Ulan (2019) User Reviews

Not so "Typical/Basic" Formula

[eugene_andojoyan · 8/10 · 18 March 2019]

If you are looking for a movie following the "typical formula" for romance, this is definitely NOT the movie for you. Aside from the fact that there was no happy ending (depending on how you define happiness), the film was a mesh of scenes blurring the lines between past and present, fantasy and reality. One would have to really flex some brain muscle to truly appreciate the film.

At first glance, the plot seemed like the ordinary "boy meets girl" flow. It went through the usual introduction into the life of the main character Maya. Then everything changed when the tikbalang appeared! Viewers who do not know much about Filipino folklore, like me, may have some confusion at first. However, I do not see this a bad thing as it actually sparked interest and curiosity. The film also explored a seemingly random overlapping of timelines. It was difficult to know whether Maya was projecting herself into the character she was writing in her children's book, or it was really her and her imagination during her childhood, or both. I guess the beauty is in the vagueness. It allowed for certain possibilities for discourse. Past and present, fantasy and reality. These elements were woven together seamlessly through excellent cinematography and acting.

The film tried to draw out mixed emotions from within the viewer. I guess you could say there was "hugot." It was not just "hugot" from characters, but also pulling out some memories of the viewers past, or some similar feeling the viewer may have felt. This was through the not so subtle introduction of Philippine mythology blended alongside a subtle spotlight on traditions and beliefs every Filipino can relate to.

There were also, however, some predictable moments in the plot. No matter how hard the movie tried to steer clear of "basic" formula by adding some form of plot twist, the execution of the twist somehow steered them back to the predictability they tried to avoid. Moreover, some moments even seem draggy in certain points of the film. Although they may have been intended to build up momentum, the audience's attention may not be so forgiving.

Overall, I think the film is a great piece of art work that is open to various interpretations! There is an abundant supply of symbolism and representation. As a person who overthinks and sometimes reads meaning (which may be unintended by the artist) into works, I must say: Surely, there is some philosophical or deeper meaning! Aside from the obvious love trope, there were also some hints of spirituality, politics, feminism, and even environmental protection. Depending on ones perspective, a lot of insight could be drawn from this film. The rain was definitely the central theme since it was not so subtly used as the title. It was a curse, destruction, and death. It was also an opportunity, hope, and life. Then again, I could be over-reading meaning into all of this! So, if you are into movies that make you think, analyze, and philosophize, this is definitely the movie for you!

Ulan is undeniably a creative masterpiece!

[renzayongao · 8/10 · 22 March 2019]

This film's attempt to combine elements of realism and mysticism was commendable for being seamless and natural. In fact, what made it outstanding was how the surrealism was so integrated in the overall plot that its execution made it feel like seeing tikbalangs was something not unordinary - a great leap forward, I must say, from the usual fantasy type films we see. I surmise that a huge part of this success was how these supernatural characters were not used just for comic relief but as central elements contributing the overall appreciation of the film's plot, e.g., how tikbalangs are undeserving of a good love story, how human characters turn into eggs to pave way for the closeness of the protagonists, and even how the personification of environment to have caused calamities as a result of a missed romantic relationship which could very much qualify as a strong sociopolitical statement for the keen observers.

Additionally, the film's mood was fitting to the story. Rain, for most people, connotes tragedy and despair but it also exhibits a sense of nostalgia and hopeful familiarity. This seemingly contradictory yet balanced mood was wonderfully complemented by color grading and cinematography. These elements definitely add to produce an imaginative and ethereal film. Right from the first frame of the opening scene down to the very last, the film was consistent in effecting attachment by the audience to the film as they too have experienced that longing for something, one way or another.

Lastly, the film was not a story about finding eternal love as it was a story about struggle and courage. The ending scene gave it away when it showed Maya enjoying dancing in the rain despite the storm. Surely, it was an unusual storyline which could possibly leave its audience more confused. But I guess that's the film's appeal. It was not meant to spoon-feed anyone as it requires moviegoers to appreciate it based on their own context and Maya's story was only a trigger.

In the end, it is this film's simplicity and unconventional portrayal of a character's journey that undoubtedly puts it as one for the boo

A love story with an interesting twist of folklore.

[mattledesma · 6/10 · 21 March 2019]

Spoilers ahead.

I found the movie somewhat unpleasant at first. Especially with tikbalangs. I am not aware of Philippine folklore or superstitions so seeing a tikbalang for the first time in the movie kind of bothered me. It was only after the movie I was able to research more about this legend.

The movie however, felt like a typical love story with a "not so happy" ending. It didn't seem all that exciting to me. It took Maya (Nadine Lustre) half the film to find love, but the buildup of their relationship didn't seem all that interesting. They only worked together in the NGO for children but other than that, I didn't see the spark in their relationship. Peter (Carlo Aquino) had a good personality and was God-fearing but I didn't see how he was "bagay" with Maya. There are no "kilig" scenes. It just escalated quickly and they kind of fell in love, too fast.

Maya's boss who would always crack jokes at her was at some times, funny, but on many other times, I found them inappropriate, unbecoming, and "ungentelemanly". It was also quite obvious in the end that Peter was going to die in a car accident. I think I've seen that happen too many times in these kinds of movies. The ending is very sad and not the kind of ending I want in a movie. I think the movie showed how rain is associated with sorrow and misery.

The last scene where the lady was crying in the bed shouting "bakit mo ako iniwan, Pilipinas?!" I think this might mean how we, Filipino citizens, are apathetic for our environment. When we don't care for the environment this results into climate change and more "ulan" and typhoons. I might be overthinking it but that's how I see it.

ENCHANTED & CAPTIVATED!

[Honest_Reviewer32 · 13 August 2019]

Nadine has come out as a really strong actress this year capable of turning a character into someone you'd be drawn into. She has this strong yet subtle way of making the audience believe her without her having to over-act her message. It was my first time to see Carlo Aquino act and wow he was so memorable! That scene of Nadine and Carlo in that magical forest from Maya's childhood was so entrancing that you'd actually start feeling your own heartbeat. It was so magical and heart-breaking that it makes you feel alive. I actually watched the film twice because it was really a beautiful masterpiece having an original concept and impressive casting.

A nostalgic and delicate film for the soul!

[diannemulingtapang · 8/10 · 23 March 2019]

"Magaan na mabigat. "

This is exactly what I felt while watching ULAN. There is a certain rawness to it that made me so drawn to the movie all throughout. I honestly have been waiting for a film like this in Philippine cinema - one that is both pleasing to the eyes and heart. It was amazingly quiet, yet impactful. I loved how the touch of magic realism did not make the film appear as odd or as a usual folklore story, but it made it even more real because for me, the presence of "tibalangs" or the "eggs" is in retrospect with Maya's core.

It was always her core that matters. The switching scenes of Maya as a child and as an adult is a bold move for the film. The characterization of Maya is so meaningful that it made me realize even more why Maya, as portrayed by Nadine, remains pure. For instance, I loved how the scenes with her boss depict the subtle, mundane, and somewhat mediocre realities of someone's struggles at work - especially so for the artists whose vision can be tainted by the dictates of the clients. The boss represents reality - and I am taken aback at how Maya did not compromise. She remains true to what she wants to write - be it romanticzing her idea of love or whatnot, she remains unbothered.

She was so pure, that it can be traced back to her relationship with her grandmother when she was still young. I might be interpreting this wrong or way too far, but child development is one aspect that intrigued me. The fact that the tikbalangs and the eggs were in the scenes with the young and adult Maya was for me, a coping mechanism of Maya herself. She was so innocent that she carries all the things she heard from her grandmother, and believed them still even as she grew.

But among others, one of my favorite parts were the bench scene where Maya and Peter tries to weigh the kind of love they wanted to pursue.The characters were so in sync, that what they had was different, as compared to her past heartbreaks where she had to wait and prove herself all the time. I commend how Nadine and Carlo as actors delivered with their eyes. And one last favorite was the Young Maya and Aning scene - the interplay of rain, the storm, Peter's struggle. It was so powerful to me that I was close to tears while watching it! It was, for me, one that symbolizes the social relevance of the film - be it political, environmental, or just the philosophy of the self.

This is really a must-watch film!!! The plot is unusually creative that it made self-love and self-discovery even more real. Amazingly written and executed!

Engaging

[carmelaanthea · 8/10 · 23 March 2019]

Ulan is a story of love, but it is not simply about romance. Though it injects elements of magic realism, it faithfully mirrors the realities of life - and one such reality is that things do not always go the way we want them to. Maya deals with unpredictability by weaving her own stories and finding solace in the superstitions imparted to her by her grandmother. But as the film unfolds, so does her growth. She learns acceptance - of what she cannot change, of her true strength, of the extent of love that she is capable of giving to others and reserving for herself. So yes, Ulan is a story of love - but more than just romantic love, it highlights the power of self-love.

A feel-good vibrant innocence reflected in a raindrop concept of love.

[nhotcool · 9/10 · 25 March 2019]

A whimsical childlike lucid dream felt by its equivalently colorful reality. Irene Villamor's masterpiece played with Philippine mythologies that surrounds the concept of "Ulan" dressed as childhood fantasy while unfolding a present timeline of its protagonist's tragic yet joyful conquest of finding true love.

In the film, Nadine's innocent idea of love is nurtured by her childhood beliefs on mythology and used it as a fuel for her enduring pursuit of happiness and contentment. It was presented in seamless jumps between nostalgia and the existing ordeal of repeating failed relationships.

It's raw and stylish production design danced well with its cinematography and music of presenting visually stunning sequences.

As the narrative progresses, Nadine's reminiscence is getting more surreal and intense, while the present arc is moving forward with realism and optimism - the space between the two timelines are getting larger but still linked and romantically fulfilling.

In her greatest ordeal, after various ballads and fairy tale-like romantic beliefs, the film showered the story with a striking and relatable authenticity and still manages to reach the peak of its established feel-good drama - that transformed rainfall occurrences into something to be celebrated and savor with delight.

One of the best local films of 2019 so far

Enchanting.

[jpagreg · 7/10 · 23 March 2019]

"Ulan" is a commentary of how people give their own meaning to circumstances.

As a child, Maya believed in the enchanted - tikbalangs, third eyes, and the power of the imagination to turn her enemies into eggs. Her idea of love encapsulated her belief in magic. The rain symbolized magic - brought down by gods in an attempt to show their displeasure at the union of tikbalang. The tikbalangs taught her that the rain could never overcome love.

As a young adult, her constant heartbreaks led her to close herself off on the idea of love. And each time she thought that maybe someone could be that magical love that she's always dreamed about, life happens and takes it away. In her mind, the rain became an omen, that this love could never last.

Despite all its enchantment, the film is relatable. Movie-goers can relate to Maya, in her quest for love. More importantly, just like Maya, it is ultimately up to people make their own meaning out of life. Life merely happens. It is up to us to love.

A Philippine version of Pan's Labyrinth

[carlsantos-85950 · 8/10 · 23 March 2019]

My first reaction after watching Ulan was that it was like the critically-acclaimed movie, Pan's Labyrinth. Both movies show the wedding between fantasy and reality within the gaze of a female character, amidst the backdrop of the prevailing social realities. But Ulan is even closer to the heart because it touches on Philippine realties.

Ulan's narrative intertwines Maya's real situation with the mythical world created by the imagination of the young Maya. It shows the innocence, imagination, and hopefulness of a child and the sadness, horrors, and hopelessness of reality as then realized by the older Maya. While the young Maya can easily solve her dilemmas with a simple work of imagination - just transforming those bullies into eggs - the older Maya has to struggle. She has to deal with small paychecks, a sexist superior, and a disastrous lovelife. The great cinematography and smooth transitions between these two narratives have helped in the realization of this poetic vision of the filmmaker. Even with two different narratives, the film is still so coherent that no scene is wasted apart.

What I really liked about the film is how it tackles Philippine social realities. It shows state neglect. It shows how the effects of natural disasters are aggravated by the lack of preventive actions and mitigating measures by the government . That beyond these concepts of forbidden love and tikbalangs, these current realities our the real hindrances in the fulfilment of our dreams and fantasies - just as how this torrential rain, brought about by anthropogenic climate disturbance as lamented by Ulan, the mythical creature, has shattered Maya's hope for a happy ever after. What I don't like though is that in the end, instead of teaching us the importance of volunteerism and collective pursuits is battling these realities, it has somehow disintegrated into mere self-love - see how Maya just held hands with her younger self in the end.

Overall, Ulan is sui generis, a class on its own. It is beyond a fairytale. It is a poem and a piece of art. It pushes the viewers to look beyond its narrative and ponder on the meaning of every scene. It encourages critical thinking, which mainstream films would normally not do in fear of loss of audience and profits. It shows us that our typical romantic movies can be turned into a piece of art where every detail has its symbol and every scene has its interpretation. Above all, it somehow teaches us that amidst the grimness of our reality, we should not give up especially on our ideals.

A powerful tale of love!

[elirizzamationg · 7/10 · 22 March 2019]

Bittersweet romance. Ulan shows, not just fantasies, but the reality of finding and losing love.

What I like most in the movie is the nostalgia it brings - the childhood that most Filipino kids have. It built Maya's character through the supertitious beliefs she was taught by her grandmother while growing up. The same beliefs she then held on as she went on with her life - her career and love life.

Maya (Nadine Lustre) is your typical protagonist, but in a good way. She is the girl who craves romance, who is fearless in seeking it, and is brave to accept and move on from the pain it brings. On the other hand, Peter's character (Carlo Aquino) left you with the hardest question to answer - choosing between the calling to serve and the woman you love.

Overall, the movie is pure passion, mystery, and art. The ending is tragic but nonetheless makes you want to fall or stay in love.

Outright Confusing

[antontensuan · 3/10 · 18 March 2019]

Ulan is a venture into the diverse landscape of Philippine folklore to many an uneducated viewer, myself included. Coming from one not often indulged with media portrayals of superstitious beliefs, the movie did a decent job of depicting how they play into the everyday lives of Filipinos. In focus here is that which tries to explain why it rains on sunny days - tikbalangs getting hitched. The question of whether tikbalangs, portrayed here as slim-fingered, paper maché armadillos, had a right to love and be loved was balanced by the notion that nothing, not even the rain, can get in the way of love. Not even Nadine Lustre's performance as the lovestruck Maya, so it seems. Though Nadine barely put a foot wrong, one just cannot escape the feeling that the story behind the message, or lack thereof, could have and should have done more in terms of getting the point across. Its magical realism element was telling - it was refreshing to see its unique take on the the interplay of superstition and imagination. However, it felt all too empty in terms of plot and twist. It was too difficult to gauge where the story was going, and it was hard to remember where and why it started once its direction finally became clear. Indeed, I left the cinema as confused as I was after the first ten minutes of the film. But whatever, I could be wrong - I'm no film critic.

A very profound love story

[orlandosullera · 10/10 · 28 March 2019]

The story somehow starts as a common experience in romance of the trials and errors as one journey in finding mister right. I do like the ironic twist of the plot. Also the pictures are great showcasing our beautiful culture in fashion and scenery. Even though the story keeps shifting in time it is well organized. Nadin grew as an actress by doing this with a different leading man. This movie is worth watching!

A love story that is socially relevant!

[jebeldhannaclaudio · 7/10 · 23 March 2019]

At first glance, it appears that the movie is just another typical love story where the girl meets her one true love. Indeed, the movie started with Maya asking her grandmother about the significance of rain wherein her grandmother attributed it to the story of the forbidden love of tikbalangs.

However, as the movie progressed, you will see that the love story of Maya also tackles socially relevant issues that we are facing right now. The movie showed the problem of employment here in our country. In the movie, it showed how Maya is an overworked writer receiving minimal compensation. Thus, through the story of Maya, the movie showed the reality of what a typical employee goes through in a day such as the long commute, overload tasks and minimal compensation. Moreover, another social issue tackled in the movie is about environmental problems. In the movie, the scene where Maya and Aning met showed that more often, big storms were caused by the wrong environmental practices in our country.

Overall, it is very refreshing to see a movie that tackles socially relevant issues in a distinct way. It was presented without overpowering the story of Maya in searching her love of her life. The cinematography in the movie is also superb. You can see that every frame of the movie was executed well and creatively.

Thus, if you prefer a not so typical love story, the movie is for you.

Ulan - Not Totally Bad

[justintsy · 4/10 · 18 March 2019]

It was an OK film.

The plot was fairly formulaic; bullied as a kid, lonely girl looking for love, had a few false starts, found her (probably) true love, had said true love ripped away. That being said, Nadine was fairly convincing as Maya. That being said, the theme of not knowing whether love truly exists is interesting and relatable, and the final scene is nicely ambiguous, fitting with the theme (although the element of younger Maya in that scene with present-day Maya felt a little off). However, the theme of rain as heartache and failed love felt forced and did not come through at all.

On my list of things that could have been improved, the non-chronological format had potential, but it was unfortunate that it was not maximized. It probably would have been best if the film had emphasized the fact that the flashback scenes were, well, flashbacks, and rewritten them to more closely parallel the present-day scenes.

The supernatural elements, combined with the horrible special effects, were completely out of place. It probably would have been better to scrap them altogether and stick to a more normal love story.

The subplot of Maya's boss was decent, but its ending was disappointing. I would have preferred something more inspirational than him sitting and smiling in the middle of streetkids while Maya is reading her children's story.

Overall, there film was just OK. Not the worst film ever, but not something I would recommend, either. I would actually rate this film as 3.5/10

Highly provocative!

[mikkocasipe · 8/10 · 16 March 2019]

The film was first presented as your not so typical love story, but falls under these minor segues that adds mythology and historical Philippine beliefs into the mix, which leaves the audience begging for more. The mixture of Philippine superstition and its symbolic portrayal through the films animation provokes the audience to keep on wondering how the film would all tie up together. The sequencing of the film was also a breath of fresh air in contrast to your run of the mill box office hits, which effectively captures the interest of the audience as the unravel the mysteries that the film has to offer one sequence at a time. To limit the film only to one genre would be to disregard the brilliance of the film of how not only was it able to incorporate romance into the film, but to actually complement it with thriller and horror elements, likening it to a happy accident. What is most compelling in this film is the political satire that it was able to discreetly insert while progressing the story of the film but somehow being able to integrate into the minds of the audience, the impact of the environment in this country. Finally, the personification of Philippine myths is what makes this film stand out as it brought out a sense of humanity as to the imagination of our Filipino ancestry that we are able to appreciate it more vividly than we would usually like. All in all, the film prides itself in the substance and the message that it seeks to convey to the audience and urges them to look beyond the surface and see the collateral beauty in the world

Less drama, more substance

[rill_ivanka_salazar · 8/10 · 22 March 2019]

Overall, I found Ulan entertaining not so much in terms of the cinematography or the plot but more in terms of the many profound symbolism and possible interpretations of the scenes. Filipino films usually operate on the extremes. Either it's too heavily dramatic/romanticized or it's too preposterous with its comedy. Ulan was somewhere between that, achieving a good balance to reconcile the two, and focusing on the underlying messages of the film.

It was told in a nonlinear manner, jumping back and forth from Maya's childhood to present time. This strategy was, for me, an effective way of highlighting one of the most important themes of the story- coming to terms with oneself. The scene at the end of the movie wherein Maya dances in the rain with the young version of herself is an obvious way of relaying this message. This "merging of timelines" showed how Maya came to accept the realities of life as it is. She was finally genuinely living in the moment. Life is never an all or nothing kind of thing. Sorrow and joy will continue to co-exist and we are all similarly situated in that sense.

I particularly liked the scene where Maya talked about how each of us is just a speck of dust in this big world. Unlike in virtual games, we have only one chance at living. With every rain, we take a risk. Tayong lahat ay TUMATAYA. Are we going to walk in the rain and risk getting sick and drenched in the mud? Or are we going to stay in the comfort of waiting sheds? Life has always been about uncertainty and that's the beauty to it. You fall hard. The butterflies in your stomach start fluttering wild. You invest time and emotion formulating so many permutations in your mind on how you're going to conduct yourself around this guy. You may even put him high up on a pedestal. But reality check- you've built him all up in your head. He isn't real. Or even if he is, he's just not that into you. Ulan highlights the importance of leaving some for yourself because you are finite.

But then again, getting drenched in the rain is not all bad. You can be negative about it (young Maya got sick for going under the rain) or positive about it (present time Maya got kissed under the rain). The rain brought Maya and Peter together but it also took him away from her. It's all about perspective. At the end of the day, we are complete in ourselves, and having someone love us is just a bonus. Maya could have cursed the whole male species for all her "failed" relationships but at the end of the day, it's really no one's fault. A guy could show interest, only to vanish into thin air the next day. But can we change their mind? No. They have their own free will, and so do we. We may wish for things to happen differently, but most times, these things we build up in our minds will stay just that- never to transcend into reality.

I also liked how the movie used magic realism and Filipino superstition. I'd say it was an admirable attempt at departing from the cliché way of narrating Filipino love stories in film. It made everything much more relatable and enjoyable to watch. The soundtrack was on point too. The visual effects were quite odd, but were strangely fun to watch as well. Great casting choices too. Would recommend this movie for those who like a good brainwork.

Superb

[mcft-18186 · 10/10 · 18 March 2019]

The movie is amazingly perfect from start to finish! Must watch movie indeed. I hope to see more of this in Philippine Cinemas!

Bizarre but in a good way.

[joanacatbagan · 7/10 · 21 March 2019]

Ulan is a welcome treat to Filipino audiences who are looking for a new flavor on their usual local flicks as it mixes magic realism with romance. It is really beguiling. Backed-up by an extraordinary story and great screenplay, driven by solid direction and storytelling by Irene Villamor, amazing performance by Nadine Lustre and mesmerizing visuals by Neil Daza, the result is a peculiar yet hauntingly beautiful, and a fullfilling movie experience like no other. Poetic cinema at it's finest.

More things in Heaven and Earth

[ingadc · 8/10 · 21 March 2019]

Ulan is not a romance movie. It is about love but it is against love. It is anti-romance. But it is romantic. It was grounded in truth and yet steeped in the supernatural that wound itself so intricately with the reality of the story. The film benefits from such a rich appreciation of magical realism which gave meaning to what otherwise would be a disorienting narrative flow. Magic and folklore are embedded in Maya's childhood, which I think speaks of a need to reconcile what is seemingly a conflicting reality with the stories we are told, and which to us, speaks just as much truth as anything science could explain.

A powerful tale of love!

[elirizzamationg · 7/10 · 22 March 2019]

Bittersweet romance. Ulan shows, not just fantasies, but the reality of finding and losing love.

What I like most in the movie is the nostalgia it brings - the childhood that most Filipino kids have. It built Maya's character through the supertitious beliefs she was taught by her grandmother while growing up. The same beliefs she then held on as she went on with her life - her career and love life.

Maya (Nadine Lustre) is your typical protagonist, but in a good way. She is the girl who craves romance, who is fearless in seeking it, and is brave to accept and move on from the pain it brings. On the other hand, Peter's character (Carlo Aquino) left you with the hardest question to answer - choosing between the calling to serve and the woman you love.

Overall, the movie is pure passion, mystery, and art. The ending is tragic but nonetheless makes you want to fall and stay in love.

Ambitious but much is left to be desired.

[EnriqueLopez_AgraSoc · 5/10 · 23 March 2019]

At first, I was really drawn with the film's use of magic realism and its elements thereof (as I've seen the full trailer of Ulan during a Captain Marvel screening last week) but it regrettably fell short of my expectations.

Importanty, it misses the point of such a genre and unlike its Latin American literary counterparts, it does nothing more but pick up bits and pieces of magic realism. For starters, it could've made a clearer and more consistent critique on Maya's upbringing and other sociological matters in the film in relation to her grandmother's stories. But this was sidetracked and the film morphed into a failed love story redundantly masquerading as a slice of life.

Even with the limited elements present, the film and its use of Filipino folklore is utterly stale, underdeveloped and two-dimensional. At best, it tries to intrigue the viewer of these local fables and their mythical origins but it nevertheless falls short on the execution-it gets confusing at times and lacks a coherent plot, conflict, and ending.

Nevertheless, I would still credit the producers for attempting to introduce a lesser-known genre in the local film industry and if there's anything I can praise the film for, it is perhaps its cinematography and excellent use of wide shots.

P.S. I found Maya's interactions with her boss at the publishing house corny at best and cringy at worst, particularly with the boss' redundant sexual innuendos and borderline creepy statements, such as his joke that Maya was taking him out on a date. It didn't help that her boss was twice her age and married.

A Refreshingly New Flavor.

[floreschristine-92011 · 7/10 · 22 March 2019]

The movie was not what I expected it to be. I thought it would be a typical Filipino love story but to my surprise it turned out quite refreshing and entertaining.

It was somewhat disorienting at first for someone who is not a fan of such genre. Throughout the movie I often found myself confused as to the meaning behind the parts of the movie that incorporated fantasy. I was not really sure if the meaning behind those scenes should be taken literally or if one should see it as a kind of symbolism. Or perhaps both.

But that idea of not really being sure as to the meaning of the whole film actually was the refreshing part of the movie. For me, the movie gave the viewers a choice: take it as it is (that is from the view of a child's memories and perspective), or give a deeper meaning to it (that is from the view of an adult's experiences and struggles).

Interesting use of Filipino foklore elements in a modern day setting

[thereseespinosa · 5/10 · 22 March 2019]

The movie, as a whole, was nothing like what I was expecting beforehand. Being a Filipino film, I had the preconceived notion that the story was going to be more or less like the usual Filipino movie complete with the predictable plot lines and overused cliches. The biggest surprise for me was its use of Filipino folklore elements. It added a different dimension to the love story. However, aside from this, I found that there was nothing really special about the love story of Maya and Peter. The love story, without any of the folklore elements, was very predictable. It followed the typical plot of a girl who has always been in love with the idea of love itself only to find out in the end that the love she has always been searching for was the love she should have had for herself. Although the love story was very predictable, I liked how the element of rain was used throughout the film. It was presented in numerous ways to exhibit how rain could be perceived as either positive to some while seeming negative to others. It was also used symbolically for different important pivotal scenes in the story.

Overall, I enjoyed the movie because of the added dimension caused by the Filipino folklore elements and the symbolic/metaphoric use of the element of rain throughout the movie which kept me thinking as the story progressed. On the other hand, I was disappointed in terms of the love story of Maya and Peter. The love story between the two was outright predictable. It had nothing new to offer. It was also very stereotypical considering the other characters involved.

Not your ordinary love story

[carlmariilagan · 7/10 · 23 March 2019]

Ulan gave me an impression of contradicting views on believing in superstitions vis a vis the realities of life. The movie is a mix of appreciation for Filipino Culture as well as Religion. It tried to get the equilibrium between Religion and Superstition. Maya's unending belief in superstitions got a hold of her in choosing between loving again or not. This shows us the appreciation of Filipino Culture in respecting the teachings of our elders. While on the other hand, Peter's dilemma showed the consequences of life's decisions. In the end, the movie portrays how powerful religion is, even forbidding Maya and Peter's realization of their true feelings for each other. As what Maya have said, even the heavens forbid their true love for each other. In the end, the movie somehow successfully portrayed what it wants to portray: A person is a product of his / her decisions in life.

It's not a love story.

[larahangelaregis · 7/10 · 23 March 2019]

For someone who loves watching rom-com movies, I'm really skeptical when it comes to indie films. I always feel like in the latter, the take on the subject of love has always been more realistic, raw, and to a certain extent - ambiguous. It's a good thing, really. However, when I feel like I want to be happy or feel a little "kilig", indie films would probably be my last resort. Mainly because I love happy endings and I like the certainty of how things are going to end. Anyway, while I didn't exactly like the whole mythical creatures and cartoons in the movie, I think the lesson of the movie is quite promising. I believe that the movie was able to show the realities of life and love. It showed us that while we can be hopeless romantic in our younger years, we all eventually grow up and our notions and beliefs about love changes. Our views expand and we realize that not everything revolves around love. That in our search for it, sometimes we end up finding ourselves and loving ourselves more.

That being said, I think there are actually a lot of "Maya" (Nadine Lustre) in this world. One who believes that one day, she'll find that certain someone who will love her for who she is and who will finally complete her. However, after many encounters with life's crashing realities, Maya eventually learns that the ending that she hopes for isn't probably the ending that she'll get. But despite knowing this reality, she still continued to love and took a risk. I mean, who doesn't want to love and be loved? This, I think, is what the movie showed us. It started with showing us Maya's optimistic views on love (based on the tikbalang story) but later on detesting it after several heartbreaks. What's ironic is that after she tried to gave up on love, she finally meets Peter (Carlo Aquino), without any expectations, who actually accepted her for who she is. She finally found someone who understands her and appreciate her only to end up encountering a different dilemma. Anyway, while I didn't exactly like the ending, I appreciate it and again, it showed us the realities of life.

Worth noting is the film's continuous analogy of Maya's life in her younger years and in the present day. Whenever something tragic or memorable happens to Maya in the present day (and in her younger years), it always rains, and there's always a flashback of an almost similar occurrence in her childhood. I think this technique is very interesting. It gave the viewers an understanding why Maya felt that way in the present day and we get to understand where she's coming from. Because of this, we were also able to compare the change in her reaction after experiencing the same event. I think it's smart and it engages the viewers to think about the purpose of the flashback and the symbolisms in the movie.

However, although the lesson and purpose of Ulan is quite promising, some parts of it were kinda confusing and I feel like there were unnecessary scenes. Some scenes were overdramatic, which made me cringe a bit. I appreciate the attempt to adopt folklore elements in the movie, and I like folklore in general, however, I think that it wasn't utilized well? Or maybe that's just me.

Nevertheless, I think the movie is good. Nadine, as always, is flawless. She's such a versatile actress and she performed really well here. The other actors were great too. Josef Elizalde was so funny and I think his character suit him well!

P.S. I think I finally get why they said that this movie isn't exactly a love story. It's not. It's a story about life and love, and all the complexities surrounding it which makes it more meaningful and interesting.