Movie: Ang Katiwala

“Ruben loses his job as a carpenter in a small town in Zambales where he lives with his wife Edna and their 10-­‐year old son, Budoy. Desperate to make ends meet, he accepts a job as a caretaker of an abandoned property in Quezon City. Ruben soon finds out that the previous owner of the house is an important figure in the country’s history.“

I must say, I’m very conflicted as to what I want to say about Ang Katiwala.

Overall, I liked it. But for the entirety of the film, I kept expecting ghouls or monsters to pop out without a moment’s notice. Which, I feel, detracted a lot from the message the film wants to say.

Ang Katiwala tells the story of a caretaker who just wants to make ends meet. But as he explores the life of Manuel L. Quezon, the previous owner of the house he’s taking care of, he begins to dream. The former president’s life story is full of trials, but he managed to come up on top. He managed to become president, and went on to become instrumental in the country’s fight for true independence. And as Ruben, the caretaker, absorbs the late president’s life story, he thinks that he can overcome his obstacles too. He starts to believe that he too can be as great as Manuel L. Quezon.

But not everyone is destined for greatness. Some of us are just placeholders, waiting for the time when greatness will arrive.

Now, let’s go back to why I kept expecting monsters to pop out:

The film is dark. Not figuratively dark, it’s just dark. And because the main location (the house), is so old and so empty, you can’t help but feel a sense of foreboding. Every movement of shadow made me narrow my eyes, waiting for a spirit to disengage from a furniture, or for a creature to rise from the grounds of the house. And during one of the film’s climactic scenes, I wasn’t alone in thinking that a bad guy wasn’t just a bad guy, but rather, a zombie. Especially with the actor’s shamble.

Don’t get me wrong. I love the visuals. I love the darkness of the film. I just don’t think it suited the film well, as it nudged viewers (me) into feeling the movie was something else than what it was. Then again, what could have been done to change it? Taking away the darkness would also strip the house of the mystery it holds. So it’s a bit problematic, isn’t it?

But these are just my musings. Why don’t you check out the film for yourself?

Ang Katiwala will still screen at the following venues, date and time:
July 26: 9:00PM – Little Theater (CCP)
July 27: 1:30PM – Greenbelt 3 / 6:15PM – MKP (CCP)
July 28: 4:00PM – Trinoma / 9:00PM – Tanghalang Huseng Batute (CCP)
July 29: 1:30PM – Greenbelt 5

Movie: Oros

“The film set in a decadent world where even death becomes a provider.  In a country where a cadaver may serve as license for holding a sakla operation (illegal gambling) in wakes, people may exploit the dead in order to generate income from the profits of gambling, and possibly pay for its burial.  In Oros, a funeral parlor owner sells an unidentified body to Makoy, a kasero in a saklaan, who, along with his reluctant brother, Abet, set the stage for a three-week long fake wake holding the illegal saklaan.  The sakla personnel deals with everyone involved, including Linda, an impoverished homeowner, as they agree upon a fictional story which will “legitimize” the wake.“

I know the writer and the director of this film, and because of that, I will be biased if I talk about the story or the direction. So, instead, I will focus on something else: the acting.

Kristoffer King is a revelation in this film. I’ve heard of him, having worked in the local entertainment industry for almost six years now, but I’ve never actually seen any of his movies. So watching the film, I was impressed with his acting range. Independent cinema does produce a lot of quality actors. There is nuance in King’s portrayal of Makoy, as the man who must make ends meet through any means necessary. And I especially like the vulnerability he gives his character in the end, when realization dawns upon him a little too late.

Teen actor Kristoffer Martin holds his own alongside King. And while his character is very vital to the story, it doesn’t really demand a lot from him. It just needed him to be a teen who is tired of his way of life.

The other revelation in the film is actually reality search alumnus Diva Montelaba. Unlike her contemporaries, Diva rarely gets a break in showbiz. So seeing her shine in the two scenes she was in, I was impressed. Diva made the most of her material, and made her character so grounded in reality that viewers might believe she’s just playing herself. Knowing her in real life, and knowing she is nothing like the character she portrays (not even in the littlest bit), impresses me even more.

But it was Jelson Bay, as the embalmer, who really stole scenes with his constant side comments.

People might write Oros off as poverty porn. And affirmation might come from the trailer. But it’s really not.

Oros is a story about people exploiting the dead–to stay alive. But more than that, it’s the story of two brothers with different world views–one who has given up on striving harder for what’s readily available, and one who wants to leave the life that’s leads them to death every day. It’s a study on how the poor might perceive their fates, and what they have to do to survive.

Catch the film at these dates, time and venue:
July 25: 4:00PM – Greenbelt-5 / 9:00PM – Little Theater (CCP)
July 26: 12:45PM – Main Theater (CCP) / 9:00PM – Greenbelt-3
July 27: 9:00PM – Greenbelt-5
July 28: 10:00AM – Tanghalang Huseng Batute (CCP) / 4:00PM – Greenbelt-3

Movie: Bwakaw

“Rene is a gay man who came out of the closet at age 60. Ailing in his twilight years, he thinks it is now too late for love, even companionship, and that all there is to look forward to is death. Nowadays the only companion Rene has is Bwakaw, a stray dog that hangs around his house and follows him wherever he goes. As Rene waits for the day of his death, he gets the surprise of his life when it is Bwakaw who suddenly falls ill and is diagnosed with cancer. In his struggle to get Bwakaw cured, Rene finds comfort in the most unlikely person: Sol, a tricycle driver who helps him bring Bwakaw to the vet and befriends him. Buoyed by Sol’s friendship, Rene starts living. Little by little he discovers simple joys.“

I took the liberty of cropping Cinemalaya’s official synopsis for Bwakaw. Why? One, because it’s too long. Two, because it reveals the entire story. Whoever is in charge of the Cinemalaya website needs a talking to. But that’s not what this post is about, so let’s move on.

If there was a coming of age movie for the elderly, that would be Bwakaw.

Seeing as the dog has the title role, people might think that the film is about Bwakaw. And it sort of is. But it is, first and foremost, the story of how a grinch-like Rene found new appreciation for life–even at the cost of his own happiness.

Story-wise, it boldly goes where few films have gone before–exploring the life unlived by a gay man who came out too late. The story is rich with characters who seem to have been plucked out from our everyday lives–but they’re given such colorful characterization that they might seem larger than life at first. And it works perfectly for the film, because these loud characters emphasizes just how quiet Rene’s life is without them.

Rene, as a character, is wonderfully layered. He’s prickly, at time’s nasty, but you can see the care he has for the people (and the dog) he surrounds himself with. He’s a very lonely man who hides his loneliness by lashing out at everyone with his acerbic tongue. And it takes one who is just as acerbic as he is to find the self that Rene wants to hide and protect. And what follows is a quiet journey for Rene towards the road of acceptance–and pushes him to start living again, not waiting for his death to come knocking.

With such heavy material, you’d think the film would feel heavy too. But it doesn’t. In fact, during the screening I went to, everyone was laughing 70% of the time!

The humor is a little dark at times, but I’ll take that any day over slapstick comedy. In fact, I would take dark humor any day over any kinds of humor, because this means Filipino writers are now willing to explore the storytelling mold further–and it also gives me hope for the future of moviegoers, with all the people laughing at the right parts.

For the technicalities, I have nothing to say except this: the film has a vibrant feel that transports you to the world of Rene and Bwakaw. I applaud the people behind the camera for their wonderful work on Bwakaw.

Catch the film at the following dates, time and venue. And I suggest you grab your tickets quick as they’re selling out fast!

July 24: 6:15PM – Tanghalang Huseng Batute (CCP)
July 25: 6:30PM – Greenbelt 3
July 26: 3:30PM – Main Theater (CCP) / 6:15PM – MKP Hall (CCP)
July 28: 1:30PM – Greenbelt 5 / 6:15PM – Little Theater (CCP)
July 29: 6:30PM – Greenbelt 5

Edited to add: Bwakaw will have a mainstream run in theaters beginning September 5.

Exclusive: Kristoffer Martin for ‘OROS’

“The film set in aworld where even death becomes a provider. In a country where a cadaver may serve as license for holding a sakla operation (illegal gambling) in wakes, people may exploit the dead in order to generate income from the profits of gambling, and possibly pay for its burial. In Oros, a funeral parlor owner sells an unidentified body to Makoy, a kasero in a saklaan, who, along with his reluctant brother, Abet, set the stage for a three-week long fake wake holding the illegal saklaan. The sakla personnel deals with everyone involved, including Linda, an impoverished homeowner, as they agree upon a fictional story which will “legitimize” the wake.“

Back story: I volunteered to the be still man (the one in charge of taking stills on set) for my friend’s entry to a local film festival. I didn’t get to fulfill my duties because of certain factors, but that won’t stop me from doing what I can to help a friend out.

So here’s a Taking a Break exclusive of Kristoffer Martin, one of Oros‘s stars, talking about his experiences with the film:

Kristoffer Martin on ‘OROS’

CCP Schedule:
July 21 (Saturday), 6:15 p.m. – MKP Hall
July 22 (Sunday), 6:15 p.m. – Tanghalang Huseng Batute
July 23 (Monday), 6:15 p.m. – Main Theater
July 24 (Tuesday), 12:45 p.m. – MKP Hall
July 25 (Wednesday), 9:00 p.m. – Little Theater
July 26 (Thursday), 12:45 p.m. – Main Theater
July 28 (Saturday), 10:00 a.m. – Tanghalang Huseng Batute

Movie: Ligo Na U, Lapit Na Me

“Karl Vladimir Lennon J. Villalobos, aka Intoy, is secretly in love with his friend Jenny, the most beautiful girl in the campus.  Jenny is rich and quirky;  Intoy is street-smart and ordinary.  But this friendship is not simple, since Jenny has bestowed on Intoy some perks and privileges, including going to bed with her on the condition that they will not fall in love with each other.  Before graduation, Intoy feels that he has to shed his pretensions of being astig and finally profess his love for Jenny.   But he is devastated to learn that Jenny is pregnant.  Worse, Jenny tells him:  “Don’t worry, this is not yours.”  Based on the bestselling novel of Eros S. Atalia,  Ligo na U, Lapit na Me is an examination of postmodern love and relationship and the way this generation deals with their love and fear.“

The last entry I saw prior to the awards night was Ligo Na U, Lapit Na Me–which I initially didn’t want to watch because of the title. It’s text lingo here in the Philippines that means “go and take a bath, I’m already near.” But when I read the synopsis (and other viewers’ feedback) I changed my mind. Except I was too late, because most showings were already sold out.

My friend from work was able to score tickets though for an additional screening yesterday–and so we watched, and I have to say I was a little underwhelmed.

The material was very intriguing: what do you do when you find out that the girl you love likes you enough to fuck you–but not enough to commit to you? And what do you do when she tells you that she’s pregnant with someone else’s child? It’s fertile storytelling ground! But we spend more time with the awkward courtship between our two main characters than actually exploring their relationship further. Which irks me.

Like in Sayaw ng Dalawang Kaliwang Paa, we get an amazing female lead in Jenny (Mercedes Cabral) in that she doesn’t fit into any film stereotype–especially here in the Philippines. She is who she is not because of any trauma or what-not; she is who she is because it’s who she chooses to be.

And choice plays a big part in this film. Intoy, our main character, always has to make choices in his friendship with Jenny–and he always chooses the easier way–the one with less drama. Which, being the non-confrontational type that I am, I can relate to. Except he keeps choosing the easy way out throughout the whole film, and it gets frustrating. We do finally get a sense of him growing as a character near the end, only for us to be given an open ending. What happens next?

Promising. That’s what I feel the film is. But I don’t think it’s a particularly great film. It’s good, it’s better than most film I’ve seen–but I don’t think the film ultimately lived up to its promise. Though, it could also be because I got turned off by the multiple love scenes between Intoy and Jenny that cheapened their relationship for me. It’s one thing to allude to it, or talk about it, it’s another thing to see it every ten minutes. (Which is a bit of an exaggeration.) There was a point in the movie where I wondered if Ligo Na U, Lapit Na Me is a soft-porn movie masquerading as a film.

I’m not a prude. I’m fine with sex. But as the film wrapped up, I kept looking for the reasons why we needed to see the multiple love scenes and I found none. The revelations we get, we could have gotten from the relationship that was shown between Intoy and Jenny outside the motel room. The development Intoy goes through also happens outside the motel room. I’m not saying the love scenes should’ve been taken out all together–I’m just saying there should be less. And when there is one, it should be because there’s a development we’re supposed to see. Like, spoilers for those who haven’t seen the film, when Intoy beds a prostitute. That love scene I understood the need for.

Seeing as I’m already writing this after the awarding ceremony, I want to congratulate Edgar Allan Guzman for bagging the Best Actor award for this film. I didn’t think it was that stellar when I was watching it, but the jury clearly saw something that I didn’t. What do I know? I’m not a professional film critic, I’m just a guy who writes his reactions online.

Ligo Na U, Lapit Na Me will have one more showing on July 29, 8pm. Seats are already sold out, but the person I inquired with said that they will still sell standing-room-only tickets on the day of the screening.

Edited to add: This movie was graded ‘B’ by the Cinema Evaluation Board, and will start screening in theaters nationwide on September 7. The same day that Rakenrol will also start screening.