Yanggaw

Yanggaw is a horror film directed by Richard Somes. It is one of the films in competition in last year's Cinema One Originals. It stars Ronnie Lazaro, Joel Torre, Tetchie Agbayani, Aleera Montalla and Erik Matti.
It will be shown at Indiesine Robinsons from July 29 to August 4, 2009.

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Charlie Koon Film Review: Yanggaw

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Charlie Koon's Rating:

Reel Freedom

Trio Mio

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And so the night came when all the free peoples of our beautiful home-metropolis detached themselves from the substrate of their functional particularities in order to hark to another form of substantiated simulacrum which the philistines refer to as ‘indie culture’. There they were, the milk-lipped movie enthusiasts pseudo-mingling with the culturati of the blogosphere, all in their cat-eyed, long-haired, vitriolic glory. The air was rife with the colors of freedom, and so it should, as Raya Martin’s much anticipated and grant-bestowed Independencia puts the waiting crowd in a rare thirst, that which can only be quenched by a decent independent movie or as a matter of fact, a free movie, the latter being immune to any scruples of public decency and choosiness.

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But as it turns out the audience did make a choice. Perhaps palled by Hollywood’s asphyxiating tinsel truck or the flesh parade of the quotidian Filipino indie film, they are starting to realize that maybe it’s time the directors stop fucking up and start making real movies. Whether Martin is the bearer of good things to come has yet to be seen but at least the good tidings are at hand. His film scintillates in a stylistic sense. The studio scenes are both innocuously attractive and deliberately nostalgic, trying to evoke no doubt the irony of the Philippine-American war set in an extinct aesthetic of a made-up American movie reminiscent of Hollywood’s early, in-studio period. Succinctly, the whole movie feels like a perambulating diorama. The claustrophobic forest with its synthetic weather and painted backdrop introduces Martin to an international audience as well as to his own countrymen as a technically proficient twenty-something colt with a flare for sepia tones and Lutgardo Labad’s classical music. Certainly the soundtrack is eerily gorgeous and the scenes maintaining a static loveliness thanks to the unmoving camera (again part of the aesthetic irony) but the film in general lacked the sensual violence that could catapult Martin’s work into the realm of masterpiece.

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But the movie itself is not a failure; it is in fact direct evidence of Martin’s increasing maturity. He opted for a more conventional plot, quite peculiar since the movie was intended for Canne’s Un Certain Regard which tends to be more experimental. The scenes were less sprawling, less Antonionian, and certainly followed a clear and accessible trajectory. The subject matter also lacks the self-indulgence of a lot of Filipino indie films. The merits are still rather closeted but ineluctably undeniable. It has always been the opinion of this blog that the public has been yearning for stories to be told. Never mind art, never mind the idiotic prettiness that flowers in the breasts of dead rats and subtle angles. The days of the art films are over, should be over. If a director wants to find true art, he should look for it through the eyes of his tangible audience, not in the limpid pools of his own abstractions.

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And such palpable forces Martin’s characters find themselves in. Confronted by the encroaching realities of war, a mother and her son are forced by their own volition to live in the forest, left with their human devices in an inhuman wilderness. They are typical Filipinos, moved by a typical hunger and a typical lust. It was intriguing to watch Sid Lucero, a young and obedient naïf, masturbating on the riverside, not a staple scene for most period films. The acting was itself like that of a 19^th century play with de Rossi shining as the most natural despite the classical dialogue. Characterization in general is presented in two layers, the one seen by the outside world and the other intrinsic landscape conveyed through dreams and taciturn stares. Though the ending required a little prestidigitation, overall the characters are moved by the hackneyed and powerful hand of nature, to which they respond as the plot does, with a very Filipino sense of dignity and equanimity. Women are raped, seniors expire, children, like sylvestrian ghouls, come and go like the blinding dusk-edge, but the banana leaves must still be laid, the twig floor swept with the good ol’ broom. It is always a difficulty to live despite of your freedom. Before sidling towards the movie house I noticed Anita Linda entering the restroom, it was probably a sign telling me that though the movie I was going to watch free of charge, some things cost more than we expect.

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Written by: Alex Milla (Guest Critic)

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Notes:

Independencia is shown in the recently concluded 14th French Film Festival held in Shangri-La Plaza, Mandaluyong during the Philippine Independence Day (June 12).

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Independencia also competed in the Un Certain Regard section of the recently concluded The 62nd annual Cannes Film Festival held from May 13 to May 24, 2009.

Salt Supremacy

Pssst... Your hair.

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Chito Roño’s T2 (Tenement 2) has the right qualities of a horror story that is uniquely Filipino. It’s script written by Aloy Adlawan derived the story from local myths and folklores. I remember in my Sundo review that our culture itself could ignite inspiration for a good horror story and this is what T2 is all about. This film is neither an all-out gore fest film treat nor does it aim for the usual creepy eerie plot. The film elevates and defines how fright was derived and combines it with supernatural phenomena that are still prevalent in our belief-conscious society.

T2 was able to articulate the film’s story wherein other factors of fear could be felt. In the story, Claire (Maricel Soriano) is forced to deal with a trial separation prepared by her husband Jeremy (Derek Ramsey). She is distraught and maddened by the completion of all the legal papers concerning that matter and decided to replace a fellow volunteer at Save an Orphan Foundation by bringing a young boy to Samar. On her way back to Manila, mysterious events occur when they get to stay at a nearby orphanage. Claire meets Angeli (Mica dela Cruz) a young girl who exhibits strange aspects surrounding her behavior. She has this mannerism to look someone straight in the eyes. In that way, she will know if someone is either good or bad.

T2 is about the Engkantos. We might not be aware but in the film, it was depicted that we live side by side with them unnoticed. There are also local beliefs that are used within the film which for me are interesting. There are a couple of scenes that hit the eye of reality scare. First, the stairways scene works for mechanical reasons. Secondly, the unknown traps and accidents which occurred in the film leads to an assumption that it was the Engkantos who caused it. I could not complain for some artificial computer-based effects on the film. What matters is that the effort is there and the story they are telling is an interesting story.

Claire may have negligible beliefs concerning the world of Engkantos. And if she might have given some curiosity to it, she would still end up dumbfounded. It’s interesting to notice that there she is currently experiencing an emotional dilemma on the present status of her marriage with Jeremy. The tension between the couple boils even more since she constantly rejects all forms of communication. The fear Claire shows has a base to make it believable for someone who has no interest with myths and the unknown.

The film is also well supported by characters that make the story more credible, such as details that some writers miss. Elias played by Eric Fructuoso engages with his comic relief antics while the urban enchantress Rita played by Tetchi Agbayani has brief moments of thrill and importance. Dela Cruz as Angeli gives out a good portrayal as a child haunted with a mysterious past. Soriano of course is a fine actress. She’s able to portray a woman who’s confronting her panic of a failed relationship and the fear of the unknown mystery she’s forced to face with.

Scares build up along the way and even the trifling events are well placed and it tries to make you feel more emotionally distressed. This film mixes reality with the lives of Engkantos. And these Engkantos tries to contrive our lives through their power. It is really incredible since a horror story is not only layering drama but actually stressing real emotions and distress to people. It is an interesting mix and it gives credibility to a story that might exist through our imagination and create the fear of something we could not perceive.


Charlie Koon's Rating:

A Parody of Dialect

Combat Duo

Familiarity with other Filipino dialects could be advantageous for critics because it helps in gauging the film’s sincerity and thoroughness. My father is from Negros Occidental and I understand fully the language used in Yanggaw even without the subtitles. Unfortunately, the soft-spoken quality of my fellow Ilonggos has been made into a spectacle of hilarity. It must be a horror film but it appears to be some sort of comedy of inelegance. Ilonggo dialect was skewed into evoking laughter.

Yanggaw is a horror film written and directed by Richard Somes. Even the names of the character are a takeoff to names of endearment by Ilonggos such as Toto and Inday. Even garbling the names upon dictation has crazed the audience who are watching it (most of them are Ilonggos). They are chuckling at how spontaneous the actors are (which I feel that most of the lines are adlib). They could have been so at ease with their mother dialect and that the essence of creating a horror atmosphere obnubilated by the inept script. Of course it is admirable to express amusement with how we relate to the rich language of Hiligaynon. It’s just disappointing because I understand it very well and it sounds like an honest mistake – really.

I too have been infected with the rapid amusement the audience has shown. But certainly, I have opposing insights with how the film rates in terms of horror. Yanggaw in Ilonggo is translated as ‘infection’. In the rural town, Junior (Ronnie Lazaro) lives with his wife Inday (Tetchie Agbayani) together with their children. One day, their daughter Amor (Aleera Montalla) goes home with a sickness. She has been diagnosed by Lazarus (Erik Matti) that she has been infected with venom that goes through her ears. In a few days, Amor evolves into a monster commonly called ‘aswang’.

Yanggaw is a mixture of horror and melodrama. The dramatic overtone in the film is protracted with the struggle of the family in protecting their keen that is now a monster. It’s ironic in a way since the monster is now being protected from the villagers who try to get rid of it but natural familial reaction takes place. It’s good in a way since the point of view is revolving on the dramatic event of the monster’s own family. With obvious low cost production, Yanggaw was able to give an atmosphere that is quite creepy and to that, they are still on the right track. Even the story itself is about a monster eating the insides of animals and humans. But my concern is the dialect’s intonation. The film could still be successful for the wrong motives. There is a laugh to ease the terror within the film. But the laugh we are indulging is because it looks comical. That is quite unintended.

Yanggaw has a fresh take on our local myths. Somes has achieved an atmosphere for such incredible tales of aswang. The aswang inspiration is attained even without hi-tech effects and that is totally delightful to see. Well known actors like Joel Torre as Dulpo is such a relief to see on screen even if he appears to be a bit funny. Even Tetchie Agbayani as Inday has delivered her acting again with much self-confidence. Yanggaw won the Audience Choice Award in this year’s Cinema One Originals 2008 Festival. Ilonggo’s are proud of the film obviously. But the use of the dialect is a major distraction to the aim of the film. I should be frightened and not something else.
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Charlie Koon's Rating: