Andrea Anne Trinidad, John Bengan, and Skilty Labastilla
11, 103
The full-length documentary 11,103, co-directed by Mike Alcazaren (Puti, 2013) and Jeannette Ifurung (Marcos, the Fall of a Dictator, 2012) masterfully weaves together the individual stories of survivors within the context of Republic Act 10368 (an act providing for reparation and recognition of human rights violations during the Marcos Regime, documentation of said violations, appropriating funds therefor and for other purposes). The documentary takes a wide-reaching approach, considering the experiences of various sectors, including doctors, Muslims, members of the church, and more, hailing from different corners of the Philippines. The diverse storytelling methods employed, combining traditional sit-down interviews, intricate scene illustrations, and actual visits to the locations where the memorable events unfolded are commendable. The seamless narrative transitions from the filing of then-Presidential candidate Bongbong Marcos’s certificate of candidacy, the campaign, the victory, and the inauguration are also well-crafted.
In terms of being a record and reckoning, this documentary is more comprehensive than most. However, it still adheres to a somewhat conventional and predictable approach.
Blue Room
Blue Room, the debut feature of Ma-an Asuncion-Dagñalan that premiered in Cinemalaya, is a film that delves into issues that we are already familiar with, such as the police involvement in drug planting and the subsequent “performance” of a high-ranking official who turns a blind eye to it. The film interestingly brings together two levels of chaos: that of the band and that of the police. The band’s night spirals into chaos due to a dispute between former lovers, and later on, the police also get entangled in a mess due to a mistaken arrest involving the ex-general’s grandchild.
The film features well-executed shots, especially during the initial interrogation scene. The scene in the police vehicle, where chaos ensues as they attempt an escape plan, stands out due to the tension built by the claustrophobia.
Juan Karlos delivers a solid performance, and the other characters in the ensemble complement each other well. The camaraderie among the youth feels natural and engaging, making it a youth-oriented movie that firmly questions the authoritarian and corrupt regime.
There’s an attempt to critique these events throughout the film, with Elijah Canlas’s character and the various baggage carried by the other characters. However, this critique feels somewhat lacking. It seems like there was an effort to comment on various aspects of the film, but it falls short, as it appears to be only a tough lesson for privileged young individuals to learn. It lacks the true grit needed to make a significant impact, concluding with a sense of helplessness. Despite this, Blue Room deserves recognition for its technical merits.
Family Matters
Family Matters, written by Mel Mendoza-Del Rosario (Sana Maulit Muli, 1995) and directed by Nuel Naval (Miracle in Cell No. 7, 2019) presents a justifiable script that genuinely explores the unique stories and characters of each family member. It skillfully weaves together the characteristics of various types of families, seamlessly integrating them into the larger family unit. The exchange of lines between the characters, especially during family gatherings, is smooth and effectively utilizes the camera.
However, the film is quite generous to its audience, especially in scenes that emphasize the differences between Ellen (Nikki Valdez) and her Fil-Am boyfriend, the contrast between Fortune’s (Mylene Dizon) chaotic and clingy family versus her brother’s more composed and individualistic family, and the sweet but clingy elderly couple compared to the practical dynamics of the brother and his wife.
One can’t help but notice Ellen’s frequent trips to the grocery store, which becomes a recurring motif in the film. The message of “we must disconnect in order to connect” is emphasized, particularly concerning one family facing this particular issue.
There is an opportunity to highlight the star potential and overall role of Liza Lorena as a mother and wife, but it often revolves around the specific issue faced by the family’s patriarch.
While the film tends to underestimate the intelligence of its viewers at times, making its themes and messages overly explicit, Family Matters offers a well-crafted exploration of family dynamics, providing a fair and balanced portrayal of the various family types and the issues they encounter.
Nanahimik ang Gabi
In Nanahimik ang Gabi, Shugo Praico manages to craft an interesting enough thriller involving a kept woman and a police officer (ably portrayed by Heaven Peralejo and Ian Veneracion, respectively). The film’s striking visuals, though at times too on-the-nose, set the mood for what looked to be an engaging narrative at the start but unfortunately becomes marred with indulgently long scenes that ironically dissipates, instead of builds, tension.
Praico also falls into the male gaze trap, employed by many straight male Filipino directors as a shortcut to eliciting empathy for their attractive lead female characters, when more layered characterization could have been more effective. The “good for her” genre, depicting female empowerment by subjecting them to violence and having them triumph in the end is becoming a tired trope, especially when directed by straight men with male gaze tendencies.
The technical craftsmanship and the attempt to comment on police brutality are commendable, but there is a need for a more nuanced and less predictable storytelling.