Vic Sotto in a scene from “The Kingdom.” Image: Courtesy of APT Entertainment, MQuest Ventures, and MZet Television Productions
What happened if the Philippines had never been colonized? It’s a tough question to answer, knowing that a lot of influences the country has is due to the superpower countries today. But the Metro Manila Film Festival (MMFF) 2024 entry “The Kingdom” aims to give a glimpse into the motherland if it’s left untouched.
The Kingdom of Kalayaan is preparing for its new ruler with Lakan Makisig Nandula (Vic Sotto) struggling to decide who among Dayang Matimyas (Cristine Reyes), Magat Bagwis (Sid Lucero), and Dayang Lualhati (Sue Ramirez) will be crowned as the new ruler. With preparations for Lualhati’s wedding to a Thai prince underway, Makisig was forlorn after finding out from his trusted babaylan Silayan Hil-um (Ruby Ruiz) that the kingdom would be marred with bloodshed.
While Makisig fully embraced his duty as the ruler of Kalayaan, underlying exhaustion in maintaining the crown’s weight was evident as scenes showed him tired of carrying his responsibility. This was seen in a scene in the opening act where he lamented about taking care of problems “that are not his” to a palace officer — although they technically were.
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Vic Sotto has been one of the beloved mainstays of the MMFF. But, as a comedian. So it was no wonder that his casting as Makisig drew surprising attention. However, according to Sotto, the challenge of adjusting to drama stemmed from doing an “extraordinary story” justice.
This, among other factors, allowed him to wholeheartedly accept the responsibility of a King — without overshadowing his co-stars. Another highlight of his performance was showing the hidden pains of someone who had no choice but to bear the weight of the crown. Many films and series touch on rulers desperate to hold on to their titles. But Sotto’s Makisig is a rare case of being done of staying in power.
Another highlight was Piolo Pascual — although, it’s no surprise that he would perform at his best — as the vengeful Sulayman “Sulo” Tagum. While his breathtaking visuals don’t quite match up to his character, it was clear that he did a lot of work to portray someone who’s determined to get justice for his late father.
However, certain scenes failed to explain his anger toward Kalayaan’s system — as some of his moments focused on showing, not telling. Some moments, such as how Sulo was affected after the death of his father (in the hands of Makisig, no less), needed more telling to understand his pain.
Vic Sotto of “The Kingdom” participated in the MMFF 2024 Parade of Stars and engaged with supporters along the Kartilya ng Katipunan in Manila on Saturday, Dec. 21, 2024. Image: Arnel Tacson, INQUIRER.net
But Sotto and Pascual won’t be able to shine without the emotional intensity brought by Cristine Reyes, Sue Ramirez, Sid Lucero, and Ruby Ruiz. The four actors commanded their scenes with different levels of intensity — and insanity (even Sue’s portrayal of Lualhati shows a position of initial privilege that one will cringe upon seeing — that viewers find themselves annoyed at how they reached this certain point. A sign of them doing their roles well.
“The Kingdom” is meant to tell the story of an uncolonized Philippines. It’s a huge idea on its own. For some, it’s hard to imagine what it would be like since the influences of its colonizers mar the majority of the country. As the film progresses, it shows that everyone has a role in the current events. It also challenges the idea that Filipinos themselves are at fault. Selfishness is a huge factor in this — as hauntingly portrayed by Reyes and Ruiz — and it’s an undisputed fact even in everyday Filipinos as well.
At the same time, bringing this idea into a single film is challenging in itself. And it shows in certain scenes. Some moments feel disjointed with its overall storyline, while others need more to tell. However, it still deserves a pass because the early beginnings of the Philippines were already disjointed. And perhaps, it is the idea that the creators wanted to remind filmgoers.
“The Kingdom” has the potential to expand into a variety of stories. Originally meant to be a full series, the film does a good job of setting the foundation for future ideas to tell, without allowing certain giants to mess up its overall message. It may be too serious for the everyday filmgoer. But it hits home. What if Filipinos themselves are the problem? Perhaps, the idea sparked by this film is a lot more significant than what meets the eye.