Cinema One Originals 2015 (Part 2) November 14, 2015Posted by Richard Bolisay in Asian cinema, Cinema One, European Films, Noypi.
BUKOD KANG PINAGPALA (Sheron Dayoc)
There are only two settings in Bukod Kang Pinagpala: a house and a forest. In these two places Sheron Dayoc situates his story of a paralytic mother who suddenly gets well presumably after a visit from the devil, and with brutal enthusiasm he aggrandizes it by laying emphasis on the darkness consuming her. After establishing this premise with the usual symbols and flourishes of religious nature, Dayoc is no longer concerned with plot (or depth) and characterization (or nuance) — in unsubtle terms he creates horror out of conventional means and overplays it, on and on until the point is no longer about having a point but being pointless. A great deal of time is spent on how the mother yields, rather willingly, to her captor, and how her freedom from physical confinement is exchanged for total submission. There is something preposterous about this whole act, in the refusal to widen and enrich the scope, as though it was done while wearing blinkers, unable to see anything but the front. Dayoc only cares about delivering the scares — and what scares it has! It is a mad feat to be effective and ineffective at the same time, each coming from extreme ends, and Bukod Kang Pinagpala gets narrower and narrower until the very last scene, until out of the blue it awakens from unconsciousness and wants to be relevant.
MUSTANG (Deniz Gamze Ergüven)
A much deeper and more compelling study of confinement, Mustang looks into the lives of five young orphaned sisters under strict guardianship of their uncle and grandma. It is set in a remote town in Turkey where conservatism is formidable and women are forced to accept their fates as housewives fully subservient to men. Punished for their supposed indecency around boys, they are imprisoned in their house, with any means to communicate with the outside world taken away from them, and over time they find ways to display resistance and seek the pleasures they deserve, oftentimes with grave consequences. First-time director Deniz Gamze Ergüven is able to present their youthful struggles, small victories, and solemn defeats with force and maturity, steered by an impassioned female sensitivity. The audience has cared so much about them that the pain of seeing their story end is almost unbearable.
DAYANG ASU (Bor Ocampo)
Dayang Asu alternates between a walk and a brisk walk. Even in its high moments it refuses to run or sprint. It possesses this inflexible command of material, with director Bor Ocampo firm on telling it his way, in his vernacular, in his beat. Basing on his disciplined handling, he is aware that stories of corruption, violence, and injustice have mostly been told countless of times before, in varying shades and textures, set in numerous places and leading to different outcomes, but he is after the cold-hearted clutch of consistency, the hard-hitting truthfulness of linear action, without neglecting the need for substance to allow precise movement.
The dog-eat-dog viewpoint is clear, and apparently the search for a dog to kill and eat is used to shove it further. There is a lot of room for fleshier examinations of social ills and for a closer look at the father-and-son relationship, but Ocampo is content with observing things from a distance, neither near nor far, making the audience feel like implicit witnesses. It avoids the common (and tiring) tendency to be a mood piece and relies instead on headway and pacing. One can be partial to the dryness and lack of eagerness and think these qualities are deliberate, in keeping with the bestiality of criminal work. In this dogged approach, Dayang Asu may have a long leash, but all throughout it keeps a tight and uncomfortable grip.
THE TREASURE (Corneliu Porumboiu)
Treasure hunting has always had this ancient ring to it, but it never fails to arouse the curiosity of both the old and young because it evokes fascinating myths and exhumes long-forgotten stories. At the center of The Treasure is the act itself, the impatient search for fortune in an old family property where decades ago pivotal moments in Romanian history took place. Bookending it is the motivation and the result, and director Corneliu Porumboiu, in another showcase of cunning restraint, connects many dots in one precise swing, managing to cross leisurely between past and present with palpable political byplays. The punch is surprisingly hilarious, and it’s a stroke of genius topping a work thick with clues of wisdom.
MANANG BIRING (Carl Joseph Papa)
There have been several films made about elderly people and their struggle with old age and isolation, some of which are highly regarded such as Adela by Adolf Alix, Bwakaw by Jun Lana, and Lola by Brillante Mendoza, but none of them have been told in the same fashion as the rotoscoped world of Manang Biring, the second feature of Carl Joseph Papa. Similar to his debut Ang Di Paglimot ng mga Alaala, it builds the character of a mother, and in doing so vividly illustrates the importance of maternal company, not to mention the degree of loss felt once it is gone. In Manang Biring, however, the mother is at the center, living and dying at the same time, coming to grips with her illness and enlivened by the imminent arrival of her daughter from overseas.
One can only salute Papa for pushing his objective through and achieving it: the rotoscoping may be crude and flat at times, but emanating from it is this persistence of vision, this unmistakable drive to see it through the finish line. Certainly it is hard not to be moved by perseverance. The story, in its initial draft, is expansive, detailed, and verbose, and efforts have been made to sharpen it up to suit his chosen form. But one must also recognize several faults — a particular clumsiness in the storytelling, the occasionally misplaced rhythm, the unhelpful lulls and talkiness — which impede the flow and draw attention to aspects that could have been executed better. Assessing Manang Biring enables a careful consideration of its strengths and lapses, reaching a point where warranted praise and justified forgiveness meet, and for the most part, as demonstrated by the emotional ending, its soul can carry more weight and lift the film higher than its skill.