s relatability, along with its social commentary on Philippines’
still-uncomfortable acceptance of the LGBT community, is its best asset. The
living proof of that is Barbs (we need
a Barbs in our lives!), the character played by the newcomer Christian
Bables. This guy, I believe, equally deserves best supporting actor accolades
from everywhere. Tricia and Barbs’ chemistry, carrying the language and
behaviour we have all grown to love in recent times, is definitely why this is
one of this year’s easy favorites.
RATING:
8.9/10
SEKLUSYON
You shut
down your hesitations when you hear Erik Matti’s name associated with a film,
let alone when you know he’s the one directing it. After last year’s critical
acclaim for Honor Thy Father, my
expectations were too high for Seklusyon.
Now it’s probably why I feel somewhat disappointed that it did not deliver as
well as I thought it would.
Don’t
get me wrong though. I am only talking about the plot of the movie here. It’s
maybe the conflict (or lack of) or the resolution (or lack of) that did not
come quite substantial for me.
Everything
else is outstanding. Hands-down, one of top 3 best cinematography of all Filipino
films I have seen in 2016. Horror films heavily rely on sound engineering to reach audiences but
Seklusyon’s cinematography is as amazing as its audio counterpart. Good (but
not really stellar) acting from the male lead roles helped make Rhed Bustamante
(the little girl who plays Anghela) the gem of the movie. She is that character
in the film that makes it most convincing. You get goosebumps even by seeing her stare at the other characters. An effortless acting prowess, no doubt.
But going
back to the plot, I felt however that the build-up of the characters went to
waste because movie wasn’t really about them at the end of the last scene. It felt
like the narrative made the viewers invested on the characters on the story but
it never should have done that in the first place if nothing significant in the
climax would be revealed by, on, from or through a single character.
Or it’s
just me that wanted more from the narrative side of Seklusyon. Well, it’s still
a 1,000 times step-up from the out of synch screams we see and hear from the lackluster
Filipino horror films in the past that had us reacting “seriously?” with our
heads shaking.
RATING:
8.3/10
ANG BABAE SA SEPTIC TANK 2: #FOREVERISNOTENOUGH
Some of us may not want anymore a sequel to Enteng Kabisote, Ang Tanging Ina, Mano Po, Panday and many other stretched Pinoy film franchises so we were given a sequel for Ang Babae sa Septic Tank. Did we ask for it? You can say we didn't. But are we glad they did a followup? Everyone who watched the film would say yes.
I find the sequel insanely entertaining. While using the same plot of discussing with Eugene how a potential indie film would be made (it's a movie inside a movie, you should know that by now), the part 2 has also become more commercial than its predecessor. I find that coincidence very sweet. We see Eugene Domingo now parodying herself again, getting more prima donna than before. We are given a very edge-of-the-seat moment of laughter as Eugene and Jericho Rosales explain and give their renditions of something we can't get decide if we hate or we love - hugot. As immortal as the act of coming up with hugots may become, the "3 levels of Hugot" in Ang Babae Sa Septic Tank 2 will go down the history of Pinoy Cinematic Comedy.
But what makes this film closer to me personally is the infusion of the struggles of the character of 'Direk' played by Kean Cipriano. His character is, for me, a multi-dimensional metaphor the movie conveys both intentionally and unintentionally. There's the metaphor for picking indie films over commercial ones because of substance. There's that symbol for artistic oppression because some artists feel obliged to be bound by popular demands. And there's the aspect of fighting or succumbing to escapism because one's reality is in a bad shape.
Or really, the movie is plain and simple but I just liked it so it made me think this way.
Nevertheless, like I said, I'm all for movies that make me ask, wonder and question my insights. In a very entertaining way, Ang Babae sa Septic Tank 2 made me do that.
RATING: 9.2/10
I find the sequel insanely entertaining. While using the same plot of discussing with Eugene how a potential indie film would be made (it's a movie inside a movie, you should know that by now), the part 2 has also become more commercial than its predecessor. I find that coincidence very sweet. We see Eugene Domingo now parodying herself again, getting more prima donna than before. We are given a very edge-of-the-seat moment of laughter as Eugene and Jericho Rosales explain and give their renditions of something we can't get decide if we hate or we love - hugot. As immortal as the act of coming up with hugots may become, the "3 levels of Hugot" in Ang Babae Sa Septic Tank 2 will go down the history of Pinoy Cinematic Comedy.
But what makes this film closer to me personally is the infusion of the struggles of the character of 'Direk' played by Kean Cipriano. His character is, for me, a multi-dimensional metaphor the movie conveys both intentionally and unintentionally. There's the metaphor for picking indie films over commercial ones because of substance. There's that symbol for artistic oppression because some artists feel obliged to be bound by popular demands. And there's the aspect of fighting or succumbing to escapism because one's reality is in a bad shape.
Or really, the movie is plain and simple but I just liked it so it made me think this way.
Nevertheless, like I said, I'm all for movies that make me ask, wonder and question my insights. In a very entertaining way, Ang Babae sa Septic Tank 2 made me do that.
RATING: 9.2/10
