This year's MMFF New Wave features some down-on-luck characters

For this year's edition of the still-young MMFF New Wave (Dec. 17-24 at SM Megamall, Glorietta and Robinsons Manila cinemas), which serves as the "precursor" to the more "mainstream" Metro Manila Film Festival and yet is already able to stand on its own, I was able to see 3 of the 5 new independently-produced Filipino films in its line-up. Let's see if there are any stand-outs among these. 

• "Tandem", dir.: King Palisoc, written by Zig Marasigan, 85 mins. 

I was first introduced to King Palisoc by way of the Makina episode of last year's "Bang Bang Alley". It was the more impressive episode among all the others, displaying tension and sharpness in its portrayal of an unlikely criminal who's virtually a walking time-bomb. Palisoc's new film, "Tandem", is similarly impressive, tense and sharp. As with Makina, more than an "action" movie (in the manner that Filipino cinema would generally have this specific genre), it's an engaging character study of two brothers (JM de Guzman and Nico Antonio) struggling to make both ends meet through criminal means. It may not be on the same caliber of filmmaking displayed in Erik Matti's "OTJ", but "Tandem" is certainly one of the (rare) well-made Filipino action films that I've seen since the genre has long become dead (or dormant). The tense sequences are expertly-staged, displaying admirable skill in editing and soundtrack. Such sequences are rightfully involving because they exist not just for their own sake, but because they involve the main characters in whom we've already started to become invested. The film's barely 90-minute running time is used to the full advantage to display brevity in storytelling, without everything feeling haphazard or rushed in terms of story and character development, which says something to the skill of the screenplay writer, Zig Marasigan (who also wrote the Ulam episode in last year's "Shake, Rattle & Roll XV", the best short episode among all those featured in the film). 

After Antoinette Jadaone's "That Thing Called Tadhana" and Lawrence Fajardo's "Imbisibol", De Guzman once more shows a nuanced acting prowess in "Tandem", making him one of the talented young actors working today. We should see him more on the big screen. While the usually comedic Antonio exhibits a rare dramatic skill as the conflicted elder brother, wanting to restart living on a clean slate with his family while not altogether being able to leave his criminal life. Such a skill we already saw in him in last year's New Wave entry "M.: A Mother's Maiden Name". If there's something to complain about the film, it's probably the unnecessary sex scenes. Though I understand that such scenes are most likely used as a counterpoint against the younger brother's betrayal later on, I guess one such scene is already enough to make the case. Another is the utterly downbeat and defeatist denouement and conclusion. Not that we would always want our films to end on a positive note, with everything nice and clean. But given the strong bond between the two brothers that the film has deftly shown, I would like to imagine the two being able to extricate themselves from criminality and start anew. 

• "Toto", dir.: John Paul Su, written by Su and Donald Martin, 115 mins.

The Filipinos' infatuation with the American Dream, be it for better or for worst, is considered to be a cultural phenomenon. That's why any film that tackles such a subject is considered interesting and relevant. "Toto", while fascinating, doesn't however dig deep enough into the subject. There are scenes, which for the most part are meant to be funny, that come across as stereotypical, flat or sitcom-like (like setting up a "fake family" for Toto). While we can sense that the earnestness is there, yet we can't help feeling that the observations are something that comes from someone on the peripheral. It's like the point of view is merely covered by a transparent looking-glass, without the observer being actually able to get through it. Though of course this has the advantage of lending the point of view a purely objective status, the kind that's not overcome by strong sentimental feelings. Yet, it's still an altogether different perspective if the case is made by someone who has a strong foothold in the actual state of affairs. Or that's just how I feel about all of it. In the film, we see that it's for wanting to have a better life that the title character (Sid Lucero) steadfastly pursues his dream of working in the United States. Such kind of situation is a common wisdom. We have no issue against that. It's just that we feel that we're not really getting any added insight into the situation, something that we're only learning or encountering for the first time. Perhaps, it would be a different matter if, let's say, the film had delved into the psychology behind the need to work abroad or the social dimension of the pursuit of the American Dream. The way the title character's life and situation are presented just feels too generalized for comfort. 

Thankfully, the central performance turned in by Lucero is quite engaging. He doesn't ask for sympathy or understanding in his determined (and at times, foolish) pursuit of his dream, even if nothing seems to turn right along the way. He's actually the kind of hardluck character that you would love to hate. And Lucero just savors with delight and zest that aspect of his character. Though there are a few "quirkiness" that I find awkward or inessential, like his kind of "provincial" way of speaking English or his fondness for Tom Cruise or even his learning to dance the "Macarena". I think they really do nothing to advance or say something about Toto's character. Instead, they only serve as an annoyance. I also find myself scratching my head over some of the peripheral characters, like Liza Dinio's con artist character (really, Toto believes that she's an American?) or Bembol Roco's father character (why the heck is he dressed up that way?) or Toto's close friend who turns out to be a closeted gay (totally unnecessary). Most probably, these characters are just developed or conceptualized by the screenwriters in the wrong possible way. Nevertheless, despite such creases in terms of story and character development, "Toto" is still worth a look, being able to come off as fun and intriguing in certain ways. 

(Next: "Ari: My Life with a King)

"Tandem" (above) and "Toto" (below): Of brothers and sons