Jose Javier Reyes' Mga Munting Lihim - Acrimony and the Ties That Bind

Mariel and Carly (Judy Ann Santos and Iza Calzado) have been inseparable since they were little girls; they might as well be sisters. As adults, their exclusive circle has grown when Sandy and Olive (Agot Isidro and Janice de Belen) decided to join them.

Carly (Calzado) is a prosperous, albeit ball-busting lady executive who gets whatever she sets her mind to. Despite her triumphs, Carly feels incomplete. Her view on most things is met with apprehension and she jadedly believes people have unflattering motives for the things they do. In fact, when a relative asks for help, her thoughts would meander: “May mga kamag-anak ako, pero walang pamilya.” More than anything, she’s envious of her friends for having started families of their own. Meanwhile, romance seems to keep its distance from her.

On the other hand, Mariel (Santos), with feet firmly planted on the ground, is happily married to Vince (Roeder Camanag) - with children to boot. Her life is so domestically chaotic, she frequently bemoans her hectic routine and the absence of personal space. She hasn't even been to nearby Hong Kong because more urgent priorities always supervene. Sandy (Isidro), who’s eternally and intentionally late for their soirees, is married to a filthy rich geriatric. She doesn’t waste time flaunting her designer wardrobe and her jetsetting lifestyle. Olive (de Belen) is married to a much younger guy whom she met from a chatroom. He now works in Dubai, so money is occasionally scant. Though the girls occasionally squabble and annoy each other, they all manage to thrive in their respective domestic anarchy.      

SPOILERS

One day, Mariel drops a bomb. She has pancreatic cancer, a proverbial death sentence in most cases. This brings the friends closer than ever. But when Mariel eventually dies, she leaves a box full of journals. And she has tasked Carly to peruse through her entries – entries that contain her deepest thoughts about each of her friends; entries that reveal specific moments in their lives, underlining the weakest links in their relationships: like when Mariel had to clandestinely sequester Eman (Gino dela Pena) from Carly, just to prove that Carly does not always get everything. Sometimes, these friends aren’t always emotionally supportive: they tell thirty-something Olive that her 21 year old chatmate (a former actor) is a “kabit ng bakla”; that she never pays what she owes - and even lies about them. Carly muses that Olive isn't the smartest girl. And they even conclude that Sandy’s marriage to an older guy was merely for convenience, inferring that Sandy’s an inveterate gold digger. What’s happening here? With friends like these, who needs enemies? More importantly, is this friendship even worth keeping?     

Mariel

Carly

Olive

Sandra

It is instructive how scriptwriter and director Reyes is able to delineate his characters with luminous contrast. Mostly, it’s thanks to the intuitive performances of Santos, Calzado, Isidro and de Belen. Iza Calzado confidently glides through the cinematic palette with persuasive charm. She reminds me of Bea Alonzo’s character in “Sa Yo Lamang” – the iron butterfly with an emotionally-charged back story. And why not? She lost “the one” who could have given her happiness – from her deceptive best friend. Judy Ann Santos’ role is surely a walk in the park for the effulgent Santos who doesn't succumb to the theatricality of Mariel’s situation. She displays adequate control of her emotions, avoiding mawkishness. Agot Isidro is venomous without being irritating, while Janice de Belen is compelling. And it is high time de Belen, one of our better actresses, graces our celluloid dreams once again. A regular date with the treadmill would have her in perfect form.

INABILITY TO CHOOSE

While it is true that the four actresses provide a variety of clamorous and symbiotic emotional landscape for this narrative, it is also clear that Calzado and Santos’ roles weigh more than their co-stars. It is thus ridiculous not to be able decide and pick a single “Best Lead Actress” from the four actresses. Iza Calzado stands out from this amazing ensemble. What I’m saying here is, giving the Best Actress and Supporting Actress plum to the four actresses is a cop out – and the product of lazy or inferior minds. It’s a matter of discussion among the Cinemalaya judges to peel through the individual aptitude and merits of each actress. Kaya nga contest para may isang mananalo... then we end up with FOUR winners for TWO categories! If this isn't ridiculous, then it’s hilarious!

IDIOCY vs GENEROSITY - CINEMALAYA'S INEPT JUDGES

The awarding ceremonies of Cinemalaya have always been sketchy. Jim Pebanco won "Best Supporting Actor for "Patikul", remember? Ina Feleo won Best Actress for whatever role she played in any Cinemalaya entry. Heavens, where has delicadeza gone, amigas y amigos? Next thing you know, sister Ana Feleo would headline another entry - and win an award! We then have one award-winning happy family, don't we?

Back to the topic at hand, we have 4 winners for Best Actress and Best Supporting Actress. Does that make sense? Once upon a time, people used their cognitive functions to choose one that's best among the rest. After all, "best" usually denotes a singular presence or entity, NOT FOUR! People used to "boo" at contemptible ties during awards night. Remember Sharon Cuneta and Nora Aunor sharing the award? How do we react to an atrocious FOUR-WAY tie spread between two categories? More importantly, what's the need for judges if they can't even decide on a singular winner? The world is sometimes full of lazy minds, isn't it? Next year, they should open up the categories to Best Actresses, Best Actors, Best Pictures. We've opened the flood gates of generosity, anyway. Let's all be generous and give everyone awards. Para masaya, debah?

Back to the movie, the pacing of the story is brisk, and the editing (by Vanessa de Leon) is dynamic. The atmosphere is bright and breezy, unlike most movies that deal with mortality. Among the Cinemalaya entries, Reyes’ “Mga Munting Lihim” (Those Little Secrets) is the most accessible for mainstream viewers. In fact the sensibility of the film is too far removed from what we perceive as "indie" fodder.

I also have to mention the participation of former Survivor castaway Gino dela Pena who captivates with his short, but attention-catching cameo as Eman, the “man that got away”. Dela Pena maybe tentative at times (it's his film debut), but there’s no denying his strong screen presence. More of Gino, por favor!       

Director Jose Javier Reyes fills his plot disclosures with a hundred and one acrimony. Some issues leave you with mouth agape; others leave you laughing hard on the floor. Countless times, you weep like a baby. Such is this cinematic dilemma. The narrative is a roller coaster ride of emotions filled with insightful situations reflective on your own relations. You find situations that are easily identifiable among your own group of friends. This makes the viewing so much entertaining because of its "participatory" characteristic.

On point of logic, revealing the unpalatable details of Mariel’s diary seemed pointless. Intimate thoughts of a dearly departed friend should never create dissension among the living. The act itself is counter productive. People should never dwell on the negative aspects of their past. Besides, which friendship is free from altercation and disagreements? Moreover, isn’t it clear that despite their differences, they still end up lending hand whenever one of them needs it? You may not always agree with each other. You may scoff at their choices. You may cringe at their manner of deduction and call them simple-minded. But you will always pick them up when they stumble. That is the magic of friendship.  

The revelations

Iza Calzado, Judy Ann Santos, Agot Isidro and Janice de Belen.

Gino dela Pena invites you to his table. Where do I queue? :)

Gino dela Pena: Captivating!

I'd prefer this more apropos theatrical poster over the more commercial one they are using in cinema lobbies.

The Most Indelible & Unforgettable Images from Cinemalaya 2012

When I was a child, some of the most unforgettable images in my mind came from the silver screen. The movies have become a part of my life. When there's anything playing in the cinemas - good or bad, I am there shelling out my dad's (teehee!) hard earned bucks! I like the way they take you to places that one can only dream of. The movies allow you to travel far and wide, expand your horizon within the confines of the celluloid. In this year's Cinemalaya festival, we have compiled some of the most unforgettable (they're not exactly favorites) and most indelible images from this year's entries. If you haven't seen any of these films, there will be scheduled screenings in UP (I think). We share these moments and we applaud the magic of contemporary Pinoy cinema. Spoilers here!

Loy Arcena’s “REquieme”. At the mock funeral of an assassin named Adolf Payapa (a funeral that didn’t have the corpse inside), Swanie (Sta. Maria’s barangay captain played by Shamaine Centenera) makes a befuddling, albeit grand entrance, all decked in woeful black garment and a flowing veil. Payapa is a distant relative; someone Swanie hardly knew. You suddenly realize that Swanie wasn’t mourning for the killer, but for the son – the transvestite Joanna - who left his conservative parents for a new life. 

Paul Sta. Ana’s “Oros”. Abet (Kristoffer Martin) would occasionally stop on his track to fix a slipper that has seen better days. His brother Makoy, a “kasero” in a saklaan, unexpectedly hands Abet a new pair of slippers. Though the moment was brisk and lasted for mere seconds, it was nonetheless fetching and heart-warming. It’s moments like these that make movie going enchanting.

Aloy Adlawan’s “Ang Katiwala”. Ruben (Dennis Trillo), a mild mannered illiterate man who leaves his family in Quezon for a job in Quezon City, rehearses Manuel L. Quezon’s inaugural speech which he heard from a 45 inch vinyl record. As he goes about with his menial chores, we hear Ruben deliver in Quezon’s distinct diction, intonation and temperament. Trillo spellbinds in these scenes. Otherwise, most of the film had us go into stupor.

 Lemuel Lorca’s “Intoy Syokoy ng Kalye Marino”. Doray (LJ Reyes) scours the dark beachside, tentatively checking out the arriving fishermen. The young lass is left alone with younger siblings to feed and she vows to tend to their needs. But what can an unemployed young lady do with no resources to speak of? As Doray appraises her possible source of income, she offers herself up in exchange of a bag of fish (which she then sells at the market). It’s hard not to empathize with Doray’s deprecating dilemma.

In another scene, Cheche (Angeli Bayani), a bar girl in “La Isla Bonita”, gets humped and pounded by a paying customer (Arnold Reyes). I was gripped with fear that the scene would reveal Angeli Bayani’s privates once again. In last year’s gag-inducing “Ka Oryang”, Bayani’s full frontal rape scene – she with the darkest areola and a bushy crotch – had me scarred - for life! I had nightmares for a month, I needed a debriefing. Fortunately, Bayani’s concupiscent scene with Arnold Reyes in “Intoy Syokoy” was dimly lit. More than anything, this middling work heralds the birth of a new actress whose nuanced performance can light up the screen even without saying anything. LJ Reyes is spectacular! 

Julius Cena’s “Mga Dayo”. Ella (Olga Natividad), a supervisor in a hotel’s housekeeping, watches in horror as she opens the door to a room that has almost-literally been swept by a tsunami. There’s vomit on the floor, and turds buoy up lazily in the toilet bowl. For 5 minutes or so, Ella’s reaction evolves into a myriad of emotions – shock, consternation, wrath, frustration. By the time she gets to the bedroom, we were pulling the crumpled sheets with her! Phooey!

 Vincent Sandoval’s “Aparisyon”. Ellipse marks a horrifying moment in the life of new postulate, Sister Lourdes (Jodi Sta. Maria). While fellow nuns (Mylene Dizon, Fides Cuyugan-Asencio and Raquel Villavicencio) watch on helplessly from their hiding place, we hear Sister Lourdes’ plea for help. She gets repeatedly bludgeoned by fists and raped by several woodland bandits. I had to squirm in my seat to shake my repugnance. Other less classy film makers would have filmed a graphic rape scene.

 Jun Lana’s Bwakaw. Rene (Eddie Garcia), a grumpy, aging homosexual, is summoned to “claim” his coffin because the funeral parlor is closing shop. So he has to get the coffin delivered in the evening to avoid catching the attention of his nosy neighbors. Unfortunately, Nitang (Beverly Salviejo) witnesses the delivery. Later that day, Mother Zaldy and Tracy (Soxie Topacio, Joey Paras), along with Nitang (Beverly Salviejo), troop to Rene’s house to attend to Rene’s funeral. Little did they know that Rene’s very much alive! What ensues is one of this year’s most hilarious scenes.

The closing shot is particularly memorable too: Rene, who recently lost his dog, walks a craggy, slightly uphill road, gradually disappearing from sight. Life indeed goes on!

Patrick Sugui is a revelation in "The Animals".

Gino M. Santos’ “The Animals”. With a weekend party in full swing, alcohol and loud music swirl around Jake’s (Albie Casino) upper middle class world. Meanwhile, inebriated girls congregate in the bathroom riddled with grime, vomit and the unflushed excreta. A girl saddles against a toilet bowl, stuporous from intoxication. She dips her hand in the toilet, seemingly unaware of her surroundings. Eww!

 Jose Javier Reyes’ “Mga Munting Lihim”. A protracted argument ensues at a restaurant as Carla (Iza Calzado) unravels to her friends Sandy (Agot Isidro) and Olive (Janice de Belen) the disheartening contents of a journal owned by Mariel (Judy Ann Santos) who died from Pancreatic Cancer. The friends deal with new revelations straight out of Juday’s diary. Though the verbal tussle that ensues is entertaining, I am of the opinion that all this muck raking was pointless. After all, isn’t it clear that despite their differences and scruples against each other, they still end up extending hand when one of them needs it? The smart exchanges may be appealing to a particular demographic, but if they let sleeping dogs lie, they would have all been grief-free. A case of much ado about nothing, if you ask me.  

Adolf Alix, Jr.’s “Kalayaan” (Wildlife) – The film opens with a naked guy seemingly sleepwalking. He heads towards the mangrove until he finds a clearing. A mermaid with greenish scales waits. He walks closer and for what seems like 15 minutes, the mermaid fellates the naked man (Rocky Salumbides). In these desolate islands, lonely men get their kicks from blowjob-loving mermaids. The movie is replete with homoerotic images from start to finish. In fact, It also concludes with another fellatio this time featuring Julian (Thai superstar Ananda Everingham) and another sirena (Angeli Bayani). I have to admit that more people are pointing out the director’s kowtowing streaks, kinda like a glorified Pink Film with directorial indulgences that’s meant to ogle at his actors’ nakedness. Regardless, Albert Banzon’s camera work is superlative.

Mes de Guzman’s “Diablo”. A wide awake Nanay Lusing (Ama Quiambao). Loud radio blaring through the midnight hour. A looming silhouette at the foot of her bed. We get a glimpse of the silver-haired woman through the mosquito net.  The death of a beloved son finally brings her family under one roof. That night, her radio conks out. She is gripped with immense sadness and weeps like there’s no tomorrow… Was it closure? The same night, we finally hear – not the radio – but the loud snore of Nanay Lusing. Images that shall haunt me for a long time.

Emmanuel Palo’s “Santa Nina”. In a desolate quarry of a lahar-ravaged land, Pol (Coco Martin) digs up the coffin of his two year old daughter Marikit. He walks the mile, carrying the preserved body of a child he lost a few years ago. Oblivious to the stare of the townsfolk, Pol takes his daughter home. Another St. Bernadette perhaps? Handsome, cryptic. Pol’s face rankles with irresolute affect. Is there redemption in a child that has long passed on? Vintage and indie caliber Coco Martin prior to getting ensnared by the pitfalls of melodrama schtick. 

Alessandra de Rossi plays Madel, Pol’s cousin and Markit’s mother. She has long moved on, but the unexpected turn of events takes her back to her shady past. And I have to say that every scene involving de Rossi is memorable; the scene with her estranged mother (Irma Adlawan) particularly bristles with pathos.

Raymond Red’s “Kamera Obskura”. Two decades after his incarceration, a man (Pen Medina) sees a city engulfed by new technologies. He gazes at the sky and finds bikes flying in mid-air. This scene alone is worth the admission. With potent images shot in black and white, Red’s “obskura” tackles issues on a sick society. Suddenly, the kingmakers find salvation – “daliang lunas sa sakit ng lipunan” – in an ex-convict with a magical camera stuck in his hand. 

      Unfortunately, the novelty wears off after the first third of the narrative. The scenes go on and on and on, and the verbose subtitles soon turn to tedium. This was the only film I was tempted to walk out on – out of plain boredom! Though its screening was almost full house (unlike “Kalayaan” that was almost empty), people started walking out. There’s a lesson to be learned here: don’t stretch your narrative longer than necessary. Director Red could’ve taken pointers from Michel Hazanavicius’ “The Artist”.

Lawrence Fajardo’s “Posas”. Art Acuna. Art Acuna. Art Acuna. Did I say “Art Acuna”? Menacing and canny, Art Acuna’s scenes as Inspector Domingo scared the bejesus out of me.  Meanwhile, scenes with Nico Antonio (playing Jess, the cellphone thief) feel a bit underwhelming; not mediocre, but lacking a gravitas. In fact, when he was ordered to shoot a gagged man, it felt like another day in the life of a criminal. Nothing too out of the ordinary, it seems. Fajardo’s “Posas” pales in comparison to his “Amok”, but this isn’t saying “Posas” isn’t worth watching. Despite what we pointed out, “Posas” is relevant, persuasive and contemporary. 

Marie Jamora’s “Ang Nawawala”. When an accident kills Gibson’s (Dominic Roco) twin, the overwhelmed mother (Dawn Zulueta) gets confused: “Sino ka? Jamie? Gibson?” (Asking which twin survived the accident). Since then, Gibson has refused to speak. (He blamed himself.) This scene was dynamic because the rest of the narrative anchors from this specific moment!  To be quite honest, it seems improbable that a mother wouldn’t recognize her twins, even in a moment of agitation. At the concluding scene, Gibson sits on the bed beside her sleeping mother. He tries to wake her up. It was after all the New Year. She sleepily asks, “Sino ka?” Then after years of not speaking to his mother, he utters his name, “Si Gibson.” I had goose bumps. Director Marie Jamora conjured an almost seamless narrative, deftly piecing together a compelling story, a vibrant soundtrack that succinctly mashes Kundiman (“O Ilaw”, anyone?) and the live band scene, and a little romantic interlude between Gibson and a charming, but conflicted girl.  

In Sigrid Andrea Bernardo's "Ang Paghihintay sa Bulong", the film opens with an old wrinkly woman fully naked (yup, full frontal) as she's being given a bath by her "apo". The whole household of low lives await for her eventual demise so they could "whisper" (bulong) to her for their own wishes! It stars some of the most gag-inducing characters in the history of Cinemalaya. The ensemble includes Shandi Bacolod ("Ben and Sam") who's as bad as an actor as he is as a director. In Chuck Gutierrez's "Ulian" (Senility), a child searches for her missing lola. The face of the girl looks familiar. Isn't Amalyn Ismael one of the actresses in Sheron Dayoc's "Halaw" ? In Hannah Espia's "Ruweda", a pickpocket in a carnival gets his comeuppance. Beautiful cinematography. Kinetic pacing makes for an urgent narrative. :)

Paul Sta. Ana's Oros - Business of the Dead

Makoy (Kristoffer King) and his family live in the squalor of Baseco. But he has a lucrative job as a “kasero” (money manager) in a saklaan (an illegal cards game). But the ruse doesn’t stop there. To further earn revenue from his gambling depot, Makoy sets fake funerals to allow others to make money. Among his clients is Aling Linda (Tanya Gomez) who has been hosting her counterfeit burol (wake) for the past two weeks – and she wants to extend this for a month. Meanwhile, neighbor Annabel (Angelita Raymundo) is desperate for extra income and wants her own “wake”. She negotiates with Makoy who turns to the funeral parlor for unclaimed corpses for Annabel’s fake burol. Makoy hires his younger brother Abet (Kristoffer Martin) to help him out. But Abet has more pressing concerns (he is being hunted down by a former girl friend’s brother). In fact, he would rather steer clear from this if he had a choice. Meanwhile, he is assigned to man Annabel’s wake.

Unfortunately, these operations haven’t gone unnoticed. Discretion is contentious when something as public as a saklaan involves the community. Tipsters have notified the local authorities and a raid is in the offing. That night, Annabel gets her corpse, and the two-week funeral she hosts commences. However, the local authorities have other plans. They carry out raids in both Aling Linda’s and Annabel’s burol. Makoy eludes arrest. But several of his personnel were taken. But where is Abet? Why hasn’t he surfaced after the raids?  Makoy scours his area’s police precincts but he couldn’t find his brother. What’s become of Abet?

Director Paul Sta. Ana creates a world of moral and physical destitution where even the dead is turned into a commodity. Nothing is sacred anymore when hunger pangs numb the conscience. To be honest, “Oros” belongs to a genre I scoff at – “Poverty Porn”, but unlike “Intoy Syokoy ng Kalye Marino”, the slant of the narrative does not offend. 

The film is buoyed by the natural grace of Kristoffer King (who’s fantastic); the candor and charm of GMA tweener, Kristoffer Martin (who’s a revelation in his first indie film). Sometime in mid-chapter, the story gets tedious. The scenes unnecessarily go on and on, like a child that needs validation. I start tossing and turning in my seat. And I realize that the film could pack a wallop with a shorter running time. Rommel Sales’ cinematography is at times gritty; other times ethereal (like the opening shots at a smoky dump site). But nothing shakes you more than a subtle form of ellipse technically employed by Sta. Ana to conclude Makoy’s dilemma. Indeed, the human mind is such a potent generator of emotions - more than visual impulses.    

Baseco's world of squalor

Saklaan in fake wakes

Christopher King navigates Baseco as though he isn't acting.

Kristoffer Martin turns a page in his professional career. He becomes an actor worth noticing.

Kristoffer King plays Abet, Makoy's younger brother. He is a compelling presence in "Oros".

Vincent Sandoval's Aparisyon - Guilt, Tragedy and the Holy

Adoration Cloister is a religious sanctuary in the woodlands of Rizal where less than a dozen monghas (nuns) reside. These nuns are self sustaining. They farm their own vegetables and sell their medicinal plants to town for revenues. They live with vows of poverty, chastity and obedience to their superiors. They also shun communicating with the outside world, preferring a life of prayer. The year is 1971 and the nation is gripped by down spiraling political events – Marcos declaring Martial Law, the bombing of the Liberal Party in Plaza Miranda, subversives sprouting all over the nation. It’s a bleak era for our country. Sister Lourdes (Jodi Sta. Maria) comes into this scenario with wide-eyed optimism as she joins Adorasyon. She is welcomed by Sister Ruth (Fides Cuyugan Asencio), madre superior, and her right-hand “man” Sister Vera (Raquel Villavicencio) as they usher her into her religious vocation.

In the convent, she meets Sister Remy (Mylene Dizon) , the congregation’s extern who, as such, is tasked to face the “outside world” – buying supplies for their daily sustenance, selling plants at the market, etc. Among this population of nuns, Sister Lourdes finds alliance in the dexterous nun who soon ropes Lourdes into her outside activities. Sister Remy is distracted by the disappearance of her activist brother. She asks for a leave from her chores to help her family, but Sister Ruth didn’t allow her to. As a consequence, she takes covert detours, joining meetings of people with missing family. Sister Lourdes becomes party to their clandestine activities.

One day, the meeting stretches longer than necessary. The woodlands soon turn into a dimly lit, treacherous abyss. As the nuns make their way into the convent, they get assaulted. While Sister Remy gets to wriggle out of their predicament, Sister Lourdes isn't as lucky. She gets battered and raped until she’s but a limp and used entity of bruises and broken spirit. What happens to Sister Lourdes? The event stirs this reclusive crowd and throws them in a morally precarious stance. How will they save face from this tragedy? Would they cooperate with the local authority investigating the crime? In a time of strife, where conservative practices reign supreme, answers aren’t easy to come by.   

Director Vincent Sandoval and writer Jerry Gracio weave a tale rich in pathos and moral dilemma. They create an atmosphere of disconsolate isolation and helplessness, it almost feels like watching a horror story more than tragi-drama. The crisis is so palpable, it's almost difficult to detach oneself as a mere spectator. But what's more harrowing than  the random act of violence is the reality that eventually unfolds as the story moves into its conclusion. Moral hypocrisy exists even among those who's supposed to know better.

"Aparisyon" boasts of a powerful ensemble (a spectacular cast from Jodi Sta. Maria to Mylene Dizon, from the fantastic Fides Cuyugan Asencio to the empathetic Raquel Villavicencio), richly textured characters, and a stifling sense of paranoia, helplessness and disgruntling gloom. It allows us to look within ourselves and consider the hard questions presented in the movie. This is a must-see and, clearly, one of the best works to come out of this festival. Do not miss this!  

The nuns of Adorasyon wake up at 3:30 AM daily, work around the cloister, and pray all day.

Sister Lourdes (Jodi Sta. Maria) joins the congregation.

Time to get married to Jesus for Sister Remy. She resists lipstick, but gets told, "Masama bang maging maganda para sa Panginoon?"

Assaulted and abandoned

Guilt