It may be distractingly beautiful, but like any good film there is more to ‘Sakaling Hindi Makarating’ than its spectacles: here is one reading of the poetry that extends beyond the postcards.
Perhaps all forms of storytelling are, in essence, also forms of travelling. Even when a story does not, literally, take us to unfamiliar places, it will always at least transport us, figuratively, to unfamiliar situations. Every story that introduces us to new characters is a visit to the home of strangers; the most profound tales are expeditions to the unlit depths of human hearts and minds.
Sakaling Hindi Makarating, then, is twice a travel film, because it pairs the figurative journey of its characters with the premise of a literal voyage. Far from being the typical touring blockbuster, which treks through various locations purely for spectacle, Sakaling Hindi Makarating distills the beauty from each of its destinations, then uses this essence to chart its characters’ arcs in consequential ways. By its end, it feels almost regretful that one regular feature film can accommodate only so many settings, while keeping the itinerary meaningful.
Warning: this discussion shares extensive details of the film’s plot and other elements, or ‘spoilers’; this was written mainly for those who have seen the movie.
The passion project of a film is a gorgeous love letter to journeys of all kinds, be it across an archipelago or through the depths of heartache.
Director Ice Idanan, when asked how she came up with the story of Sakaling Hindi Makarating, does not hesitate to share that it was directly born out of personal experience. She wrote, initially, to help her cope with heartbreak, and the first story drafts thoroughly reflected the bitterness she felt at the time. But as months passed, she found beauty in the process of recovering from pain and rediscovering herself, and this newly brightened outlook similarly found its way onto the pages of her script.
It would take many more years and many more pains before Sakaling Hindi Makarating would be completed—at least one script development and two film financing grants later, to be exact—but the film will finally arrive in theaters across the country.
In Lav Diaz’s 8-hour epic, our nation is a country imagined in monochrome.
Las Islas Filipinas, according to Lav Diaz’s 8-hour epic Hele sa Hiwagang Hapis (A Lullaby to the Sorrowful Mystery), is a nation imagined in monochrome. It is the same vistas: cities of colonial architecture, endless coastlines of soothing seas, and forests of tropical green. Yet, it is not the same images: we see all these filtered in shades of black and white.
In similar fashion, the stories that Hele tells are not tales as they ordinarily are—because the massive ambition of Lav Diaz, the central conceit of his project, is the interweaving of the historical, the literary, and the fantastic.
Let us count Hele‘s narrative threads, all set at the turn of the end of the 19th century, during the Philippine Revolution from Spanish rule.
Note: this essay is not so much a critical review as it is a reading of this film and a commentary, so it necessarily shares plot and characterization details.
A young man with Asperger’s, his esteemed mother, and other characters populate this contemplative small-town drama.
In Oggs Cruz’s roundup of 2015 Filipino films (Rappler, 12 best Filipino films of 2015), Lemuel Lorca’s Water Lemon does not make it into the top 12, but it receives this passing ‘also worth watching’ citation:
From QCinema International Film Festival, there is Lem Lorca’s Water Lemon, a somber examination of rural boredom…
It is quite a misleading summary. True, Water Lemon is a story about small-town (rural) blues, but it is neither thoroughly somber, nor is it largely about boredom. (Perhaps Cruz found the film a little too slow for his taste, which would be unfortunate.) True, Lemuel Lorca’s latest work has its share of extended shots and slow gazes—but it never comes close to the painful uneventfulness of long shots in such epic works as (for example) Lav Diaz’s Norte, Hangganan ng Kasaysayan. It is seasoned with several lighthearted moments, and succeeds in squeezing genuine laughs out of its audience. Like the small-town characters populating its story, who in their solitude are brooding, but in social gatherings turn lively and humorous, Water Lemon has both contemplative and hilarious moments.
The rural community that Water Lemon explores is the coastal community of Mauban, on the coast of the province of Quezon. This is director Lorca’s hometown. The location is so prominently billed in this film that we are led to think of its characters, primarily, as inhabitants of this coastal town, and only secondarily do we explore their individual differences. But the film does not disappoint, because the variety and relationships of its characters, in fact, is its greatest beauty.