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Reviews
Sapi (2013)
Sapi directed by Brillante Mendoza: A film review
With the rise of indie cinema to a wide range of audience came a growing production of film noirs, teeming with artful portrayals of Pinoy realities especially those that ascribed corruption, and more often than not, resort to tragic endings.
In his latest masterpiece Sapi (Possession) Brillante Mendoza was able to subtly infuse that concept of noir into the horror genre. Sapi was, indeed, brought up from his bloodline of works in which he, once again, molded a film with an unconventional stroke, not to mention that Sapi was his very first horror movie.
It was not the horror type that the majority tended to expect. Yes, there were heart wrenching scenes, but Sapi, in the overall, did not entirely mean to scare for it was, perhaps, to showcase the horror that is looming within the media system.
Plot and Characters
The rivalry between the TV network stations, the Philippine Broadcasting Channel (PBC) and Sarimanok Broadcasting Network (SBN), was greatly established during the onset part of the movie when production crews from each channel foraged for actual possession scoops during a heavy downpour.
The film allotted most of its time on the lives of Meryl (Meryll Soriano), Baron (Baron Geisler), and Dennis (Dennis Trillo).
Meryll was the producer of the 'Sapi' episode in SBN. She tended to be desperate and risky, her qualities that would later on, bring about the change of the course of her life. Such qualities of hers manifested right at her first appearance in the movie when she told the driver to course flooded roads.
Meryll was trapped between dilemmas: SBN Sapi episode ratings continued to fall; her superior set an impossible deadline for the actual possession footage; and there was nowhere to get such. Being empty handed and desperate for footage, she sought Baron's help.
Baron was a camera person from PBC whose team had captured footage of the actual possession. He bribed someone inside to pilfer the footage and delivered it to his friend from SBN, Meryll. He was always available as he always had the tendency to be violent.
Dennis was Meryll's anchor who had a very passive character. He would just obey to whatever he had been told to do, which made him very weak and vulnerable to abuse.
The true horror 'possession' in the film had only just began after the airing of the stolen footage that had brought forth mishaps one after another: PBC filed a complaint against the network for stealing a footage property; Flor (Flor Salangga), the case subject in the demonic possession had ran amok and manifested possession once more, after seeing her uncensored video that had bluntly revealed her identity on air.
Metaphors
There were manifestations of snake, cockroach, dog and crocodile, which could, perhaps, represented the characters who ran the entire film. These metaphors were very much akin to the people who compose the media business.
The snake that appeared at the first part of the movie was in the premises of SBN. It could suggest a foreshadowing that there would be someone in the firm who would be guilty of a 'snakeful' doing. As the movie unfolded, it was clearly revealed that the snake was Meryll, who, technically, was the topman of the pilfering job.
On the other hand, Baron could be the cockroach. Being not such a great loss for the network company, he could be akin to a pest, which the company could easily get rid of anytime.
Dennis, apparently, was the dog who would always obey and follow everything that was put down on him. The part when the dog was ran over by the SBN van could mean that Dennis would be dragged into the horror web nightmare of Meryll and Baron.
The crocodile that appeared at the very end of the movie mirrored the media men in higher tenures who could be very greedy in pushing the ratings up. These crocodiles, according to the news, were known for their wickedness and residents were fearful of them.
Reading between the lines
The lives of Meryll, Baron, and Dennis became distorted with which the manifestations were very similar to a demonic possession. They were under a terrifying nightmare of which was beyond superficiality.
Barron was ousted from PBC and started to live in a dreamlike world where he could see himself living in violence with his life, ruined.
On her own accord, Meryll resigned from work as her hallucinations became vivid.
Dennis retained his job in SBN, allowing himself to be perverted by his gay superior as he had begun experiencing hallucinations as well. Besides of his kind demeanor, he had a sexual dark side which could possibly denote that such act happens in the media proper.
During these times, the horror had also spread to their loved ones which further revealed to the audiences the main characters' personal lives.
Meryll turned out to be a single parent of a daughter. The time when she saw blood coming out from her daughter, perhaps, indicated that in the parallel reality, once the dirty job of a media person is exposed, she would not only drag herself down but also the people whom she has close ties with.
It was then revealed that Barron was a loving brother to a kid, who in the latter part of the movie, was killed by a mind-distorted Barron. Eventually, he committed suicide. These tragic events, perhaps, mirrored how a person could be devastated under such cruel system— how the higher ups just throw away and trample the little people after using them.
Sapi, was indeed, a satirical movie that showed the horrors or 'politics' in the system of media- a media politics that is just as horrible with which some have no idea about.
Mabuhay ang Pilipinas (2013)
Mabuhay Ang Pilipinas of Bor Ocampo: A film review
It is as if a habit that if not most, some viewers, by observation, apparently put short films low on the totem pole when being rolled concurrently with the feature films on the big screen.
The Cinefilipino 2013 short film finalist Mabuhay ang Pilipinas, directed by Bor Ocampo has left tracks of leitmotif for the viewers to ruminate about, that is, wherein the moment when one realizes what the film tries to portray, the only thing that is left to say is, "*insert a big time compliment here*."
The film is indeed a masterpiece that can only be materialized from a critical mind. The concept, perhaps, mirrors the director's love for the country, which sadly, languishes little by little. Within the story manifests the bitter reality that is very relevant to most of the Filipinos today.
A film that is beyond superficiality and challenges the kitsches is what I consider deserving to be labelled as ''movie'' that is worth watching and worth recommending regardless of its total running time. As long as it grasps a meaning that extends beyond what the eyes meet, that film is indeed, an excellent art.
Looking at it on the surface would seem that the entire story revolves around the parting romance of the couple, specifically, when the man's departure to Australia comes near. Maika, whose character was portrayed by Japo Parcero, is being tacitly forlorn about the leaving of her partner, whose character was played by Bor Ocampo himself, for she knows that there is no turning back for him. She then decides to go back to the spot where they used to hang out, perhaps, to refresh the good memories of their sweet past. Eventually, the man left her for what he thought of a 'good life' abroad.
Besides of this conspicuous romance, there are mordant symbolism to decipher here.
Maika is the kind of a hopeless romantic woman. She longs for love and hopes that she won't be left alone. She would constantly try to refresh the good memories despite that she couldn't do anything else to make her lover stay. She herself is the depiction of the Philippines who would always be left broken by the Filipinos.
The other main character is the unnamed lover guy, who by which is Maika's lover, represents the metaphor of the Filipinos as a whole. He technically fooled Maika for having her believed to a promise he cannot keep.
Detaching from the literality of the film, it has something to do between the relationship of the Filipinos and their mother country.
Remembering the part where he swore in front of the camera while wearing a full-face of sincerity, he spoke the words that Maika believed to be true. In the parallel world of reality, Filipinos make a pact about never leaving the country, but eventually they tend to betray that oath in exchange for the greener pasture they imagine abroad.
This goes the same in reality: the case of the Overseas Filipino Workers or OFWs. To go abroad and be far away from their families is, perhaps, the only option they got. The high hopes of having a better life overseas further presses the stigma that life here in the Philippines is directionless.
There was a shot right before the rolling of the credits that would certainly catch the viewer's attention: The signage of Philippine's tourism slogan situated at the airport, It's more fun in the Philippines. The slogan could be an unspoken message that there is a tiny glint of hope in this country. However, that tiny bit of hope seems to flutter away with the wind as the plane departs. The signage is left ignored many times as much as many Filipinos fly away from their mainland country.
The short film ends with a comedic epilogue. It perfectly portrays the 'expectation versus the reality; scenario of an OFW. The same man holds his camera and seems to be catching his breath while making his v-log, "As you can see, I'm just relaxing. Enjoying life. This is the life..." Eventually, an Australian man approaches, and the main character immediately puts down the camera as they begin hoisting up the huge couch.
This, I think, signifies the struggle of the OFWs. That people may think they achieve the 'good life' but it all goes down to the truth that it is not as easy as it seems.
The title, Mabuhay Ang Pilipinas (Long Live Philippines), is bluntly satirical. It may seem to be a positive point but it actually connotes the opposite. It speaks about the irony of the entire film. To get this straight, consider this question: Does the salutation 'Long Live Philippines' still apply today despite of its people constantly betraying her?
What makes this film a real good thing is that it is very Pinoy. The director was able to connect with the audience, which marks the big break of Director Bor Ocampo. He was able to relate with the people as he himself experienced working abroad when he studied in Australia three years ago.