In Review: Aparisyon

Directed By: Vincent Sandoval
Stars: Jodie Sta. Maria, Mylene Dizon, Raquel Villavicencio, Fides Cuyugan-Asensio

What I Liked

Great performances from its cast, beautiful cinematography, scenes that are difficult to watch are executed with great skill

What I Disliked

Editing is dissatisfying and makes narration more confusing, dotty execution of tension--could have benefited from more tension

Gist

Mainly a social commentary about religion's role and its limitations in the face of actual danger (or more likely an allegory of the role of the Church during the period of civil unrest), Aparisyon lags a bit on some spots but is otherwise a brilliant showcase for its talents.

Sister Lourdes (Sta. Maria) is new in her cloister. Trying to find her place in the monastery run by the serene but austere Sister Ruth (Cuyugan-Asensio), she decides to accompany Sister Remy (Dizon) on her extern duties to town, selling herbal medicines the nuns make. One night on their way back, they were attacked by bandits. This event leaves the nuns rattled and stirs trouble in the convent.

Aparisyon is set on the tumultuous parts of the Marcos era when the dictator was readying the declaration of Martial law. The setting is in a very secluded convent which automatically eradicates the need of the production team to recreate the events during the Marcos era. The props team recreated some radio news and newspapers but other than those, the Marcos regime is very much like a background noise over the daily convent life. I feel like this is a missed opportunity that Sandoval could have exploited to create more tension in the convent, but instead, we are given a very serene set up, dotted by some pinches of tension which never really seem to tighten. For good or bad, this puts much focus on the convent where most of the story is taking place anyway. To my mind, this was done to bolster the idea that the convent is a safe place for its inhabitants. It also struck me as an allegory of the Church wanting to keep itself separate from politics during the early stages of the Marcos era unrest to keep itself safe from the outside world.

Something I noticed immediately at the start of the movie that put me off was the editing. There were scenes that were cut off a bit too soon, while towards the end there were scenes that lingered a bit too long. In fact there were too many cut scenes that you didn't know where the story is going. This is a shame because the cinematography is actually beautiful and the editing at times lessens the efficacy of these images if the scene takes too long or too short to transition. Eventually, this editing problem fixes itself towards the end, particularly in the revelation scene.

Sandoval however was able to extract a lot from his cast. Cuyugan-Asensio who played the haciendera-turned-rape victim Inday Lorenzo in Peque Gallaga's masterpiece Oro Plata Mata found herself transfigured into Sister Ruth, a quiet mother superior whose black garb and paper-white complexion denotes her capacity to be austere and strict. Cuyugan-Asensio's execution is beyond reproach. One would believe that she has been a nun for a long time, a role she performs with authority. At times, she is frightening and too quiet to figure out. Villavicencio, on the other hand, who plays an even more stern and direct Sister Vera, the convent's second fiddle to Sister Ruth, was equally terrific particularly with her scenes of contrition and on the revelation scene. There is something with Villavicencio's voice that sounds so motherly and strict and perfect for the role she played. Plus points for having her hair cut to a certain length (albeit too long still and too salon perfect for a nun's--or was that a wig?).

Naturally, the leads, Jodi Sta. Maria and Mylene Dizon needed to be as good and they managed to be. Dizon puts her signature pragmatic, resistent, and stern school of acting without needing to sound mean or antagonistic, which is necessary for her role as Sister Remy, an extern nun. Dizon though might be overusing this stern "character" in her work, and may need to pick up lighter roles or roles that would not necessarily ask her to be "Mylene Dizon." She remains a brilliant actress, convincing, and powerful, but I feel like I've seen too much of this Mylene and whether it's the nice or evil Mylene, the lines are starting to blur to look as if Mylene Dizon is portraying herself on-screen. Sta. Maria on the other hand sheds the innocent goody-two-shoes of her mainstream hit of a character Maya to don the habit of Sister Lourdes. Initially, she is kind, innocent, eager, but towards the end, Sta. Maria has her character transform into a miserable train wreck, a task she executes with great dexterity. And how I wish her fans get to see this movie in case they forget how great an actress she can be, given the material. Not to disparage her mainstream work though, but I'd say that partly the reason of "Be Careful with My Heart's" success is her capacity as an actress and ability to extend with her co-leads and create chemistry with them, something she managed to do with Dizon and the older nuns, too.

Sound editing is sparse on this production but when they do come they are a welcome addition. I have to note the use of Latin prayer hymns. The dead language being sung actually provides a healthy addition of fear, mortification, and solemnity.

Aparisyon in its whole feels like a social commentary on religion's chosen role and its limitations in the face of actual danger. Yes it does lag on some spots but Sandoval's hand makes the performers deliver an otherwise brilliant showcase. It may feel like a chamber piece at times (but isn't it?) but the skill of its execution (performance, cinematography) belie the budget. By Sister Ruth's stern declaration and forbidding of Remy to do anything outside the convent that falls outside their conventional duties feels feel like an allegory of how the Church wants to stay out of the government's business during those tumultuous times--at least until they couldn't anymore, which is also analogized by Sister Remy leaving the convent and joining activists.

It may also feel like an allegory of Marcos's rule. I thought that Sister Ruth represents Marcos in that she was suppressing the real events that took place, eventually sending Sister Remy (a possible allegory of Ninoy Aquino) who knows what is happening really. Sister Ruth's insistence that the convent is safe (when in fact it is not, as evidenced by the stolen chicken and the assault) seems to liken it to Marcos's disguising of the Philippines with his New Society propaganda--until it couldn't be hidden anymore and even his closest affiliates break (in this case Sister Vera represents Marcos's allies who jumped ship). Sister Marcia (the old mother superior) seems to represent the Filipino community who at first thinks Marcos is practically the good Lord (as evidenced by Marcia mistaking Ruth for the virgin Mary). Then at some point things go awry and Marcia says Ruth is the devil himself, the same way the Filipino community unmasked Marcos. If Sandoval was in fact doing this, then his work is so subtle and skillfully executed. It's so brilliant to think it that way. Then again, I could be looking into it too much and finding analogies when there are none.

A number of scenes I would like to note before I close this review.

Spoilers Start Here

First: the several confrontation scenes between Dizon and Fides-Asensio. There was no explosion or what not, but when there were, they were quietly tense ones--lending some credence to the tranquility that nuns should be exhibiting. Remy, the pragmatic one, wants social justice and for the church to intervene other than praying. But Sister Ruth wants them to fulfill their duties and just continue praying. In the end, Remy's prayers were proven to be nothing more than desires unfulfilled. Perhaps Sister Ruth has forgotten what "Ora et Labora" means and was too scared to break the silence in their convent. Remy was the one aware that prayers without work amount to nothing and sadly, in the end, she would always have herself to blame for things she thinks she could've done something with.

Second: the confrontation scene between Sta. Maria and Dizon was powerful. But I find fault in that it took forever to build up and when it was happening, it was taking too long that it was starting to dilute itself. There is a presence of pain and sadness and helplessness and of being trapped and as soon as Sta. Maria was breaking down on Dizon, the camera pans out and the tension is released, but man did it take forever.

Third: the revelation scene is my favorite scene. For most of the movie, they have been dropping hints, but the execution of this scene is so pained, so conflicted, so helpless. The execution didn't paint the older nuns as cowards but as helpless women who are as helpless in the face of danger. And the worse part here is that they try to cover this up by telling themselves that this is the will of God, when in fact they could have done something and continue to do nothing for months until they could not have it anymore. Villavicencio shines the  most in this scene. Her pain is so felt, so real, so helpless and her contrition later on shows her to be the better person. But was it ever enough? Is contrition ever enough for something one could have prevented. Sandoval doesn't answer this and leaves the question to its audience. Is it ever enough to just say that it's God's plan when possibly we know we are the ones who enact that plan.

Spoilers End Here

If anything, I am now feeling bad that I missed Cinemalaya last year and resolve to make sure I get to catch it this year. My disappoint from watching this film is that this is what should be mainstream. That intelligent movies should not be independent film watched by like 4 people. When I was watching this at the moviehouse, there's like 15 of us at the most, and this is more heartbreaking than the movie itself. Years ago, epic films were made with big studio backing and grand marketing. Now, we have to wait till Cinemalaya to watch this sort of films from local talents and outside your film buff friends, nobody knows this movie. Nobody understands how good it is. This is sad and frustrating. Films like Bwakaw, Lilia Cuntapay, etc from last year had to bargain with movie houses, plead, just to have their movies screened to mass audiences who prefers the latest installment of Twilight or that rehashed Kathryn Bernardo - Daniel Padilla starrer. Truly, this breaks my heart.

Now do I recommend this film? Yes. This is exactly the film you need to watch because like its Cinemalaya brethren, it makes you think. We need more of these kinds of films. We need filmmakers to regain the trust that when they attempt something bold, we the people will respond. That an indie film doesn't need to have Eugene Domingo to be watched. That it doesn't need to be directed by Brillante Mendoza to be spectacular (not a fan here tbh). Yes this film is good. And local movies should be at the very least like this. But what we keep getting are rehashed stories with over-the-top script / unlicensed adaptations of foreign movies that changes nothing in a person.

Judgment: 3.9 out of 5 stars

For this movie, I'm willing to pay, 170 to 190 pesos. I paid 175 pesos.

In Review: Bwakaw

The Gist

Gripping and socially relevant, Cinemalaya's Bwakaw discusses the delicate business of dying and living, choice and its tragedies--an ultimately rewarding cinematic experience bolstered by Garcia's veteran acting skills paired well with ultra-realistic cinematography.

The Good

• Great performances by Eddie Garcia and Rez Cortez
• Realistic atmosphere
• Great script
• Has enough sense of humor and bitterness to not drown people with pathos

The Bad

• Can prove to be heavy
• The resolution is good but reminds me much of Franzen's The Corrections, and while not exactly derivative, I wanted tragedy or a great sense of hope

Synopsis

Rene has accepted that at his age, there's only one place to go but 6 feet under. Other than a stray dog he adopted and fondly calls "Bwakaw,"  (Filipino for glutton) Rene is basically alone, and more often than not bitter with life. He has already boxed up his belongings for distribution in case Death knocks unexpectedly. His friends, who are much less than his fingers, are quick to remind him that there is life and there is happiness that comes along with it, but having never really fallen in love, and having accepted that he is gay at a very old age, Rene is jaded beyond repair. As he tries to live his numbered days, his life is thrown for a spin after meeting a number events that makes him rethink about life.

*** Spoilers Begin Here ***

God Hates F*gs

The Filipino brand of Christianity, especially the rural and conservative offshoot, believes that God condemns all homosexual men and women to hell, and Rene believes in this bitterly that he tried to keep his identity from himself and from the world until he is 60. By which time, he has gathered enough bitterness and hate towards himself that it is outwardly expelled towards everyone around him everytime he speaks to them. The sort of character treatment for the aged homosexual Rene is unusual for a Filipino film. Filipino filmmakers have a perpetual need of portraying gay men as effeminate and terribly cross-dressed salonistas (in fact, there are two of this kind in the film). Jun Lana's Rene is not the sort, in fact far from it. He is just like any old straight men, save for his choice of flower-printed polo shirts and his often throwing shade at the people around him. The sort of treatment done to Rene's character, and with the subtle changes in him as the movie progresses, makes for an interesting 2 hours.

Everything is Broken

The screenplay and set design is spot-on for the story that Bwakaw wants to tell. The way Rene's boxed up estate looks--dark, musty, and falling apart--depicts old age in a very depressing light. Even the post office he works at is effective at bringing out raw sadness simply by not having enough work to do and not being in top shape. The setting of the movie, I felt, is intergral to the overall effect that Lana wanted to depict: old age and the hopelessness / misery that comes with it and with growing alone. There is no more happiness and all the sort of life has evaporated leaving nothing but remnants of what it was. In this sense of fulfilling its role, the cinematography, set design, and screenplay were all effective and beautiful. The depiction of growing old but not maturing meshed with it beautifully to create one depressing atmosphere that becomes absorptive more so as the dialogues start rolling.

The dialogues are very plain, just like any vernacular language, but are effective in conveying emotion and developing the characters. There are scenes where the dialogues become intense that you feel the words piercing through. The scene where Alicia (Armida Siguion-Reyna) was talking to Rene after she recovered clarity from senescence was particularly powerful enough to summarize how growing old in a foster home is. Garcia's dialogue with the local priest on how he detest his being gay and a coward was particularly strong, too, and basically sums up the conflict in Rene that he carried for years and is continuing to carry.

Pacing was fluid, albeit a little slow, and at times you just don't know where the movie is going anymore until it hits a plot bump and sends the story elsewhere, albeit in as paced as it possibly could. The shifts from misery to humor to drama are done in a very fluid manner that the movie does not drown in its own pathos or loses substance from too much humor. It had the right amount of everything it needed to convey its message of the difficulty of growing old alone, even if with a little exaggeration.

The acting showcase of Eddie Garcia is top-notch. The way he fleshed out Mang Rene, the bitter and miserable gay man at his twilight is something that is both memorable and affecting. Affecting because I couldn't say his is a character I'd love or one I'd find endearing. His was a character that wouldn't evoke your sympathy, but still shares you the delight or the hope in his personal redemption. The roles of Soxie Topacio as Zaldy the salonista with mismatching pink hair and his sidekick Tracy played by Joey Paras were the much needed comic relief of the film. Rez Cortez who played Sol, a local tricycle driver with an appetite, was detestable and lovable in equal amounts. I say he did his part justice, but not enough to outshine Eddie Garcia or the rest of the supporting cast. He was, like most of everyone, another plot device for Rene, and in that way he worked well.

The titular animal, Bwakaw, is a Golden Retriever pup and worked just like how the neighbor's dog worked for Melvin Udall in As Good As it Gets. Bwakaw is the humanizer, the one that made sure the audience sees Rene's human and endearing side, one that affirms Rene's ability to love even if everything he does seem toward people seem contradictory. Bwakaw, played by Princess, a puppy Golden Retriever, was good in disguising herself as a typical stray dog that does not do its job, but eats food anyway. In a sense, Bwakaw was the only light in the dreary world that Rene lives in, and as such ends up as a plot device to move the story forward to the resolution.

Lastly, and most regrettably, the movie closes rather too openly when Sol's speeding tricycle passed Rene without any hint of noticing him, as if in disgust, and Rene just walks along anyway towards the highway. This happens after he unboxes every single item he was to give away when he dies--a possibility he has accepted, prepared for, and grew miserable over. But the unwrapping was symbolic. It stood for the truth that it is ourselves that keep us from our happiness, the way that he did with boxing up his belongings. But the fact that he still pines for Sol sort of negates this self-empowerment, in a sense. Though it does affirm another moral lesson, that it is impossible to be human and not love, and such is never too late. While the message is sent and can be easily received, I feel that for the pain it took the movie to develop its characters, I would have wanted a more tragic ending, or one that is glowing with hope to enforce the idea--something that does not only show a subtle change in Rene, but a full on transformation, an acceptance of his own fate of dying alone and still managing to find what is joyful in life, and I feel that Lana missed this opportunity for such showcase. Had he done, I'd say I've seen the best movie of the year, but as it stands, he merely wanted to deliver a message, and it's up to the audience to enforce it in themselves.

My verdict:

A dreary depiction of rural life and of growing old alone and miserable that slowly gains color, bolstered by  the top-notch performance of Eddie Garcia is something that I'd give a passing and recommended mark of 4.25/5 stars. Must watch. 

Bwakaw ended its commercial run last September 12, 2012. You can catch it on DVD in case it comes out.