Distinguishing itself as the only work with literary inspiration, Tatarin became a most-anticipated and intriguing watch, more so because it is based on a Nick Joaquin opus, a well-loved classic short story, the "Summer Solstice." Thus, the film not only acquired distinction, but also the unforgiving expectations from literary lovers.
Tatarin refers to the pagan ritual participated in by women, who are momentarily liberated from the strictures of the patriarchal society. They abandon themselves to the calling of the inner self, instinct, nature or other influences, as demonstrated through frenzied dancing, a bit of nudity and shrieking. The ritual coincides with the feast of John the Baptist.
Against this backdrop and the oppressive heat of summer, gender wars are principally portrayed by the aristocratic and proud Don Paeng Moreta (Edu Manzano), who feels contempt for, yet fears the Tatarin and the women, and his wife Doña Lupe (Dina Bonnevie). Doña Lupe eventually wields her own feminine power after witnessing the transformation of their cook Amada (Rica Peralejo) and the rendering into helplessness of her abusive husband Entoy (Raymond Bagatsing); the amorous coaxing of Paeng's cousin Guido (Carlos Morales);and the experience of the Tatarin itself.
Generally, the acting is competent and even Peralejo, who was generally viewed as a miscast, is kept unobtrusive. Scenes may not be as crafted as expected or as imagined by many viewers, with some almost awkward and contrived -- vestiges most likely of theatrical tradition which must place actions within the confines of the stage. The film nevertheless proves to be cogent in its recreation of the 1920s, as evident in an atmosphere that exhibits in several moments a kind of lushness and muggy tension.