QCinema 2017 reviews: ‘The Chanters’, ‘Dapol Tan Payawar Na Tayug 1931’, ‘Medusae’

Films tackling tradition, history and mythology.

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The Chanters

The Chanters is a comedy-drama film about Sarah Mae (Jally Nae Gabaliga), a 12-year-old school girl, the granddaughter of the last chanter of the Panay Bukidnon tribe. She obsesses with pop culture and readies herself for the visit of a sensational TV star to her school. As she perfects her dance, her grandfather, Lolo Ramon (Romulo Caballero) suffers the onset of dementia. As her Lolo starts losing his precious memories, Sarah Mae is tasked to help him complete the last of the remaining 12 epics, their tribe’s vanishing tradition.

The Chanters is presented in a peculiarly narrow (approximately square) aspect ratio. This allows for appealing compositions that look unique, though not exactly cinematic. Add in the bright, pastel coloring, and what we have is a film always poised for a screen-capture, to be posted on social media for bite-sized consumption.

The Chanters uses its unique format to communicate an idea. (Towards the end, it even manipulates the aspect ratio.) That idea is about the relationship between popular and traditional cultures, between the modern and the ancient. This recalls the themes of Respeto, and like in that film this relationship is personified: in The Chanters, Sarah Mae carries the future, Lolo Ramon holds the past.

When modern and ancient cultures meet, the representation is often one of conflict, of clash: the new against the old. This is where The Chanters does something different. Here, the initial relationship between the youth and the elderly is indifference—a situation more difficult than direct competition. Sarah Mae takes a lot of selfies with her phone, documenting only herself in the process of living her daily life, all while her grandfather struggles to record, with pen on paper, their tribe’s oral epics—that memorized document of countless generations.

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The painter is dead: Barthes, and Nick Joaquin’s ‘A Portrait of the Artist as Filipino’

How does the ‘greatest Filipino play’ illustrate our nation?

The reputation of Nick Joaquin’s 1951 play, A Portrait of the Artist as Filipino, towers over the landscape of Philippine literature. Its achievements demand nothing but superlatives; on the theatrical poster of its 1965 film adaptation is this call to attention:

The film, the stars, the setting, the theme, the story, the director—all the things that make this the motion picture to see if a Filipino can go to the theaters only once in his lifetime!

This year (Nick Joaquin’s birth centennial) will see the release of another cinematic adaptation entitled Ang Larawan. At the end of the teaser trailer for the film is a less self-important, but nevertheless equally grand, assessment of the source material: “The greatest Filipino play, now on film.”

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Review: Cinemalaya 2016 Shorts A

Set ‘A’ of the Cinemalaya 2016 shorts features a few delightful entries.

The short film competition section of Cinemalaya’s 12th edition did not enjoy the same top-billing it had in the previous year, with the return of the full-length category. Regardless, it remains an essential part of the festival, a nourishing ground for promising new filmmakers.

Here is a review of the five works belonging to the ‘A’ set, which, I am pleased to share, features some delightful entries.

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