A character-driven drama with force, grace and flow, like a wave crashing and receding.
Apocalypse Child is a film filled throughout with short, seemingly filler shots of characters enjoying the famous waves of Baler. These are images of a sunny, slow-mo disposition, the frames filled with luscious visuals of surf and skin. It is beautiful enough that the film is worth watching even if it didn’t have a narrative, as a music video would.
The visual motif of sand and sea is appropriate for a film that has consistently been called a refreshing contribution to Philippine cinema. (Even its playful, almost absurd trailer is wonderfully unique.) Its distinctive flow and flavor washes over its viewers, then withdraws and drains out with the steady rhythm of water. Seeing Apocalypse Child, for any Filipino cinephile, is almost like the experience of seeing a marvelous underwater world for the first time.
(Or so I imagine, I haven’t learned how to swim yet. But it doesn’t matter—lead actor Sid Lucero, who plays the role of a surfing champion, didn’t really know how to surf yet when he acted in the film.)
Continue reading “‘Apocalypse Child’ (2015): crash, tumble, subside”
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.
Continue reading “‘Hele sa Hiwagang Hapis’ (Lav Diaz, 2016): necessary fiction”