Ang pagdadalaga ni Maximo Oliveros (2005) User Reviews

An unexpected delight

[marcelproust · 8/10 · 3 April 2007]

I really didn't know what to expect on sitting down to watch The Blossoming of Maximo Oliveros. Only knowing a few details of the plot - a young Philippino boy, the slums of Manila, a cop - I was worried that this was not likely to be the feelgood film of 2007!

How wrong I was. This film is one of the most unexpected delights of recent years, anchored by a central performance from 12-year-old Nathan Lopez that is dazzlingly mature and breathtakingly charming. Although the film does veer into melodramatic territory in the predictable conflict between JR Valentin's young cop and Maxi's family of petty criminals, the central storyline of Maxi's crush on the hunky policeman is handled with tremendous sensitivity, humour and warmth.

In a perfect world performances like Lopez's would gather awards like daffodils, but in the absence of any trophies I hope he's happy to have created such a memorable character. If your heart doesn't break watching Maxi's story, chances are you have no heart to break.

A moving family tragedy and a tale of (gay?) love and hate in the slums

[sidsmeets · 8/10 · 31 January 2006]

Is Maxi Gay? Well, he dresses like a girl and has a crush on a hunky policeman. But as the story develops one has to wonder whether Maxi is actually a gay preteen or just a troubled boy in a difficult situation. Does it matter? Not really.

After the death of his mother due to an unknown illness Maxi has taken over her role in taking care of his two brothers and father, all petty thieves. The arrangement seems to work fine. Maxi delights in cooking and cleaning for his family and enjoys a playing Miss Phillipines with his "girl" friends. But everything changes when a hunky young cop arrives. Maxi develops a crush and is forced to choose between his family and his feelings for the cop. Needless to say thinks get complicated and even turn ugly and violent.

This film impressed me when I saw it at a screening at the International Filmfestival Rotterdam. There are faults but mainly the film is strong and well executed. The acting is impressive, although Maxi starts out a bit of a stereotypical screaming queen.

If anything the film is a bit too long, there are several moments that could be deleted without much effect. Also the quality of the picture and sound is understandably not up to western standards, although this does not distract from the story and I have seen much worse.

One of the questions I am left with is whether this accurately portrays Philipine's attitude towards (effeminate) homosexuality. If so that is to be commended, however it is hard to imagine such utter and complete tolerance, not only of Maxi but also of his friends. In a film with such a premise one sort of expects some exploration of the subject. However the lack thereof does not affect the story, it may even make it stronger.

I hope you will go see this movie, if you get the chance!

More than just a movie about a young, gay crush

[prometheusbrown · 7/10 · 22 December 2008]

Though its a thoroughly Catholic-dominated country, the Philippines is said to have a more lax attitude towards "the gay" than other more liberal, democratic countries, like the one I live in. Many point to its cinema as evidence of this. Of course, this is from the outside looking in. LGBT folks, particularly the effeminate "bakla" male, might be commonplace in Philippine film, but the ones we don't see on screen face a particular type of oppression. They are often an object of ridicule, stereotyped as shallow, loud-talking and outrageously "mayabang," and usually sex-crazed. And a lot of folks, gay or straight, eat it up.

Despite its deceptive marketing (from the DVD cover/promo poster to the trailer), Auraeus Solito's Ang Pagdadalaga ni Maximo Oliveros/The Blossoming of Maximo Oliveros (2006) isn't at all about a flamboyantly gay boy's crush on the hunky neighborhood police officer that happens to be set in a third world barrio. The story is the barrio, and all its contradictions, initially dressed up as a neorealist comedy evoking both Lino Brocka and Bagets at once before taking a darker turn halfway through.

Like all good (worthwhile) Philippine stories, its aware of acute third world contradictions without overtly speaking on it. If Brillante Mendoza's work emphasizes people's idealism despite wretched conditions, Solito's flips the formula. His Philippines is one where the people are wretched but the settings, still unmistakably impoverished, can also be a magical, wonderfully pastel-colored place.

Maxi (Nathan Lopez) is 12-years old, gay, and plays surrogate mother to his family of petty thieves: tatay Paco (Soliman Cruz) and his older brothers Boy and Bog. The barrio is his playground, until one night he's assaulted by some knuckleheads. Policeman Victor (JR Valentin) comes to his rescue, and they become friends much to his family's objection. Matters complicate when Boy ends up killing somebody in a botched robbery attempt. Lopez brings remarkable ease to the title character, embodying urban poor Philippines with simplicity and struggle. His selfless need/want to care for others is carried by a fragile balance between a naive confidence of who he is and a growing insecurity of where he is (and where he's heading). He dreams in a bubble in the process of bursting, asking his father "Wala na bang ibang paraan itay?" (Is there no other way, dad?)

On the surface, he's nothing like his macho, gun-toting father. However, beneath the princess demeanor, he is his father's son, perhaps more so than his brothers. Conditions have forced Paco to consider what is more dignified: starving with a factory job, or getting by as a petty thief. Maxi has inherited his father's most lasting trait: a commitment to keep the family together. Or at least fed, clothed and sheltered, even if it means doing the "wrong" thing. Thus, Maxi's "blossoming" has less to do with dealing with his rejected affections for Victor and more with facing down the reality of his family's livelihood.

Restrained by necessity rather than stylistic choice, Solito shows us what could be done with a digital camera, $10,000US and 13 days of shooting. It's a style of film that can never be overdone in the Philippines, where lack of support from the media industry and government and resources forces an organic creativity.

Solito's execution is matched by writer Michiko Yamamoto's (Magnifico, 2003) gift for compact, delightful drama/comedy without teetering to far in either direction. Thanks to this collaboration, Ang Pagdadalaga ni Maximo Oliveros is a leap forward from the gay caricatures we've gotten too used to, and yet another piece of a compelling argument that Philippine cinema isn't all cornball and melodrama. Or, that a movie can still have those elements and not be shitty.

Dark, Campy, Brutally Honest Yet Heartwarming, 'Maximo' is Destined to be a Classic

[gonzagaext · 10/10 · 29 August 2006]

One can seldom discuss gay Filipino films without mentioning the Lino Brocka classic, "Macho Dancer". For a long time the film lorded over all the others in gay filmdom (or is it 'film gaydom'?). Sure there were competent ones like "Aishite Masu" and "Markova: Comfort Gay" but they were never thisclose to "Macho". Could "Ang Pagdadalaga ni Maximo Oliveros" finally be the one true contender for the throne?

Director Aureus Solito and writer Michiko Yamamoto have crafted a very likable coming of age story. The treatment of Maximo Oliveros' (Nathan Lopez) homosexuality is unique and refreshing for it is never questioned nor made an issue, just a fact as true as the sky is blue. It's a huge credit to the filmmakers for not resorting to easy laughs at the expense of gay characters. Camp is absolutely present but it's never overdone. In fact, I think one of the main reasons why the film works so well is because the whole film isn't overdone. The filmmakers know when to pull back just before a scene turns mushy or heavyhanded. Even something as elaborate as the mini-pageant scene is cut long enough to avoid unnecessary melodrama.

One of the film's most interesting aspects for a lot of viewers is the seemingly astonishing possibility that an effeminate homosexual can exist relatively peacefully in the slums, aka Hoodlum Central. Although I haven't seen this myself, I am convinced that cultural mores make this scenario very possible. Despite the influence of homophobic Roman Catholicism, the general mood in the country is situated somewhere between amusement, acceptance, and tolerance (though not immune to occasional spurts of homophobia). Let us not forget that pre-Spanish Philippine culture respected the 'babaylan', a gay priest(ess) of sorts.

The homoerotic love angle is beautifully handled, in my opinion. To start with, the leads are perfect. Lopez carries the film as Maximo while JR Valentin as the cop is hunky yet brotherly, respectable as necessary but not too antiseptic. You get a sense of hero worship, excessive caring, and strong attraction from the side of Maximo while from the other side you see a fraternal sense of caring, naivete, and a culturally-imbibed politeness that supersedes any possible homophobia. There's also a delicious hint of ambiguity in his sexuality. There are a number of memorable scenes between the two, but a brief, well-handled, but highly erotic one (which, under a weaker filmmaker, could've easily bordered on pedophilia considering Maximo's age) and the emotionally satisfying ending stand out the most.

Despite the fact that Maximo Oliveros is unapologetically gay the film isn't strictly gay-themed unless you consider puppy love, unrequited love, familial obligations, and economic struggles as such.

It was a proud moment to watch a Filipino film in the prestigious Lincoln Center New Films/New Directors series in New York City. It was icing on the cake to see someone from the Univ. of the Philippines do good, in the gay arena, no less. "As good as Hollywood films"? I say better. When did Hollywood ever show us a coming of age story with a gay lead character?

And they called it puppy lurrrrvvvvv

[trpuk1968 · 7/10 · 22 August 2007]

Like other reviewers, I m a little sceptical as to the plausibility of a boy living in a criminal family, whose effeminacy and campness are happily accepted. These guys, Max s brothers and father, would surely have a macho image to uphold. Maybe in other cultures there's a socially sanctioned role whereby men can take on a feminine position. It would be interesting to hear what anyone from within Phillipine culture whose seen this film has to say. Having said that, I enjoyed this immensley.

The grainy, hand held and close in camera work aid a feeling of immediacy and you really feel like you re in the slums of Manila. The vibrancy and energy of these third world cities is got across really well, and the importance people attach to family, to caring for and supporting one another. People seem connected in a way we, plugged into our laptops or i pods, don't.

There's a great moment when Max is sitting chatting with his policeman friend at an open air street stall. I ve only travelled in Latin America but have vivid memories of eating like this, perched on a stool, having some random conversation. Much of the pleasure in this film for me came from the way it mixes documentary, at times it seems unrehearsed, inserting scenes found on the spur of the moment and conveying the sheer buzz and energy of the city. The script could do with more development, some dialogue and one or two episodes come across as hackneyed and corny. The relationship between the boy and young man manages to get across the lack of awareness of both parties. The boy doesn't yet have the self knowledge to know what he really wants, and has latched onto an attractive young policeman who has rescued him from an attempted rape, arguably one of the key scenes in the film. Until then Max doesn t quite appreciate the possible consequences of mincing around in his shorts. Dress is used in the film as a signifier of his gradual maturation, by the films conclusion he's moved from the dressing up box, looking cute in his flowery blouses, to becoming a handsome youth in his school uniform. The policeman is depicted well, finding himself troubled and confused when confronted by Max. Hes clearly straight, but nonetheless, is puzzled as to how to respond to this frankly very beautiful young boy. Max, for his part, knows he wants something, but cannot yet articulate what that something is. I'd have preffered a more open ending. There's a sort of closure affected which doesn't quite ring true with how the film, up to then, conveys how difficult life is, how one is faced with contradictions and problems to which there's often no resolution. Life is a process of struggling at managing incompatibilities. Finally, although I saw this on the big screen, not much would probably be lost watching it at home, assuming you have a nice big flashy widescreen. Recommended, and a worthy addition to the coming of age / gay teen drama.

A beautiful and cutting-edge film

[fjgebaue · 10/10 · 5 May 2006]

I saw this at the San Francisco Film Festival... it is really a beautifully done film that has both good laughs and good drama. It is amazing that this film was produced for about $10,000 US and was shot in 13 days in the director's own hometown neighborhood. This film will surprise you with its frankness and honesty, and I can't recommend it highly enough. I've seen plenty of boring and trite or irrelevant films at film festivals. This film is certainly worthy of your time and may change the way you look at poverty, at gay people, and at the nature of families and the love of parent and child, sibling and sibling. It is also a wonderful "barrio" film in the tradition of "Macho Dancer," but I think it does that film one better. I would definitely see this movie once or twice again. It is easily as good as any Hollywood film.

Hm-m-m, how tolerant is this movie really ...?

[mikezexcel · 7/10 · 7 February 2007]

Many reviewers have already addressed the characters and themes of this movie, with which I completely agree. I enjoyed it for the most part: it is well-made and an interesting peek into a culture foreign to me. Somewhere in the middle, though, it seemed padded with two murder subplots that I couldn't figure out. But the thing that leaves me less than supportive of this movie happens at the end and after the end credits. Maxi goes to school dressed in slacks and a pressed button-down shirt - a far cry from his seeming preference for more girlish attire. He encounters Victor, his adult man-crush, and completely ignores him. After the credits have rolled, the film shows him packing away his beloved mother's garments, symbolically closing the door on the role he had enjoyed playing for his father and brothers. I can't help but read that Maxi's "blossoming" is actually a move to a more socially acceptable hetero path. Is this a subtly judgmental view from the filmmakers that Maxi is "curable"? Hm-m-m .....

The film is about first love and centers on a preteen gay living in the slums with his father and two brothers who are involved in petty crimes.

[mpleynes · 9/10 · 29 November 2005]

Although the main character is gay, this is not a gay film. The beauty of the film is that it does not make fun of the gay character. Maxi is well-loved and accepted by his family and the community.

There is plenty of humor but this light treatment of the story does not at all trivialize the message that the film wants to bring across to the audience. Scriptwriter Michiko Yamamoto who also wrote the award-winning "Magnifico" has improved her skill in storytelling and is not at all melodramatic this time. She has done away with subplots that don't move the main story much, a weakness of many Filipino scriptwriters who want to tell everything, including the entire history of the Philippines, in one movie. Her characters are all balanced – no one is all-evil or all-saint. The most touching scenes are those that show the tenderness of Maxi's tough-guy family to him. However, there are technical glitches that need to be fixed, and with digital technology editing may still be possible, e.g. scenes that are too dark or the screen going black for too long, making the oldies in the audience worry that perhaps the "lagarista" has been caught in traffic with the next roll of film. It is not often that Filipinos abroad get to see a rare gem like this film. Thanks to digital film-making and indie cinema and the film festivals in many countries.

Presumably my first - and good - familiarisation with the Filipino cinema

[BeneCumb · 7/10 · 12 August 2015]

Regardless the controversial topic and my non-knowledge of the reality of those events (for example, volume of corruption within police and acceptance of gays in the Phillippines), as for a film as such, it was skilfully accomplished: good/great performances by major actors, versatile direction and appropriate choice of music made Ang pagdadalaga ni Maximo Oliveros a smooth watch.

Due to limited space and time, however, the film had several documentary elements, and several events happening in the dark did not allow to follow them carefully (perhaps by virtue of modest technology used?). Thus, not a total contentment for me, but definitely a distinguishing and challenging creation to be screened in various festivals.

An eye opener

[Gordon-11 · 9 July 2015]

This film tells the story of a young effeminate boy from a criminal family, who falls for a hunky local policeman in a deprived part of Manila.

A young transvestite boy, possibly transgendered as well,falling in love with a policeman. And it is hinted that the policeman has equal feelings towards him too! I would have thought such a topic should be taboo. The family is so accepting of Maximos that I find it really touching. I am quite in awe that the Filipino society is so accepting of the gay and transgender people.

As for the film, they use loads of natural lighting almost exclusively, so scenes are too dark most of the time. There is even a scene when the family watches TV without lights on! And they did not use a wide enough lens to film scenes in the house either. But these are only minor issues. The main thing is that the story itself is beautiful and brutal at the same time. "The Blossoming of Maximo Oliveros" is quite an eye opener for me.

An unusual art house film......

[jaroslaw99 · 4/10 · 25 February 2011]

As others have said, this is an interesting peek into another culture - albeit I would think a peculiar exception! 12 year old Maximo Oliveros is playing the role of mother, since his/theirs is deceased, to the other children in his crime ridden barrio family. I saw this a while ago; I distinctly remember other boys wearing lipstick and skirts also or maybe it confused me because it was completely acceptable in the entire community Maximo lived in for him to dress and act swishy with no explanation whatsoever. It was also odd that this child formed a romantic entanglement/friendship with a 25 or 30 year old policeman and his family wasn't concerned about the age difference; only that they might get busted for their criminal activities. I wrote a review for the big red envelope and 3/4 found it not helpful which confused me until I realized this is an art film for people who like such things. I thought it was a story with some broader Gay interest but it isn't and it is unclear Maximo is even Gay nor does it ultimately seem to matter except: As another reviewer wrote - how tolerant is this film since at the end he has shed his feminine clothes, hairstyle and mannerisms and is going to school, which he wasn't before, in ordinary uniform? E.G.: has he discovered it is better to be straight? Straight acting? I give this some points because it was cleverly done and the makers did a good enough job with the characters that you want to find out what happens to them. But it is not something I want to see again. It is just too peculiar.

Charming, mesmerizing story of a young transsexual boy and his devoted gangster family

[roland-104 · 9/10 · 1 December 2006]

Absolutely delightful film, its story centering around Maxi (Nathan Lopez), a beguiling 12 year old boy who wants to be a girl, and his various flirtations, including an unlikely one with a rookie cop on the neighborhood beat. Maxi's Dad and two older brothers are criminal lowlifes capable of very bad deeds, including murder, but they are entirely devoted to Maxi, who cooks and keeps house for them (Mom died a few years before). The feeling is mutual: as Maxi says, there may be a lot of crooked people around, but he's only got one Dad.

The film is chock full of arresting street scenes in metropolitan Manila, and intriguing tensions among the principals. It is most refreshing to see loving, tender feelings binding a marginal family together, rather than the usual melodramatic dysphoria that infects, but does not inform, many movies about the underclass. (This year's "Quinceañera" is another film that plays up the positive aspects of family life in L.A.'s Echo Park Mexican-American barrio.) An exotic, spellbinding, bounteous bouquet of a film. Won several awards at the Berlin and Cinemalaya Film Festivals, among others, and was nominated for the Grand Jury Award this year at Sundance. (In Filipino, Tagalog & English) My grades: 8.5/10, A- (Seen on 11/21/06)

Loyalty Realised

[j-penkair · 8/10 · 14 March 2015]

Just by watching this film, one can understand inside-out about what's going on in a so-called developing country. All the odds. All the blurry lines. And the great parallel of morality and survivability. This film tells a life story well beyond homosexuality and human attraction, as indicated in the camouflage. Maximo or Maxi represents every soul on earth, who needs time, and perhaps a tragedy, to comprehend the life bestowed on him by others, and another life he may be given a chance to choose. His criminal but ultimately decent family is on one side, and the naively honest and devilishly handsome police officer on the other. And, to cry out loud, he is only 12 years old, living in a slum area and without a mother. Forcing him to choose is cruel. I myself am from Thailand. Not so different from the Philippines portrayed excellently here. I think I can relate very well to the sense of trapping one may feel, having born into a brothel of life like that. I dare an inexperienced westerner to predict the film plot, and how it might end. I do not think you can figure out one move to another. This film is honest, with the story well-told and incredibly fair. It should be nominated for major film awards on behalf of ASEAN, as opposed to the Philippines alone, as it tells an ASEAN story, except for Singapore, as few films can. Maximo walks past the charming Victor on his way to re-enter school. Believe it or not, it is indeed a hard decision to make, in a society less than fair and democratic. He is indeed blossoming.

It's a Delightful and Heartwarming film; with proper exposure, it could very well become a Modern-Day Classic.

[akash_sebastian · 8/10 · 25 September 2014]

'The Blossoming of Maximo Oliveros' is such a beautiful take on Manila street life. The themes of poverty and homosexuality are out there in the movie, but the movie doesn't try to sensationalize them; they just act as a backdrop, and add flavour to the story. Both the themes are explored with refreshing honesty, and shown as a reality to be accepted and lived. The movie is essentially about family, love, and crime. Despite the themes, the content in the movie is quite PG; therefore it can be enjoyed by a person of any age.

The lead character, 12-year old Maximo (Maxi, as he's affectionately called), is a flamboyant young guy who spends his days watching movies with friends and collecting bets for his brothers. After his mother's death, he has taken over the household duties of cooking, cleaning, etc. Being an openly effeminate lad living in a slum, you would expect him to be an object of chide and ridicule, but it's not the case. Instead, we see him being accepted and loved quite lavishly by everyone around, with no questions asked. The story mainly shows how Maxi is torn between his love for a young police officer and his loyalty towards his family, comprising of his dad and hoodlum brothers.

All the characters in the movie and intriguing, well-developed, and quite lovable; no matter what they do or end up doing, you can actually sympathize and see where they come from. The movie has a very sweet and unique charm to it, right from the very beginning scene, where you see Maxi walk home in his usual flamboyant way, and his eldest brother (standing among friends) pulls his leg by asking, 'Who have you been flirting with?', and Maxi mocks their laughter.

Despite the Christian influence in the town, you can see (ironically) how the people are much more acceptant and tolerant than their urban counterparts.

The camera-work has quite an indie feel to it, but it doesn't come off as trying too hard. You get lost in these characters' day-to-day lives. The acting by everyone involved is quite brilliant; it almost seems like a documentary.

The film has so many moments which melt your heart completely - when Maxi tries to be on his elder brother's side when their dad is abusing and hitting him for something seriously bad he did, when Maxi takes care of the police officer after his brothers beat him up, When Maxi's second brother consoles him after hi love has been rejected, when Maxi is trying to convince his brothers not to set out for revenge. Besides these scenes, the movie is filled with quite a few unique and memorable scenes. Do yourself a favour - if the movie strikes some deep emotional chord with you, please let yourself cry. Many things happen towards the end, and you can see young Maximo blossoming out of his naivete and innocence. The ending is quite emotionally satisfying.

It's a delightful and heartwarming film; with proper exposure, it could very well become a modern-day classic.

Filipino director Auraeus Solito directs the survival of a child in a harsh environment

[FilmCriticLalitRao · 8/10 · 7 May 2013]

Filipino film "The Blossoming of Maximo Oliveros" is a bittersweet tale about the world of innocence in which a young boy is left to fend for himself all alone.It is rightly said that despite all the dirt on all sides a flower as good as a lotus is able to make a secured place for itself in an extremely dirty environment.The same thing can be said to be true about this film's young protagonist who finds maturity using his ingenuity in the middle of a life wherein he is surrounded by petty crooks as family members.Filipino director Auraeus Solito has made an excellent use of location as he shot his film in real slums and there is hardly any evidence of gaudy sets.His film appeals to viewers as it manages to retain its dependence on dramatic elements despite being a film with a documentary cinema feel.The film is gripping due to its insistence on revealing various minor incidents related to the life of Maximo Oliveros.There is a kind of hard to define low budget feel to this film but no compromise has been made neither on quality nor on quality.Film critic Lalit Rao saw this film during 16th International Film Festival of Kerala 2011 where it was part of a country focus (Philippine cinema) category.Before the film,he got a chance to interview Filipino director Auraeus Solito. During the interview they spoke about Filipino director Peque Gallaga and his film "Scorpio Nights" (1985) which has already been hailed as an erotic cinema classic by critics and viewers in Philippines.

A comment about the elements of the movie.

[lvp_2087 · 27 December 2005]

I had the chance, finally, of catching ANG PAGDADALAGA NI MAXIMO OLIVEROS last Saturday afternoon at Glorietta 1.

Used to watching digital works, more or less Alma KO Na Kong No Ange MAG limitations nag movie even before I took my seat in the decently filled theater and anticipate the first reel to roll. (I say decently Dali Hindi man Ito pun, Mariam ring nonfood.) The cinematography, Dali nag shot in digital, may problem SA quality, especially during the interior and night scenes, very grainy. Pixelized pa nag. Or pa rang Kuhn SA Super 8. The scene when Maxi got the letter from Victor, obviously Natka-auto focus Ange Lent Dali fighting Ange rear SA foreground. A problem that could have been solved by either re-taking the said scene or using more adept manual camera lens operation; Na med yo unforgivable Kong abuses Lang cameraman.

Medyo irritating din for me Young MAG zooming in shots SA Gurkha Ni Maxi. Ilang bases tong giant. This passé technique Na Kincaid Lang normally SA MAG amateur, handy camera handlers, at nays Rina SA Lian noting MAG bold movies during the 80's and the pity-PTO of the 90's ya Sang very unimaginative way to make emphasis.

Most scenes are shot using hand-held cameras, and even using the protracted takes or mies en scene. Uso Ito SA video, where mas natural Ange flow nag Sang Essen Kong Atatürk Na Lang at walking Ange camera, either surrounded or NASA Gina para Hindi Na clanging i-edit. Very evident Ito SA Ubangi Essen Kong Sana SAM-seaman Jamaican SA hap-Kienan SO Maxi Kasai Ange Pamelina Nina. I can understand Na Dali saguaro SA spatial limitations, kayak halos narcotic Na Ange camerae SA MAG tao. Think NYPD Blue, like the scene mung shaken Ange bong bahs Nina Maxi.

I like the grimy vignettes showing the slums and its inhabitants. Au natural.

The audio is sometimes inaudible in a few scenes Dali nag live sound. Sana mas ma-enhance pa. The music, especially the strings, is just played at the right time. The movie is mostly quiet, and I guess that's more fitting.

Meron ding counting problem SA continuity. There was one scene Na caplet nag among SO Victor, the next scene shows him wearing shorts. At pa rang ubiquitous SO Maxi, Na tipping Nansen gad Siva SA counting Abra o may menagerie Kay Victor. Like the scene nonage Donal nag very 'lithe and fragile' body Ni Maxi Ange 'bulk at heavyset' body Ni Victor SA bahs into. Well, well…Sabik nag, if you only think of terms of plausibility SA beat Essen SA pluckily, ala Lang bubo. Anyway, cliché man Siva, Sabik nag, it can only happen in the movies.

Nathan Lopez carries the movie single-handedly. A born natural. Very perfect for the role of a 'nagdadalaga'. JR Valentin as the well-mannered and principled policeman is convincing enough save for some bland and monotonous line deliveries. Sa exchange penman Nina SO Maxi Kong apatite nag into Ange nailing pumas, para saying nabobs nag script. His best scene however for me was mung Nanjing Siva nag hulk Ni Maxi SA posing. Genuine Young surprised Nina, at Page-shake nag UL Saba git.

The 'barako' family of Maximo are all stalwarts: Soliman Cruz as the father dotes on his 'unica his' Maxi at almost every scene. Nakakabagabag Ange Essen Kong Sana sample Nina SO Neil Ryan as Bogs bang Majesty Ito nag tao. Si Ping Medina, halos carbon copy nag Tatar Nina, SO Pen. The scene where Maxi cries on his shoulder makes one feel on the pains of rejection.

The ending, contrary to public reaction, is not totally original. Obviously, the filmmaker must have taken his inspiration from the closing shot of Carol Reed's The Third Man, Kong Sana glimpsing Ni Alida Valli SO Joseph Cotten ha-bang accentual din Ito SA Saskatoon Nina Na pa rang waling Nikita.

Technical-wise, the film is flawed. Pero all in all, for a digital effort, this film is a gem. Michiko Yamamoto shows she is not just a one-shot-wonder scriptwriter. Aureus Solito is in, definitely. The film's main strength I guess is its simple, bittersweet storytelling of two figures that have the most unlikely relation – a dignified cop whose conviction is on the brink of collapsing, and an adolescent boy challenged to face his loyalties between love and family. Siguro Ito Na Lang Ange mas banyan nag pan sin nag Kremlin nag MAG jurors Kong kayak't Kalila't-Janean Nguyen Ange accepting noting MAG papery.