For starters, this film needs a cinematography award nomination... simply outstanding use of colors, filters and angles. Showcasing the slums of Manila was done so well, it felt like you were right there, next to the characters. The directing was decent, especially coming from a novice director, but Mikhail Red should've directed the stale, emotionless and monotonic Timothy Castillo better. The rest of the casting was on point and all actors were convincing in their roles. The three (again novice) writers did a decent enough job getting their story across, and although there were very few plot and technical writing issues, some of the long, dragged out and unnecessary scenes needed to be cut/trimmed down. Even though the runtime was only 90 mins, the very slow pacing and extended scenes made the film feel like 120+ minutes. The writing could've also used more clarity in certain scenes, as the direction the story was heading, sometimes felt convoluted and/or needed more emphasis. The sound/score was just right and very fitting. All in all, this Philippine produced neo-noir thriller was enjoyable and well put together for the most part. It's a 7/10 from me.
2 Reviews
Haunting
JIMm_wordplay5 May 2019
Warning: Spoilers
"Suspek o biktima, walang pinagkaiba 'yan."
"'Yong baby biktima lang."
From its pool of quote-worthy dialogues, these are the two lines that strike me the most after seeing Mikhail Red's "Neomanila," one of this year's QCinema Circle Competition entry. It's almost as if those two simple lines encapsulate the essence of the movie, hinting a cycle of tragedy and yearning for a change to stop the cycle.
Expressing a take on the issue of extra-judicial killings in the Philippine society, "Neomanila" is a heavy and suspenseful character-driven thriller that explores human nature in the backdrop of a chaotic and unforgiving environment where crime flourishes and violence can loom at any moment. Just like other films that picture harsh realities, it shows how hardships in life corrupts one's morality. At such desperate times where there is brewing terror, trusting someone is a choice you have to take at your own risk. Because when push comes to shove, you'll be surprised finding yourself alone. Vulnerable. Exposed. An easy target.
The film is centered on the relationship between Irma (Eula Valdez) and Toto (Timothy Castillo) whose paths crossed in the messy, crowded slums of urban Manila. Toto is an orphaned teenage boy who is desperate to help bail his older brother (the only living family he has left) and only survives by doing small-time crimes like pickpocketing. Irma, on the other hand, is a lethal death squad leader hired by police authority to turn down anyone involve in the illegal drug trade and usage. With Irma's guidance, Toto is recruited as an accomplice in their hunt for targeted drug abusers to earn money. That's when Irma formed a motherly bond with Toto. Until something unexpected happens.
Mark my words, this is no fairy-tale nor a poignant drama. It's a stone-cold tragedy that ends ugly. Some may feel off how it would end but the film has a way of ominously hinting that outcome. It does not cheat on the audience. The script, written by Mikhail Red, Rae Red and Zig Dulay is on point with this intent. It does not aim to please but rather serve as an eye-opener to the ugly truth we must bound to witness. That's a wise decision indeed. The turnout is somewhat logical, shedding some light on one of its characters' behavior and motivations as well as how a dirty chaos entrap even those who were innocent. A reminder that with this chaos around, we might stumble on worse possible scenarios sooner or later.
Director Mikhail Red (whose previous film "Birdshot" was selected as the Philippines' entry to compete for the 90th Academy Awards for Best Foreign Language Film) has executed another film with finesse and undeniable cinematic competence. "Neomanila" is seamlessly well-crafted picture that translates expressive visual language and is filled with creative inputs put into good use. Mycko David's exquisite cinematography makes the film a visual eye-candy which at times glows in neon colors hinting doom and gloom. Execution-wise, it's such a poetic and evocative mood piece.
The strength of the performances were also worthy of credit. Eula Valdez' portrayal of Irma is a masterclass effort - an underplayed performance that is worth a look more than once. There's no fake subtlety. Timothy Castillo also shines portraying Toto, complementing Valdez' far superior performance. But perhaps the biggest surprise here is Angeli Bayani's crucial supporting role. In just a couple of minutes, it's hard not to gaze at her performance in one of the film's memorable moments. Although a short one, it carries out even after the end credits roll.
It's hard to say whether "Neomanila" is a satisfactory experience with its rather transgressive climax that even has myself got caught off-guard. Although hinted, such red herring feels like a low point. It's a weak transition from the great three-quarters of the film which has me fully hooked. Perhaps this is just me clinging to my dreams of happy endings. Even so, it doesn't make the film any less better. It has lots of aspects where it excelled on which really makes it a fine cinematic experience. With such a difficult subject to take, it did well enough. It has sense. After all, reality has its dead ends anyway, right?
"'Yong baby biktima lang."
From its pool of quote-worthy dialogues, these are the two lines that strike me the most after seeing Mikhail Red's "Neomanila," one of this year's QCinema Circle Competition entry. It's almost as if those two simple lines encapsulate the essence of the movie, hinting a cycle of tragedy and yearning for a change to stop the cycle.
Expressing a take on the issue of extra-judicial killings in the Philippine society, "Neomanila" is a heavy and suspenseful character-driven thriller that explores human nature in the backdrop of a chaotic and unforgiving environment where crime flourishes and violence can loom at any moment. Just like other films that picture harsh realities, it shows how hardships in life corrupts one's morality. At such desperate times where there is brewing terror, trusting someone is a choice you have to take at your own risk. Because when push comes to shove, you'll be surprised finding yourself alone. Vulnerable. Exposed. An easy target.
The film is centered on the relationship between Irma (Eula Valdez) and Toto (Timothy Castillo) whose paths crossed in the messy, crowded slums of urban Manila. Toto is an orphaned teenage boy who is desperate to help bail his older brother (the only living family he has left) and only survives by doing small-time crimes like pickpocketing. Irma, on the other hand, is a lethal death squad leader hired by police authority to turn down anyone involve in the illegal drug trade and usage. With Irma's guidance, Toto is recruited as an accomplice in their hunt for targeted drug abusers to earn money. That's when Irma formed a motherly bond with Toto. Until something unexpected happens.
Mark my words, this is no fairy-tale nor a poignant drama. It's a stone-cold tragedy that ends ugly. Some may feel off how it would end but the film has a way of ominously hinting that outcome. It does not cheat on the audience. The script, written by Mikhail Red, Rae Red and Zig Dulay is on point with this intent. It does not aim to please but rather serve as an eye-opener to the ugly truth we must bound to witness. That's a wise decision indeed. The turnout is somewhat logical, shedding some light on one of its characters' behavior and motivations as well as how a dirty chaos entrap even those who were innocent. A reminder that with this chaos around, we might stumble on worse possible scenarios sooner or later.
Director Mikhail Red (whose previous film "Birdshot" was selected as the Philippines' entry to compete for the 90th Academy Awards for Best Foreign Language Film) has executed another film with finesse and undeniable cinematic competence. "Neomanila" is seamlessly well-crafted picture that translates expressive visual language and is filled with creative inputs put into good use. Mycko David's exquisite cinematography makes the film a visual eye-candy which at times glows in neon colors hinting doom and gloom. Execution-wise, it's such a poetic and evocative mood piece.
The strength of the performances were also worthy of credit. Eula Valdez' portrayal of Irma is a masterclass effort - an underplayed performance that is worth a look more than once. There's no fake subtlety. Timothy Castillo also shines portraying Toto, complementing Valdez' far superior performance. But perhaps the biggest surprise here is Angeli Bayani's crucial supporting role. In just a couple of minutes, it's hard not to gaze at her performance in one of the film's memorable moments. Although a short one, it carries out even after the end credits roll.
It's hard to say whether "Neomanila" is a satisfactory experience with its rather transgressive climax that even has myself got caught off-guard. Although hinted, such red herring feels like a low point. It's a weak transition from the great three-quarters of the film which has me fully hooked. Perhaps this is just me clinging to my dreams of happy endings. Even so, it doesn't make the film any less better. It has lots of aspects where it excelled on which really makes it a fine cinematic experience. With such a difficult subject to take, it did well enough. It has sense. After all, reality has its dead ends anyway, right?
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