MANILA, Philippines - Over the last two weeks, four MMFF stars have graced the covers of Supreme — Julia Barretto for Vince and Kath and James, Eugene Domingo for Ang Babae Sa Septic Tank 2, Paolo Ballesteros for Die Beautiful, and Rhian Ramos for Saving Sally. But what about the four other films in the festival’s competition — Sunday Beauty Queen, Seklusyon, Oro, and Kabisera? Supreme has them covered, too. We've seen the four films on the big screen. Here is our rundown of why you should watch them, too.
‘Sunday Beauty Queen’
What it’s about: Nothing scripted in this full-length documentary about Filipino maids in Hong Kong, but in a twist to the typical OFW story, this film focuses on domestic helpers who use Sundays (their days off) to compete in beauty pageants. Don’t strike it out as a viewing option just because it’s a documentary. It’s as heartwarming as a drama, and it offers a view of Hong Kong that doesn’t feel like a tourist brochure. The movie makes you feel for its protagonists, too, as they sacrifice their lives to send money and balikbayan boxes back home to their families.
Five reasons to watch it: First, it’s not a run-of-the-mill TV news feature. It looks and feels like a movie, cinematic and real; Second, it’s funny! The stars are natural comediennes, without trying hard to make you laugh. Third, it’s charming. The maids featured in this movie are innately embraceable and lovable. Fourth, it’s heartbreaking. Without revealing spoilers, get ready to pull out your hankies, towards the end. Fifth, it’s special. It will make you love your Mommy more, since she’s the proof of what unconditional love is all about.
If awards like these exist, the movie is a shoo-in for these citations: Best Non-Acting Ensemble: It’s real, it is not an act. And you’ll feel for these “actresses.” Gender Sensitivity Award: Look out for Leo. Then you’ll know why. Best Closing Text: When it explains what happened to the leads after, you’ll be touched.
‘Seklusyon’
What it’s about: Secluded priests-to-be in a “shelter” are protected from the Evil Force, during this period before ordination where the deacons are most vulnerable to temptations. A good surprise is that this is the kind of horror that won’t send you shaking, rattling and rolling. It is a mystery movie that slowly becomes creepier as it unravels what this nun and the “angel” she guards could do for these deacons.
Five reasons to watch it: First, if it’s an Erik Matti-crafted film, it must be well-made. Must we mention “On The Job” and “Honor Thy Father” again to make you believe? Second, it’s an intelligent mystery and macabre ride, not a shallow cheap-thrill Horror Ride in a carnival. Third, it is brave. Watch out for the movie’s statement towards the end. It gives a knock-out punch on blind faith, and the politics of our times. Fourth, the deacons are actually good looking. Fifth, the child-angel with that nun as guard will make your ticket price worth it.
If awards like these exist, the movie is a shoo-in for these citations: The Defiant Award: It defies everything that MMFF “ambassadress” Mocha Uson believes in. Best Child Performer: They finally took it out as an MMFF Award, but that child healer is creepier than Anabelle, the doll from The Conjuring. Black Is The New Red Award: What spews out of their mouths is black blood, do you love eating dinuguan?
‘Oro’
What it’s about: A mining town is shaken and stirred by the arrival of the Environment Patrol who commands them to stop their operations because it is illegal. The town’s Kapitana fights for the miners’ rights, while the Patrol freely grabs the gold from them as their own business. It’s like China replacing our locals to monopolize our seas’ fishes and oil, but on a smaller scale.
Five reasons to watch it: First, it is based on a true story and it becomes suspenseful as it progresses. Second: Ever wondered how gold is extracted from the cave until it becomes a ring or pendant? This movie shows us how. Third, its fine acting ensemble is one of the most intense groupings you’ve ever seen recently in Philippine cinema. Fourth, it will stir your blood, make you angry, and bring out the fighter in you. Fifth, and the most compelling reason to see this, is Irma Adlawan, the dame of Philippine theater. Hers is a tour de force performance. Bravo!
If awards like these exist, the movie is a shoo-in for these citations: Best Performance By a Replacement Actress: Nora Aunor, who has shot for this film for a day, was replaced by Irma Adlawan. And Irma shows us how strong her presence and performance is, and how deserving she is for the role. Most Welcome Comeback Of The Angry Movie: The glory days of MMFF featured a sprinkling of memorable films that shout for justice, Minsa’y Isang Gamo Gamo, Rubia Servios, Brutal. Oro brings this back to the roster. Best Acting Ensemble: You’ll hate the villain who’s so bad, you’ll cry for the fiancee in grief, you’ll root for the miners. That’s how effective the cast is. It is the option of the jury this year if they’ll hand out Ensemble Honors.
‘Kabisera’
What it’s about: A family is caught in a rut when its patriarch suddenly becomes a victim of an extra-judicial killing. It is a powerful story of a woman, played by none other than Nora Aunor, who struggles to find justice for her husband while assuming her place as head of the family.
Five reasons to watch it: First, two words: Nora Aunor. Second, this film is too relevant, and is also based on a true story. Third, it’s nice to see the young cast of JC de Vera, Jason Abalos, and Ronwaldo Martin hold their own beside the Superstar. Fourth, behind the camera is the peculiar tie-up between veteran director Boy Agustin and upstart director Real Florido. Fifth, make a wild guess as to who Ces Quesada is playing in real life.
If awards like these exist, the movie is a shoo-in for these citations: Best In Dining Table: For the most number of cast sitting in one table at this year’s MMFF. Just Give it To Nora Award: We won’t be surprised if she wins this year (again). Best Motorcycle Ride: JC de Vera looks hot on a bike. ‘Nuff said. — Contributed by Alon Aragones.
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