More hits than misses at Cinemalaya
There are simply too many movies vying for film enthusiasts’ attention in the 12th edition of Cinemalaya (which wraps up its 10-day run tomorrow, Aug. 14)—but, we aren’t complaining.
If you can watch only some of the entries in the fest’s returning Full-Length category, our favorites (in order of importance) are: Cenon Obispo Palomares and David Corpuz’s “Kusina,” Eduardo Roy Jr.’s “Pamilya Ordinaryo,” Inna Miren Acuña and Dos Ocampo’s “Ang Bagong Pamilya ni Ponching,” Jason Paul Laxamana’s “Mercury Is Mine” and Ivan Andrew Payawal’s “I America.”
“Kusina” walks and wafts viewers through the eventful life of a tenacious cook (Judy Ann Santos) whose personal and romantic upheavals are as significant as the delectable dishes she prepares for her family. But, the production’s exhilarating cinematic beauty is best seen and experienced than discussed.
The film is the festival’s most fully realized entry, and plays out like a single-set theater piece that recalls Lars von Trier’s (“Dogville”) compelling theatricality sans its shocking excesses. It is anchored on Juday’s exquisitely limned and fiercely focused portrayal—the best performance from any actress this season.
What about Nora Aunor? In Derick Cabrido’s gorgeously photographed “Tuos,” the Superstar isn’t bad, as expected—in fact, it’s a treat to see the legendary actress’ character dance and figure in some action scenes to stand up for what she believes is right.
But, even with those scenes and Aunor’s famously expressive orbs, her performance is gravely compromised by her film’s languorous development, slowed down further by a storytelling device that crumbles under the weight of its overreaching ambition.
The film utilizes magic realism to dramatize the dilemma of a reluctant binukot princess (Barbie Forteza, who holds her own against her formidable costar) who’s torn between tradition and personal ambition when she’s chosen to replace her ailing grandmother, Pina-ilog (Aunor).
If “Kusina” benefits from its subtle and well-calibrated theatricality, Ralston Jover’s disappointing “Hiblang Abo”—about four old men who muse about life, death and meaning—falls victim to distracting excesses, from the “larger than life” triteness of its lead actors (except Lou Veloso, who’s memorable in the role of a closeted geriatric), to the murky backstories of their characters.
Restless foursome
In their youth, the restless foursome are all “stylishly” portrayed by an actor (Matt Daclan) who, despite his enthusiasm, fails to vivify the roles with relatable insight.
We love Jover’s flawed but fascinating forays into the disparate worlds he chooses to depict (“Da Dog Show,” “Bakal Boys,” “Hamog,” “Bendor”), but he bites off more than he can chew in this big-screen adaptation of Rene Villanueva’s oft-dramatized, award-winning stage play.
Atom Magadia’s well-intentioned but stodgily talky “Dagsin” is about a widower (Tommy Abuel) who is haunted by his conveniently concealed sins of omission—and commission—when he finds the tell-all diary of his recently departed wife.
Abuel delivers a crackerjack portrayal that is indubitably award-worthy for its texture, consistency and thespic grace—and should be seen despite the film’s confounding contrivances.
Vic Acedillo Jr.’s “Lando at Bugoy” relies on an oft-repeated metaphor to spur an otherwise fascinating tale about a 40-something high school dropout (Allen Dizon) who poses a challenge for his delinquent son (Gold Azeron)—by going back to school!
Unfortunately, the movie is devoid of tension and offers nothing new about its familiar tale—although it could have used tips from Tessie Tomas’ similarly themed but better-imagined “Old Skool” to sustain its compromised viewability. Curiously, its epilogue talks about Lando, but makes no mention of Bugoy.
Laxamana’s “Mercury Is Rising” has a strange but quirkily paced story that is made fascinating by its director’s more than sufficient storytelling ability.
It’s about carinderia owner Carmen Batac (Pokwang), whose humdrum life is turned upside down when a young American (Bret Jackson, who’s charming but hammy) comes begging for food and shelter.
Pokwang leavens the film’s darkly comedic proceedings with her quip-ready feistiness—which is all right if she’s supposed to play herself. But, actors are supposed to adjust to the characters they portray, not the other way around.
Payawal’s “I America” is about an Amerasian (Bela Padilla, in her showiest role to date) whose quest for a better life with her American father (Rob Rownd) hits a dead-end when she discovers her real identity.
The film entertains as much as it provokes and has one of the festival’s most memorable final scenes—but, it’s weighed down by over-the-top performances that dilute its power to inspire and illuminate viewers.
Acuña and Ocampo’s “Ang Bagong Pamilya ni Ponching” is about a con artist (Janus del Prado) who endears himself to the eccentric members of a buena familia, who think he’s the bastard son of their dead sibling.
The movie is rough around the edges, but its charm and thematic appeal grow on viewers due to its catchy optimism and winsome actors, led by Del Prado and Lollie Mara. The veteran actress is cast in a role that fits her to a T, and delivers a career-boosting characterization.
Roy’s “Pamilya Ordinaryo,” our other Cinemalaya favorite this year, is an edge-of-your-seat drama about homeless teenage parents (Ronwaldo Martin and Hasmine Killip) who make ends meet by stealing.
One day, the tables are turned on them when their 1-month-old baby is itself stolen by a sweet-talking con artist (Moira Lang)!
Killip and the award-worthy Martin turn in performances that are as rancidly believable as they’re spot-on credible as tough-talking street urchins.
But, Martin has to do something about his squeaky voice—which is as distracting as his brother Coco’s lisp. —A good actor doesn’t just rely on his instinct to breathe life into a character, but has to acknowledge what he still needs to work on to get better at his craft.
