World Premieres fest yields more misses than hits

CABRAL, VELOSO AND LAURENTE. Topbill compelling true-to-life tale, “Da Dog Show.”

THE WORLD Premieres Film Festival needs to get its act together if it wants to develop an audience for the world-cinema and art house flicks it screens. But, the frustrating scheduling gaffes and missteps recurred until the last day of its public screenings last July 7. Yes, film buffs like us support movies that stray off the beaten track—but, patronage has to be deserved.

READ: 7 foreign movies compete in 2nd World Premieres Film Festival

On its second year, the festival reminded us of the disorganized early years of Cinemanila—which is a puzzlement, because it isn’t the first time that the people behind it have been exposed to such an event, especially at a time when festivals are trotted out in our cineplexes on a regular basis.

READ: World Premieres Film Festival opens in Manila

Many of the eight local films in the Filipino New Cinema category are just as frustrating—because even its acting-award winners are as dubious as their entries’ outdated stories, themes and filmmaking styles:

With its transcendent visual beauty (courtesy of cinematographer Ronald Rebutica), Alvin Yapan’s richly metaphorical “An Kubo Sa Kawayanan” is a cut above the rest, as it follows the story of a maiden who lives in a hut by the bamboo grove.

Michelle (best actress Mercedes Cabral) earns a living by sewing her calado designs into the costumes she creates, and stubbornly resists the lure of the big city—and the men (Marc Felix, RK Bagatsing) who show interest in her.

We’ve never been blown away by Cabral’s past performances, often generic variations of the same portrayals—even “Kubo” isn’t much of a thespic stretch.

But, the indie actress turns in a career-best performance in her category in Ralston Jover’s true-to-life tale, “Da Dog Show,” screened in the 11-entry Asean Skies showcase—and the best new Pinoy feature we’ve seen at the festival. It’s compelling, heartbreaking, thought-provoking—and relentlessly unpredictable!

Cabral vanishes into the role of a 27-year-old simpleton, Celia, who lives in a mausoleum with her father, Sergio (Lou Veloso, in a characterization that’s fine-tuned to nuanced perfection) and teenage brother, Alvin.

They make ends meet by letting their precocious aspins, Habagat and Bagwis, perform tricks for tourists. But, something goes horribly wrong when Sergio heads off to the province with Celia to visit his estranged wife and their youngest son, Eddieboy (Micko Laurente)!

Nestor Abrogena’s “Ang Kwento Nating Dalawa” is about Sam and Isa (Nicco Manalo, Emmanuelle Vera), whose relationship comes undone when the secret they’ve been keeping for six months is revealed.

It boasts career-making performances from the appealing Vera and the charming Brian Gabriel Corella, who plays Sam’s adorably obnoxious best friend.

The unexpected twist in the end stirs—but, for the most part, the movie meanders like its seemingly aimless lead characters.

The incursion of Genesis Nolasco’s noirish “Maskara” into the realm of suspense-thrillers is awkward, dour and devoid of tension.

We had high hopes for Charliebebs Gohetia’s gay-themed love story, “I Love You, Thank You”—but, despite the film’s picturesque locales (Vietnam, Thailand, Cambodia) and Joross Gamboa’s impressive turn as Paul, a gay man who falls for the whiny lover (Prince Stefan) of his best friend (CJ Reyes), it doesn’t take long for the movie to fall victim to its discombobulating contrivances and cloying melodramatic mush. The three-way drama gets murkier when Paul meets Thai Tang in Siem Reap—and falls in love with him.

Ruben Maria Soriquez’s “Of Sinners and Saints” is weighed down by confounding convolutions and performances that recall the vein-popping portrayals that were common in TV serials in the ’70s—everything is obvious and “indicated!”

Craig Woodruff Jr.’s “Piring” has a promising leading man (Yussef Esteves)—but, everything else about it is unnervingly over-the-top, from its acting ensemble’s hammy characterizations to its trite and heavy-handed dramatic tricks.

The theme of Jonah Lim’s “Sino Nga Ba Si Pangkoy Ong?” is as silly as its bungling trio of underachieving friends (Kiko Matos, Paulo de Vera, Elston Soler) who threaten to divulge the real identity of popular writer, Pangkoy Ong, if he doesn’t buy their silence!

Will Fredo’s musical-comedy, “Filemon Mamon,” is about an obese high school student (the grossly miscast Jerome Ignacio) who gets his rare shot at campus fame when he inexplicably wins the lead role of Andres Bonifacio in the school play—but, his porcine appetite and unhealthy lifestyle eventually get in the way of his performance.

The film is breezy but preachy, and is further compromised by flat-footed production numbers and unremarkable tunes devoid of the energy of its sprightly scenes—not to mention the “forced” love team of Rayver Cruz and best supporting actress, Giselle Sanchez.