This Vilma Santos-starrer is quite cheesy, but it can be more than just a popcorn movie.
Change is inevitable, but some things are eternal—or at least, they reincarnate. In Danny Zialcita’s Karma, a film that premiered at the 7th Metro Manila Film Festival in 1981 and was recently remastered by ABS-CBN Film Restoration, we see such old, past things as a Makati City with an unrecognizable skyline. There were no cellphones yet, and the characters depended on landline services. For audiences today, the movie offers glimpses at how much life has changed in recent decades—but it also suggests that some things are undying, like love and souls and poor customer service from telephone companies.
Karma opens with a scene of lovers meeting at a clandestine location, part romantic and part spooky. Guada (Leila Hermosa) and Enrico (Dante Rivero) have barely made their amorous overtures when Limbo (Ruel Vernal)—Guada’s husband—arrives and threatens to kill the adulterous pair. He points his gun at the unflinching Enrico who, because of either some mystic foresight or simple, tragic romanticism, says “Bala lang ‘yan, katawan lang ‘to.” Limbo makes good on his threat and shoots the two, before killing himself.
The title credits are flashed in the next sequence, over a montage of babies being born in a hospital, intercut with images of the dying lovers, strongly implying that Guada and Enrico’s souls have reincarnated. Limbo’s crime of passion apparently failed to send them with finality to heaven nor to hell, and not even to limbo.
Continue reading “‘Karma’ (Danny Zialcita, 1981): dying to love again”
Features on love and war, and short films from the charming to the profound.
Toto (Tim Castillo), a teenage orphan, is recruited by a notorious death squad. Irma (Eula Valdez), the group’s leader, soon becomes a maternal figure to the young boy. As the two form a familial bond, their loyalties will be put to the test when one of their targets turns out to be a familiar face.
In the wake of Birdshot’s tremendous success, young filmmaker Mikhail Red takes on a rather ambitious project. His debut feature Rekorder demonstrated his careful, patient craft as he told an intriguing underworld story, taking the distinct perspective of a movie pirate. Birdshot, the triumphant mystery-thriller, ventured into the past and out to the countryside, finding in the national eagle a symbol for social injustice. Now, with Neomanila, Red faces the challenge of entering familiar territory—the city’s criminal underworld—without as much of a fresh element as those found in his first two films. Local independent filmmakers have been scrambling to portray the drug-war-torn society of present-day Philippines, the same milieu that Neomanila tackles head-on. There have been more creative approaches; the topic has even found its place in a monster story, 2016’s Ang Manananggal sa Unit 23B.
Neomanila mostly succeeds. It is a solid film. Red proves to be a truly confident and capable filmmaker, and his latest product has it all: well-written, well-acted, and well-designed. It is his most thrilling film so far, with impressive set pieces, displaying his definite talent for building tension.
Continue reading “QCinema 2017 reviews: ‘Neomanila’, ‘The Write Moment’, short films”
Striking visuals, genuine thrills and a few subtleties more than offset the story’s shortcomings.
Ang Manananggal sa Unit 23B is a horror-romance film that seduces with millennial sensibilities: balancing its brooding atmosphere with injections of humor, delivering eye-catching cinematography and Instagram-worthy production design, featuring a hip and esoteric indie soundtrack, and setting up its scenes with meme-friendly situations. It is a movie that can be enjoyed by the most casual moviegoer—anyone seeking bloody thrills, feverish titillations, and affecting romances—yet it is a film with something to say beyond this enthralling shell of plain entertainments.
Consider, for instance, the intriguing title. For city dwellers, the manananggal is merely an ominous mythological terror, a vague threat lingering out there—but the film’s title locates the creature, makes it present with shocking particularity: she lives in an apartment just like yours, in Unit 23B. This specificity reflects how the film presents the manananggal not as a creature of pure malice, but as a person like the rest of us—only, that she is also afflicted with a monstrous other side, that terrifies her just as much as it does her victims.
The eponymous Unit 23B is not a mere quirk; the apartment points to the film’s central theme. Ang Manananggal sa Unit 23B, like director Prime Cruz’s previous film Sleepless, is a story of alienation. Its protagonists, Jewel (Ryza Cenon) and Nico (Martin del Rosario), like Sleepless’s Gem and Barry, are lonely neighbors. Romance springs from this proximity: love conquers the irony of apartments, that as people come to live closer together in cities, they lose the solidarity of neighborhoods; people live together but apart, shuffling and hurrying around in urban anonymity.
Continue reading “‘Ang Manananggal sa Unit 23B’: dark romance, visceral thrills”
A standard Star Cinema rom-com, with a few delightful tricks.
To provide an upfront summary of this review: ‘Can We Still Be Friends?’ is your standard rom-com, cast in the same old Star Cinema mold, with a few nice tricks up its tried-and-tested sleeve. That this movie is not groundbreaking should not be taken against it—and the story itself gives us a reason why.
Warning: this review includes spoilers.
Before anything else, let us mention the film’s worst moment: a minute or so is spent on product placement in the middle of the action. It is not as blatant or tacky as certain MMFF entries have been, but neither is it subtle. Jarring advertisements like this destroy storytelling flow. At least, the scene does not take too long. It cuts out before audiences can start hurling tomatoes at the screen.
Can We Still Be Friends? is made by the same core filmmaking team behind crowd-favorite indie Sleepless, and the horror-romance Ang Mananggal Sa Unit 23B (AMU23B), also an indie. Both films were entries at different editions of the QCinema Film Festival; Can We Still Be Friends?, therefore, represents this filmmaking band’s crossing into mainstream cinema. The team’s past work provides a convenient standard against which their latest work can be measured.
Continue reading “Review: ‘Can We Still Be Friends?’ (2017)”
The ‘Cattleya Killer’ thriller is intriguing for Aga Muhlach’s atypical casting, and satisfying for its intelligent writing.
In my recollection of the 1990s, a decade I had the questionable fortune of experiencing as a young kid, Filipino movies were generally of two types. They were either silly comedies that invariably included song-and-dance numbers at the beach, or drama-action flicks that were almost always about crime. The Philippines in the 90s was a society obsessed with crime; it had a dual fascination and dread for the drama and tragedy of heinous violence. Kidnappings and massacres (and frequent brown-outs) filled the news, and filmmakers responded by repackaging these horrifying stories for the silver screen. (Before the decade ended, audience-voters apparently also responded by electing a swashbuckling former movie star into the presidency.)
Sa Aking Mga Kamay (literally: In My Hands), a 1996 Star Cinema picture, fits perfectly into this latter category of my simplistic classification of 1990s Filipino cinema. But what sets it apart—its unique selling proposition—is its featuring of Aga Muhlach “not doing a pretty boy thing,” as a friend put it. Now, Aga Muhlach was quite the household name back then, the actor having enjoyed the status relished these days by, say, Dingdong Dantes. (Although I make such delicate comparisons only approximately, lest some pundits get mad at me). Muhlach was the premier leading man of the time, pairing off with such ladies as Dayanara Torres and Lea Salonga, and therefore to see him play a psychopathic serial killer is a true novelty.
Continue reading “‘Sa Aking Mga Kamay’ (1996): the dual faces of crime and passion”