Nananahan
Directed by Dwein Baltazar
Matt Ordonez – 4.5/5
“Poverty Pawn(shop)”This is certainly a strange film to begin the Manila Film Festival ( Set A). It seemed criminal that the film had notable actors like Ronnie Lazaro, Donna Cariaga and Gold Aceron, all known for playing electric, sometimes over-the-top characters, providing very muted and restrained performances. But it seemed to deliberately play with audience expectations to its advantage.
The film shows a family or a family-like community going about their respective mundane habits mechanically and in the same positions in their pawnshop filled with second-hand objects. With every purchase by different customers, the family stares regretfully as someone takes away a piece of their home, a piece of their lives, away. Though very thin on dialogue, narration, or explanation, clearly, the film depicts creatures of habit mourning every purchase, every change. In the final purchase, Ronnie Lazaro’s character seemed to accompany his favorite table being gathered by its new owners with a view of the decaying urban landscape of Manila.
This film is not for all audiences, especially those seeking easy answers. It seems to hold the audience’s attention hostage with its slow pace and black-and-white color grading but builds tension with the mechanical sounds of everyday objects. However, it rewards viewers who give extra time and attention to reflect on the film’s message about Filipinos and Manila’s relationship with change.
John Tawasil – 4/5
At first, I thought Dwein Baltazar’s Nananahan reminded me a lot of her films Mamay Umeng (2012) and Oda sa Wala (2018), with its seeming fixation on solitude, and the relief that endings, rest, and retirement collectively bring. In one scene the ambient sounds of a workplace dissolve into the ticking of a clock presumably nearing its end, or the heartbeat of a man who only wants to rest. But at the same time, there’s a feeling of fondness towards Manila as a place, much like in Baltazar’s Gusto Kita With All My Hypothalamus (2018). In most of the film, rendered in painterly frames by DP Kara Moreno, we see people standing still, backgrounded by (relatively) far away images of movement: cars in the street or a train in the distance. Not only can you feel the place this is set in (taste, smell, sight, hear), its repetition forms an idea of “home” or “stasis.” Meaningfully, in a place where things are forgotten and left behind, to be picked up by customers looking for cheap things for themselves or their children, one wonders when it is their turn to leave. And in the final sequence of the film, that happens – with a man standing still yet also in motion, leaving towards another place.Roy Narra – 3/5
I really want to appreciate newly minted Urian Best Director Baltazar’s latest experimental film about living, longing, and leaving the space that nurtured and caged us. The silent performances of Ronnie Lazaro, Gold Aceron, and Donna Cariaga are a testament to their talent and Kara Moreno’s cinematography is crisp with divinity. Nananahan felt like it wanted to say more and explore more but it was restricted by the limitations of being a short film. But I’ll definitely want to rewatch this.Jayson Laniba – 4/5
The film reminds me of David Lowery’s “A Ghost Story” which I’m not actually a fan of as it came across as too artsy for me. But Baltazar’s short manages to capture my attention right from its early scenes. I came to the cinema not knowing anything about the shorts that I’m about to watch, and so I was pleasantly surprised when I realized what this film is about. An existentialist supernatural tale, filmed in stark black and white. And watching this in Dolby Atmos heightens the overall experience, thanks to Emerzon Texon’s music.It manages to tell a story effectively in a matter of minutes, with a satisfying payoff that will give one relief. And that final shot of Ronnie Lazaro’s character made me shed a tear. Definitely my favorite film from this year’s Manila Film Festival.
Una’t Huling Sakay
Directed by Vhan Marco Molacruz
Matt Ordonez – 3.5/5
The film’s strengths lie in its script and the performances of its main cast, creating very relatable and endearing characters. It is becoming increasingly rare to find depictions of positive male mentor relationships in today’s films. It also competently deals with its theme of dreams and invites appreciation for Escolta’s neglected architectural beauty. Its main issue lies in its production design. It tries to tell the story of a struggling young driver but everyone’s uniforms, motorcycles and helmets seem either brand new, or borrowed from motorcyclists who were not struggling at all. It would amplify the message if the costumes and props were either worn and weathered or even artificially weathered over the course of the movie. Still, this is a decent piece of storytelling, advocating the everyday Filipino dreamer, young and old.
John Tawasil – 3.5/5
I am fascinated by Una’t Huling Sakay’s fixation with facades. Above anything else, this is the part of any building that the eyes catch first. It finds itself reflected in its characters, whose initial appearances are deceiving but full of complexity – a young, rookie motorcycle taxi driver (Gold Aceron) who struggles to provide for his pregnant girlfriend, tries to skirt the rules and gets punished, and a kindly, middle aged motorcycle taxi driver (Nonie Buencamino) who has hustled and worked all of his life to provide for his family, at the expense of his own self. In fact, the title can also refer to both Gold and Nonie’s characters, one at the cusp of starting out a new life and family, and another at its end.
Roy Narra – 3.5/5
Here’s a light, inspiring, crowd-pleasing story about surviving and giving yourself a second chance amid the disappointments and hardships in the city. Gold Aceron captures the role of the young father trying to be a better person and Noel Buencamino is the father figure I needed to see on the big screen.Jayson Laniba – 4/5
If there is one film in this festival that really puts Manila under the spotlight, it has to be this one. From its breezy visuals and gorgeous shots of the city, this is a feast for the eyes. It paints Manila in all of its tragic glory- finding beauty even in its abandoned, forgotten buildings. It’s a visual representation of Francis- at first glance, he might seem to be just like any other college dropout who has no dreams in him. But let him talk about his passion – architecture – and you’ll see the bright potential in this young man. Bolstered by compelling performances from Aceron and Buencamino, paired with stunning visuals and an affecting story, this is definitely one of my favorites from this roster of short films.
An Kuan
Directed by Joyce Ramos
Matt Ordonez – 3/5
This film had the loudest reaction from its audiences. The movie’s humor connected strongly to the society’s sensibilities regarding lesbians, lady guards and mothers. However, the film eventually loses its momentum towards the end, as if running out of jokes to tell. The performances, though funny and unashamed, were clearly done by less experienced actors. The Camera also lingers at times to unflattering shots of its actors. Yet, somehow, its lack of polish may also make it more endearing to audiences. What works in this film is reminiscent of the late Wenn V. Deramas. With more discipline and attention to detail, the filmmakers might one day inherit Direk Wenn’s legacy.
John Tawasil 3.25/5
Large urban centers are also often where many in the provinces come to seek jobs, not because the work is any easier to find, but because the potential financial incentives of getting a job are more rewarding than the same job in their home province. For swimmer Igra (Zar Donato) and her mom (Louielyn Jabien), leaving the confines of the sleepy municipality of Jiabong, Samar in order (presumably) to train as an athlete will require financial support. The language barrier, however, proves to be a relatively large obstacle. In entertaining and comedic strokes, An Kuan shows us one of the reasons why people move to Manila to find work, and the obstacles people face trying to get in. Case in point: without connections, it’s going to be a little bit harder.
Roy Narra – 3/5
There’s a charm in Ramos’ An Kuan in its obvious flaws and limitations. The actors may need more work but their chemistry blends so well that I am willing to overlook their performances if it means I get to see them do their best to make me laugh (and they did!). Some parts of the story don’t make sense if I am nitpicky but I didn’t mind if it means I get to see the characters grow and achieve their desires. It may sound corny but An Kuan was fueled by heartfelt intention from Ramos.
Jayson Laniba – 3.5/5
One of the most fun entries from this roster of short films, Joyce Ramos’ comedy is a delight to watch. Penned by Ramos and Sharlene Pineda, its story might be a little too thin. But it compensates that with effectively funny and memorable performances from its cast, led by Zar Donato, Louielyn Jabien and Jayvie Sanvictores. Its concept of finding one’s place in this world is handled well, even if that ending was a little too convenient. Brilliantly humorous and impeccably acted.
Happy (M)others Day
Directed by Ronnie Ramos
Matt Ordonez – 5/5
The idea of the film is very simple but very polished, especially with the clear chemistry of the main cast. The simplicity of its message is precisely its strength. When authority figures and structures refuse to give you space, you must claim it. The story is reminiscent of Rosa Parks who quietly defied the norms of her time by sitting on the bus. This time it is a modern family staking its claim on the concept of motherhood. Rather than try to assign one male parent as a mother figure like in La Cage Aux Folles, they allowed both femme dads to participate as the child’s mother(s) which is in itself a strong statement. The film balances warm family moments with firm and tense political confrontations. It didn’t need to preach its message; it simply demonstrated its message.John Tawasil – 3/5
The definition of the family unit has changed (for the better, IMO) in recent times, as laws and societal attitudes towards previously deemed unconventional but otherwise loving families have diversified what a family truly is. In Happy (M)others Day, Sab is an elementary school girl who has trouble getting a mom or mom-figure for her school’s Mother’s Day celebrations, because she doesn’t have a mom – she has two dads. There’s nothing wrong with Sab’s family, in fact, it looks like a perfectly happy and stable family. But rigid definitions of ‘motherhood’ and ideologies still tied to “conventional” family structures stand in their way. There’s a debate in what is the climax of the film, though even at the end both sides seem adamant in their positions. The problem seems to be resolved in the very next scene, though most of the details of that resolution happen off-screen, decided by committees and people we never see. It could have settled in much better, but it’s still a very sweet film.
Roy Narra – 4/5
Boss Rodolfo, bata mo kami.
Fans of Drag Race Philippines Season 1 Winner Precious Paula Nicole finally get to see their favorite drag queen be a father figure on the big screen alongside Phi Palmos. I wish these two were my parents. I hoped Ramos had more confidence in expanding the discussions about having same-sex parents but for the familiar narratives he worked with in the film, every intended message was sharp, sincere, and heartfelt.
Jayson Laniba – 3.5
It smartly tackles the current struggles of the queer community here in the Philippines, particularly the inequalities stemming from prejudice and discrimination brought by our society’s traditional and archaic beliefs. It’s very effective, to the point that I want to pull out the hair of that principal when I heard her say: “Children are brought up by society, not by law.” It’s also propelled by compelling turns from Phi Palmos, Amber Jeshley Gomez and an unrecognizable Precious Paula Nicole.
It ends on a hopeful note, because right now, that’s all there is left for us: to hope that someday, this country will finally recognize the fundamental rights of every person regardless of sexual orientation and gender identity. Hopefully, that day comes sooner.
Pinilakang Tabingi
Directed by John Pistol Carmen
Matt Ordonez – 2/5
This movie tries to give clever commentary on the days we rely on cheap pirated DVDs to enjoy the latest movies rather than spend good money on the cinema. However, it naively casts blame on the vendor while portraying an adult manipulating children in apprehending culprits. It openly glances over the fact that even the vendor is also a victim of the same economic circumstances as the children. It is ironic that the moral framework of the film seems “tabingi” and feels like an extended infomercial of the optical media board’s anti-piracy campaign.
John Tawasil – 2.5/5
The nostalgia of Pinilakang Tabingi reminded me of Iskalawags (2013) and the recent Cinemalaya film Huling Palabas (2023), though this short delves more into boyhood fantasies in the (pirated) films its two protagonists watch in haphazardly recorded DVDs. In that respect, it’s great. Eventually, however, the film devolves into what looks like an advertisement for the OMB, decrying piracy without acknowledging its role in film preservation and access (notably, the two kids in the film had to pilfer some money just to buy a pirated DVD. How the heck could they have afforded tickets?) Perhaps the film could have been better served preaching the benefits of small, independent provincial theaters, like the theater that was featured in the film, without immediately resorting to moralizing why piracy is actually bad, you know.
Roy Narra – 2/5
I had high hopes for this film because it almost celebrates the Filipino experience of accessing films through pirated DVDs. It even had a tongue-in-cheek spoof of the iconic Derek Ramsey anti-piracy ad. And then suddenly, it became a pseudo-MTRCB ad against piracy. I’m not saying its moral message is bad but Pinalakang Tabingi’s start was a promising potential that was unfortunately sidetracked.Jayson Laniba – 3/5
Many would probably feel awkward watching this, as it feels a lot like an advertisement for the MTRCB (Movie & Television Review & Classification Board). It pits piracy versus the cinema experience, which obviously are too disparate things considering the financial status of the main characters. You can’t blame a kid who only has a couple of pesos on hand for buying a pirated DVD over buying a movie ticket, which now costs around 300 plus pesos.But despite all of that sentiment, this lighthearted film about experiencing the magic of cinema as a child is admittedly a fun watch. It’s occasionally humorous, with shining performances from its two young leads, JM Edara and AJ Rodriguez. It’s all good vibes, and will leave a smile on your face.
Shortest Day, Longest Night
Directed by JP Habac
Matt Ordonez – 4.5/5
JP Habac’s direction and Mark Tome’s script definitely show evolved sensibilities from the prior age of BL as they discuss many serious issues of the Filipino gay adult world such as loneliness, homophobia, abusive relationships, hookup culture and HIV stigma. The dialogue doesn’t always feel natural and can alienate segments of the audience. However, the potent chemistry between Adrian Lindayag’s Barry and Vaughn Piczon’s Tony beautifully transcends those issues and demonstrates that connection is still possible in a hopeless place.
Manila can be a chaotic and decaying city but once you find a safe space, even from a small corner, the whole city becomes beautiful.John Tawasil – 3/5
I very much enjoyed the atmosphere of JP Habac’s Shortest Day, Longest Night: talky (sometimes to a fault), brimming with history, also kinda horny. In between words, the characters of this short try to find a safe space to call their own, when they are regularly and repeatedly driven out of spaces where they thought they belonged. This idea of “space” is metaphorical as well: space-as-category (healthy vs. not healthy, positive vs negative, out and happy vs. closeted and miserable), space-as-being (the safe ‘space’ being the arms of another.) In principle, I like it, though given the very talented people involved in the production, I would’ve wanted to see it visually, in the enclaves and spaces of Manila where these people gather, small islands in a large city.
Roy Narra – 4/5
True to its title, it felt like a long night for its two main leads and I want to extend further if it means I get to experience the natural chemistry between Adrian Lindayag and Vaugn Piczon. They live and breathe the gay characters who are set to conquer their fears and reclaim Manila as their safe space despite its intimidating forces. Habac’s work was inspiring and empowering especially those who can relate to Lindayag and Piczon’s characters.
Jayson Laniba – 3.5/5
There is still a stigma towards HIV here in the Philippines, and this film effectively tackles this, painting a portrait of what life could be for someone who has this condition. Just like what Barry says in the film, having HIV can be compared to a death sentence, as it changes the way people treat you, and you lose the capacity to love.
But aside from themes and its aesthetically pleasing visuals, what also makes this short film from JP Habac a delight to watch is the genuine performances from its two leads, led by Adrian Lindayag. His sensitive portrayal is perfectly complemented by an effective turn from Vaughn Piczon, and the two share some incredible chemistry together. My only complaint with this short: why does it look like a queer utopia where all the gays are good-looking?
Smartly written. Brilliantly acted. Occasionally touching.