‘Hihintayin Kita Sa Langit’ (1991): evocative beauty and provocative intensity

Old-fashioned both in visuals and in story, this 1991 ‘Goma-Dawn’ film can nevertheless startle even modern audiences.

Hihintayin Kita Sa Langit is a 1991 adaptation of the classic English novel, Wuthering Heights by Emily Brontë. That novel, while without doubt an excellent work of fiction on its own, almost begs the question: does it owe some of its success, part of its much-celebrated status, to the tragedy of being its author’s first and last novel? (Brontë passed away only a year after her novel was published, and so never came to appreciate her novel’s full success.)

This is not to criticize the novel’s value in any way, because no amount of sympathy for the author’s misfortunes can save a novel if the work itself lacks substance. This is merely to suggest that Hihintayin Kita Sa Langit, in drawing from Victorian literature, also acquires much of its charm in this association with its source material. Like the idea that the appeal of Wuthering Heights, as a creative work, is enhanced by the circumstances of its creation, there is neither criticism nor praise in declaring that its Filipino film adaptation borrows heavily from the beauty of earlier works—there is only acknowledgment, that any work of art cannot escape being part of something larger than itself, of a world beyond the boundaries of the art form.

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A closer look at ‘Sakaling Hindi Makarating’: familiar journeys and unexpected discoveries

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.

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‘Sakaling Hindi Makarating’: a tribute to the “beautiful process” of coping with heartbreak

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.

Portrait of Ice Idanan, director, cinematographer, co-writer, and co-producer of Sakaling Hindi Makarating (2016).
Filmmaker Ice Idanan had four roles in the making of Sakaling Hindi Makarating: director, cinematographer, co-writer and co-producer. (Press kit photo)

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.

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