“After years of financial struggle, Kaye and Edgar are finally on a roll. Kaye has made millions promoting her father’s investment scheme to her friends and fellow Pentecostal parishioners at the Church of Yeshua. But their world unravels instantaneously one day when Edgar swings by his father-in-law’s house to find the place ransacked and the old man gone. It doesn’t take long for Kaye’s friends to turn on the couple, who go to the fiery bishop for help. But he’s not exactly generous, preoccupied as he is with raising money for a new temple (and with the promise of extravagant kickbacks). The parishioners continue to demand their money back, and Kaye and Edgar start receiving death threats. When the tension erupts in violence, Edgar decides to seek the aid of his criminally inclined family.”
What is there to say about Honor Thy Father other than the fact that it was beautifully made? Director Erik Matti and Cinematographer Ber Cruz made even the tightest and dirtiest look cinematic. The first thought in my head coming out of the cinema was that this is the film that will become part of film class curriculum.
Meryll Soriano and Krystal Brimner were the standouts when it came to acting, delivering nuanced performances that made their characters feel strikingly real. Perla Bautista and Boom Labrusca both delivered solid support as well, making their presence felt without taking away the focus from the lead actors.
And then there’s John Lloyd Cruz.
I’m not a fan of John Lloyd, to be honest, but there’s something about his ticking-time-bomb performance that I felt really captured the essence of the film. That said, I like him better in the scenes where he doesn’t have lines, the ones where he lets his actions and reactions speak for him.
If you have seen and enjoyed Heneral Luna, you have to watch this film. It has the core of an independently-produced film with the budget of a mainstream movie–so we get the best of both worlds. And all I have left to say is that, I think Honor Thy Father is the best film off the past year’s Metro Manila Film Festival. So watch it.
Show the mainstream media that there is room for films like this. For stories that aren’t cookie-cutter romances, and aren’t trope-filled horrors, and aren’t slapstick comedies. We’re always lamenting the dying movie industry because it’s inundated with movies that cater to the escapist nature of the Filipinos, and yet most of those complaining don’t even bother watching films like this when they come out.
The movie industry will stay in its deathbed unless we support the films we want more of. If we want more quality films, it’s time to put money where our mouths are.