Quibranza: MMFF 2016: This is not a review

THE year that’s passed was one ridden with disappointments. From one world tragedy to another, or news of one iconic artist or celebrity passing away, in brutal succession, people have labeled 2016 as one of the worst years in recent memory. However, a realist would come to terms with the fact that these months, days, weeks or years have little or nothing to do with these grim events that are actually beyond man’s reach and control. Take for instance, as both the arms of time welcome the new year, 2017 immediately shifted its cross hairs and locked its target at international singing superstar Mariah Carey, taking aim at whatever is left of her illustrious career and threatening to kill it.

There is a story in today’s newspaper (page B4) that details Carey’s mess of a performance during New Year’s Eve. Personally, I don’t really care. It’s just another technical failure that can happen to anyone. However, what one may find trivial, many might find of value. Moving on…

Another personal victory I would like to take note of is how some people I knew received the recent Metro Manila Film Festival (MMFF). Again, it doesn’t take rocket science to see that this year’s crowd turnout (and perhaps, ticket sales) is significantly lower compared to previous years. But at least, for goodness’ sake, what needed to be done a long time ago was executed this year. Quality films made the festival list over popcorn flicks. I, personally, did things I never thought I’d do in this lifetime, which is, besides using the festival pass that allowed me to see all eight entries for P5 per film, was also spending tickets for other people who wanted to see the films, or watching some of them again and this time spending my own money for it.

So, I did catch all eight films on the big screen before the awards night last Thursday. It was interesting, that awards night. Every time the MMFF’s official Facebook page announced a winner for a particular category, the names would only be of two things for me: A truly deserving winner and a winner who’s put in the real work to be considered, at the very least, deserving.

Here are some thoughts and a little ranking of how I found the films. I rather not call it a review or a critique; I’ve pledged to the words Sean Connery uttered about critics and their words in the film Finding Forrester (look it up on Google).

If the “people in charge” decide to extend the MMFF this year like the previous years, people can still have a few days to catch these films in their local cinemas. If not, today might be the last day. Catch the last full show if you can.

Sunday Beauty Queen. It’s tough to beat real life captured on camera. Sunday Beauty Queen does not only shed light on a common theme from a totally different angle, but it does so with finesse.

Die Beautiful. A moving, non-chronologically told narrative that would immerse a viewer deeply in the story. It’s a tight film that audiences can only label as great or good.

Saving Sally. It’s a cartoon for adults without being pretentious. Some of the dialogue can be a bit awkward, but overall, it’s one helluva punch delivered right to the gut of mediocre Filipino cinema.

Vince & Kath & James. It’s hard to hate on a good love story. Also, it helps that the cast are a beautiful set of people. The end seems a little rushed, but the story getting to it is one romantic cruise.

Seklusyon. I’m pretty much disappointed at myself for missing a world of detail when I first watched it. The film is thought-provoking, rich without being lavish, and provides a few scares.

Ang Babae sa Septic Tank 2: #ForeverIsNotEnough. Comedy is an easy choice to make. A perfect down-time film, this flick is filled with skits and lines that will make one smile or giggle.

Kabisera. The story telling is strong in this one. My only wish is that if it had only exercised a degree of subtlety to make room for the imagination.

Oro. Sunday Beauty Queen’s cinematic cousin. The film tells a true story of a great injustice committed against fishermen, and tells it with cinematic flair—not with effects but with rawness.

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