A love story, pure and simple, full of feelings as advertised.
“Out of sight, out of mind”, the saying goes. People tend not to think about, or at least be aware of, things that are not visible. But visibility is not enough—the saying should really come with a complementary proverb: out of hearing, out of meaning.
At the heart of Isa Pa, With Feelings, the new, humble film by Prime Cruz, is this message: that things out of our sight and out of our mind, things we take for granted such as the sense of hearing, create invisible worlds that bind people together, but that can also separate and isolate them. And because these are invisible worlds, they are not usually on our minds, we usually do not notice them—until we start truly paying attention, not just with our eyes but also with our ears. Because to understand people, for them to mean something, it is not enough to see them—we also have to hear them.
Continue reading “‘Isa Pa, With Feelings’: from speechless to breathless”
History is important despite its unfortunate repetitiveness. The way it is retold should be more inventive.
Films are one solution to the problem of tedious history lessons. This medium of sights and sounds, combined with the factual liberties afforded to dramatizations of historical events, makes the past real, turns staid accounts and lifeless facts into visceral sensations—and refashions the study of history from a mechanical transfer of data into a transformative human experience with emotional gravity. That is the idea, at least.
First there is the complication of films as vehicles for history lessons, lessons being quite a controversial concept in the context of art. Filmmakers are storytellers first and foremost, but in the process of making historical movies, they involuntarily have to take on some of the difficult functions of preaching and teaching. The very act of selecting a subject, and choosing which details about that subject is presented, is a statement bound to generate dissatisfaction one way or another. The filmmaker may choose to present history in a straightforward, agreeable manner, and then be accused of naivety. She might also choose to deconstruct history, to subject the past to critical scrutiny, revealing heroes to be not so heroic, revolutions not so revolutionary—and then be accused of being unpatriotic, of blasphemy. Tasked with telling a story from the past rather than from imagination, the filmmaker cannot then proceed with her work without implicitly staking a position between these two extremes.
Continue reading “‘Quezon’s Game’: playing it safe”
Five years later, Sam and Isa find themselves pulled back into each other’s worlds.
Ang Kwento Nating Dalawa was the study of a relationship coming to its end, and had its characters in constant motion, through trains and taxis and the corridors of a college, echoing the transient, restless nature of their romance. The theme and motif evolves in the sequel, Tayo sa Huling Buwan ng Taon: Nestor Abrogena, the man behind both films, shares that in making the sequel, to convey its visual philosophy, he came up with three keywords—flight, orbit, and gravity. But these concepts do not merely manifest in the cinematography; they also enrich the essence of a film that could easily have been just another heartstring-puller.
(Tey Clamor, the director of photography, executes the vision well, exemplified in such shots as of Emmanuelle Vera where the camera hangs at an oblique angle, seemingly floating away from her, but also inducing a sense of vertigo. Also, whereas Ang Kwento Nating Dalawa had cold colors, Tayo sa Huling Buwan ng Taon is rendered in rich, worldly tones.)
Continue reading “‘Tayo sa Huling Buwan ng Taon’: a world of their own”