Sa North Diversion Road

Rating:	★★★★
Category:	Movies
Genre:	Independent

POWERFUL

Love and decision coincides one another in ways which man can never discover why. Both words affect one another: people oftentimes decide who to love, and love oftentimes decide for that person on who should he love. The mysterious and powerful link between these two is artistically offered to us by the film Sa North Diversion Road, under Dennis Marasigan’s direction.

According to everyone’s opinion, love conquers all. But what happens if decisions intervenes love’s power of conquering the so-called all? That is the question that the filmmakers would want the audience to think about.

Sa North Diversion Road’s simple yet inspiring story concerns the consequences to be faced whenever one decides on something – may it be this, or that. The story revolved around a couple, played by renowned actors John Arcilla and Irma Adlawan, which was on the verge of a failure marriage because of recalled secrets and past events. And the husband critically thought the different results upon confessing in different approaches as well.

Though Marasigan only adapted this to Tony Perez’s Palanca-winning play, the story itself is commendable for its simple yet inspiring construction. A well thought-of concept that actually relates man’s decision-making with the North Diversion Road. Because like man’s power of choice, the North Diversion Road has different exits to different places on the north – the man is the driver, the North Diversion Road is the driver’s life, the exits are the driver’s decisions, and the places to be found on those exits are the results of the driver’s decisions. Artistic as it may seem, the films technique of delivering the story was original compared to others. It did not fail to impress the audience at the end of the film, an indication that it was really an effective story.

The portrayals of both actors, considering that they were actually the only two actors in the film which was situated inside this red car all through out the story, were superb. Arcilla and Adlawan managed to carry the whole acting package of the flick and both did exceptionally well. Since this is a full-length film, the two actors were required to portray different sides of their character. Sounds hard, but that was nothing for the two veterans. They managed to portray the serious, hilarious, fuming, silent, and normal sides of their characters. Both actors exemplified impressive and effective acting prowess in the movie.

However, as it comes to the editing and sequencing of events, it was a bit boring. Because of the series of divided segments showed, it somehow created an impression of confusion for the viewers. But still, the film’s development lets the audience realize the connection of every segment on the concluding part of the movie; though the film did bore some on the beginning, it still managed to justify its artistic attack at the end.

The shots were the typical type, but it clearly depicted the variations of characters that two actors portrayed. It still helped in the creative construction of the film’s entirety. And like the shots, the musical score also was of the usual sort, but helped on emphasizing more the mood of every segment on the film.

Sa North Diversion Road did fairly well on entertaining, informing, and inspiring its audience too. Because aside from the fact that it tackled marriage problems, it also discussed the value of decision-making and the art of rethinking, making the film an evident example of a quality local film that incorporates social issues and life values.

One should really never underestimate love’s power, for it conquers all. But one should also consider the power of man’s choice, for it concludes all – and sometimes, no matter how powerful love is, it still cannot overpower and conquer it. And that was observed on Marasigan’s artistic, full-length film Sa North Diversion Road.

Sa Silaw (Shorts B)

Rating:	★★
Category:	Movies
Genre:	Independent

SURREAL


Surreal, bizarre, weird – three words to describe Reinzi L. Balao’s Sa Silaw. But this silent flick is not your typical Chaplin-like, no dialog film. Its strangeness lets u think as you go along with it – and it may lead to boredom in some ways.

The flick’s offered unusual story is about a young lady named Selya (Katherine Gaytano), who lives in a two-sided, contrasting world. Her character personifies both good and evil beings: she preaches the Word of God on different buses on mornings, and transforms into a nocturnal prostitute afterwards. And the weird thing is that she tries to escape that reality by blinding herself, she focuses a flashlight directly to her eyes and one moment a flashback occurs. Sa Silaw has a really weird story.

Balao’s aim, whatever it was, did not actually capture the viewers’ for the attempt itself was dull as the movie goes along. The technique used was not effective, the approach was off, the idea was a mess, and therefore it was a no-no. It failed to let the audience understand and left their minds hanging, an indication that the whole silent flick was boring, uninteresting, and ineffective.

The sequence of events played a role of making the audience more bored. But the shots though were impressive, for the balance of lighting and contrast was done artistically. The musical score somehow managed to give more life on every scene, it even gave justice in some ways, but that was not a strong factor for the film because the whole packaging still went dull. Nevertheless, artistry was still seen on Balao’s silent flick.

Like Tolentino’s Orasyon, Sa Silaw was featured in a black and white format through out the film that may have triggered its dreary effect. But compared to Orasyon, this film was too strange that it came to a point of boredom, unlike in Orasyon where the black and white setting did go well and added an eerie factor to it.

The strangeness of Balao’s Sa Silaw happens to be the edge of this short, silent flick among others. But his intention, whatever it was, failed because of that edge. Needless to say, the film was really weird, bizarre, and surreal.

Orasyon (Shorts B)

Rating:	★★★★
Category:	Movies
Genre:	Independent

IMAGINATION


A short flick with intensifying effect of both imagination and creativity, Orasyon by Rommel Tolentino successfully attacked the viewer’s minds – and pulse rate as well!

Orasyon is about an old woman (Federica Figalan), a devout Catholic, who still believes that she would be visited by her son despite the long time they’ve spent apart. And that she experienced a test of her faith towards God and her belief on seeing her child again by the personification of a helper (Gloria Austria), who is actually an opposite of hers.

The clash between good and evil is a common theme for a story, but seeing Orasyon is different. Aside from the fact that it was a short flick, it still managed to tell a story about the battle of light and darkness completely. And the way Tolentino’s creative thinking of portraying the bad side to an imaginative being is a good and effective technique for the film. In fact, the whole story itself is a plus for Orasyon.

Another technique commendable was the idea of having the whole film in black and white. That approach made the short film more eerie and created an impression of frightening moments which actually scared viewers. The shots and transitions were not perfectly executed though. Having two, or sometimes one, scenes captured in different angles and shown at the same time on half and half of the screen was not eye-friendly. It was a sore for the viewers because it divides their attention, which results to confusion. Nevertheless, the musical score did not fail to make scenes more frightening. It was properly embedded on scenes, which actually made it more intensifying, terrifying, and entertaining at the same time.

Tolentino’s Orasyon creatively shaped the viewer’s imagination and effectively presented the ever-popular battle of good and evil in a different way. Yes, it was scary.

Putot (Shorts B)

Rating:	★★★
Category:	Movies
Genre:	Independent

POVERTY


Poverty, without question, is a major dilemma up to now for the country. And with Jeck Cogama’s written and directed short flick Putot, poverty was once again mirrored and delivered for awareness.

The struggle of a pre-teenaged boy (Carl Patrick Taylan) about his everyday life in a squatter’s area is the story of Cogama’s creation.

Half realistic, half unlikely, Putot’s story was a combination of two. Realistic, for it depicted well the true nature of living in a squatted area, where people worry about their everyday food and the possibility of expulsion from their so-called claimed area. Unlikely, for the story incorporated an insane father and a love affair with a young girl. But the build up of the story was quite commendable, for the character developed into a boy who would fight for his life and his loved one’s. Though the young lover’s attempt of retreating to another island was the conclusion for the film, it still did not made impact and will not be that memorable for the audience. The attack and technique did not go well on this short movie.

Like Parang Pelikula, the flick also reflected realistic scenes which added an impression of reality to the viewers. It captured the very heart of a squatter’s life. The transition and editing, on the other hand, was also an added asset for the flick. It helped in maintaining the idea of poverty through out the rough ups and downs of the story. The sounds also helped creating the ambience more realistic as well.

Cogama’s Putot showcased the real drama of life in a squatter’s area. And though poverty is a common theme for films nowadays, it still served as a refresher for the audience because of its unlikely sides on the story.

Parang Pelikula (Shorts B)

Rating:	★★★
Category:	Movies
Genre:	Independent

NOSTALGIA


Hubert Tibi’s Parang Palikula is a short film full of feel-good, nostalgic moments which incorporates its over-all package.

The film is about two childhood friends, Pilo (Reiner Revilla) and Justin (Joel Masagnay), whose friendship was tested by trust, self-fulfillment, and time itself.

Its story was a bit confusing, for it never presented well the point of who really was on deathbed through out the film. The attack was not clear enough, and it made the flick a struggle for the viewers. Nevertheless, the story was still commendable for it showcased an inspirational act, and that was the part where one of the boys stole their treasured money savings and donated it to a local parish. It was a bit of surprise for it was unexpected for a boy who always peed on walls with signs “bawal umihi dito” together with his best pal. The contradiction technique was effective.

The flick’s editing should also be blamed for the confusion, because its manner was not clear enough to visually explain what was happening on the story. But it still managed to build up development wherein realization for the audience took place. Moreover, the scenes that were shot on the railways were not good enough because some of it were against the light; but some shots were also effectively interesting and funny, like the boys’ playful act of peeing on walls. The sound also added a mutual effect of interesting and funny moment.

Parang Pelikula is a flick for the best of friends and cliques who wants to establish a better relationship among them. Surely, nostalgia about the precious moments with friends will shower the minds of the viewers at the end of the film.

Puwang (Shorts B)

Rating:	★★★★
Category:	Movies
Genre:	Independent

ENVY


Puwang is a short flick which reflects one of the most common family problems associated with man – envy. Written and directed by Anna Isabelle Matutina, her approach of showing the practical side of the story enables the audiences to actually relate with her creation without difficulty.

It is a story of a sister’s (Roence Santos) enviousness towards her sibling and her father’s (Elmo Redrico) negligence of somehow acknowledging her efforts as his daughter. For since the beginning, the father’s favoritism fills up the spaces between the family, which he favors his son (Bon Reyes), who eventually became prodigal but was still loved by the father.

The story was simple, but it moved the viewers. A point of realization was observed at the end part, where the daughter still failed, after years and years of trying, to let her father know that she deserved his attention. It was really a heartbreaking moment when the son suddenly showed up on the hospital once again, and while the daughter was in absence for she was having a nap, the son was the last person the father saw before his last breath. Her efforts of taking care of their worn out father became useless because she was not able to comfort her father up to the last minute that he was living. The desperation within her of fulfilling that punched a realization to the audience, and it was a turn point where one can actually really relate to her condition. The attack was effective enough.

Editing was smooth, plus the fact that its shots also indicated clarity. The transition and sequence of events were properly executed that it enabled easy understanding. On the other hand, the musical score was also fit through out the flick. Each scene has a distinct sound which further emphasized its portrayed emotion.

The whole package was eye-friendly, realistic, and has a sense of simplicity with a crisp. Puwang deliberately tackled the issue of envy effectively, not only as a common family problem, but as a part of the seven deadly sins as well.

Rotonda

Rating:	★★★★
Category:	Movies
Genre:	Independent

PUZZLING


A film of cyclic events in an interrelated plot, Rotonda envisions the kind of indie films today that tackles real social issues in a very puzzling sort of manner. Directed by Ron Bryant, the film constitutes enthralling examples of how life really phases in such a very crowded, busy place.

With a mixture of perplexity and genuine occurrences, the story revolved – literally – in a place where people’s everyday lives meet. Just like the films Jologs and The Grudge, Rotonda featured a connected life story of one different person to the other – in a very artistic way because each character’s doing is relevantly connected to the doings of the other characters involved. And the surprising thing was, the thread of the diverse people concerned in the film relied on a very unlikely thing – a marked one thousand peso bill.

The people involved in this rollercoaster ride of tale were a certified drug addict, a retired mad policeman, a feeble loser, a pathetic prostitute, and an infamous fading journalist. These five characters were portrayed by highly-acclaimed actors, Miguel Lorenzo Javier, Celso Ad Castillo, Epy Quizon, Meryll Soriano, and Mark Gil respectively.

Bryant’s brilliant mind and idea of having interwoven characters was such a refresher for the audiences, for it did not fail to catch their attention and interest towards the film. Something that was not-so-new, the approach of the film was still an evident effective technique.

On the other hand, parallelisms were also observed on the film. A literal example of this was Gil’s marked one thousand peso bill, it was first seen on him, and at the end of the film, it was returned to him again. The story itself is very much similar to the lives of the people living in Rotonda, that’s why it had an impact to the audience and it managed to sustain their interests as well. The way it reflected a simple yet tolerable life worked.

Again, contrary to other films which are entitled with a place’s name, Rotonda also differs in a sense that the story was so simple yet it reverberated on the viewers for its very realistic appeals.

All the actors in the film were commendable, especially Gil and Soriano, who both starred on other indie films on this year’s Cinemalaya. Their versatility was shown here for they portrayed their characters with justice. Gil, as expected, created a whole new person in his character that reflected a break-hungry journalist which a lot of mass communication students can really relate to. And, Soriano depicted the life of a woman in disgrace very effectively, for her aura indulges the audience to not only sympathize with her condition, but also to believe her that she is true, a real prostitute.

The film’s editing was notable, for it helped carrying out the true story behind the movie’s puzzling events. The transitions created an impression of developing conflicts, and a developing plot as well. And since the editing was superbly done, the executions of shots were also fit for every scene in the movie. It visualized the real environment of the crowded Rotonda, where people go here, there, and everywhere, in a very busy mode. And yes, this only shows that the film really was realistically done.
Musical score was very realistic too. It helped the film show the true color of Rotonda. One can distinguish the busy and crowded, to the bound and not-so-quiet areas of the place with the aid of the film’s sounds. It added an impression of reality all through out the film’s entirety.

Rotonda is a not so typical sort of indie flick of today, for it is comprised of a well woven story and characters which is also related somehow to the other. Puzzling as it may seem, still, the movie reflected a side of everyone’s life – poverty. And it worked.