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.
Continue reading “A closer look at ‘Sakaling Hindi Makarating’: familiar journeys and unexpected discoveries”
Watching this story of a romance approaching the end of the line is like searching for the right person to love.
“Ang sabi mo walang hanggan, pero ‘eto tayo sa dulo.” (You said there would be no end, but here we are standing on the edge.)
If it were not for these words from the film’s original sound track, Walang Hanggan by Quest, it would have been easier to miss the purpose of Ang Kwento Nating Dalawa‘s restless settings. Throughout the film we see the characters in places of motion: sitting in a taxi or on the steps of a bridge, waiting on train platforms, walking between stations. Always in transit, Ang Kwento Nating Dalawa never lets us forget that the characters are in love, but that this love is transient. As much as they would want things to be different, the road will always come to an end, the train will always come to a stop.
The camera in this film has a similar obsession with buildings under construction: hinting at things not quite formed yet, things with perhaps no certainty of completion or fulfillment; without proper labels, like the love between Sam (Nicco Manalo) and Isa (Emmanuelle Vera).
We do not need to see the entire film to understand these metaphors for a relationship that has run its due course. They are apparent enough in the music video for Walang Hanggan that uses clips from the movie. Indeed, the resonant, heartbreaking song is responsible for much of the crowds that went to see the indie picture in its commercial release. The social media campaign for the film banked on the song’s hugot or heartbreaking ‘feels’ to draw the sawi, the romantically frustrated. People went to the theaters expecting to be brought to tears, maybe seeking legitimate comfort in a movie, or perhaps simply curious yet prepared for a good cry.
For marketing itself in this way, it is worthwhile to think of the film in explicit contrast to conventional Filipino romance movies.
Note: this review includes spoilers.
Continue reading “‘Ang Kwento Nating Dalawa’ (2015): watching the end of the line”