‘Kita Kita’ Review [POSSIBLE SPOILERS]


I’m a sucker for romantic comedy films and for the better part of the film, I was laughing and rooting for the leads’ love story.  But as the film revealed how the story of Tonyo (Empoy Marquez) and Lea (Alessandra de Rossi) came to be, I could not help but be troubled and disturbed.  All the romance and magic I felt during the early parts of the film suddenly vanished.

I was bothered and creeped out.  And I still do not understand how those gestures got romanticized and somehow accepted as gestures made by someone who is in love with and cares deeply for the other person.

The first part of the film felt overly dramatic but I understood that it was presented as the the foundation of the lead’s story.  Those sequences made us root for Lea’s eventual happiness.

And we were rooting for her.  But I, along with my fellow cinema goers at SM Mall of Asia, were rooting more for Tonyo.  How he tirelessly pursued Lea until he caught her attention and eventually her love.  How he showed her true friendship in the middle of what could have been a very depressing moment in Lea’s life.

Empoy was really charming and funny as Tonyo, who wanted to show Lea that she could still live her life as she pleases; that she could move forward from her tragic relationship and her temporary blindness.

But what happened at the final third of the movie was downright creepy.  When the film started to show Tonyo’s side of the story, I was wishing that my guess wasn’t true.  But it was.  Tonyo’s gestures leading up to him being with Lea could be considered as some of our parents’ worst nightmares.  One could say that Tonyo was obsessed with Lea.  And after learning all that, I could not bring myself to admire Tonyo’s so-called “love” for her.

No amount of charming acting or stunning visual would be enough to mask this disturbing backstory.

Just like the movie’s premise,  ‘Kita Kita’  was a good film only while the viewer is still blinded by the limits of how far someone can go just to be with the person he likes.

Move Review: Hiblang Abo

Directed by: Ralston Jover

Main Cast: Lou Veloso, Jun Urbano, Leo Rialp, Nanding Josef, Matt Daclan, Lui Manansala, Flor Salanga, Cherry Malvar, Angela Cortez, Mike Liwag, Rommel Luna, Rener Concepcion, Anna Luna

Synopsis: “Hiblang Abo” speaks volumes of muted memories and infinite struggles among four men in their twilight years, confined in a hospice facility or home for the aged. Their gray hair grows and fades unnoticed, their lives enter the void of oblivion. Everything unfolds so naturally into their swan song until their body pains and heartaches yield the same intensity, when their hearing and their feelings become permanently impaired; and when their blurry vision and memories become “clear” signs that the inevitable state of death is as fleeting as the vibrancy of life itself. (Cinemalaya)

This film was my first for this year’s iteration of Cinemalaya. I just read the synopsis and thought that it might be an interesting story. I came out from CCP’s Little Theater confused, tired, and a bit bored.

First thing off, the film is a bit too dark, literally. There are a handful of scenes when I really had to squint just to see what is happening. Is it meant to mean anything, to invoke a subtle message? I am not sure, and if it does, I obviously do not get it.

The story itself is also a bit too dark for me. How can everything like that happen in a place where people are either trying to remember what used to be good or forget a bad past? I only learned that it was an adaptation of a 1980 play when I researched about it after the screening. That explains the storyline and flow for me. I feel like the story works better when performed live.

The movie won’t be in my top 10 Cinemalaya films I’ve watched, but the performances of the actors are still worth your time, I think. It can also be that the movie is just too deep (and too dark) for me. 🙂

Movie Review: Pamilya Ordinaryo

Directed by: Eduardo Roy, Jr.
Cast: Ronwaldo Martin, Hasmine Killip, Maria Isabel Lopez, Sue Prado, Ruby Ruiz, Moira Lang, Karl Medina, Erlinda Villalobos, Domingo Cobarrubias, Paolo Rodriguez, John Bon Andrew Lentejas, John Vincent Servilla, Rian Magtaan, Myla Monido, Alora Sasam, Ruth Alferez

Synopsis: Jane and Aries are teenage parents. They make a living out of stealing on the streets… until fate hits back at them. (Cinemalaya)

When I read all the synopses for this year’s Cinemalaya, Pamilya Ordinaryo piqued my interest  the most. Granted that it is still about poverty, a topic used and overused by filmmakers, the story about teenage parents living on the streets somehow intrigued me.

I watched the film at Greenbelt 1 and a minute before the film started, the Production Manager spoke and said that the film was 5 minutes off-sync and the case was the same for their screenings in other venues as well. The good thing was the off-sync was not during a crucial scene. That would’ve sucked if ever.

I loved the lead actors for the most part. There are times when you can see that they are snapping out of their characters, but I am thoroughly impressed and convinced by their performances.

The movie is heart-wrenching, and while it does not in any way try to justify the acts of the lead characters, it somehow provides a glimpse into the motivations for their actions. You cannot help but pity the characters and be frustrated with their situation, and with the people who keep on taking advantage of their situation.

I just felt like the movie ends so abruptly, without any resolution. It can be intentional to invoke the message that there is no end in sight in the hardships of the characters, but I felt like it could’ve used a few more minutes to at least let that idea linger and marinate in the minds of the viewers.

I also want to get the attention of the people behind the film. It really bothered me that the subtitles kept using the word “fag” to refer to “bakla.” I understand brevity and all, but “gay guy/man” will not fill up the whole screen. It just gives the impression that it is okay to use “fag” to refer to gay men. It is not. It never will be.