Let’s Switch Souls

Am I still... Me?

Villa Estrella could be best described as a mainstream montage, a papier-mâché piñata of Rico Maria Ilarde’s lesser known films. Numerous reference are seen in this film that has been employed from the mysterious lady coming out of the water of Sa Ilalim ng Cogon, the water element also present in Shake Rattle and Roll 2k5 segment ‘Aquarium’. The religious iconography, gun chasing incidents and twist obsessions of Altar is quite perceivable as well. I have seen all of these films. I could say that Ilarde is not only inspired to make horror features, making a credible name in the genre, but also has the skills both as a technician and a storyteller. Villa Estrella is an entertaining suspense story with a dash of romance and horror twists.

Altar could have been a good commercial release but unfortunately it did not happen. But I could still be right in what I said in my review of the film. It is easy to discern independent filmmakers who could be really useful in the mainstream film industry. This is especially for their artistic skills to be employed and blend it with film economics, you could never complain. I also felt the same way with the indie director Jade Castro’s romantic film Endo, the director of the mainstream romantic film My Big Love (although I was not able to record or write what I have said in that). Ilarde’s artistry surely did not suffer and have made really bold moves especially in his recent film.

Ana (Shaina Magdayao) is an advertising agent who is suffering from an abusive father played by John Estrada. She is forced to make up with Alex (Jake Cuenca), the son of his best buddy played by John Arcilla. They are business partners and his father is convinced that the reconciliation with her and Alex could be beneficial since the collapse of their finances. Unfortunately for Ana, she has a steady boyfriend Dennis (Geoff Eigenmann) who convinces her to elope one night but due to the promise Ana gave her deceased mother, she opted not to leave his drunkard and abusive father. Not surprisingly, that was a wrong move for Ana because by the next day, Alex has planned to taken her with him in the undeveloped resort they had named Villa Estrella.

Ana suddenly feels terrible about the place mostly for the peculiar attention being given to her by the Mang Gusting (Ronnie Lazaro). He tells her of her childhood and with her supposedly closeness with Andrea, her missing daughter. Ana is quite withdrawn from her past and insists Alex for them to leave the place but he resisted. As the night is going near, Ana familiarized herself with the place and befriends the startling and enigmatic Giselle (Maja Salvador).

Writers John Paul Abellera and Adolf Alix Jr made a good task in layering drama, romance and horror in the film. But I could still feel the artistic voice of the director Ilarde in evoking a credible assailment on this kind of genre. His images are somewhat predictable but the imagination of a suspenseful atmosphere and the logic behind the mysterious evil spirit residing at the soiled swimming pool is totally understandable.

Ana has suffered emotional trauma and it is quite easy to be convinced why she forgets her past. But when unexplained things happen, almost all the people in the Villa feel the intensity and mystery, well except for Alex. He could have focused too much with his undying love, he could have been possessed. In the middle of the chaos, Dennis harps in to save Ana but gets troubled with the lost of his friend. At least he’s still optimistic and logically finds his friend near the backyard. But he soon falls in a deep dungeon where he finds a little sneaky secret that could unlock all the ambiguity of the resort.

It’s a bit fun though when you think about the ending. Could it really be possible? I mean, it’s so cool if you will ask me, it could really lead to a catfight. And yet again, Alex will always be dumbfounded and literally has no instincts that someway or somehow; all the things could have been altered. Villa Estrella is a commendable film and the money you allocate for this will not be wasted. But to the most discerning eyes, the film is not all out scary, so watch out for this factor as the film has fused in other genre devices from drama to romance and even comedy.


Charlie Koon's Rating:

Chummy Forever

Half moon, Full moon

With Wenn Deramas’ film Ang Tanging Ina N’yong Lahat, I gave a smirk. But not with his latest film BFF (Best Friends Forever). It is a polished version of how he works as a filmmaker inclining to be a crowd pleaser in the comedy genre. And even when the film is made to accommodate the much-loved masses for economic rationality, they are predisposed to deliberately perk up the comedy craft all the while. I am not being sarcastic. It’s just that the previous film is a shame to comedies in general. Its story is insensible, forced to commit the deadly sin of greed without reliable merits with the end product. I am comparing it because BFF is an example of a film that is entertaining, funny and ingenious in relative terms.

Don’t get me wrong here; BFF is not made to be a spectacular work of art. But the art of comedy that Deramas has fused in is more commendable. These are on the grounds of comic execution and swift combination of comedy and drama. The heavy usage of slapstick is very laudable mostly because the lead actress Sharon Cuneta could do all those crazy antics without looking inadequate in comic timing. Ai-ai delas Alas grace the limelight once again with a finer composition of her comedic persona.

I really love comedies especially slapstick films made by Chaplin and Gaidai. This is why I admire how slapstick is incorporated in this film. I know most people think that slapsticks are a major turn-off albeit antiquated. But if you come to think of it, it’s merely loathed because the execution is nearly detrimental to the idea of slapsticks which is; it has to be perfectly timed and clear-cut. Cuneta and delas Alas merely lets loose and make fun of their selves which I think works miraculously. Cuneta is not even anxious to be poked fun with her plump demeanor. They also exploited their awkward behaviors and human flaws like the glorified elongated chin of delas Alas. It’s not insulting and its execution is admirable with the customary whacky sound effects utilization.

The film starts with the funeral of Tim (John Estrada). He is the husband of Honey (Sharon Cuneta). Frances (Ai-ai delas Alas) walks in the room veiled in black, create a mini-scandal as she is known to be the mistress of Tim. The subsequent scenarios are mostly flashbacks, giving us the story of how these two people establish their friendship. Honey is a mother of three who is getting frustrated with the cold behavior of her husband. She suspects that Tim has a mistress after seeing a pair of lingerie at the trunk of the car. She was counseled by her mother played by the flamboyant Gina Pareño that she has to work on her appearance mostly on her corpulent figure. She applies in a gym where she is helped emotionally and physically by the cheerful and fun-spirited Frances.

Another dimension tackled in the film dwells on relationships, family affairs and friendships. There are tips to wives with philandering husbands just like what Frances talks about appreciation, emotional connection and even our sexual fantasies. These boost a stagnant relationship which could be learned from an undeclared mistress. It’s not all flippancy but a paint of drama is apparently important as the film depicts lives of distressed people.

BFF has a good script written and it’s a bit alarming for the efforts made to make the film wholesome. I had fun watching this film as I could see that slapstick comedies are again alive and in good form. He could be more experimental on this aspect as anything that looks crazy, absurd, and even illogical as long as the execution is crisp, could be amusing. It adheres in theory with what slapstick is all about. This is the best comedy he has made so far. I think the main problem is, will the audience take this seriously? Comedies are best appreciated if we aim to believe the laughter and not defy the act of laughing, which is ridiculous.

Charlie Koon's Rating: