Gabby Fernandez's "Mana" - The Stalling Game

News of Doña Concha Villareal’s worsening illness is spreading like wildfire across the sugarcane plantations of a quaint town in Negros Occidental. The once invincible matriarch (Fides Cuyugan-Asencio) of the Villareal clan is in fact confined to her sick bed, spitting blood, spending her waking hours wailing from excruciating pain. This has been a familiar scenario in the last couple of years. Fearing her impending demise, her children rush home. A salient matter needs to be settled soon before it’s too late. But everyone seems to be stalling.  

Rolly (Jaime Fabregas), the eldest, refuses to take the cudgels of the clan’s dilemma. He has been overseeing the hacienda’s operations for the past two decades. Meanwhile, Sandra (Cherie Gil) takes a sabbatical from her world travels to see her mother. 

Her twin Lino (Mark Gil) has taken to the booze to dull out bothersome visions. Mike (Ricky Davao), on a hectic campaign trail for the town’s mayoralty, is taking advantage of the choleric situation to gain publicity (or sympathy) before a concerned electorate. Half-sister Ces (Tetchie Agbayani), tasked to take care of the ailing matriarch, is on the throes of giving up her chores. Successful interior designer Bernie (Epy Quizon) takes his sweet time to head back home which he abandoned a few years ago. 

But time is ripe; they need to gather around to deal with a precarious situation - the bequeathing of a legacy, a family secret that would redefine the influential clan’s role, not to mention turn their briskly dwindling influence around, in a town steeped with tradition, political undertone and superstition.  

   

Director Gabby Fernandez deftly captures the old-world grandeur of a diminishing oligarchy as he endeavors to examine the intricate mechanics in an upper class family, once mighty and beloved. After the demise of its patriarch, Don Manuel (Leo Rialp), the Villareals' clout is gradually fading. Fernandez wastes no time recreating the delectable world of haciendas and sakadas, taking his viewers to this near-forgotten era of feudal lords and subservient tillers.

The film benefits from the glossy camera work and the perfect setting, allowing the viewers a glimpse of that glorious era of sugar barons and their rolling fields of greens. If you're familiar with those century old mansions of Silay and the surrounding communes of Talisay, then you know what a treat it is to have them "captured" on film. The opening scene alone is a virtual "slide show" framing the story of this once powerful clan, now a spasmic cluster of souls who just want to break free from a seemingly stifling family tradition.

On point of performance, Cherie Gil is a breath of fresh air amidst a flurry of downbeat characters caught in their own personal upheavals. Unlike every one else, she seems to be the only one genuinely happy to see her siblings again which is odd. True, these are some of the most competent actors in the business, but the complete thespic plenary tilts towards being heavy handed, an artifice designed by the story teller. Is this pre-meditated, considering how the story eventually unravels in the end? Maybe so. But something in the narrative structure suffers. When the magútud find themselves in a quandary, over something that is never revealed until the last 15 minutes of the story, they puff away in cigarette heaven. It was becoming droll. As earlier mentioned, most of the allegory stalls, giving us the impression that this narrative buffering has something more explosive than the death of the matriarch. Mostly though, it's a long painful wait.

The impasse in the story is dragged down by its glacially paced retelling. In fact, 40 minutes into the story, nothing was happening. The plot was headed nowhere and the story arc seem to have flatlined. The characters spoke in riddles and the requisite confrontations soon turn into awkwardly blocked theatricalities that eventually bored the shite out of me. At this point, I was tapping my heels impatiently. One hour and 15 minutes later, I was still looking for clues. What was the darn conflict? Why were there images of pernicious evil - church manangs cloaked in black; cryptic writings on the wall ("You promised you would make it easy for your mother..."); a dog with shifting color and luminous eyes; a child who speaks to an apparition; voices in the wind, etc. Is this moving beyond the legal implications of primogeniture?

Assimilating the concept of the aswang ("shapeshifters") with the realm of the hacienda-owning Visayan upper class is a savory affair. After all, the region is replete with folkloric creatures like the blood-sucking sigbin, the night-prowling wakwaks, the cigar-smoking Agta (left), the fire-spewing santelmo, the ungo, etc. The regions of Luzon aren't this rich, are they?

Trouble is, a certain degree of urgency is vital when you're laying down "monsters" on your cinematic platter. You don't get the necessary effect based on mood or atmosphere alone. The dramatic showdown, i.e. the confrontation scene, felt too wayward and misplaced because, frankly, the audience's window of attention or interest has long passed on and expired. When the siblings are finally standing in front of their dying mother's sickbed, I couldn't help but heave a sigh of relief. It was high time to move the story, instead of forever stalling it for a rousing, albeit explosive climax that didn't quite arrive. When Fides finally feeds Cherie the monster's stone (think Darna passing on her "bato" - her stone amulet - to a successor), the scene settled into one lukewarm tableau. Uh, okay, that was the inheritance. Right. Next, please.

They all wait!

And they wait again!

Old world charm of the affluent Negrense.

Wenn Deramas' Sisterakas - Inscrutable and Derivative

Vice Ganda’s roles always thrive on the element of revenge. In “Petrang Kabayo”, his character, Peter grew up with an abusive father, prodding him to run away until a rich spinster (Eugene Domingo) adopts him for her son. But grown up Peter is a successful businessman who’s bitter, mean and wrecks havoc on the people who works for him. In Wenn Deramas’ “Sisterakas”, Vice Ganda is no different. He plays Bernice, the bastard son of a rich man (Epy Quizon) borne out of the latter’s indiscretions with the maid (Gloria Diaz). Mother and son Bernice were eventually thrown out of the house. Bernice grows up successful and, like his character in “Petrang Kabayo”, spiteful and feared by his staff. Not a few of his past 387 executive assistants have resigned while the current one (Melai Cantiveros) is, in fact, jumping off the ledge of their high rise building.

Bernice, now owner of an apparel firm, will only settle down once he has taken his revenge on the family who pushed his mother off the stairs (she’s now a paraplegic). Trouble is, he couldn’t locate them. Meanwhile, Dette (Ai-Ai de las Alas), Bernice’s half-sister has fallen on hard times. Unemployed and a single parent, Dette raises two daughters Kathy (Kathryn Bernardo) and Cindy (Xyriel Manabat). She’s also desperate for a job. And as fate would have it, she falls into the trap that would have Bernice fulfill his vengeful dream of making Dette’s life a living hell. Bernice would, for example, have Dette wash a truckload of curtains, or send her off to Lipa for dalandans straight from the hands of Governor Vilma. But Dette perseveres for her children. How very “Tanging Ina”, debah?

It’s also becoming clear that Dette has fashion acumen that could help Bernice’s sagging sales as competition with rival Roselle (Kris Aquino) is fierce. What’s worse, a mole (DJ Durano) is divulging the company’s classified projects to Roselle. Will Dette survive Bernice’s sadistic ways? Moreover, will Dette accept Roselle’s lucrative offer to work for her? 

Director Wenn Deramas’ latest opus banks on his stars’ impeccable comic skills as there’s really not much to chew where its derivative story is concerned. A good part of the movie feels like déjà vu. We're sure we’ve seen these scenes in the recent past.

Kris Aquino’s character is similar to Judy Anne Santos’ presence in “Enteng Kabisote”. She doesn’t belong in the story. This isn’t saying that Aquino did horribly as the campy Roselle. She was in fact fun to watch as she overstepped her usual thespic boundaries, frivolously making fun of herself (“like a bad Kris Aquino horror experience”), her failed marriage (“natuto na ako diyan” in relation to pre-nuptial agreements), and the oft repeated, “Yap, yap, yap”! When asked about basketball, she gamely quipped: “Tapos na ako dyan. I’m so over it.” When a personality of her stature consents to spoof the unpalatable chapters of her public life, this only highlights her level of maturity, not to mention strength of character. And we could only commend Kris Aquino for her irresistible turn in “Sisterakas”, though she has to do something about her “sinister laugh” which sounds as fraudulent as her two-inch lashes.

Vice Ganda and Ai-Ai delas Alas do well, but Ganda needs a fresher take on the oft-repeated tale of the vengeful gay man. His quips are as delectable, but they’re also turning familiar. In time, people would get tired of similar comedic approaches – and that would be too sad. Ai-Ai has really mastered her dramedian skills that makes it easy to empathize with her. Unfortunately, all this enthusiasm is hobble by mediocre writing, stale situations, and poor production values.

Check out the “chin prosthesis” placed on the child playing the young Ai-Ai. Any idiot could easily point out the fake chin due to skin color discrepancy. Now isn’t this easily remediable? Why were they too lazy to fix this snag? Simple! Because they can’t be bothered. This after all is comedy, thus “puwede na yun”. Curiously, this mentality has won them a “3^rd Best Picture Award”. And please remind me what exactly did Best Supporting Actress winner Wilma Doesnt do to even merit a nomination? Was she better than Cherry Pie Picache in “The Strangers”? It makes you wonder if the board of judges really watched the entries – or were they merely guessing? Wilma’s award is truly inscrutable. The only vaguely memorable scene with her was this:

Waitress to Vice Ganda: Black coffee, maa’m?

Vice Ganda: Black coffee for the black lady. (He looks at Wilma who couldn't even react to this. She was so lost. A truly award-winning moment.)

Kathryn Bernardo as Kathy, one of Dette's daughters, figures in an impish story line involving Angelo Santos (Daniel Padilla) who's been adopted into Bernice's family. As part of his uncle's revenge, he was to make Kathy fall in love with him, before he ultimately breaks her heart. But Kathy isn't so easy to please - not with his cheesy pick-up lines and loopy smile. Angelo gets head over heels taken by the winsome young lady. The pair provides bubble gum moments in the busy exposition. Unfortunately, though Kathryn and Daniel are charming performers, theirs is a disposable subplot. Daniel's scenes with Vice are as playful (like their wheelchair scene).

Other performers do walk-on parts: Tirso Cruz III plays Kris Aquino's dad; Daniel Matsunaga plays Marlon, the Brazilian model recruited by Kris who eventually signed up for Vice's firm (Ai-Ai helped him fix his flat tire on the way to the signing of the documents); DJ and model David Callum, Beauty Gonzales, Maliksi Morales, the hilarious Joey Paras (playing Ai-Ai's friend); and Luis Manzano (believed to be Deramas' cinematic lucky charm - but what would that make DJ Durano?) :)

BEST PICTURES

Prior to Deramas’ speech when he accepted this highly contentious award, Kris Aquino enumerated some of MMFF’s previous Best Picture winners: “Ganito Kami Noon, Paano Kayo Ngayon” (1976), “Himala” (1982), “Jose Rizal” (1998). There’s more: “Kisap Mata” (1981), “Karnal” (1983), etc. So it was jarring to watch Deramas accept a 3^rd Best Picture Award within the realm of the aforementioned masterpieces. Is "Sisterakas" the new age legacy of excellence? The criteria for “best” have radically metamorphosed into something gag-inducing in the last 10 years or so. “Enteng Kabisote: Okay Ka Fairy Ko – The Legend Goes On and On and On” won its Best Picture Trophy in 2006. I am still reeling from that win. Are we truly rooting for a historical faux pas or just plain mediocrity?

Vice Ganda and Ai-Ai delas Alas play half-siblings.

Kris Aquino: unexpectedly funny as Roselle, the contravida.

Kathryn Bernardo (as Kathy) and Daniel Padilla (as Angelo)

Khavn dela Cruz's Edsa XXX - Five Star Awful

In the year 2029, the world looks like an abandoned war town bathed by surreal psychedelia. In the struggling nation of Ek-ek-ek, a reluctant leader Tatlong Mata (Epy Quizon) is shoved into the political maelstrom of a newly installed government sinisterly maneuvered by self-serving benefactors called Hukbalaka who linger with ulterior motives. 

The aforementioned clandestine group, of course, want national domination. A flurry of odd characters further influence Tatlong Mata’s every action: his sexy girl friend Ana Mari (Sheree), as well as an Amazonian movement headed by Mariana Mariano (Althea Vega) who plots to foil the ministrations of Hukbalaka.

I came into the film looking forward to enjoying what promised to be a brilliant satire; a superior film. After all, this had glowing reviews all over the worldwideweb. I rarely read reviews prior to watching a film, but I felt I had to make heads and tail about its plot before diving into a film from one of the mavericks of the Independent Philippine Cinema. Besides, this was among a dead critic’s bucket list – a musical from director Khavn de la Cruz. The film maker is known for infusing mixed media in his films. Meryll Soriano’s “Paalam Aking Bulalakaw” (2006), for example, had delectable poetry and dreamy music framing the inherent narrative. He’s had a lot of “music” in his works even before “Edsa XXX” came about. This should be a treat, right?

Unfortunately, that wouldn’t be the case. While several critics have given it their highest marks, a sophisticated action of gargantuan mystery, the film is one egregious mistake. To add some flair into its otherworldliness, Director Dela Cruz employs the fisheye lens to further skew its message, delivered in harrowing pages of what he fashioned was a mixed bag of humor, satire, rock musical, dance revue, and whatever it was that he set his mind to. The result is one alienating tripe that’s more rubbish than alternative.

This makes their associated labelings: “The first movie filmed entirely in Corregidor Island” and “shot in fisheye lens” – utterly unnecessary and dubious. I can in fact make a film using the “bottom of a coke bottle” and it won’t amount to much without valid storytelling. The songs are loud (as rock anthems should be), dissonant and melodically spare, you’d wish you were crapping in a toilet than summoning hypertension in your seat. And true enough, someone was filmed taking a crap in one of the crannies of the Malinta Tunnel. If you don’t believe this, try googling for its theatrical trailer. The film in its entirety felt like a desecration of a historical site. They had jokes that no one found amusing. Otherwise, I would have heard even a single chuckle during its screening. Of course, I probably saw the film on a different day than when any of the amused critics watched it. There was so much irritable ugliness in the amateurish blocking and dance sequences, they seemed like random parts of a long dress rehearsal. By curtain call, it was clear that someone needed to be burned at the stakes.

Tatlong Mata (Epy Quizon) and Ana Mari (Sheree)

My whole Cinema One movie viewing was relatively pleasant, but “Edsa XXX” inspired suicidal tendencies. This was painful; a major irritant. Iyaya, my BFF, excused herself to go shoe shopping instead, refusing to do her cinematic penance. “Life is too short to suffer like that,” she whispered before leaving me. And she had every right to do so. After all, she was a paying consumer and thought this was money down the latrine. Why then were there glowing reviews all over, she later asked? There was obviously a term for this affliction, and I couldn’t help but laugh despite my frustration.

During this festival, I kept seeing this Caucasian guy who watched most of the films screened during the festival. I must have met him almost a dozen times, missing him only in 4 films. He always carried a backpack with him. I overheard him say that he would usually travel to Manila to watch our tourist-trapping film festivals. This is good news, if a tad surprising, right? When I saw him outside, after “Edsa XXX’s” screening, he was telling his friend, “That was quite awful.” Five-star awful, and I couldn't agree more.  

Althea Vega dances the tango.

Crapland. Yes, someone actually crapped!

Historical ruins and the figurative cinematic structures.

Sheree as Ek-ek-ek's First Girl Friend Ana Mari, a former prostitute.

Corazon: Ang Unang Aswang – Horror vs Lunacy

Daniel and Corazon (Derek Ramsay and Erich Gonzales) are an impassioned couple living their rustic lives in war ravaged Magdalena, a town where the preponderate fist of feudal landlord Matias (Mark Gil) rules. The latter’s occasional incursion is generating whispery hums of uprising from the barrio folk. While Daniel is a welcome presence, Corazon – a radiant beauty – is scorned by the gossipy women. Despite Corazon’s dainty demeanor, she bears the stigma of her departed mother believed to have had contentious sexual alliances with American and Japanese soldiers. But the people’s constant derision is not the least of Corazon’s concerns. After five year of marital bliss, Corazon remains childless; and the couple is getting desperate for a child.

One day, Corazon visits a hilot (Maria Isabel Lopez) notorious for performing unorthodox rituals and orasyons. She lends the statue of San Gerardo, the patron saint of expectant mothers, with very specific instructions: take the statue to a quiet place on a hill where, for a week, the expectant mother has to stay there and pray on the saint from dusk until dawn. Corazon did so and not long after, she starts infanticipating.

As land disputes heat up in Magdalena, Matias’ staunch critics start disappearing – and dying! But instead of turning to the despotic landlord, the barrio folk turn to a wandering lunatic named Melinda (Tetchie Agbayani) who has a reputation of being a witch. While defending Melinda from a violent crowd (Melinda was eventually killed, but not before she throws a “curse”), blood streams down Corazon’s legs. Did she lose the child?

The succeeding scenes show Corazon carrying her child to term. But when she gives birth, it was stillborn. The impact of their loss takes a toll on Corazon’s sanity as she refuses to bury her dead child. She carries the corpse around town to the consternation of the people who loathes her from the start. One day, Corazon raises the child and shouts to the heavens seeking retribution to her God: “Isasama ko ang aking anak sa aking paghihiganti sa Inyo!” Then she starts gobbling up until every morsel of flesh is consumed. Having crossed the dark line, Corazon is consumed by her craving for flesh. She soon hunts for live animals and eats them. When those didn’t suffice, she turns predator to the children of her barrio. Body count piles up and fear envelopes the land.

Daniel meanwhile is desperate to find his straying wife. His neighbors speak of tales alluding to Corazon and the disappearances of children in town. But Daniel is aware of a few things involving Matias and his gun-toting henchmen. Will he ever find Corazon before the people get to her?

Director Richard Somes is back with another Cimmerian tale that has become his trademark, and we were quite excited with “Corazon: Ang Unang Aswang”, a brave revisionist take on the genesis of the folkloric “aswang”, a Philippine mythical ghoul. "Aswang" has captured the imagination of international film makers like Wrye Martin and Barry Poltermann’s “Aswang” (1994, shot in Wisconsin, and had an entirely American cast) and the South African film “Surviving Evil” (directed by Terrence Daw, 2009) starring Billy Zane, Christina Cole and our own Joel Torre.

UGLY

But what promises to be an immersive cinematic experience turns out to be an ugly film! Yes, ugly! The narrative elements are anarchic and sometimes, even aimless. Let’s take the character of Melinda, played by a ridiculously wigged Tetchie Agbayani. She was supposed to embody the powerful witch who curses the capricious crowd; the same crowd who discriminates her. Yet her “spell” didn’t even seem related to the cataclysm affecting the town. Another character is the hilot played by Maria Isabel Lopez, initially introduced as someone who performs dark incantations which turn out nothing more than devotional prayers to St. Gerard. Nothing is sinister by praying to a saint, is there? In fact, after one scene, Lopez disappears forever.

SIN OF COMMISSION

The most blatant sin of commission is the promise of horror, of evil. But Somes and co-scriptwriter Jerry Gracio seem befuddled – and even disoriented - with the concept of “insanity”, confusing it with a notion of pernicious evil. Since when are “insane people” considered “aswang”? Because if we were to really accept such reckless ideation, then we should all troop down to the National Center for Mental Health (Mental Hospital) and burn all their patients at the stakes to get rid of “aswangs”, debah? Schizophreniform disorders should never be construed analogous to the folkloric “aswang”! These items are poles apart! Or are Gracio and Somes suggesting that “aswangs” – with their vampiric appetites, pointy nails, overly long tongues, and winged forbearances - are mere psychiatric predicament? Nahihilo kayo, ‘te?

POSITIVE POINTS

The film barely comes up with positive points: 1) a sumptuously dazzling cinematography (Hermann Claravall) – sun kissed summery scenes that reek with atmosphere; interiors and night shots with impeccable clarity; absolutely one of the most gorgeous camera work we’ve ever laid eyes on; 2) Mark Gil plays the nefarious haciendero with exact temperament; 3) the luminous Erich Gonzales who glistens in insightful splendor and subjugated emotional engagement. Her beauty and calm confidence cajoles the intermittently irritating narrative strain. Gonzales absolutely commits to her physical stipulation that her utter obedience is nothing less than eloquent. Unfortunately, even Gonzales’ brilliance is not enough to save a farcical, harebrained narrative.

UNEVEN PERFORMANCES

The film is further hobbled by an uneven performance of majority of its cast which is characterized by exasperating histrionics (Sue Prado), overtly unregulated methodic role playing (the irritating Bodgie Pascua displaying to his adoring Batibot audience how it is to cough while eating and speaking – which is real talent); undue comedic delivery (Mon Confiado plays Berto; when he sees the “aswang” at the foot of his bed, he shouts “Ay aswang! Kamukha yun ni Corazon ah!” – the audience roared with laughter); rough vocal switches (Tetchie Agbayani as Melinda would hiss and growl like an animal, then just as easily revert back to her school-teacher speaking voice); the blank facies of its amateur extras. Then there’s Derek Ramsay whose emotional undertaking is displayed by his “smoldering gaze”. He’s angry – he smolders! He’s sad – he smolders! He’s disappointed – he smolders! He’s heartbroken – he smolders! Heck, if he smoldered more than he did in “Corazon”, he might as well turn into an igneous rock! Couldn’t the fantastic actress in Angelica Panganiban infuse a degree of role playing emotionality to Mr. Ramsay? Some tutorial in acting perhaps?

ERRONEOUS BILLING

And why on earth is Derek Ramsay billed ahead of Erich Gonzales? Appearing in last year’s biggest blockbusters - “No Other Woman” and “Praybeyt Benjamin” – doesn’t necessarily make him more superior than Erich Gonzales in seniority or artistic capability. Neither was he the box office draw from the aforementioned films. People didn’t watch those films because it had Ramsay in them, heavens! Now he’s posturing with seductively understated threats as though he might as well move to TV-5 which didn’t exactly do wonders for Nora Aunor, Sharon Cuneta, Maricel Soriano, Dolphy and Aga Muhlach. What big movie did TV-5 produce – “Rosario”? That was 2 years ago! “Yesterday, Today, Tomorrow” was a tail ender and an artistic turkey at the recent MMFF box office race. More importantly, this movie is titled “Corazon Ang Unang Aswang”, not “Daniel: Ang Asawa ng Unang Aswang na Lukaret Lang Pala”! I’d say, let him move alongside talents like Arci Munoz, Alex Gonzaga, Eula Caballero, Danita Paner and Carla Humphries. He wouldn’t look too lost with them.

MAGIC MAKE-UP, MAGIC HAIR

And then there’s the “here today, gone tomorrow” eye make-up of Corazon. When she’s feeding in wild abandon, the black and round eye shadows are thick and dark. When she speaks, these orbital discolorations almost disappear! Like magic! Is that the power of an “aswang”? LOL. In one scene, Derek and Epy find strands of hair beside the tree where Corazon ate her baby. “Kay Corazon ‘to,” they said. I stood and proudly declared, “It’s mine!” I was pulling hair in sheer disgust!

Bodgie Pascua distractingly coughs and eats and speaks for his Famas moment!