2012 Philippine Movie Report - A Rundown of All Commercially Shown Filipino Films

Did you watch one Philippine movie in 2012? I did 142, and this number roughly represents the country's film output last year. But the inclusion criterion for this: they all had to be available in commercial outlets and open to the general public to patronize. Excluded here are films that premiered and had a single screening in dusty university halls, cultural centers and museums. Worse still, beer joints and bars that clearly depreciate the medium. They had to be accessible for the viewing public to want to shell out their hard earned cash. After all, contemporary art has to be sensitive to the economics of its patrons. Film works kept in a cave might as well be kept there forever, and never to be seen til kingdom come. Food not served on the dining table, and hidden in the cupboard, isn't meant for consumption. No film maker, regardless of his genius, is worth risking your life, limb and sanity for.  

2012 THE YEAR IN THE MOVIES

A bumper crop year has been experienced in terms of film output. And the magic number is 142 - the total number of films shown in commercial establishments. This is nothing short of impressive. Compare this from 2011's 105 titles and 2010's 73, it's clear that the Pinoy film makers have burned the midnight oil to produce their disparate narrative, transforming them into cinematic visions. Are we richer and wiser for these ouvres? In some ways, we are.  

What's more inspiring is how our cineplexes have warmed up to the idea of the legitimate and, well, not-so-legit "indies". Last year, festival fares saw regular commercial runs in SM and Robinsons Cinemas nationwide. At no other time has there been this considerable number - 17 independent films:  Antoinette Jadaone’s Six Degrees of Separation from Lilia Cuntapay, Aureus Solito’s Busong, Benito Bautista’s Boundary, Brillante Mendoza’s Captive, Dante Nico Garcia’s Madaling Araw, Mahabang Gabi; Emerson Reyes’ MNL 143, Emmanuel Palo’s Santa Nina, Joseph Laban’s Cuchera, Jun Lana’s Bwakaw, Lawrence Fajardo’s Posas, Lee Meilly, Imee Marcos and Nelson Caguilas’ Pintakasi, Marie Jamora’s Ang Nawawala, Mark Meilly’s Donor, Marty Syjuco’s Give Up Tomorrow, Nick de Ocampo’s Cine Sine, Sheron Dayoc’s Halaw (Ways of the Sea), and Zig Dulay’s Huling Halik. The audience was hardly there, but it's a start. 

MAINSTREAM

Mainstream Cinema lorded it over at the cinema tills, raking in millions for their mostly predictable, escapist products. Star Cinema, still the country's number one film outfit, produced and released 17 movies (including a remastered version of Bernal's "Himala"), while its perceived rival, GMA Films, had 10. While 10 hardly compares to 17, GMA has started to experiment with alternative names, employing Jade Castro for "My Kontrabida Girl" and Erik Matti for "Tiktik: The Aswang Chronicles". Mac Alejandre, one of their tired favorites, came up with another elementary effort, "Just One Summer" which eventually tanked and lasted for a mere two days in theaters nationwide. They even ventured into co-production with an Indonesian film outfit for Muhammad Yusuf's "The Witness" with Gwen Zamora (Faye of the "Enteng Kabisote" franchise) as its lead and the sole Filipino in its all-Indonesian cast. Of course, we know what happened to Andoy Ranay's "Sosy Problems". 

Viva Films mainly banked on co-productions and the box office draw of Wenn Deramas, Anne Curtis and Vice Ganda, but they failed to come up with a single film project for their main property, Sarah Geronimo. Gerald Anderson's presence provides hypersensitivity reaction to the people around the young actress. Otherwise, they'd have produced box office gold from Geronimo and Anderson's pairing. Don't people just love the plight of "Romeo and Juliet"? Viva produced and released 8 titles, three of which were box office behemoth from Deramas ("Sisterakas", "Moron 5 and the Crying Ladies" and "This Guy's In Love With You, Mare"). Meanwhile, GMA's biggest star, Marian Rivera failed to come up with a single film project although she was seen doing cameos in a few films. Dingdong Dantes once again won an acting award for a film produced by his mother studio's rival. 

And where is Sharon Cuneta whose career seems to be in limbo? Her TV5 transfer could only muster a show with a dead 4PM timeslot, and no one came to watch. While many of us, my parents included, miss her dearly, it's ill-advised to grace the screen looking overly satiated. She's reduced to humorous references. In "Melodrama Negra", for example, she's referred as "From Superstar to Super Ferry." People may laugh at these glibs, but my mom at home can't keep playing her "When I Love" and "Bituing Walang Ningning" CDs forever. She will eventually get tired of them. I have.

BUSIEST

A big output doesn't necessarily mean one artist is prolific. This shows in the list of the year's busiest directors, most of whom (except for Richard Somes) have some of the most execrable filmography in the history of Philippine Cinema:

1. G.A. Villafuerte - 6 
2. Darry dela Cruz - 6
3. Cleo Paglinawan - 4
4. Jigz Recto - 3
5. Paul Singh Cudail - 3
6. Richard Somes - 3
7. Wenn Deramas - 3

It is to be noted that Darry dela Cruz and Cleo Paglinawan come from the same production firm. If one directs, the other assists or does P.A. work. What's interesting is, their films are all interchangeable. They have the same look, same actors, and similar setting. G.A. Villafuerte, meanwhile, is known for films that complete principal photography within 24 hours. One-day shoot and he has a finished product, then he floods social media with self-glorifying publicities, starting with "Another Masterpiece from..." In Villafuerte's world, masterpieces are made in a day. Imagine that! :)

YEAR'S REVELATION

The news-worthy revelation in the film crop year is the mushrooming of the male-oriented erotica, aka the Pink Films. While there were 25 titles of the genre in 2011, last year had a staggering 45 titles! If you combine the output of Star Cinema, GMA Films, Viva Films and Regal Films, they would hardly come close to the number of Pink Films released in 2012.   

The male specimen has indeed turned into a more bankable object of desire. Meanwhile, the screen nymphets were reduced as side shows. Genre-specific stars were born: Alvin Duckert, TJ Morello, Bench dela Torre, Glenn de Luna, Jeremy Ian, Charles Delgado, Miko Madrid, Jerome Pineda, Migz Alcantara, Lance Lopez, Jonas Gruet, Rocco Mateo, Marco Ronquillo, Norris John, Xyrus Arruejo, et.al. The list is endless. Each one is willing to wave his dangling wand for these “brilliant” directors.  Jeff Luna, 2011’s “it” boy still graces some titles ("Bugaw", "Salo", "Galaw"). 

Interestingly, Crisaldo Pablo, the Dean of badly-made Pink flicks, was only able to muster a single commercial release, “Masukista”. Another title, the horrible “Bagito” (with Joeffrey Javier) was shown at last November’s Queeriosity Film Festival. The previous year (2011), Pablo had 6 commercial releases, most of which found an audience in Robinson’s Galleria. While this is good news, i.e. that Pablo’s mediocrity is finally nipped and neutered, other equally clueless film makers of dubious caliber mushroomed incessantly. One new, and particularly discombobulated director is Benny Andaya who megged “Uhaw sa Piling Mo” shown a week prior to MMFF. 

BLOG RECOMMENDS

While 142 Philippine-produced films spell hundreds of viewing hours, writing about each of them is doubly hard and close to impossible. So we write what we can. About 700 to 1000 pages get read in this blog everyday. I closed this blog for 3 weeks last November and actually contemplated on "calling it a day", but I reckon it isn't time to fold the tent just yet. For the hundreds of souls who lingered around, thanks for joining me here. As a side note, go look for Craig Zobel's "Compliance" and Ang Lee's "Life of Pi". These are spectacular films that shook me to the core and had me 1. getting so disturbed and agitated for a full 24 hours (after watching "Compliance" overseas); 2. believe once again in the magic of the cinema and reaffirm the presence of God. "Life of Pi" is funny, edge-of-your-seat exciting, heart-poundingly suspenseful, and visually sumptuous. I cannot recommend them more.   

MILESTONES

A milestone in the local silver screen was the release of Tony Gilroy's "The Bourne Legacy" which presented the bowels of chaotic Manila and the otherworldly beauty of Palawan to the world. The production maybe American, but many of us treated it as our own. A big chunk of the film franchise rankled with local color. And we can only sit back with sheer amusement as authentic slice of the metropolis is served on silver screen platter. Another surprise is Im-Sang Soo's Palme d'Or nominated "The Taste of Money". While this is mainly a Korean production, sexy actress Maui Taylor figured prominently in a delectable role whose character substantially shifted the plot of this twisty, sexy, albeit Shakespearean-flavored suspense drama that puts our local teleseryes to shame. Partially shot in Cebu, with a slew of Tagalog lines, the film was shown for 2 weeks at the Galleria prior to the Metro Manila Film Festival. Very classy indeed!

Like previous years, local film makers won in international film festivals, but we don't give a premium on their wins if they can't even get screened for their countrymen. This is why our very own Brillante Mendoza is commendable for continuously battling mainstream scruples against his "kind of films". French Superstar Isabelle Huppert came to the country to shoot a Mendoza project. This was more than big deal. Moreover, our Cannes-winning director screened his "Captive" for the local audience. As if this wasn't enough, Mendoza took Nora Aunor and "Thy Womb" to international audiences before eventually serving it on silver platter at the Metro Manila Film Festival. 

In Brisbane, Australia, for example, Mendoza's "Thy Womb" fetched A$22 (P950) for a seat at the Brisbane International Film Festival while other world titles were cheaper at A$18. Yet "Thy Womb" enjoyed packed screenings. Disturbingly, its MMFF screenings took the other route, as it was pulled out from cinemas way before its one-week run. This is, of course, alarming. Haven't we reached a level of maturity where cinema appreciation is concerned? But having Mendoza in the list of 8 participating entries is a triumph in itself. It's a foot in the door, so to speak. There's something to celebrate here.

Up next, the Best and Worst of 2012!

Without much further ado, ladies and gentlemen, here are the movies of 2012.      

Adolfo Alix, Jr.’s Mater Dolorosa

Adolfo Alix, Jr’s Kalayaan

Alejandro Bong Ramos’ Butas 2

Alejandro Bong Ramos’ My Amiga Girl

Aloy Adlawan’s Ang Katiwala

Andoy Ranay’s Sosy Problems

Antoinette Jadaone’s Six Degrees of Separation from Lilia Cuntapay

Antonio Mercader’s Galaw

Archie Dimaculangan, Franne Cheska Ramos and Jono de Rivera's Balang Araw

Armando Lao’s Ad Ignorantiam

Armando Reyes’ Dorm Boys

Arnel Madroquio’s Ang Paglalakbay ng mga Bituin sa Gabing Madilim

Ato Bautista’s Palitan

Aureus Solito's Busong

Aureus Solitos’ Baybayin

Bb. Joyce Bernal’s Of All The Things

Bb. Joyce Bernal's Kimmy Dora and the Temple of Kiyeme

Benito Bautista’s Boundary

Benny Andaya’s Uhaw sa Piling Mo

Bianca Catbagan and Jose Antonio de Rivera's Suntok sa Buwan

BJ Morales’ Dama

Brillante Mendoza’s Captive

Brillante Mendoza’s Thy Womb

Cathy Garcia-Molina's Unofficially Yours

Cesar Montano's Hitman

Chito Rono’s Shake, Rattle & Roll 14 – The Invasion

Chito Rono’s The Healing

Chris Martinez’s I Doo Bidoo Bidoo

Christian Linaban’s Aberya

Cleo Paglinawan’s Bikini King

Cleo Paglinawan’s Bugaw

Cleo Paglinawan’s Itlog na Pula

Cleo Paglinawan’s Mga Lalake sa Balsa

Crisaldo Pablo’s Bagito

Crisaldo Pablo’s Masukista

Dante Nico Garcia’s Madaling Araw, Mahabang Gabi

Darry dela Cruz’s Extra Serbis

Darry dela Cruz’s For Adults Only

Darry dela Cruz’s Malasado

Darry dela Cruz’s Midnight Temptation

Darry dela Cruz's Daklot

Darry dela Cruz's Frontal

Deo J. Fajardo’s East of Paradise

Dominic Zapata's Boy Pick-Up The Movie

Dwein Baltazar’s Mamay Umeng

Edz Espiritu's Hubo

Cleo Paglinawan and Crisaldo Pablo's films.

Darry dela Cruz's films

Emerson Reyes’ MNL 143

Emmanuel dela Cruz’s Slumber Party

Emmanuel Palo’s Santa Nina

Enrico Santos' My Cactus Heart

Erik Matti’s Rigodon

Erik Matti’s Tiktik: The Aswang Chronicles

Frasco Mortiz’s The Reunion

G.A. Villafuerte’s Hardinero

G.A. Villafuerte’s Hayok

G.A. Villafuerte’s Kapa

G.A. Villafuerte’s Nympho

GA Villafuerte's Ang Lihim ng mga Nympha

GA Villafuerte's Id'Nal (Mapusok)

G.A. Villafuerte's films

Gabs Ramos’ Mestizo: A Beautiful Boy

Gerardo Calagui’s Marcie

Gigi Alfonso Javier’s Flames of Love

Gino Santos’ The Animals

Gym Lumbera’s Anak Araw

Han Salazar’s Adam’s Apple: Kakagat Ka Ba?

Ian Lorenos’ Alagwa

Ishmael Bernal’s Himala (nationwide release)

Jade Castro's My Kontrabida Girl

Jerome Pobocan's Born to Love You

Jigz F. Recto's Kasalo

Jigz Recto’s Binatilyo

Jigz Recto’s Patol

Joel Lamangan’s Migrante

Joel Lamangan's The Mommy Returns

John D’Lazatin, Mae Czarina Cruz, Frasco Mortiz & Dodo Lumibao’s 24/7 in Love

John-D J. Lazatin's A Mother's Story

Jose Javier Reyes’ Mga Munting Lihim

Joseph Laban’s Cuchera

Julius Cena’s Mga Dayo

Jun Lana’s Bwakaw

Karlo Montero’s Ken at Abel

Kevin Dayrit’s Catnip

Khavn dela Cruz’s Edsa XXX

Krizzie Syfu's Tahanan

Lando Jacob’s Wanted Boarders (Males Only)

Lawrence Fajardo’s Posas

Lawrence Fajardo’s The Strangers

Lee Meilly, Imee Marcos, Nelson Caguila's Pintakasi

Lem Lorca's Bola

Lemuel Lorca’ Intoy Syokoy ng Kalye Marino

Leonardo Q. Belen’s Pinoy Super Kid

Loy Arcenas’ REquieme!

Lucas Mercado's Hiram na Ama

Lucas Mercado's Imahinasyon

Ma. Isabel Legarda’s Melodrama Negra

Mac Alejandre’s Just One Summer

Mae Cruz's Every Breath You Take

Marie Jamora’s Ang Nawawala

Mark Meilly’s El Presidente

Mark Meilly's Donor

Marty Syjuco’s Give Up Tomorrow

Mes de Guzman’s Diablo

Michael Angelo Dagnalan’s Paglaya sa Tanikala

Miko Jacinto's Salo (Share)

Monti Parungao’s The Escort

Muhammad Yusuf's The Witness

Nick de Ocampo's Cine Sine

Noli Salvador’s Kapalit ng Ligaya

Nuel Naval’s A Secret Affair

Olivia Lamasan’s The Mistress

Pam Miras’ Pascalina

Paul Singh Cudail’s Ang Jowa

Paul Singh Cudail's Hawla

Paul Singh Cudail's Maligalig

Paul Sta. Ana’s Oros

Raymond Red’s Kamera Obskura

RD Alba’s Biktima

Rene Cruz Jr.'s Three in One

Richard Somes' Corazon Ang Unang Aswang

Richard Somes’ Mariposa sa Hawla ng Gabi

Richard Somes’ Supremo

Rico Maria Ilarde’s Pridyider

Ron Morales’ Graceland

Ronaldo Bertubin’s Gayak

Rory Quinto’s Suddenly It’s Magic

Ruel S. Bayani’s One More Try

Sari Lluch Dalena and Keith Sicat’s Himala Ngayon

Sherad Anthony Sanchez’ Jungle Love

Sheron Dayoc's Halaw (Ways of the Sea)

Soxy Topacio’s D’ Kilabots: Pogi Brothers Weh

Toni Te’s Ganid

Tony Reyes’ Si Agimat, Si Enteng at si Ako

Topel Lee’s Amorosa

Tyrone Acierto’s The Grave Bandits

Vincent Sandoval’s Aparisyon

Wenn Deramas' Moron 5 and the Crying Lady

Wenn Deramas’ Sisterakas

Wenn Deramas’ This Guy’s In Love With U Mare!

Will Fredo’s In Nomine Matris

William Mayo’s Yakman: The Gigil King

Zech de la Cruz's My Naughty Kid

Zig M. Dulay's Huling Halik

2012 opened with two local releases: Pokwang's "A Mother's Story" and  Jigz Recto's "Kasalo". Which Pinoy film opens 2013?

Maui Taylor (below) appears in the Cannes-nominated Korean, "The Taste of Money".  Manila is heavily featured in "The Bourne Legacy".

Maui Taylor plays a maid-cum-sex nymphet for a  very rich and influential family, but there's an unexpected twist that thickens the Daedalean plot.

Note:

Please read our featured post about Cinema Bravo and why we sometimes feel nginig about Web Criticism:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

Brillante Mendoza's Captive - Making War and Terrorism a Mundane Enterprise

In the darkest evening of 2001, Abu Sayyaf bandits invade the island resort of Dos Palmas, just off the coast of Puerto Princesa, Palawan. They pilfer the rooms and take the occupants as hostages, many of whom are foreigners. They ferry their victims to Basilan, taking them through the jungle, over hills, using them as pawns against military operations and peddling them for multimillion peso ransoms. From the outset, these hostages are ironically given disclaimers: that their captors practice a high level of morality, and that “man shouldn’t touch woman” unless they’re married of course. But this false sense of security is gradually shattered as the hostages battle bondage, hunger, illness, rough living conditions, and the shenanigans of their captors. Ransoms are gradually set according to occupation (“Missionaries, walang pera ‘yan!), stature (“May ari kayo ng bangko?”),  age (“Dapat iniwan nyo na yan. Pababagalin tayo nyan.”), race (“Chinese ka? Eh di madami kang pera.”), profession (doctors and nurses in a hospital are taken as well, like the characters of Angel Aquino, Allan Paule, and Che Ramos), etc.

VICTIMS

Among these victims, we follow Therese (Isabelle Huppert), a French missionary who has been roaming the country for her missionary work for 5 years; and her septuagenarian colleague Soledad (Rustica Carpio). For almost one year, the victims agonize getting caught in the crossfire against the government’s military forces (“We see their helicopters fly over us. They see us, but they shoot us anyway,” bemoans one victim.) When leader Abu Saiyed (Raymond Bagatsing) fancies a girl (Che Ramos), she gets taken to the hill and offered marriage; a proposition she couldn’t refuse. A lady doctor (Angel Aquino) gets raped by Saiyed’s successor (Sid Lucero). 

To celebrate Philippine Independence Day, a “white man” is beheaded as “gift to the President”.  When Soledad falls ill and dies, Therese gets attached to shy, 12-year old Hamed who was “recruited” after a siege in his village. One morning, a henchman (Ronnie Lazaro) gets a visit from a friend (Joel Torre) who was accompanying a TV journalist (Arlyn dela Cruz) for the requisite “proof of life”. As individual negotiators acquiesce, ransoms are predatorily hiked up. Though some of the victims get released, it becomes clear that the intention was to keep more hostages – and milk the situation for whatever it's worth. Will Therese and her colleagues survive this dilemma?

Therese to French embassy: "This is crazy. But here's my number. So call me maybe."

Director Brillante Mendoza valiantly tackles a sour chapter in the querulous war in Mindanao, south of the Philippine archipelago. He loosely derives his narrative from the memoirs (“In the Presence of My Enemies”) of real life hostage survivor Grace Burnham (whose husband perished in the crisis). Mendoza never turns his back against contentious narratives. Unfortunately, he is gradually building a growing community of naysayers who scoff at his cinematic conceit. While I love most of Mendoza’s body of work – from “Masahista” to “Serbis”, from “Lola” to “Kinatay” (for which he won Cannes’ Best Director plum), Mendoza’s decision to take on this harrowing tale is suspicious. If he’s courting the attention of an international audience, by riding on the notoriety of the situation, then he obviously didn’t succeed because Cannes and Venice seemed to have rejected “Captive” from exhibition. Regardless, Berlin welcomed him with open arms.

A YEAR OF CAPTIVITY

The films is told chronologically: Day 5 in Tuburan, Basilan; Day 6 at the Jose Ma. Torres Hospital in Lamitan; Day 46 in the jungles – the contentious wedding of Joan (Ramos) to Abu Saiyed (Bagatsing); Day 183 in Sumisip, Basilan for the “proof of life”, and so on. It soon becomes clear that this seemingly scriptless, improvisational atmosphere meanders into ennui. In fact, despite the gravity of violent extermination (beheadings) and rape, these scenes feel wanting of grit, tension and urgency, unusually unbecoming of hostage dramas. For a few moments, they almost feel like nothing but extreme sports more than bandit ministrations. A picnic in the wilds, anyone?

IMPROBABLE

There are various moments of head scratching annoyance as well. When Ronnie Lazaro throws a box of Bible in the sea, Huppert fights with all her might. Surely she understood the gravity of the situation and realized that if they could easily behead an innocent man, they wouldn't hesitate to throw a penniless missionary in the sea along with her Bibles. We also find Huppert's “catfighting” with Sid Lucero (who earlier ravaged Angel Aquino) unrealistic. You simply don't provoke the devil, do you? While most victims speak with hushed tones as they step on thin glass, Huppert's Therese is impervious to the power they hold over all of them, her included. Her French government didn’t want to dole out money for ransom. Ditto her family. She was expendable. Didn’t they behead one white man for lesser infraction? 

In another scene, Madeleine Nicolas, who plays one of the hostages, takes the phone from her captors, imploring to the authorities to stop shooting at them. While this isn’t unusual, she did this in English! Sosi, debah? Were the Philippine officers States-bread and English speaking? Or was this “official time”, thus should be spoken in the Queen’s tongue? I am sure she’d be more emphatic with “Huwag nyo po kaming paputukan” than “Darn! Stop firing at us, dingbats!” 

FAITH AND DISHONOR

Moreover, in several scenes, we find the bandits praying to their Great Allah, but I find it ironic to invoke the presence and mercy of God while curtailing the liberties of others. Do they offer severed heads to Allah? How merciful is such God if they live by violence? Isn't "doing harm unto others" a foreign concept in Godliness? Surely, a powerful Maker would disallow rape, murder, terror and mayhem. Unless we’re harping on the omnipresence of a different being more akin to fire and eternal damnation – and this could not be Allah. What I am saying is, God – in his various names – couldn’t be mean, parsimonious and violent. And if His name is invoked during these random acts of violence, then He is, in the process, dishonored, isn’t He? So matakot na kayo sa pinaggagawa nyo, leche kayo! Oops! Got carried away. :)

SARIMANOK

There is a cinematic moment of pure magic in “Captive”. When Therese wakes up beside young Hamed, she found a sarimanor, a legendary and colorful bird of the Maranao (believed to be a handsome young man searching for his lovely maiden). I was transfixed to my seat. Unfortunately, this mystical moment seemed misplaced, I half expected a narrative detour going the route of Aureaus Solito’s “Busong”. If it was an allegorical element, the meaning is lost on me. 

PROPERLY SUBDUED?

War is abrasive, grungy, fatuous, and harrowing. Except for the grime, you miss these characteristics here. A reviewer was said to have labeled the film “properly subdued”, but one wonders how subtlety figures in an experience like getting raped, captured or beheaded. To call subtlety “proper” for a theme akin to “Captive” smacks of pretension. After all, which character in this seemingly tedious tale is thoroughly expounded? We only know them superficially thus it’s hard to invest empathy on anyone; even the ones that got raped. If that’s not troubling, I don’t know what is.

Another review from Lito Zulueta of the Philippine Daily Inquirer points out and I quote, “Mendoza displays mastery of visual language and skillfully calibrates sequences of carnage and atrocity with neither sensationalism nor fakery.” Fact is, you cannot downplay violence nor avoid sensationalism if the act itself is staggering, lurid and excessive. Doing so is like drinking a cup of previously steaming coffee that’s gone cold and, well, flat. You lose the visceral component of the experience. Such is the case in “Captive” where the aforementioned atrocity becomes mere child’s play. And terrorism is never just a child's play. 

Isabelle Huppert is more masterful in this respect than her director. Her face is a canvas of crystal emotions. You look at her luminous face and realize her emotive adeptness. It’s a pity then that she shares segmented, albeit limited screen time with other actors. She deserves a back story more than just a glimpse of her life back home: that she has a daughter and two sons. Other than that, we don’t have anything else to anchor our sympathy on.  

There are several cameos from well known indie players: Coco Martin appears as a “tenyente” passing by a village (a school); there’s Kristoffer King, Neil Ryan Sese, Bernard Palanca, Baron Geisler, Mon Confiado, Tado, Maria Isabel Lopez, Mercedes Cabral, Evelyn Vargas, Anita Linda, et.al.

With a gaunt narrative flesh and tepid storytelling, your sensibility expects the ultimate denouement characteristic of other Brillante Mendoza flicks. It wasn’t there. 

She would rather ask for help in English! "Don't shoot us! Hold the fire, for Pete's sake!"

In these scenes, they hail Allah after every violent act. Something is incongruent, right?

Sarimanok. This photo only courtesy of E. San Juan Jr.'s "Ipaubaya sa Ulikba" -  http://philcsc.wordpress.com/2012/03/30/ipaubaya-sa-ulikba-tula-ni-e-san-juan-jr/

Coco Martin does a short but eye-catching cameo.

Isabelle Huppert, the pouty French superstar.