Mangatyanan

Mangatyanan (Click on the title for my review) is a film directed by Jerrold Tarog. It stars Che Ramos, Irma Adlawan, Pen Medina, Neil Ryan Sese and Publio Briones III. I do recommend this film to be seen by everyone. It is one of the films in competition in the recently concluded Cinemalaya 2009 Film Festival.This will be exclusively shown in Robinsons Indiesine from September 16-22, 2009.

Charlie Koon's Rating:

A Stronger Foundation

Let's talk more often

Laya is not the carefree type of woman. She is a deconstruction of the female psyche. She thinks like a man and her principles are similar to men. This is how she is and has become. She confesses that her father sleeps with her when she was a child. Mangatyanan is the second film of the Camera Trilogy directed by Jerrold Tarog. The first film Confessional, I did not like. In fact, I was really insulted. It is not about the technique that I did not like. I just always consider stories to be crucial element in films. Mangatyanan made something exquisite. The mixture of our dying culture and the human condition are combined to exteriorize the frailties of our existence.

Why did I admire Mangatyanan and not Confessional? Confessional is pretentious. It was trendy during the time wherein most film enthusiasts are so frustrated with how our films have become. In effect, they have a high regard for brave filmmakers. But that was just a fad. Now, I think the majority of film aficionados could easily mock the brave. When filmmakers go back to the essence of film which is to tell meaningful stories, regardless of whether it is brave or candid, it will be praised for its ingenuity. Mangatyanan is an example. It definitely has a good story. It is about us. They talk about the people who are not merely fixated into life’s trivialities just for the heck of individualism. Now, we have a character that has the right to be who she is. The protagonist of the film, Laya Marquez played by Che Ramos has the bravura in extending certain aspects of humanity that is too soaring to be synthesized. It is hard to understand the courage of the principles she has acquired, but that is the blood of the film. This is the life that should flow into our own existence.

The mere fact that Jerrold Tarog’s name has registered into my memory, that a certain filmmaker has a recall could be very important. Tarog has definitely improved and has fused his technical expertise with a good story (Ramon Ukit). A trilogy in general has a common theme. They are not expected to be a continuation of the first or the second. Famous filmmakers have done this way of focused storytelling. Ingmar Bergman has made a trilogy that centers on a spiritual theme (Through a Glass Darkly — conquered certainty, Winter Light — penetrated certainty, The Silence — God's silence — the negative imprint). It is also same with a more contemporary approach by Alejandro González Iñárritu’s Death Trilogy (Amores Perros, 21 Grams and Babel). Tarog made use of the camera in order to base the commonality of the previous story with the recent one.

Laya is also suffering from an injury that now haunts her. His father Danilo played by Pen Medina is dying and her mother played by Irma Adlawan tries to patch things up. Laya resists without giving her reasons. She shuts herself from her ‘obligations’ and goes up quickly to Isabela for her job assignment. Little is told about her even with the insistence of her boss played by Neil Ryan Sese to open up. It is only in her conscience that we are introduced to Laya, a woman that tries to be normal for society’s sake but will never forgive a father who taught her what she is today. But the consistency of her courage will also have its toll. The tribe is headed by Mang Renato (Publio Briones III) who is very strict and devoted to the ritual. Through the ritual, Laya gets more bravery to face a daunting task to resist her own predilection.

Mangatyanan could still have the vibrant social commentaries relayed in Confessional. But in this one, it is more subdued in the context of political beliefs. Well, it is already in our blood to relate every aspect of our lives to the political arena. Mangatyanan on my perspective has deeply penetrated the harshness of our own beliefs. We have no right to human condemnation but we are reaffirmed by the task in hand which is to forgive. I have to say that most of the films in the Cinemalaya competition are really good. But Mangatyanan excels from the rest of the films in competition.
.
.
Charlie Koon's Rating:

A Bewilderment of Lies and Half-truths

I Confess

“A clever person could easily negate a testament of truth.”

And it is. That’s why I won’t dare watch this pseudo art film again. This would only leave you with nausea, preaches of shallow ideologies and an insulting epilogue. Confessional is one of the films in exhibition in last year’s Cinema One Originals 2007. I have watched all five films. The films’ outcomes as well as the panel’s decision were disappointing. Although, it is totally understandable why many critics praised the film’s exploration of truth and how it conveyed a raw and intense brand of energy; that’s probably why it is hailed as one of the best pieces of contemporary cinema in the Philippines. But for me, the film’s message of truth was more of hype.

Frustrated and obsessed in seeking for the truth in work, relationships and society, Ryan Pastor, a documentary filmmaker made some time-off to look for it. Together with his girlfriend, he decides to join a documentary contest regarding the Sinulog Festival in Cebu City. Before he arrives in Cebu, Ryan had a quarrel with his girlfriend Monet and was left alone. Events suddenly took an awkward turn when he got to interview a former politician, Lito Caliso. Lito reasonably wants to confess important matters to the filmmaker. But Ryan shows reluctance.

Then, we get to see a showcase of the film’s sidelight: The Sinulog Festival. The narration of the protagonist is very much enmeshed in the entire film. We are being overwhelmed with his reactions, personal insights, and discomforts. Towards the end of act two, there is a back-story in a town in Mindanao. This is greatly connected to Lito’s personal decision to squeal all his sins. A school building project of Lito Caliso collapsed due to a weak foundation. Many people died, mostly children. We get a melodramatic side story from one of the victims, a teacher. The teacher is pregnant while her husband is being sought to kill a known politician. He certainly doesn’t want to do it. Not until the school collapsed burying his wife and unborn child. There is a total blackout in the screen, the audience only hearing the sound of children screaming and crying for help. The husband decided to seek revenge. Then we are back again in Cebu where Lito recounted all his mistakes in front of the camera. There is a threat to his life; will he be able to tell-all before his time is over?

Overall, there is nothing fresh in this film. These are recycled ideas from some of my favorite lists of films and poetic jazz music. From the dark humor and shock value created by American Beauty, to the mockumentary and gutsy style of Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, mixed with a similar voice over of Lourd de Veyra’s never ending rant about politics, society and drugs. And now we get a paranoid and discontented filmmaker searching for the truth in a plausible Utopian Society. Are we reaching for a paragon of selfish ideologies? My intellectual capacity was devalued to its dehumidified depths by the films’ expositions. Everything it was trying to show is already common knowledge. Politicians might be corrupt. Politicians do murder. Liars are everywhere. Relationships tarnish. These are all possibilities and truths.

I don’t want to argue about Confessional’s deflationary theory of truth. That the proposition ‘Lies + Lies = Truth’ is ‘true’. But when I viewed the film, how could I submit myself with their proud proposition? This is why I detest Confessional because of the entire message. But we cannot argue, as the film implies so. Confessional believes we are that indolent and accepting. Are we are in some sort of Spanish Era Part Two? Like we are in dire need of enlightenment? Confessional insinuates to us all the horrifying truths about life but in the end we would hear it say: What the heck! You know, it’s all smoke and mirrors. The entire scenario itself does not require such grandiose exhibition. This film deserves no praise for its foolishness.

I believe films are the wrong medium for truth. According to Wikipedia, truth is subjective, relative, objective or absolute. This difficult material is better written and published. I personally have no distaste for self-ideologies or political convictions. As a matter of fact, I personally liked Ayn Rand’s statements on Objectivism, Jose Saramago’s subject matters on human condition and Aleksandr Solzhenitsyn revelations on Soviet Communism afflictions. These artists were hailed in their respective fields. Given that the film was written, it still does not level to these literary compositions, neither does it approach the edge of it. But one thing I did like in this film is its musical scoring. It is pleasing and could be of a quality soundtrack.

Confessional is by far the most illogical and ridiculous film made in previous years. It’s merely the first mockumentary film made in the Philippine shores, nothing more. Within its genre, let’s compare it with Borat, which I did like. Borat tries to find levity in a subject that is difficult and politically taxing, the subject of racism. It tried to illuminate the truth through humor, or at least tried to poke fun at it through racial slurs and outrageously detestable situations. It made people say, “Yeah, the world is like that, haha.” Through the film, people saw something primal, and they laughed. As for Confessional, what did this film try to accomplish? Was it being too ambitious or self-indulgent? Why was the audience initially captivated? Humans have a theoretical affliction towards the truth. Once we encounter artists who supposedly proffer it to us in a form wrapped and decorated for our viewing pleasure we naturally applaud. But once confronted by the truth, without embellishment, without ornamentation, will humans really be that pleased. One might say that vomit is too polite a response.

When the closing credits rolled, I swiftly leave the theatre as I was experiencing a minor headache because of all the ‘fine art’. Much to my expectation, the audience was so amazed. They clapped and cheered. Was it a sarcastic gesture towards my departure?


Charlie Koon's Rating:

.

Positive Review:
True Confessions by Philbert Ortiz Dy

Trivia:
• Confessional won 7 awards in Cinema One Originals 2007.
• Confessional won 5 awards in 24th PMPC Star Awards.
• Confessional won Best film in 10th OSIAN's CINEFAN in New Delhi, India.