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.)
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