But there’s a paradigm shift. Sotto ditched comedy. And though Vice didn’t fully bid adieu, she added tears. To say she drizzled drama is not enough. It was a downpour.
I grew up knowing Enteng Kabisote as a staple entry in Metro Manila Film Festival. I think Enteng Kabisote was even my first venture into the festival. I just can’t remember which specific movie from the franchise it was but my memory flashes scenes of me in a standing cinema (that was still allowed back then). We were standing at the back of the last row of seats in Sta. Lucia. In another year, I watched it with a high school classmate because I used it for a project in school (we were asked to create a movie review).
And I have never seen a Vice Ganda film whether in MMFF or not, not until this year. But it isn’t my first time to see a Jun Robles Lana film inside and outside December.
Before I dive into each of the eight entries I’ve watched this year, I want to lay it down that I intentionally don’t watch any trailers or read any summaries prior when I plan to see films under a festival. I go there blank, without any expectations (unless I like the creators, sometimes). I also have a habit of comparing past works of the same writer and director with their new offerings. So you may catch a lot of that in this rundown (which you may say, Hey, isn't that limiting?). Also, I felt the roster was back to the 2016 line-up, that I got so excited to see the entries (even more excited than I was for Cinemalaya this year).
My general thought for all the entries: majority of these films were (seemed to be) made to spoon-feed the audience. It’s no longer Show, don’t tell. It’s Lemme tell you everything through my dialogues. If you close your eyes and listen to the films, you’ll still understand the whole thing. Up to the point that some lines could have just been deleted. Yep. Like a radio drama rather than a film. And I think this has something to do with the type of audience the films are trying to get or getting. The need to be more direct instead of nuances and subtleties. (Of course, it’s 2024, Thea. Not 1982.)
Following the sequence of which film I watched first and so on, let’s start with Espantaho.
I picked Espantaho as my opening salvo because it was marketed as a horror film. I wanted to make sure I have a mix of films for a day (to balance my overall experience) and so I could watch something scary or thrilling during daylight. Not nearing the time I need to walk the dark streets of Cubao alone to go home. (If you’ve been sticking around, you’d know I don’t watch horror. But I realized, maybe I am missing a lot of good films because I don’t watch horror films — with the sole reason that I feel (felt) that I’m such a scaredy-cat. That I don’t need to frighten myself to feel the thrill. But I figured, my fear dissipates and is replaced with being anal.)
Espantaho actually had all the elements of a good (horror) film. It had top-calibre artists. Judy Ann Santos, Lorna Tolentino, Chanda Romero, Janice de Belen, Mon Confiado, Eugene Domingo, and Tony Abuel. At first glance, you’d know it’s gonna be Lamunan ng acting ‘to moment. And yes, they didn’t disappoint especially between Judy Ann and Chanda scenes. Even new generations JC Santos, Donna Cariaga, Nico Antonio, and child star Kian Co can level with the veterans. And can I just say I am so happy to see Donna in different films this year? That girl has versatility. It’s not just comedy for her.
The first thing I noticed about this film is how visually pleasing it was — the camera work that seems so flawless and flowy — together with how the sound felt. It felt so whole and full. Like you’re an enclosed space, like you’re part of the deteriorating house. The visual effects also looked expensive. Most of the time, visuals of horror films can be cringe or they look cheap. I would’ve given them the Best Sound and Best Visual Effects awards.
Judy Ann and Chanda were so regal in every way. But it was also a point for me that made a miss on this film. Why is Judy Ann so regal when she’s having a hard moment and having a financial problem? Especially that scene toward the end where she was just standing in her no crumple all black attire? (Mapapasabi ka na lang ng, Ang ganda talaga ni Juday.) Put some mess on that lady’s face. Or is that part of her character? That regardless of everything, I will not falter and I shall let the world see me in my regal state. Despite everyone thinking I’m nuts. Nonetheless, Judy Ann was natural.
I see Espantaho as a modern Filipino horror film. Almost modern. With its plot. It’s like a new take on Kakabakaba or Nginig episode where in the title (back then) could’ve been The Killer Painting. However, it lacked the push to be in the likes of what modern horror audiences gush about today. It felt that a part of it was still stuck in Kakakabakaba and Nginig era. The family drama could’ve been turned down because it didn’t really mix with the terrors. I understand that there are horrors in the family, patterns we live by, which was found by another horror from one’s past but it just didn’t work seamlessly. I had to wish it just picked a lane instead of interconnecting them. Judy Ann and Lorna’s scene at the end was too cheesy. Could’ve scraped some dialogues if to be kept (again, it’s no more show, don’t tell). If Chito S. Roño and Chris Martinez are to be paired up again, I wish they create something more like a socio-political film. Or a (family) drama. The likes of 100, Signal Rock, and Bata, Bata, Paano ka Ginawa?
Though to be fair, I would say all of the twists they presented were cleared up at the end. Except for one thing.
Monet’s sickness. Or was that just a bait for the audience to feel it’s related or the main source of the terrors when it’s not?
Green Bones was brilliant in every way. And I am not just saying this because I am biased toward Ricky Lee and Zig Dulay. It was worth the watch and all the tears. Just like Firefly, it proved the power and magic of stories. But I am so glad that despite using a plot device, unlike Firefly, Green Bones integrated it much better, even perfectly.
Green Bones didn’t have fanfares. Didn’t need fanfares to create a solid, beautiful film. It didn’t have those unexpected twists. The scripting of Ricky Lee and Anj Atienza felt like it was just going forward and forward. Sans the specific reveal. You could even say the script is so simple.
“Maging isang mabuting tao”. “Tree of Hope.” “Second chances for persons deprived of liberty.” They are so cheesy and dramatic at the same time. So baduy, so uncool. Seems like you’re back to your five year old self instilling the moral lesson from a magical fairy in Wansapanataym. But for some reason, just like Firefly, regardless of how cheesy the moments are, everything just found their markings and fit perfectly into place. The cheesy moments did not exist (just like the limit). The drama tasted so saccharine combined with excellent acting of each in the ensemble plus intelligent camera work and editing, and the perfect script and story. (Allow yourself to cry with that wide shot of Ruru under the tree of hope while you sing or listen to Nyebe, nyebe, nyebe…)
Once again, Zig Dulay and Anj Atienza, together with Ricky Lee, JC Rubio, and their whole team in front and behind the camera, will make you believe in kindness and make the unbelievable believable. Because stories will always have the power to do that. To move us. And perhaps, simplicity is the key to being grand. And silence can be a form of loud resistance. (And yes, I am still crying. Tuwing December na lang ba tayo paiiyakin nina Dulay at Atienza? This is short(er) because I think I’m so speechless that words cannot articulate how brilliant the film is. You should experience it on your own.)
Strange Frequencies: Taiwan Killer Hospital is the most millennial-gen Z thing in the ones I’ve watched. Sure, it’s horror but it had something to say about the society and how we see and use social media with influencers and creators everywhere. And us as consumers of (each) content. The start also felt like a fiasco but it was naturally made that way because it’s how it happens at the back of the camera. But it just wasn’t for me as I hate watching or listening to overlapping voices that just turn out to be noise instead of having an intention.
I don’t have much to say about it but I did enjoy the jump scares. I just wish they up the ante for their graphics. Seems there was less budget on it especially that screen mimicking YouTube’s interface. If there’s one thing to improve, I think they could’ve swerved the focus on what Enrique discovered in the hospital. And it could’ve been the likes of Long Legs or Midsommar. But understandably, this was an adaptation. Maybe in the next MMFF someone could venture? (But seriously. Why are well-intentioned people always the first to die in horror films?! After saying something so smart, they just saw their demise just because they stuck with their morals of being a good person.)
Goosebumps. That’s what my arms and legs were up to at the very first note of Ahhhh (I don’t know what you call it) of Isang Himala’s opening scene. Just like an eclipse, it was terrifying yet magnificent at the same time.
The story is the same. If you’ve watched Himala (1982), it’s still about Elsa who claims she saw the Virgin Mary at the hill and she started to conduct miracles to heal the sick. Not just physical sickness but including the hearts and souls of the people.
Despite the similarities, there’s a stark contrast. I can’t help to compare the two materials, not because I want to say the other is better than the other. Each has their own flavor. Isang Himala, again, I’d say, is meant for today’s audience. The script (still with Ricky Lee, co-written with Pepe Diokno) and direction (now with Pepe), faithful yet unfaithful to the original, is more direct with what it wants to say.
You’d see that there’s no more subtleties that Elsa wants attention and loves the camera. Elsa was much more direct to say, Kunan mo ako at gawin mo akong sining to Orly. Orly is already cunning rather than knowing it toward the end of the film. Aling Saling’s concern for Elsa (and disbelief) is more focused. The ending gave more scenes of what happened outside the camera frames in 1982 rather than letting the audience assume what could have happened in that hysteria. Most of all, the altered ending visualized how Elsa was a commodity to the people of Cupang till her death. And how people will cling to miracles despite saying there’s none. However, Nora’s voice over at the ending felt off tangent for me and again, as a call to action, it was too much of spoon-feeding.
What I missed in Isang Himala was the intimacy of scenes or of the shots in Himala. I loved those close ups that showed Nora Aunor’s facial expressions (even if her face looked like it had nothing to say yet it’s speaking volumes). I’m not saying Aicelle didn’t have it. It was just that the camera worked differently for Cupang of 2024. I also missed the sound of despair, the cries of its residents as if I was in Cupang and the air howls the tremors regardless if I was in Elsa’s house, in the hill, or in Heaven’s Cabaret. And most especially, the look of malady, tragedy, and despondence.
But just like in Himala, my favorite is Nimia. Nimia, since 1982, was the one who drizzled extra color and flavor. Kakki Teodoro portrayed the liberal, no holds barred Nimia so well. There’d be no contrast in its story if Nimia didn’t come back. Ever since, I believe Cupang is the representation of the after-life we were taught. That there’s heaven and hell. Elsa’s place is heaven. Nimia’s is hell. But are we sure we got the right descriptions of each place while all of us are traipsing in the purgatory? The mounted set also did wonders. I thought it would automatically bag the Best Production Design.
It also goes without saying that Aicelle Santos and Pepe Diokno have big pairs of shoes to fill (Nora's and Ishma's) with their iteration of Himala. Himala was iconic on its own. But both of them delivered. In Isang Himala, Aicelle gave Elsa a new form. She shaped the character with her own miracle and flavor, alongside Pepe's direction — which I think was the vision behind this version of Elsa. And for that alone, Isang Himala is worth the watch, making it a piece for today's audience (and even the past or for the OGs) to experience (or revisit) the similar yet different Elsa and Cupang of 1982. Also, Aicelle may have had that same teardrop scene. If you know, you know. But until now, I think it should be We Love You Elsa and not Elsa Loves You. LOL.
And some trivia: Himala was also an MMFF entry back in 1982. And today, we got Isang Himala under the same film festival, under the same family holding the highest seat in the government. Himala also almost didn’t make it because people were saying it was undoable given the budget and the topic. But Imee Marcos wanted to have it. Especially because it’s about religion where she said, Bakit naman hindi? E type ko ‘yan. Religion major ako!* (And just like Himala, Isang Himala didn’t win the Best Screenplay award.)
The tree in Himala also had a story. They had to pluck a tree that looked dead to show that Cupang is a dying place. The tree on top of the hill. At the end of their shooting days, the tree suddenly had leaves after the twin typhoons they encountered. It was also the only “prop” that was standing tall after the havoc. They were saying, Naghimala ang puno. But turns out, it was a siniguelas tree (or gumamela — two differing accounts from the two books**. Not sure which really is correct) that blossoms during the rainy season and sheds leaves during summer.
The appearance of Virgin Mary to Elsa was also shot last, making the whole shoot the reverse of the movie. (So imagine the hill scene being tidied up after that finale just to have Nora kneeling all alone there in front of the tree.) Raquel Villavicencio said that maybe, Ishmael Bernal wanted to let Nora experience suffering first before seeing the miracle***. I may not be aware if the tree in Isang Himala had a similar story but I would like to believe that the team behind the set design felt the same way as the people in Himala did to build the community of Cupang in Ilocos Norte. And just like Himala, Isang Himala was also formed with theater actors (since it was also the same musical in 2003).
Dang. Himala is really a film you could do a thesis on. Something you can chronicle as it’s a gift that just keeps giving.
I started the second day of my MMFF adventure with And the Breadwinner Is… My first ever Vice Ganda film. As everyone kept mentioning, this was a different shade from Vice’s usual. It’s not just comedy. It has a downpour of drama. She did step out of her usual zone. Most of all, I’ve heard her past films have a trainwreck of ad placements. Something I was surprised with this 2024 entry. It had none even if it was so easy to quickly inject a shampoo product and most of all an insurance ad. Makes me think maybe it was a challenge for Vice. And she said, Watch me. I alone can bring the money without ad placements. Or maybe Jun Lana would only allow to work on it if there are no usual ad placements involved? But that’s their thing, not mine.
I had no expectations with the film despite having Jun Robles Lana. But I guess Lana’s comedy just really doesn't work for me. Admittedly, I also didn’t gush much about his Becky and Badette last year (and Ten Little Mistresses). I’m more into his art of deception and politics.
Breadwinner had too much slapstick and even cameos of other Vice Ganda characters (some things won’t change, I guess). I wish the comical parts took a different route. Maybe more on the punchlines and dialogues than those off humor (slapstick and the death scene of a friend). Or maybe, just like what I’ve been saying before, stories of gay men, trans woman, and drag queens — their pop culture, their camp — is something I don’t really relate to so there’s not much to resonate.
The movie was also predictable given the formula. But it banked on the reliability of breadwinners in the Filipino family. Eldest children, especially those who identify as LGBTQIA+ would definitely see themselves in the film. And for that alone, you know this movie will win the hearts of many.
But Vice Ganda and Jun Robles Lana could make a better film given Lana’s cornucopia of work and how Vice transformed her craft in And the Breadwinner Is... The narrative on the pink airplane could’ve been made into something more and be the center of that blue skies. Less child-like and more Lana-like. Or it could still be about an LGBTQIA+ but maybe darker? Something socio-political? Imagine Kalel, 15 but with a Vice Ganda material. Or Anino sa Likod ng Buwan, with a different Praybeyt Benjamin.
(Though question, and I am coming from an honest place of curiosity: Does Lana have a different perspective about tomboys? Paeng suddenly has a foreigner as a partner as it seems? Or I’m reading this wrong because of course, sexuality is fluid? I also had qualms on this part of Becky and Badette but I just can’t point it out.)
Initially, I planned to invite Uninvited on my first day of MMFF but decided against it so I can get home earlier. From the very beginning (trailer even; I had a glimpse but not in full), you know what the film is about. A revenge story. Whatever you see in the film, it is what it is. Despite having questions like what’s Nadine’s family business? How did Vilma get the invitation in the first place? Is she really rich? How did she plot it? What’s the full character of Aga and why is he like that (Yes, we know you but we also don’t know you, putang ina.)? Those won’t be answered and it leaves you with a feeling that you don’t have (the right) to question them. Again, it is what it is. Do not go out of bounds. No plot twists or anything. The story is the plot twist per se. But honestly, I got bored of the foreplay as I waited for the climax to happen.
Coming from the same production house of Mallari, Mentorque (and Warner Bros. Pictures), Uninvited had the same aura for me. As much as the hype it has, I didn’t feel it. Just like Espantaho, it had a full house of veterans and new excellent actors (Gabby Padilla, you will always be a gem to me) but for Uninvited, were they leveraged in a way that would benefit the whole story? Example, what was Tirso Cruz III there? An ornament with a subliminal meaning when it comes to power play in society? That Aga has enemies within his circle? Also the shots. Though Gabby’s scenes at that particular part were cinematic, majority of the shots lacked depth and emotions when they were needed. Why the medium shots, short exposures, and somewhat like a dreamy haze when Vilma and Lotlot discovered the bodies? (Gabby’s dead face was given more attention and more unforgettable, which maybe was their purpose.) I also hope they used more close-ups of the glamour of the party to feel the opulence and hypocrisy of everyone in it. Again, show, don’t tell. Hence I found Nadine’s dialogue for her reveal off. A reveal that we already know even before the movie played.
But whew. Aga was exemplary. Especially that scene with Gabby. You’ll see the tension. You’ll expect a twist and might borderline a Stockholm Syndrome. His line delivery was fucking… palpable. Iba ‘yung bitaw. Manyak kung manyak. And that part where he took the gun and waved it into the air? Dude, what the fuck?!
I can’t say the same with Vilma’s character though Vilma was surely great in it. It was a revenge movie but at the end, it felt like she was just forced to do it and not because she was angry that someone violated and took her daughter’s life. The only person she has. Where’s the anger? The rage? The explosion? Why down it with fireworks while saying, Bahala na sila?
That ending could’ve been made more powerful without the voice over. Sure, keep the fireworks but maybe show us the face of a loving, angry mother who only wanted justice for her only daughter, who said wala na siyang pake. Cold-hearted. Satisfied. Justified. Owned.
Originally, I wanted to skip Topakk, but took the chance anyway. The start was promising. What’s good about it was the sound of the war, the guns, the screams, they all lingered and surrounded the environment. The sound alone at the war scene, even if you’re not looking, you’ll feel that Arjo’s team is outnumbered but are all ready to fight and serve. Even the slashing of knives and machetes in other scenes were crisp. Most of all, the fight scenes looked well choreographed.
Topakk follows the story of an ex-military suffering from PTSD who, interestingly, became like a vigilante killing a number of people alone with a shotgun, a knife, and a flashlight. Interesting. So cool.
However, if the film was for the brave soldiers of the country (with PTSD like Arjo’s character), it was concerning that there were no trigger warnings presented. Did the film even consult PTSD professionals to tackle this topic correctly and delicately? I also had quibbles about the script. Lines were repeated over and over again. The script could’ve been developed further and not just throw fight scenes here and there, that for almost two hours, wow, the mains are still alive with all that bloodshed? And Julia is still alive with all that pain? She can even carry a huge gas tank to hit the enemy?
This film, I bet, is for the fathers who idolize Fernando Poe, Jr. or Eddie Garcia as action stars. I grew up with those films. Made me remember that specific combo where FPJ punches the tummy multiple times then swiftly uses his two palms to hit the sides of the opponents’ head.
Arjo is not the next FPJ nor Eddie Garcia but I wish he stuck with making movies instead of diving his fingers into politics. He acts so well. The facial expressions and line delivery? Eh di magkanda leche-leche na. He definitely embodied his character of an aloof security guard who happens to be an ex-military. He was stern, cold, preserved, and brave. He didn’t need to shout or have big movements. (But again, I have no knowledge about the portrayal of PTSD, if they did it right or not.)
My cinema had technical problems with the projection despite ushers saying it was normal. Julia’s blush was so red. Arjo’s face and the rest were red without blood. Scenes were too yellow, too green, too red. But outside that mishap, the film was too noisy for me. When will the exchange of gunfire take a rest? When would the lines have more substance aside from the first substantial blow?
Lastly, I can't believe I'll say this. But I’ll say it. The Kingdom, a Vic Sotto MMFF entry, is worth the eyeballs. (Tugmaan!!!!)
Vic Sotto was brilliant in it. I didn’t see even a pinch of the usual Vic Sotto. He was, he is, Lakan Makisig Nandula. Vic Sotto was out of the picture. I also learned that he stayed grounded to his character as a brooding, untouchable king. He didn’t mingle with the cast and crew. Even with Piolo. And the crew even bowed at him on the set. The only time he took a jab for comedy was that one scene with Sue Ramirez to show his side of being a loving father despite being an untouchable king to all.
Some parts of the visuals could be improved, especially the visual effects or the graphics to represent the kingdom. But the shots were pretty, especially those aerials and wides of the picturesque locations in the Philippines. The team also said they consulted different professors as part of their research to depict the Philippines they wanted.
The script was wise. It’s a work of fiction, yes, but it had a lot of references and even talked about the landscape of politics, not just in the Philippines. The greed that comes behind holding the seat of power. The twists were also planted carefully. You can be right about it, you can be wrong, too. What I liked so much about it was, I was expecting the dialogues to be off given the premise of the film. Usually, these types of films sound awkward with the same structure of dialogues. Like you’re putting a puzzle piece from a different puzzle. Or asking a foreigner to speak Filipino. But no. Every line was delivered well regardless of who was saying it. They also sounded… natural, having a normal conversation. And whew, the lines were so quotable. Wala sa tinta ng katawan ang pinta ng puso. (Not so verbatim ones:) Aanhin ang pagkaka-isa kung ginagamit lamang ito para maka isa? Mahirap maka intindi kapag nasa baba. Mahirap makita ang katotohanan kapag nasa itaas! Isa ka lamang alikabok!
The ensemble also blended well with their acting. Piolo’s long-held anger transcended especially during that Tugmaan!!!! scene. His eyes, wow. When Vic bowed at Piolo, another wow. Cristine Reyes looked so freaking expensive as well as Sid Lucero. Cristine just looked more of it plus she looked so smart. Sid Lucero as hilaw or half-baked soon-to-be king was felt. Sue Ramirez indeed looked innocent, young, and only believes in the good (that yes, would soon cause her downfall. Bless the kingdom). Ruby Ruiz as Babaylan exuded dignity and respect. She is a Babaylan. And can I just say, the reporter was very convincing with the way she delivered her lines? She sounded like those from BBC or foreign news outlets.
The opening scene, with that wide shot of the sea and three boats in different sizes, was so powerful. It asks the question (and answers), what if this is the Philippines we have? At least for that part alone (and I saw the play on letters on that foreign boat).
I guess The Kingdom worked so well because again, it was a work of fiction. You didn’t have to be critical if they got the history right or not because that’s not what it is. But, it can always tell you something about it. Together with the present.
Also, I would like to point out something about Cristine’s character. I may be wrong but to me, her use of utensils while her whole family eats with bare hands, symbolizes progression. To be clear, I don’t see eating with hands as primitive or wrong, unlike how others see it. But if you look at it that way, as how others see it as primitive, the utensils until the very end were part of her character. The one that was willing to change things on how The Kingdom should be ruled. But there’s always a catch. The utensils are also a foreign influence, elitist. So, you’d never know what these changes will entail and up to what cost. Ill intentions can always mask itself as progress.
So, you’re telling me we can have a Vic Sotto film like this? Then why did you raise us with Enteng Kabisote XYZ?! OK, that sounds elitist when everyone should have options and is allowed to watch the films they want. To be more direct, I wish they added something like The Kingdom in their repertoire instead of having the Enteng Kabisote franchise for eight years (four years consecutively) and other films with the Eat Bulaga gang until 2019, Vic’s last MMFF prior to this comeback.
Despite the shift in materials in this year’s Metro Manila Film Festival, one thing hasn’t changed. Vice Ganda and Vic Sotto still hold the most number of cinemas. And I wouldn’t be surprised if both of them would still be the top grossers.
Oo, nag buklat pa ako ng mga pahina rito. Nagmatalino:
* Sa Puso ng Himala by Ricky Lee
**Sa Puso ng Himala and Si Tatang at mga Himala ng Ating Panahon, both by Ricky Lee.
*** Si Tatang at mga Himala ng Ating Panahon by Ricky Lee
Main photo used are screenshots from each film's trailer or teaser.
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What do you think, Awesome?