MMFF unreels fearless but flawed indies
LUCERO (LEFT) AND MARTIN. Topbill “Toto” and “Ari,” respectively.
The five-film lineup of the Metro Manila Film Festival’s New Wave category, which had screenings in Megamall, Glorietta 4 and Robinsons Manila on Dec. 17-24, examined a mishmash of themes about language and legacy (Carlo Encisco Catu’s “Ari”), crime and punishment (King Palisoc’s “Tandem”), a father’s selflessness (Ray An Dulay’s “Turo Turo”), the neverending quest for peace in southern Mindanao (Arlyn de la Cruz’s “Mandirigma”) and a Pinoy Everyman’s pursuit of the American Dream (John Paul Su’s “Toto”).
This year’s MMFF indies were a welcome breather from the main category’s inanities and tedium. But while it’s true that they tackled themes that were far from conventional, the 2015 indie batch was weighed down by incohesive tales, characterized by flaws that were hard to overlook:
“Toto” follows the story of Antonio “Toto” Estares (Sid Lucero), a roomboy from typhoon-ravaged Tacloban who’s desperate for a slice of the American Dream. Its winking situational humor shakes up a familiar yarn, anchored on Lucero’s easygoing but carefully calibrated turn.
While the film benefits from its bracingly optimistic tone and Lucero’s heart-warming moments of angst-leavening levity, its relevant lessons are diluted by elements that undermine the production’s noble intentions—including confounding performances that are more cheesy than cautionary (Bibeth Orteza, and the always winking Blake Boyd) and more-misses-than-hits comedic moments.
It repurposes its protagonist’s tragicomic situation to excuse its clichés. Thankfully, Sid’s portrayal rises above his film’s compromised impact—and romps off with the thespic loot!
“Tandem’s” tale is more compelling and better realized: It follows petty criminal Roman (Nico Antonio) and his reckless younger brother Rex (JM de Guzman), who become hitmen of manipulative corrupt cops (Alan Paule, Paolo O’Hara), who use the siblings’ careless gaffes to accomplish their wicked plans.
The film is competently helmed by Palisoc, who coaxes persuasive performances from Antonio and De Guzman. Unfortunately, it lacks a certain sturm und drang and stomach-churning sense of disquiet—
more organically achieved in the past productions of prolific indie maven Joji Alonso—that could have allowed the taut drama to go beyond dutiful storytelling.
Ray An Dulay’s “Turo Turo” is a 10-hanky drama fraught with tedious, wince-inducing clichés—and whining, intense caterwauling—and even more whining!
The story revolves around illiterate fish ball vendor Maryo (AJ Dee) and his hammy but hardworking son, Nilo (Albert Silos), the neighborhood bully (Enchong Dee, who’s less than convincing) and a well-meaning teacher (Mosang) who reminds them about the light at the end of the tunnel.
Ponderous melodrama
Woes pile up to little effect as Dulay’s ponderous melodrama tugs, yanks and claws unabashedly at viewers’ proverbial heartstrings and relies heavily on easy, predictable outcomes.
But, it doesn’t take long for the exposition to fall under the weight of its overdone schmaltz and pathos, because it heaps more misfortunes on its leads than necessary.
You won’t find anything more thematically pertinent than the timely-as-today’s-headlines premise of De la Cruz’s gritty “Mandirigma,” about a platoon of Marines who risk their lives in the insurgency-ravaged outskirts of Mindanao.
We love De la Cruz’s (“Maratabat”) astute filmmaking sensibility and in-your-face approach to storytelling, but her latest docu-drama quickly overstays its welcome because, while some fight scenes are characterized by suspenseful immediacy, much of it feels “stretched” and incomplete, especially in inexplicable scenes that are injudiciously strung together—coming off as more inconsequential than crucial.
The coming-of-age drama, “Ari: My Life With A King,” plays well to the strengths of its promising young lead, Ronwaldo Martin. Coco’s brother portrays Jaypee, a student who learns about heritage and hegemony from the so-called king of Kapampangan poets, Conrado Guinto. The film is sometimes too mannered, but it has a payoff worthy of its slow-paced setup.
Coco’s brother is a diamond in the rough—he may not have the drop-dead-gorgeous looks and countenance of our top TV networks’ generic-looking starlets, but his charisma and smoldering presence grow on you!
