On the right track

Back in the late 90s and early 2000, there emerged few Filipino directors who possessed a strong sense of visual aesthetics in telling their stories onscreen, no matter how flimsy the story might be. Among these directors were Yam Laranas ("Balahibong Pusa", "Radyo", "Hibla"), Quark Henares ("Gamitan", "Keka") and Erik Matti ("Scorpio Nights 2", "Prosti", "Mano Po 2"). These directors are active still, in one way or another coming up with works that aim to improve their craft and, perhaps, to conquer the international market. But somehow, one can't help but feel that these works are still lacking that strong punch, that ability to provoke and challenge our viewing experience (Laranas' "The Road", Henares' "Rakenrol", Matti's "Tiktik:The Aswang Chronicles"). And now comes this new film by Matti - "OTJ".

Having its world premiere in Cannes last May, ''OTJ'' is that kind of film that undoubtedly has a serious tone and intent, but does not take itself too seriously nor does it make too much fun of itself. Ironic as this may sound, Matti, a flamboyant director given the mood and texture of his previous works, just lets the film grow organically and dynamically by itself out of a riveting plot and strong characterizations. While watching the film, one feels it to be coming alive just on its own onscreen, without any ''self-conscious'' effort by the director to shove it down to us. In its own way, the film is an involving viewing experience. 

As in Jason Paul Laxamana's ''Babagwa'' (a recent Cinemalaya entry), ''OTJ''s brazen social and/or political bent is slyly coursed through the guise of an effective genre - the neo-noir. With its shady dealings, morally-dubious characters, cluttered environment and downbeat atmosphere, the film works effectively as yet another intriguing specimen of that genre, no small thanks to Richard Somes' gritty production design and Jay Halili's kinetic editing. (Somes, by the way, is one skilled filmmaker as well;I admire his ''Supremo'' and ''Mariposa sa Hawla ng Gabi'', the latter having the same sweaty and smoky look as ''OTJ''.) And yet, this could just be a sly disguise. That is why I mentioned above that ''OTJ'' is a film that's neither way too serious nor way too entertaining. For while we are delighted by the film's manner of narrative development within a given genre, we know at the back of our minds that it carries a loaded slingshot ready to be aimed ceaselessly at, uhm, the top powers. 

I do not really want to give away anything about the film, not even the slightest. It is something that has to be seen for one to make sense of what I am actually saying here. We have a latest Filipino film here that may defy our expectations, that may catch us off-guard while viewing it inside the comfort of a movie theater. From the story and plot development, to the setting and editing, going through the soundtrack, until the actors' performances (kudos to Joel Torre and Joey Marquez!), we have here a cinematic piece from one of our own that may just be considered as one of the year's best.