The tragedy of man’s misdeeds: A film review of Jeffrie Po’s “Consequences of Man’

(Contributed Photo)
(Contributed Photo)

IF PEOPLE’S actions lead to tragedy, what are the ways for resolution? Kagay-anon filmmaker Jeffrie Po attempts to understand the concept of cause and effect and the solutions to address prevailing issues through his digital short film, “Consequences of Man.”

The 13-minute film has received critical acclaim after being shown this month at Quezon City’s Cinema Centenario, the quaint movie theater notable for screening independent films by promising filmmakers across the country, during the Working Title exhibition of Filipino short experimental films co-organized by the Japan Foundation Asia Center. Last year, it was one of the featured films that premiered at the Davao Ngilngig Festival.

Its recent recognitions may have amplified Po’s potential as a filmmaker whose passion for his craft remains uncompromised, but the film’s core values resonate with messages that may combat the rising tides of human apathy in this generation. For one, the film pulsates with experimentation in the picture’s three main narratives - a performance art, a hearsay, and a testimony.

The performance art begins from the opening credits where the viewer meets a character (played by performance artist Nic Aca) immersed in the woods, gazing at the trees and his environment, then communing with nature by sleeping in a cave. Upon inquiry about where the shots - in black and white - were taken, Po didn’t hesitate to mention the iconic and historical Macahambus Cave. Not only is this segment taking stance on environment, but it could also promote Cagayan de Oro’s tourism.

But going back to its core, one scene shows the character (nearly naked but painted in white) picking up trash along a road outlined by trees and littered with dead leaves - a representation of environmental awareness which has campaigns elevated throughout the years due to the impending threats of climate change. In this segment, no dialogue is spoken. Albeit the silence, the performance art speaks loudly about mankind’s disconnection and negligence to nature while the white paint symbolizes innocence and purity tainted by the pollution of irresponsibility.

The scene then changes to a pathway in a rural site surrounded by verdant green grass and occasional tall trees. The scene shows a young man talking about a recent incident last year at Brgy. Kauswagan. This segment is shown in full colors this time, and contains an audible unscripted interview with the person. He shares about the mystery of how chickens in a residence in Kauswagan had been sucked dry of blood by an unseen predator which people, and even the owner of the chickens, believed to have been a sigbin -- a creature in Philippine mythology that looks like a hybrid between a kangaroo and a dog that feeds on its victim’s flesh and blood at night. This incident was later featured in one of the many documentaries shot by Jessica Soho’s program.

This segment may have been intended as a horror experience to diversify the film’s genre. But since the mystery remains unsolved to this day, there could also be a possibility that the perpetrator wasn’t one of myth but one in the acceptable reality. Anyone could have murdered the chickens and it might be man for what he could do. Although the incident has raised doubts and questions that may be answered through hearsays and folktales, the next segment and narrative lead to another person being interviewed about his situation.

This time, a middle-aged man shares his testimony about how his goats get stolen by his neighbors and how stray dogs attack them. This is another metaphor for the predator and the prey in the embodiment of dogs and goats. The view shows his property’s lush field and his goats grazing on the grass as the man tells his story. The occasional bleating can be disturbing as the man worries of his goats’ dwindling number. A montage then follows with a voice over provided by Franco “Perry” Dayap and score composed by Rotsanjani Mojica. Some of the scenes show the sky, men drinking on the riverbank, and men and cows crossing the river.

As an experimental film, the viewer finds eureka in the line: “If your hands are created by the creator, wouldn’t it be time for you to create new things?” which was uttered originally in Bisaya. It’s not only an experimental film for the sake of creating something new and otherworldly. With the interrelated narratives in its three segments, Po’s film is rather a wake-up call or a campaign to reflect on the consequences of man’s deeds - whether this concerns the environment, animal treatment, or to his fellow neighbor. Po’s faith also manifests in the picture as the voice over mentioned about man’s responsibility to use his hands for good -- a fulfillment to the Creator’s original design.

Po’s “Consequences of Man” shows tragedy caused by man’s misdeeds, but it also suggests solutions to address them. The next step is for the viewer to decide. This is why its limited screening in Davao City and Quezon City is not enough. If CDO wishes to manifest its identity as the city of golden friendship through the people’s deeds, viewers here may take lessons from this extraordinary film by a promising filmmaker.

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