Simon

"One can't do anything anymore of the mistakes or misgivings of the past, or insert details for some "bright future". While one is busy preparing for a future, it comes unnoticed anyway, because the moment it is here it becomes the present."

"One of the goals of the European Union in having closer relations with the Philippines is to make the Union better known in here - and one of the best ways to do this is through cinema," this was according to Riitta Resch, Ambassador of Finland of the Presidency of the European Union.

For the 9th time, the EU had organized a film festival in the country - in key cities like Manila, Cebu and Davao. Recently, the filmfest at the Ayala Center Cebu Cinema 1 organized by the Arts Council of Cebu and Bigfoot Entertainment carried the theme: Sineng EU, Sineng Iyo.

Being one of most popular forms of culture, particularly in this country, films or cinema proved to connect cultures. Eleven films from member states of the EU brought their distinctive European heritage and culture here - their ways of life, familial values, traditions, dreams and aspirations, and the way they perceive love.

Resch described these themes as "very well presented through the medium of film". She added that the organizers are pleased to notice that in the past few years, Cine Europa has been very popular among Pinoy film buffs.

Also Jan de Kok, head of the Delegation of the European Commission said, "film is a universal language that aims to portray the kaleidoscope of life in its various hues. It is the hope that Cine Europa would be able to promote understanding and appreciation of European films; the festival able to "take the show to the road".

Simon

There were 11 films that tell of the roller coaster of life, the exuberance and inspiration drawn on carefully chosen stories of love, strength, courage, family togetherness and triumph of the human spirit. These were The Miracle of Bern (Germany), The Dauphin (Portugal), Things That Make Life Worth Living (Spain), The Reunion (Sweden), Breakfast on Pluto (United Kingdom), The Russian Dolls (France), One Way Ticket to Mombasa (Finland), Zelary (Czech Republic), When The Sea Rises (Belgium), Karo and the Lord (Austria) and Simon (The Netherlands).

Of the 11 films featured, I am in the opinion that Simon stood out best. The witty scriptwriter got no share of the credits in the booklet provided, but I would want to doff my hat whoever the smart aleck is. Every guideline that I employ in dealing with life's elegies and celebrations are all lumped up in this movie. Directed by a certain Eddy Terstall, the story revolves around Camiel and Simon. In 1988, Camiel - a timid, gay student of dentistry - is run over by a jeep. Behind the wheel is Simon - a coarse Amsterdam hash dealer, the archetype of the heterosexual male. Simon takes Camiel to the emergency room, and an unusual, lifelong friendship starts.

Treated by Simon, he joins the whole gang on a trip to Thailand. During this holiday, an unexpected event seriously puts Simon and Camiel's friendship to the test. This was when Sharon, Simon's girlfriend seduced the homosexual Camiel to play with her at the beach, under the "constellations Big Dipper, Li'l Dipper, and Orion's Belt". After which they lose touch.

Fourteen years later, their paths cross a second time. It is immediately clear that much has changed in their lives. Simon is suffering from a serious illness. This was when tumor cells were found to have grown deep in his throat. He treats this subject strikingly lightheartedly, as he does the incident that caused their separation fifteen years before. Camiel, now a dentist and living with "his man" Bram, a realtor, is drawn to Simon once again.

The story presents the realistic points of euthanasia, the significance of the present, and the non-existence of time. These are the subjects that I, myself, would want to present given the chance to translate to visual art my philosophies.

First, I am pro-euthanasia in cases wherein one sick person's existence is so, so, so bad. I would also sign up a document authorizing for my termination should I find that with my being terminally ill, I would be better off dead. This is not playing God. This is about acceptance, preparation for the after-life (should there indeed is one), and about being less of a burden to people who still want to taste the creamy part of life and not witnesses to senseless, pointless suffering.

The story also tackled that one should never wallow at the cares of the past nor expect some bright future ahead because these two time zones are either gone and already impossible to edit, or unseen. Thus, one can't do anything anymore of the mistakes or misgivings of the past, or insert details for some "bright future". While one is busy preparing for a future, it comes unnoticed anyway, because the moment it is here it becomes the present. Therefore, it would be more sensible to attend to only today, as it is the sole moment that one can live for.

It is the message of the story "Simon" to enjoy life everyday as if it is the last. To make the most in every relationship possible because life is short and that no one is beside one completely. Everyday should be taken as an opportunity to say "I love you" to people as one may lose them one day, and that it's worse if they would not be able to hear those beautiful words you ought to say.

When Simon's daughter Joy realized that her father was ill and that holding him for a longer period of time would only prolong his suffering, she helped arranged the "ritual" for the voluntary euthanasia with Camiel, her father's best friend; her brother Nelson, and their father's ex-girlfriend Sharon who is an epitome of the real buddy one could ever hope for.

Simon was never nominated for any award just like some of the other featured films that banked on emotional appeal, but definitely it is a crash course on love and understanding how to love.

Love is about making important choices. And standing up for these decisions.

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