In praise of ''Sana Dati'' (or why am I makulit!)

Seriously speaking, it was such a hard task. There were a lot of good, really good, even excellent, Filipino films shown on the big screen this year. So much so that it wouldn't be an overstatement to declare that 2013 is a banner year for Philippine cinema. And to choose which among these is the best - the cream of the crop - is one tricky matter, as it runs the risk of putting the other films that equally deserve to be afforded the title on the sidelines. That is why for the sake of argument, rather than choosing the best, this film junkie would choose his favorite film instead. My favorite film of them all! By declaring such film as my favorite, it qualifies the matter as being purely subjective, one that is defined by my own taste and standards and thus is not necessarily the best. Such a film became my favorite in the sense that it made such a strong and lasting impression on me and it possessed those qualities that made my own viewing experience an intellectually and aesthetically stimulating activity. Thus, when I say "favorite" here it doesn't follow that the chosen film is the epitome of all that is excellent in the art of filmmaking. Rather, it just happens that the film is in beautiful consonance with my idiosyncratic preferences. If the film turns out to be the best as well based on how the majority of film viewers and critics judge it, then I'll be more than glad and satisfied. 

As I mentioned above, it wasn't easy thinking and choosing one's favorite film for the year. There were a good number of Filipino film festivals (some long-running, while some had just started) held in our country this year and each one of them had their own share of superior works. But when it all boils down to one thing and after everything has been taken into consideration, my top favorite Pinoy film of 2013 has to be Jerrold Tarog's "Sana Dati". Cinemalaya (July), the festival in which the film was shown, boasted of a number of equally good entries - Alvin Yapan's "Debosyon", Hannah Espia's "Transit", Jason Paul Laxamana's "Babagwa", Eduardo Roy Jr.'s "Quick Change", Adolfo Alix Jr.'s "Porno". Some of these were my easy favorites as well. The other film festivals had their own share of above-average, even near-excellent works, too. Cinema Rehiyon (August) had Mes de Guzman's "Ang Mundo sa Panahon ng Bakal", Keith Deligero's "Kordero sa Dios" and Arnel Mardoquio's "Ang Paglalakbay ng mga Bituin sa Gabing Madilim";Sineng Pambansa (September) had Chito Rono's "Badil", Elwood Perez' "Otso" and Joey Reyes' "Ano ang Kulay ng mga Nakalimutang Pangarap?";Cine Filipino (September) had Sigrid Andrea Bernardo's "Ang Huling Cha-cha ni Anita" and Mike Alcazaren's "Puti";Cinema One Originals (November) had Jet Leyco's "Bukas Na Lang Sapagkat Gabi Na", Ian Loreno's "Saturday Night Chills", Arnel Mardoquio's "Riddles of My Homecoming" and Borgy Torre's "Kabisera". Even the recent MMFF has just fielded its own surprise - Chito Rono's (him again!) "Boy Golden". And of course, one mustn't forget Erik Matti's ''OTJ'', which was released commercially last August.

But why "Sana Dati" still being singled out as my top favorite film of the year? Let me say - Lovi Poe's beautiful hurt and sadness, its utter humanity and its ability to evoke a lot in its short running time. The low-key greatness of Jerrold Tarog's no-frills romance was what held my attention and, ultimately, grabbed my heart. Lovi's portrayal of a young bride-to-be in deep emotional crisis is simply irresistible, the kind that is truly felt and insightful without falling into the pit of histrionics and mushiness. It's like emotional baggage has already become second nature to the young actress. I just couldn't think of any other actress of her generation who would be able to justify and bring to life the nuances of the character. It takes both intelligence and heart to be able to lend credibility and depth to such a deceptively simple character. And when I saw Lovi bringing to life the character of Andrea onscreen, I stopped thinking of her as just the daughter of The King and began seeing her as an actress who possessed such gifts. She became a majestic in her own right that she nearly eclipsed all her co-actors in the film which, fortunately, was not really the case. For each of the other actors - Paolo Avelino as the wedding videographer, TJ Trinidad as the groom and Benjamin Alves as the first love - contributed immensely in making "Sana Dati" a fully-rounded work. These actors, and Lovi, have just earned my respect. 

I have a weakness for films that exude a simple, yet subtle, beauty. It's for such reason that "Debosyon" and "Badil" have a soft spot in my heart. Still, it is the kind seen in "Sana Dati" that has finally won me over. No hard analysis or high-brow viewing discipline or elite bag of thoughts is strictly needed to get through the film. One just has to live through the kind of emotions and relationships evoked in the film - to live through the film itself - and one feels more enriched by it. Remarkable still is that in its short length - a mere 90 minutes - the film is able to say a whole lot of things about the concepts of love, passion, guilt, responsibility, coming to terms with the past, forgiving and freeing oneself, and starting life anew. Something that some other films may take about 3, 4, 5 or who knows for how many hours or parts long to tell - and yet we feel that there's still something amiss! "Sana Dati's" many-layered brevity is a true marvel. Its being an outwardly "romance" story is out of the question already, for what we get to behold throughout instead is a poetry and philosophy of the human heart. The filmmaker here doesn't take himself too seriously that he feels compelled to make all the grand statements and gestures just to bring his points across. Nor does he appear to rest too comfortably on his laurels that he feels that there's really no need to engage the audience in the dynamics of his piece. Rather, the committed craftsman here skillfully lays out the rhythm and tempo and the audience accordingly moves along, as if learning the dance steps or the song lyrics or the lines of the poem has become synonymous to just simply making a hum. If it not only breaks my heart to leave out all the other equally good Filipino films shown this year, I would be close to praising "Sana Dati" to high heavens. Perhaps, even declaring it a masterpiece. 

Jerrold Tarog's "Sana Dati" is one strong indication that Philippine cinema is not dead - definitely not this year! - and that our talented film craftsmen are certainly not lost on the concept of cinema as an art form. Here's hoping that this positive and vibrant energy will continue to be felt and seen, if not more fully, in the coming year. And we, the film audience, will be all the more blessed for it.

Jerrold Tarog's ''Sana Dati'':Lovi Poe's beautiful hurt and sadness is one of the reasons why this is such an irresistible film