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Living the Testimony

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THOMASIAN Leandro Alverio Santos II recalled that cold January weather like it was yesterday while he waited for his turn to read his testimony in front of Pope Francis and to almost 24,000 people in UST last January 18.

Santos, a fourth year working student from the Faculty of Civil Law and a former Central Student Council president, was one of the young people selected to represent the youth by telling his experience in relation with the relevant issues affecting the young today.

Stress on Values

According to Santos, his testimony about the age of information was inspired by his ‘accidental’ encounter of seeing a hand painted quote about values on the 7th floor of the call center company where he worked for as a legal specialist.

Santos recalled, “Dun kasi, sa seventh floor, I never go there. Nung araw na nandun ako sa seventh floor, dun ko nakita yung isang hand painted na quotation about values. So na-struck ako nun.”

Just then, he received a call from the Archdiocese of Manila saying that he was selected to make a testimonial for the upcoming encounter with the youth of Pope Francis in the University of Santo Tomas.

He was given five days to create the testimonial that would represent the Filipino youth. The thought of the hand painted quote lingered. Combined with his habit of reading news about the trends in technology, the idea of the importance of values in the age of information immediately entered his mind.

He explained that the idea was born out of the prevalence of unlimited sources of information that is considered as an advantage but also becoming a source of distraction to the youth. He also compared how contemporaries of Rizal and Bonifacio worked hard to inspire change and progress even without the use of technology.

“I think na kaya siguro ganun kasi dahil sa mga values ng some youth ngayon,” he continued, “Although very simple siya, it affects everyone talaga so I ask to give us guidance and help with regards to how we can find God with technology.”

Special Experience
Before reading the testimonial, Santos said he had difficulties while practicing how to read the words efficiently and at the same time admitted to being frightened and intimidated by the Pope. Fortunately, the contrary happened.

“Big part of it was the presence of the Pope,” he said. “His presence was very inviting and calming.”

That moment, Santos revealed that he was encouraged to continue because the Pope seemed very attentive and was really listening to his message.

After reading the message, he gave a gift to the Pope called ‘The Jar of Memories’, which contained 5,000-7,000 notes written by UST volunteers for the Papal visit, symbolizing their prayers and messages. Along with the jar was also a picture taken by Paul Quiambao, showing a young girl who survived typhoon Yolanda in a devastated church while holding her scar.

Santos also applauded the Pope for reiterating their messages and by deviating from the prepared speech.

“Parang mas gumanda yung experience kasi he really took the time to reinforce it,” Santos said while remembering some of the lessons he learned from Pope Francis.

Right after, big part of his experience, which he described as a ‘once in a lifetime’ opportunity, was the blessed feeling of embracing the Pope and really seeing him up-close. He admitted that he only intended to kiss the Pope’s ring as a sign of respect but he never expected that inevitable moment would happen.

The Pope Francis Effect

Santos said Pope Francis definitely had the charisma in terms of connecting with the youth. He believes that his teachings would trigger the youth to form a movement for some cause that would help other people.

Part of it was because Pope Francis has a personal approach and application in his pastoral teachings for the youth to be participative. He believes this to be significant and that the ‘Pope Francis Effect’ would definitely last.

This experience has also prompted him to examine the way he is living his life. He said that he is still in the process of discerning things and still contemplating about what he should do about it.

“The other two who gave their testimonials, they deserved it. Pero of all the people, I continuously ask myself,’why me?’ Parang instead of being enlightened, I got really bothered by it,” he humbly said.

Santos believes that the hand of God is working for him ‘to do something’. After the Papal visit, he said he has been receiving requests and invitations to speak on seminars and some people are now even talking to him about values formation.

He admitted to having difficulties in making and inspiring advocacies because of the limited time he gets from being a Law student and from working full time; but he is taking things slowly right now.

The experience definitely strengthened his faith and that he would certainly incorporate the personal approach and application he learned from Pope Francis when he become a lawyer.

“Everyone should meet people on a personal level, participative yung gusto niya e so ganun, ganun yung application na gagawin ko,” he said.

Photo By Adrian Castillo

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Sila-Sila in its spectrum

Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.

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Screengrab from Sila-Sila movie trailer

Giancarlo Abrahan’s entry for Cinema One Originals Film Festival Sila-Sila is a groundbreaking film that sprouts a queer narrative molded by queer people. Anchored to the intimate stories of real people, this ghosting film pierces through the lens of post-breakup experiences.

Its lead actors, Gio Gahol and Topper Fabregas had a harmonious rhythm as Gabriel and Jared inside one frame. With Gab being helplessly displaced and Jared as someone who craves settlement, they were in an endless loop of push-and-pull, making every scene burst in different colors of expectations.  

The film revolves around the story of Gab (Gahol), as he tries to reconcile with his friends (Phi Palmos and Dwein Baltazar) and his ex-boyfriend, Jared (Fabregas) after ‘ghosting’ them for almost a year. Fueled by guilt and regret, the old lovers find themselves igniting a fire that once burned the bridges that connected their lives.

Five minutes in and the sensual relationship between Gab and Topper will cuff the audience with its bare exposure of same-sex actualities. These characters played by both theater artists allow the scenes to flourish with remarkable nuance.

The scenarios in the film allow you to peek at realities that manifest through Gab’s life as a person who fails to find his roots being settled in one place. As his portrayal walks you through the story of uncertainties, the progress of the film lets you trace into a deep contemplation whether or not you may be the Gab or Jared in your own story.

Despite having fragments of scenarios that lowers the momentum of the film, it serves as a breath of fresh air as Gab undergoes the phase of vacillation. Gab’s journey of finding a home in people he once felt was is a cycle anyone can relate to. His doubts linger in trust issues and the feeling of not belonging. It soon uncovers that the quest of settling in places, people, and experiences will be unending unless one finds their sense of home.

Phi Palmos and Dwein Baltazar’s characters are spices to the story as they portray a decade-long friendship of overcoming tendencies. Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.

Sila Sila won the Best Picture Award. Its undeniably well-plated palette satisfies the eye of the audience. A lot of scenes will tickle one’s humor especially if you are used to friendships that blatantly roast each other as a way of showing one’s love language.

Alongside its award-winning cinematography, Sila Sila also received the Audience Choice Award and Best Screenplay by scriptwriter Daniel Saniana. Also, Fabregas was recognized as Best Supporting Actor for his role.

“We’ll always love each other, however it manifests, it’s just always going to be there.”, this line by Jared carves through the hearts of those who had to let go of a person but never the love that they have for them. Gab’s relationship with Jared shows that there is never just one way of loving someone. Every day, with every version of themselves, love prevails. 

Distance can never make things small. It only deceives you from thinking that you’ve escaped your troubles. One way or another, you will find yourself crawling back because time never lets anyone off its claws—Sila-Sila teaches this. Furthermore, sometimes, having no closure is not the closure.

The character of Gab serves as an example that a person will remain trapped in the past unless they find closure from people and from themselves. People are bound to face the naked truth that we need to find our sense of home in this world that is full of broken fragments of imperfect individuals.

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Metamorphosis, a film that challenges the conventional

Tiglao tells this story through the never-before-seen character of a Filipino intersex teenager, and he tells it almost flawlessly, with the scenes that make you nostalgic, like you’ve been there before—a sort of déjà vu.

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Screengrab from Metamorphosis Trailer

As a coming-of-age film that probes more extensively into the adolescent psychosexual conflict, J.E. Tiglao’s Metamorphosis is dangerously daring. The film stirred a wave of controversy when the Movie and Television Review and Classification Board (MTRCB) classified it as X-rated for exploring intersexuality, later on, it was reclassified into R-16, permitting its screening in local cinemas. 

It opens with a scene at a waterfall in a 1:1 aspect ratio and ends in the same setting, where we find the protagonist, Adam, exceptionally portrayed by Gold Azeron, no longer irresolute. Supporting actress Iana Bernardez, who plays Angel, complements Azaron almost naturally—Adam isn’t without Angel, vice versa. However, the gorgeous visuals of Metamorphosis overshadow the disarray that’s often ignored in the film.

Tiglao tells this story through the never-before-seen character of a Filipino intersex teenager, and he tells it almost flawlessly, with the scenes that make you nostalgic, like you’ve been there before—a sort of déjà vu. Apart from the brilliant footwork of Tey Clamor, the film’s cinematographer, the musical score by Divino Dayacap, from the University of Santo Tomas Conservatory of Music, gave the film its oomph: as if the music understood the complexity of emotions portrayed, and the aesthetics with it.

Tiglao almost easily got away with poor writing by compensating for the other elements in the film. Instead of sustaining its relaxed delicateness, it lost its momentum when Adam’s exploration into his intersexuality was hastily overturned by uncalled-for predatory themes, and sexual awakening was realized by means of harassment.

The film relied heavily on aesthetics while leaving the plot unsustained and undernourished. It undermined the audience’s capacity to understand beyond the script because there was very little depth to it—the metaphors were surface-level and revealed themselves too easily. Some scenes appeared to over-explain themselves because expository writing was brought to an excess. Nevertheless, the film communicated what it sought to: the magnitude of embracing your own uniqueness in pursuit of self-acceptance.

Perhaps one of the most moving scenes in the film was when Adam’s father, a conservative Catholic and a pastor with a strongly-held vision for Adam to reverse his intersexuality – an “Ok, boomer” moment – abandons his unyielding bigoted principles at long last, giving Adam the autonomy to decide on and for his own. Here, the conservative adult matures with the troubled adolescent—and it is this shared acceptance that is unique to Metamorphosis.

Although the film suffers from tacky dialogue and some questionable subplots, it does exactly what a coming-of-age film is supposed to: the audience becomes an echo chamber, where we feel for the protagonist while accompanying him into growth and resolution. 

Metamorphosis, along with its stillness and vulgarity, makes for an ample directorial debut. The “I” in LGBTQIA+ rarely gets talked about, but Tiglao changed that by giving us Metamorphosis: it contests machismo without overemphasizing the feminine, it astounds without unnerving, and most of all it is unrestrained. Metamorphosis, even with its sloppy writing, is sufficiently beautiful—it questions and challenges the conventional, and it does it without fear.

 

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Tayo Muna Habang Hindi Pa Tayo: An Endless Cycle

Falling in love in this generation is like using a trial and error method that gets you nowhere. In the emergence of dating apps such as Tinder and Bumble and websites like Omegle, finding a prospective partner has become fairly easy but also quick to lose.

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Screengrab from Tayo Muna Habang Hindi Pa Tayo official trailer

Labels. There is a silent debate going on about whether labels are important or a factor for complications. Though there is a need to define relationships to know where to draw the line between friends and lovers, it is often terrifying to know what the truth really is. The word ‘commitment’ may seem an intimidating word for some, but it is also loved by many. 

Tayo Muna Habang Hindi Pa Tayo is one of the entries for the Cinema One Originals 2019. Written and directed by Denise O’Hara, who won an award for Best Director in this year’s Gawad Urian for a movie called Mamang, a film about dementia and the struggles of remembering one’s life. 

The film festival ran from November 7 until November 17 in selected malls and microcinemas. Starring Jane Oineza and JC Santos as Alex and Carlo, the story portrays the characters’ struggle in the process of falling in love, falling out, being confused, and being sure at the same time. 

Falling in love in this generation is like using a trial and error method that gets you nowhere. In the emergence of dating apps such as Tinder and Bumble and websites like Omegle, finding a prospective partner has become fairly easy but also quick to lose. 

Alex, played by Jane Oineza, is a woman with big dreams and ambitions, eager to prove to the world that she is more than just a pretty face. Carlo, played by JC Santos, on the other hand, is your typical go-with-the-flow kind of guy who works in the field of graphic design and freelance work. The story progresses as the two create something that neither of them knows what is and what to call. 

By slowly cracking her shell and breaking down her walls, Carlo manages to see the parts of Alex that no one really sees. Underneath her cold gazes and intimidating aura, lies a sappy and marupok girl. One night, after planning and talking about the design for Alex’s upcoming project, a cockroach scare prompts a rush to the bedroom; ensuing a somewhat emotional conversation that turns the atmosphere into purple and red hazes. 

After that night, awkwardness sits between them in the office. Alex, trying to figure out what happened, asks Carlo directly; as to his reply, along with the words “Masaya pa rin naman ‘diba?” creates a questionable feeling both to the characters and the audience. 

Stemming from the title itself, the movie—from start to finish—draws a problematic and complicated cycle that reflects dating and almost-dating. The dialogues lacked a bit of emotional appeal and the concreteness of thought cannot be easily grasped. The movie has a back and forth sequence, showing the past and the present, how the moments came to be, what arguments were thrown out to get to the scene where they chase each other in the sidewalk with pain and hesitation in their eyes. 

Cinematography-wise, the color palette of the film shifts along with the emotion that is being presented on the screen, making up for the lack of substance in the exchange of dialogues. It is a mess, paralleling to Alex and Carlos’ relationship, the shaky camera angles and the abrupt shift from one scene to another provides support in pulling off the movie’s complicated narrative. It could have had more backstory and fewer gaps in the storyline but it somehow works as it leaves you hanging and still questioning what happened. It keeps you in the cycle even though you have stepped out of the cinema already. 

Filled with contradictions and trouble waiting to happen, O’Hara’s work garners attention from those who are in the same position. The film dwells on complex-minded characters, pretty much like our generation, and their decisions on whether they should leave or keep fighting for something that is vague. It is a ticking time bomb of tears and regret or maybe, just maybe, something magical and worthwhile. 

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